(opening music) Cinnamon: Hey everybody! It’s Cinnamon Cooney, your art sherpa, and you are in quest four, which is all about tracing and transferring images onto the canvas. Probably one of the most liberating skills that you can have artists. I want to start this out right away by saying, Hi everybody’s who’s coming to the studio live today! And if you’re here on the replay, hang in because I’m gonna free you. I’m gonna change your world and what you think about art. And I’m gonna start it with something I’ve said a little bit before but I’m gonna state it really strongly now. Being able to draw, the ability to draw, or render, has nothing to do with being an artist. John: Mm-hmm Cinnamon: It is a skill set that you develop over time with hard work. And even if you can draw, quite well, there are times when you need to be able to transfer and trace images onto canvases, walls or different surfaces. So this is a time honored skill, John. John: Mm-hmm. Cinnamon: In fact, I would like you to think back to great things like the Parthenon. Remember the Parthenon? John: Uh-huh. Cinnamon: So those works were done, actually, with many of the techniques that I’m going to be sharing with you today. Over multi generations they were collaborative works. They weren’t quick works, they weren’t immediate works. They were works that took time, consideration and process. How do you take a little sculpture that a master sculptor did and turn it into something thirty feet high? This type of activity and so I’m just following in a time honored tradition. The greatest artists on the planet used these. So, it’s perfectly acceptable to trace. John: Mmm. Cinnamon: So let’s just let that go right now. Right. And I know we grow up with it because people ask you did you free hand it or did you copy? John: Mm-hmm. Cinnamon: First of all, copying is when you take somebody else’s image and say it’s your own. (laughs) That’s copying. So, yeah, there’s free handing something and then there’s transferring something. And so it’s like when somebody asks you if your hair color is real. I say you just put a little hand up to that question. It doesn’t have anything to do with the finished project. A lot of artists hide their process from the public because of that attitude. So I’m wondering how many people here today have really kind of felt like well, I can’t draw, so therefore I can’t be creative. John: Yeah. I felt like that a lot. Like drawing was just a barrier for me to get started on stuff. Cinnamon: Yeah. Yeah. I think that’s something that a lot of us feel and I can draw. And that’s something that, you know. John’s been with me forever. For a long time he’s put up with me and you’ve seen me go to life drawing classes and draw hands and go through my Hogarth stage and figure drawing. That’s a lot of work. John: Mm-hmm. Cinnamon: Now if you really really want to be able to draw, I have a recommendation for you. Or if you have somebody in your life who really really wants to be able to draw You go out and you’re gonna get drawing on the right side of the brain. John: Oh, yeah. I remember you talking about that. Cinnamon: Yeah. There just is no other program like it and it really, really removes the myth that drawing is a mystical, genetic talent. Think about this. Just for two seconds. This is gonna be a little bit more this but I really want you to get in the head space with me cause I’m gonna change it all for you today. Less than one percent of the population is just magically capable of doing music. Right. But obviously more than one percent of the population enjoys music. John: Yes Cinnamon: Right. Less than one percent of the population is able to just be born with mathematical formulas in their head. The type of savant genius that we all admire. But obviously more people than that are doing math. Thank goodness because of roads, and freeways and buildings. People know how to blow up a building and demolition it and there’s all kinds of skills. Clearly math exists outside of the savant. So there is an attitude that only the savant element of art exists and the rest of it, this determination, perseverance, and a lot of hard work is somehow not as valid and that is the disruption of talent. Right? Talent is lovely and I love people who are born with it. They are born with the savant. That kid that can see a city and draw it from memory. That’s like one kid though. One kid. So we can’t make that the whole world or the whole reason we get into art or not. We’re gonna cover today the tools that we use to get images onto canvases. How we can make something that’s small, bigger. John: Yep. Cinnamon: Right. How we can make something that’s big, smaller. And I’m of course gonna show it to you in the simple, direct Hart Party way that makes it inexpensive and easy and something anyone can do. John: Yes. We have a whole bunch of people out here today. Cinnamon: Who’s here today? I’m gonna have a sippy sippy. I’ve got some Kahlua coffee. I’ve been on a Kahlua kick lately. But it’s not actual Kahlua, it’s Kahlua flavored coffee. John: Kahlua flavored coffee. Although if you wanted to you could put some kahlua in. Cinnamon: It would be really good. Wish I would have thought of it. I realize it’s afternoon. John: (laughs) But we’ve got like 200 people out here. There’s over 200, like 215 people who are out here with us today. I see all of our moderators are out here helping out. Bonnie. Kims. I saw Mona out here. Melody Lane just came through. I think I saw Cinnamon: Hi Melody. John: Craft Momma came by and visited. Cinnamon: Really? Hey.
John: Yeah. So we’ve got a whole bunch of people out here visiting with us. So it’s really nice. The chat channel is very active. Cinnamon: Melody is gonna like this. It’s gonna appeal to Melody’s brain. She’ll probably even come back with tips on how I do some of this stuff. Listen, I also want to give a shout out to- we have a special shout out to Danielle and her family. Congratulations. And I- You guys saw the brushes. The secret life of brushes at the beginning of the video. Keep those coming. John and I are loving those so much. The stories. The brush stories. And I love that you guys are out there just pulling sizing out of brushes and being disruptive. They’re gonna have to pay attention to us now I guess. And I want to really thank Shelly Barnhardt. I loved your story. John loved your story. He was kinda feeling a little under the weather and it really put a smile on his face. And the video from Summer Weber. That’s on the Hart Party page. John: Oh yeah. Cinnamon: And, on related news, go by the Hart Party page to look for Saturday’s upcoming event because it’s a viewer directed live on abstract. Which means artwork that doesn’t look like anything. Non-representational artwork. Though, if you guys put something up like I want to paint trees, I’ll put that in the brain bank and I keep it for later cause if I see a lot of them I go, “We better do that.” Alright, you ready to get to it? With our 215 people? John: Yeah, there’s like 200 and- it keeps growing. We’ve got more now. Cinnamon: Alright. So, in transferring images onto art the first one that I want you to think about is something called projection. John: Oh yeah. Projection. Cinnamon: Light boxes and projection. Those are fantastic tools and if you are a professional artist, you’re going to have a projector in your toolkit. Boris Vallejo had a projector. John: Yes. Cinnamon: Right. A projector allows you to take an image and put it on a larger canvas. Or even put it on a wall. And if you’re a muralist, it’s essential. It saves you hundreds of hours in labor and time. However, it’s also hundreds of dollars. So if you’re not professional, and you’re not doing a mural in your house of something that you’ve painted, it’s not really a practical tool. Right. Light boxes are a similar thing. This is a table that has a light underneath it. You’ll see a lot of architects use them, and a lot of commercial artists. And it allows us to shine a light through paper and then on tracing so we can make an easier trace. Now, there is a wonderful way where you can actually use your window as a free light box. I’m gonna talk about that a little bit later. John don’t let me forget that one cause I can’t demo it here cause we have all the windows blocked so we can film. But, I can explain it to you. Then the next way you can get an image onto your canvas- besides, obviously, free-handing- is gridding. John: Gridding Cinnamon: Gridding. So you would buy, say, paper like this. I don’t know if it’s- oh, there’s the grid. Right. And you would draw your picture on here. Right, but you want to make it really big. Maybe you’re really good at drawing small, but sometimes it’s harder to draw really, really big. I can decide that these grid squares. Right, they’re one inch here, but maybe they represent one foot on the wall. I grid the wall one foot by one foot. I have one inch by one inch here and then I simply draw whatever I see in this space. I don’t draw the entire image. And this is really fantastic if you’re muraling. I’ve done this a lot, if you’re transferring images to larger space, but it’s massively time consuming. Right, and it doesn’t really relate to anything we’re doing on Hart Party at all or probably anything you’re doing in your life. Ok. So the next that thing we’re gonna talk about is carbon paper. I purchased this at Michael’s. This was the only one I could even find. This transfer paper was eight dollars. I’m gonna demo it. But you can kind of make this yourself. If you guys have asked me how to transfer an image onto canvas I’ve sent you over to the Frugal Crafter’s channel, going, “She has a DIY transfer paper video.” I’m gonna show you how to do it here, but you know what I’m talking about if you’ve seen that. This is the tools of the trade right here. These are graphite pencils and chalks. Right Then, there’s the print out. There’s the traceable, and I- we make traceables. I’m gonna show you we have these two traceables here. Right. Whoop. Come here, big traceable! So this is what you have for free on the Pinterest page, don’t you guys? So we got this guy coming up Friday. Right So if you wanted to paint him, you could get an eight by ten canvas. Print him out. Draw him on there and paint that, no problem. How would you do that? Well, you would either make your own DIY transfer paper or you would use carbon paper. Now, if you’re painting on a fresh surface, other than expense, they’re a one to one solution. In other words, they’re equally good outside of money. But here’s a little tip. Super urgent, so I’m gonna tell you early in the video just in case people are clicking out, but you shouldn’t click out cause it’s gonna free you from drawing. Is that when you use transfer paper it is very ineffective on an already painted acrylic canvas. John: Hmm. Cinnamon: In other words, the image just won’t get on there. So like, if I were trying to, say, I had rendered out something beautiful that I wanted to trace on here, to add to this. Maybe like a fantastical rocket. And I were to try to use my transfer paper here, even though it would work beautifully on a raw, gessoed canvas, it would not work well on an acrylic canvas, and that’s because of the nature of the polymer medium and how it interacts. BUT it will work really great with your DIY transfer paper. So that’s the other reason. The other thing I wanted to talk about today is how I did this at home. I didn’t go to a large format place. This is a little trick with your computer editing software and so I can make a traceable that is sixteen by twenty. In other words, you can do anything that I’ve ever taught you or many things that you’ve seen online and size it up to a really big image. Print it out at home and assemble this like a puzzle. Just process that for a little second. John: Yeah. No. I know Macs have a lot of that stuff just built right into it. Cinnamon: Yeah. Macs have a lot of this stuff just built right into it, but I’ll give you the tips that I’m talking about, you know, first hand. So let’s- Oh, and the last thing is the tracing paper. You guys might see this at the store. They have these like a dollar. Right. And I’m gonna talk about how, say you have a photograph and I’ve got an example. We’ll start with this one. Say you have a photograph that you would like to paint. But you’re like, I can handle the painting part of it. I got my dry brushing. I’ve got my wet into wet. I kinda know how to layer the paint, but gosh, the drawing part is really challenging for me. Well, here’s the deal. You can print out your picture off your computer, right? And, and hopefully the camera will be able to see it, through the magic of tracing paper Right John: You over on the other one? Cinnamon: Yeah. Can you see that there? Yeah. So see how you can see her through there? Now a trick that I do and I wanted to show you is I outline my outer edges, my contours with a black pen. John: Yeah Cinnamon: Right. And that really lets me see it through the tracing paper. Now, if I was still having trouble seeing it, I could tape this to a window, both layers, to a window, and it would create a free light table. That’s all it takes to create a free light table. John: I have a piece of glass back here too. Cinnamon: Do you?
John: Yeah. Cinnamon: Is it backlit? John: No. Cinnamon: Then it’s less demonstrative. John: But you could hold it up and see Cinnamon: Yeah. You can see that. What it is, is the light shines through and it will kind of wash out the image where you haven’t done the black outline. Makes it even easier. Ok. I don’t know how we’d Well yeah, no. I don’t think it’s gonna- well, we’ll see. You work it out, Stunt hands. Now, it’s gotta- Oh, there it is! There. See? We’re gonna see if we can’t demo it. But you can see it because we have so many studio lights. See how that pops through? So if you just tape this kit all up to your window. You’re gonna be set up. Now, when I am tracing on here something I wanna do. I want to tuck it in underneath, pull this down I want to make sure that I’m not lifting, moving or shifting this often or it will ruin my trace. Now, I can also just directly make the DIY transfer paper. You can kinda see what I would get here. If I was like, just to do this straight. I can make the DIY transfer paper. So that’s like all it takes is I just put it under here tuck it in and just go over the lines. Look at that. Isn’t that nice, that I’ve made previously. And this can really help me if rendering. See how easy that is? Is not my skill. It just takes no time. Then I can make multiples of this. I can make portraits of my family super easily. Right. Because I just need to know where things kind of basically are in relationship to each other. Don’t I? Just simple. Eyes can be such a challenge for us but not here. They’re gonna be so much easier. Just trace those in. You know. So you just do that. I’m being kind of messy tracing it, but that’s all you would do. And then you can take this out and you’ve got an image that you can easily, easily read, understand and transfer. With either carbon paper. Or with DIY transfer paper. Cause again drawing is just a skill. You have to do this stuff in art, anyways. There are times when you just have to use these methods. There isn’t a pro artist that doesn’t have to utilize these methods. I can not tell you how many artists that I know that are beautiful beautiful draftsmen, they draw so well. They still utilize these methods because they’re time saving They allow you to maybe replicate things. They’re really useful, so there’s no shame in it. At all. Tracing is honorable. John: Yeah Cinnamon: Tracing, it’s a crazy thing. Tracing is honorable. Now I’m gonna show you how to make, use the carbon paper. Right. I’m gonna pull out my just drawing paper to demo this. John: Mm-hmm. Cinnamon: Right. Now I’m gonna use my carbon paper. Now one of the things that is challenging when transferring an image is that it moves. John: Oh yeah. Cinnamon: Did I have the brains to bring my yellow tape over here? John: I don’t know. I can go look for it. Cinnamon: No, I’ve got some right here. I’ve got some tape right here. Yes I did. Kind of over here. So one of the tricks that I want to do is I put the object where I want it to be on my paper. And I’m going to tape this down. When I tape it in place, it prevents my lines shifting on me. So I can just leave this right here And not- I hope this is really fun. Anybody having any questions about any of this so far? John: Oh, there’s a- Everyone’s in here chatting, chatting, chatting away and I was actually gonna say there’s there’s some really- everybody’s talking about projectors and- Cinnamon: Projectors are great. John: But one of the things that I caught earlier is that craft momma said that her daughter- Devony? Cinnamon: Uh-huh John: Also watches your show. Cinnamon: Hi Devony! John: And she doesn’t speak English. Cinnamon: Oh. Ok. John: She’s from Holland. Cinnamon: Hi! John: She’s on her third painting now. Cinnamon: Fantastic. Wow. John: Aren’t they crazy? Cinnamon: You’re brave to like- I’ve lived out of the country and it can be can be more challenging. John: Yeah, I think that’s just great. Cinnamon: We’ll have to see, I think this- John: A little brush out there. Cinnamon: A little brush out there. I gotta check her product here. Transfer paper. Alright. She seems to think it’s transfer paper. Usually this is like black or a gray on the background. John: Hmm. Oh yeah. Yeah. Cinnamon: You can use this over and over again so I think sometimes that’s why they feel like they can charge you this amount of money for a sheet of it. Got my hot mess going here. Now, other tip, when you get this tucked under here, you can cut these to size if you want to. If you know you’re gonna be doing a lot of images the same size. Quilters are like, Oh, I got this. Right now quilters are like, “Oh no. I totally understand all of this.” So, see, this is in position. The transfer paper is underneath me. Now all I’ve got to do then is decide what lines you know, are important to me for my finished painting. Right. What lines do I need to have so I can get this painting in? Right. Now another tip I have is sometimes it can be challenging to know what you’ve traced on your piece. And there’s two ways to deal with that. The first way- getting kinda crazy here, but I’m just demoing what the product does- is to lift and check. Do you guys see it? John: Oh yeah. Cinnamon: Ok, so you can lift and check. If you’re worried about shift, because this is the one time where you can get shift. Where the image can shift on you and the you have like this sort of ghost image, it’s better to just do it twice. (kid in background) Cinnamon: What’s here? John: I think there’s a delivery. Cinnamon: (laughs) Delivery! We love getting mail! My kids are like, “The mail’s here!” You would think it’s like coming with candy and stuffed teddy bears and things like that. So I can just sit there and I can come in and follow these lines. Yes, this works on raw canvas really, really well but many of these transfer papers do not work well over an acrylic. Many of these transfer papers don’t work well over an acrylic painting. So, this works but it can be a problem if you say have an acrylic colored ground on your canvas. You know. Or something else. Now hopefully some of you are like, wow, I’m like really close to doing this one painting but just this the difficulty of this one image was just stopping me and you’re starting to think to yourself, maybe maybe I could possibly take that on. Oopsy. And it doesn’t matter. Like I’ve got a couple lines where I get a little messy on the trace. Say I traced this whole thing. I pull the tracing paper out. You can kinda see the lines. I don’t know if the camera can pick it up where it’s- maybe it’ll see it on this side. John: It’s kinda hard to- Cinnamon: Huh? John: It’s kinda hard to see it. Cinnamon: Yeah. Well, what it does is you can- There it is. Can you kinda see the ghost of where the dog’s drawn out? John: Kinda. Cinnamon: Alright. So, it will- that part of the tracing paper is gone. And so these are good for a particular number of uses. You’ll get kinda familiar with the brand’s longevity. And what’s great is like say you work really hard on a drawing, you know, on one scratch piece of paper and you’re like, “Man, this really needs to be a painting.” This works for watercolor and acrylic canvas. And you get these lines. So that’s how easy it is to- can you guys see that? John: Yeah Cinnamon: Or do I need- I can hold it up here, too. Op, there it is. See, that’s how easy that is to do. Now, I’m gonna be very wasteful here (laughs) for just a second And then I’m gonna- But I’m gonna use the same piece here. I’m gonna flip this over. But here’s the DIY method. The first DIY method is your pencil that you have at home. I’m going to, with my graphite pencil, just, back and forth. Color the whole back. And I mean anywhere I think there might be drawing. The whole back of my transfer. Right. Number two pencil, just fine. Number two pencil, just fine. But, Right, the softer the lead, the easier this is, the deeper the graphite. You can do this with watercolor pencils, by the way. Pondering that if you needed say a coloring paint. But I’ve got some charcoal here. This is Simply Charcoal Soft. This Simply brand is a very good brand. This set, I don’t know if I mentioned it earlier, these are not sponsors, I just thought this was a cool set for drawing which has white chalk, light gray chalk, dark gray chalk, soft, medium and hard chalk. Pencils in different grades and graphites in different grades. Two types erasers, blenders and a sharpener. Four bucks. And I’m like, dude, that’s a deal. So I’ve got this side that I’m gonna just very quickly- Oh look at this. This is even easier. Can you see that going? John: Yeah. Cinnamon: And you can actually see where I traced cause the paper is indented and we’re getting a rubbing. John: Huh. Cinnamon: We’re getting a rubbing. I’m going to just tape this back down because, again, shift is still our number one problem. I’m gonna trace both sides. And then we’re gonna see how that looks. Is everything ok? John: Yeah, they were saying it was a little dark so I was going to see if- I pushed the wrong button here. See if I could turn the… Cinnamon: The color up? John: Yes. Ah, there it is. Cinnamon: Yo, there you go, that brightened it up. You guys are so helpful to our production. You’re amazing. I can not tell you how amazing you are as a community. Just your participation, your color grids, your amazing abstract hearts. Are incredible! You guys are getting it. You’re gonna love Saturday’s abstract lesson. I hope you’ll come and put input in. I hope you’ll go by the YouTube channel. I mean the Facebook page and make suggestions of colors or paintings or things that you’ve seen. Or vote on one you like. There’s one that everyone’s really liking. You know. So, I’m just tracing this. Just tracing it. Transferring You know. And again, it is nobody’s business Right? Whether your hair color is real. I mean obviously I might- I augment. But it’s still rude. People don’t need to be asking the process by which you create your art. Right Yes, if you’re a fine artist and you have a collector, it is important for them to know how your process is, but just in general as a hobbyist. It’s like asking to see someone’s bank statement. It’s just rude. Now, I have a tendency to not keep a light enough hand where I’m resting my hand on the paper. John: Mm-hmm. Cinnamon: So that can leave a little smear mark. The nice thing about the graphite pencil over the charcoal, is that it’s erasable. John: Oh yeah. Cinnamon: Right. But then the charcoal sort of disappears into the paints. They each have their benefits of what they’re good at doing. And how they transfer. The charcoal transfers very well onto canvas. So if you’re transferring onto a canvas that has been painted with an acrylic ground or is already painted, like you painted in this thing but now you’re going to add an element this becomes really important in designing art sometimes.
John: Mm-hmm. Cinnamon: Um. It’s wonderful to be able to have the charcoal and then to have white and black allows you to create an image that you can see against any background. John: Right. Cinnamon: This is also really good for watercolor. So you can kind of see, I’ve got the eye over here with the graphite and I’ve got this over on the charcoal. It’s a little messy over her but you can erase it.
John: Mm-hmm. Cinnamon: But you can see where I kinda did a smear here with the charcoal. Can you guys see that? No, you can’t so I’m gonna hold this up here. These images are light and are not gonna impact your watercolor or John: There you go. Yeah. Cinnamon: Yeah. They’re not gonna impact your watercolor or your painting. At all John: So, I have a quick question here. So Michelle was asking about transfer paper. Cinnamon: Yes. John: and saying it doesn’t show up- Now, the question is, doesn’t it show up on acrylic paint but carbon p- the carbon Cinnamon: The graphite. John: with tracing paper the carbon does? Cinnamon: The graphite will show up. John: Ok. So tracing paper does work on it? Cinnamon: (sighs) Ok. The one where we DIY-ed it, will paint over the acrylic painting. The transfer paper like, eighty percent of the time just won’t John: So you have to experiment a little? Cinnamon: Yeah, yeah. I mean it gives everybody grief, and honestly sometimes it will work for a while in one brand, and then they change their formula and it doesn’t. It’s because of the plastic nature of the acrylic paint and the way it’s sealed. Now you could put a clear gesso on there, and that would give you enough grit to get a tooth to get a transfer on there, but then you put clear gesso and you have to want that tooth there. Right. Fabulous for multi-media artists or art journalers. Gotta have the clear gesso. We’re gonna cover that. In the future. So that’s why I was like there’s this arsenal of tools drawing being one of them. You can go do drawing on the right side of the brain and you’re gonna be able to draw But, there’s just this arsenal of tools. It’s how you put those tools together that composes a painting. Now, I’d like to show you how I made this big image. John: Now, before you do that- Cinnamon: Oh! I would love to answer questions. I’m gonna drink some more coffee. Sippy sippy! John: Take a quick sippy sippy. Cause Melody Lane wanted to come in here and- Cinnamon: Hi Melody. John: She came in here and wanted me to pass a message along to you. She wanted to say thank you. That the crafty chica is gonna be on Crafty Life Live and she wanted to say thank you so much for introducing her because that’s been great. Cinnamon: Well, I don’t know if you noticed this Melody, but this is Crafty Chica’s mug. John: So we’ll be tuning in. Cinnamon: That I got at Michael’s. I was so freaked out. I was like, “I YouTube know her!” (John laughs) Cinnamon: I YouTube know her! Totally! I buy her mug! John: Solidarity. Cinnamon: Solidarity. Yeah, I’m gonna go on her Etsy store and get a butter keeper or something. John: Mm-hmm. Cinnamon: She has really amazing, amazing stuff. I’m so excited to see her on Crafty Life Live. John: Mm-hmm. Cinnamon: That’s gonna be awesome. Girl gets glitter. She gets it.
John: Yes. Cinnamon: Gets it. She glittered a floor. I’m a fan afterwards. I’m like she glittered a whole floor. I love you forever! John: Yeah, we may do that in Honey’s room. Cinnamon: Yeah, and we actually are probably gonna do her idea in Honey’s room. John: Yeah. Cinnamon: Thank you! John: Thank you. Ok, so, back to your thing. I just wanted to let you know that was awesme. Cinnamon: Ok. I think that’s pretty awesome, too. So, hopefully you guys can see this. I’m gonna turn this around. Can you guys see the way that this is taped together? These are eight by ten sheets of paper. John: Yeah. So, what I do is I take the image that I have. Right. Digitally. You would down- Say you grab it off of our Pinterest page. And I take it into my photo editor, right. And in there you have the ability to select change an image size. You guys all know that. Change an image size. John: Mm-hmm. I make sure it’s on inches and I make an- make it the size canvas that I’m gonna be printing on. Right. So in our cases I make the image sixteen by twenty. John: Mm-hmm Cinnamon: Now, here’s the trick. I then apply a grid and a ruler. All you really need is the ruler. Grid is helpful if it does a snap to grid feature. John: Oh yeah. Cinnamon: Right. That’s just helpful. As long as you have the ruler. And then I do selections that are eight by ten. So I select this area eight by ten. This area eight by ten. This area eight by ten and this area eight by ten. And that’s really easy to do once my rulers are there because I can just line up the little selection thing that says eight here, ten here. Good. Got it. Snap. When I print them out I trim them with scissors cause there’s always a little extra overlay and I put this together like a puzzle. And tape it up with just clear packing tape, regular tape. It doesn’t matter the tape. I can then come back here, rub my charcoal all over this sucker, and I have DIY transfer Sixteen by twenty. Large format. Without a large format printer. John: Ah. Really cool. Cinnamon: That’s all that takes. That’s all you’ve gotta do. And it really is a simple, simple puzzle to put together and you’ll notice where you have the extra. Just trim it off. Just line it up. Tape a segment, line it up, tape a segment. You guys can totally do that. Now, you can go to Kinko’s and they’ll print out sixteen by twenties for you. I think it’s a dollar or so. It’s not expensive. But, you have to go to Kinko’s, and your time is worth something. John: Now, can you paint over the gray gesso- or the gray transfer paper stuff if it’s on a gessoed canvas? Cinnamon: Yes. Goes right away. John: Just disappears right underneath it? Cinnamon: Yeah. Yeah. Again. This is a good product. It’s made by Martha. They have it at Michaels. I figured, one, all I could find was Martha. Right. They had it. They didn’t- usually have it in the drafting . Usually in the architectural drafting section like on our tour of Texas Art Supply. John: Yeah, they have it at Texas. Cinnamon: They have it at Texas Art Supply. Like thirty brands of this stuff. In colors. It’s in non-photography reproduction blue. John: Mm-hmm. Cinnamon: In other words, if I’m doing an ad layout, I get this stuff, the non-photo, and my computer can’t see it. I can trace this big hot mess on there paint in what I want, and it looks like I have a clean image. I love advertising art. John: Now, Sidney was saying that she thought that graphite or pencil would show through or stain paints. Cinnamon: So, because the lightness, so if you think about if you’re doing a watercolor and you very lightly Right, sketch in an image you’re not really gonna see that. The eye isn’t gonna pick that up and the transfer is generally very, very light. The charcoal will blend into the paint. It can stain it. If you use a large- If I grab this hunk of charcoal and I sketch a thing in in black charcoal, that’s gonna pick up in my acrylic paint. Especially in my oil paint. But if I was to do it very, very lightly, you’re not really gonna see that. And you’ve gotta remember that pencils, right, they come in colors, as does chalk. John: Oh yeah. Cinnamon: So the trick really is, I can make a rubbing on the back of this in about two seconds. If you have an architectural element in your city that you like, right, you just come with a piece of paper, tape it on there, rub your charcoal on it, you have a transfer. It’s called a rubbing. John: Mm-hmm Take that home, add that you your graphic. It just- This is a skill that there’s just no end to. John: Yeah. Cinnamon: I just see artists using this. They’re go get rubbings of trees and come back and put that into so image somewhere. John: Oh, yeah. Cinnamon: Right. It just goes on and on. There’s- You can montage photographs together and then get a rubbing and then make a transfer. John: mm-hmm. Cinnamon: Right. If you use this in combination with Photoshop you can pretty much paint anything. John: Now, couldn’t you use just chalk? Any chalk. Cinnamon: Yeah. John: Cool. Ok. Stephanie was just asking about that. Cinnamon: Yeah, and some of it’s gonna show up better, and that’s where experimentation comes into play. As artists, you have to be kinda wild experimenters, because sometimes you’ll run across a deal on something and you’re like, “Well…. This chalk is a really good deal. Would it work?” You know, try it. Because sometimes you know, you might have noticed with the brush companies, you know it’s a brush by brush kind of event. In all art supplies, it’s an art supply by art supply event. I was watching Lachri, who’s very into drawing, the other day talk about the quality of pencils. John: Mm-hmm. Cinnamon: And she was talking about the stone that you get in cheap drawing pencils. And there is. There’s this weird little hard chunk John: Mm-hmm. Cinnamon: that you get in there and it messes up your drawing, but on a really beautiful pencil, it doesn’t do that. Can I do an amazing job with a two dollar pencil? Yes I can. John: Mm-hmm. Cinnamon: Right, I can do a great job. I might work a little harder to get the effects or the results. And it might be a little harder to get the price point if I were to try to sell the painting. John: Hmm. Right. That’s when how I make it really comes into play. If I use really fine materials and I use really wonderful practices to create the artwork, I get to charge a little more once I have a collector base. There’s a whole formula for this. It doesn’t- None of this matters until you have a collector bases. When you can’t get any of your families to show up to a show, none of it matters. You’re just trying to move work, and build a collector base. John: Yup. So, Danielle had a question, uh, about, uh, about water. So I’m just a little stumbly because there’s a whole bunch of questions. Cinnamon: About water? John: Yeah Cinnamon: On tracing? Ok. (laughs) John: Well, she has hard water in her area, and she was curious about whether or not she needs to be using bottled water with her painting. Cinnamon: (sighs) John: I’m sorry, it’s a weird tracing question but… Cinnamon: Hmm. You know, here’s the deal. I promise you, if you wrote Golden, they’d write you back and say, “YES! Yes. Distilled water. Because it’s more archival. You can’t trust what’s in the hard water.” Um, would hard water impact your flow of your paint? Of course. The agent that you use to thin your paint affects you. I’ve painted in places that had incredibly hard water, and I mean like the orange stain down the tub and the toilet and it was like all crazy and the water was not that impactful, but yeah, of course. You know. It depends on what the finished product is for and, and, and you can be as focused and observant of the quality of your art as you choose to be. The enjoyment level is the same. So if I’m like, fly by the hip, two dollar pencil, two dollar watercolors whatever pad I’ve got, and I’m gonna sketch and paint, I’m gonna have the same enjoyment as somebody who’s painting Qor watercolors, on Arches block that’s three hundred pound cold press paper. Same enjoyment, we’re just observing different art practices. And there really is, other than in the resale market, there is no difference, because it’s really the experience that we’re having as creators in that process that matters. The end painting- let’s just all be honest for a second, except for the part where you guys judge yourselves about the validity of the result, the process of the painting. Right. That’s the part that matters. That’s the part that gives us joy. That’s the part that lowers our blood pressure. That’s the part that improves our health and our well-being and lets us forget the world. John: Mm-hmm. Cinnamon: Right. The end result is this sort of after effect that you have And then sometimes our experience leading up to that is about how we validate that end result. Right.
John: Mm-hmm. Cinnamon: But, when you guys need to be much more kinda forgiving and open about when something is valid as an art piece and maybe, like, you know more observant about the experience that you have creating a piece. John: Right. Cinnamon: Right. Cause, I mean in the art world I say it all the time. Poop in a can, two hundred and fifty thousand dollars. And there’s a good reason for it. (both laugh) But it is at the end of the day, poop in a can for two hundred and fifty thousand dollars. There’s all kinds of people painting with body parts, and I mean body parts. And not like, ineffectively painting with body parts. There’s Picasso. Picasso is the perfect example of how- why we need to relax. I don’t know if y’all know this but Picasso was a master of realism. My daughter’s singing. (laughs) She’s having a song. She likes the song. She has a song in her heart and she has to let it out. We’re always telling her stop your songs. She’s like a little song bird. A slightly off key song bird, but a song bird. So Picasso was a fantastic realist. He trained. He apprenticed. He was skilled. Right. And he came to this place where as an artist, he’s like. “yeah. I can show you this table as I see it and feel it in the world. I can show you it’s legs and I can show you it’s depth and I can demonstrate this dead pigeon on here. And I can demonstrate the texture of the feathers and you can feel as if that is all there.” He’s like, “But, if I abstract, the moment, the time, the space, the things happening around the pigeon, the way the light is going across the table. If I abstract as an artist, and take the realism out of it and start breaking these things up spatially, I can tell you so much more about the table.” Right. But he didn’t do that cause he couldn’t draw an eye where an eye goes. That was a decision that he made as an informed educated creator John: Yeah Cinnamon: About how he wants to tell a story. And that’s just really all we’re doing. We’re just telling stories and sometimes our stories matter to large amounts of people Right, around the world. We call that fine art. And sometimes our stories matter to us and our friends. John: Mm-hmm Cinnamon: Story’s still there. Right. We’re still telling it. John: Yeah Cinnamon: So we just need to kinda relax about this and go this is just my process. You almost need to be selfish and you need to be, this is my process! I just really like how the paint does this and that makes me really happy, and I like to make color charts. Cause it’s just enjoyable and I want to know what my paint does. It just is your time and your space and how many things do you have in life that are like that? I’m a soap box today, I’m sorry. (both laugh) John: No. Cinnamon: Wooo! John: Everyone’s really enjoying everything you’re saying so there’s lots of… Cinnamon: I appreciate that. There was a lot of art school debate that has led up to these opinions. As you stand there, you know across from somebody who has a very different art experience and they validate very different art things. People are gonna validate different stuff than you do in art. You’re just gonna have to allow their crazy. John: Yeah Cinnamon: You know. Now, we are not gonna cover it today, but we’ll refer back to this when we do. We’re gonna talk about things like copyright and stuff later. John: Yep. When you guys are going out and transferring images and finding photographs you like. So, fairly shortly after this, in the next couple of quests, we’re gonna cover copyrights. And when it’s ok to copy and when it isn’t and what that’s really about and we’re gonna make it not scary. John: Yeah Cinnamon: Super understandable and super fun, so you’re gonna be like, Yeah. I got this. I’m not even stressed about it. I know my. I know my you know, fair use. I know my originality. I know when those boundaries are. I’m even gonna tell you a couple funny story. So- But for the purposes of now, now that I’ve taught you guys literally how to transfer an image. John: Mm-hmm. Cinnamon: Basically, the first thing you need to know, we’re gonna talk about much more indepthly, if you’re not selling it, and you’re not putting it out online and representing it as your own for personal use, you can do anything you like. For personal use. John: Yeah. Cinnamon: Right. So, any piece that you’re in love with, um, uh, not to out my mom, but we’re huge fans of Lawson, but we don’t have a hundred thousand dollars. If you want it in your home and it’s just gonna be in your home, and you know, it’s just for you, That’s ok. Don’t go online with it, though. (both laugh) Don’t do that. But, just for you. So go ahead and transfer and copy. I’ve got quests down in the description. John: You know, Zippy Cat said something that really really caught my attention here. She said, wow, that she really needed to hear what you were just saying because it’s her process. It’s my process. Right. So, however you come to this, remember that it’s your process. Cinnamon: Yeah. Yeah. It’s personal. Don’t- This is just a place to not let people butt in. And, oh, they will. And there’s a really big difference between having a peer and you and you’re having a wonderful art conversation about what has validity and what works for you and it’s very respectful and very affirming to somebody coming by and going, “That’s just not even art.” Really?! Really?! Who made you the art police? Cause if you’re not running the Smithsonian you’re not even in the running. John: (chuckles) Right. Cinnamon: And those- The lady who just juried me, right, if you check my page. She’s on the running- nicest person ever. John: Yeah. Cinnamon: Nicest person. People, the more educated they get in art, the more they love artists. The more that they love the process. It’s that middle range that’s gonna come up and tell you that that isn’t art. John: Mm-hmm Cinnamon: Right. Well, again, not running a museum you can just let everybody else alone. (John laughs) Cinnamon: You know, it’s what it is for you. It’s how it works for you. Is it making you feel better? And if something is making you feel better, you should do more of it. That’s why I’m always asking you guys don’t go into the painting and find the three things you hate. Everybody already knows what they did wrong. You don’t need that work. You need the work of finding the three things you did really well. John: Yeah. Cinnamon: What did you do right? Because you want to do more of that. That’s actually how an artist grows. Not obsessing over where things have gone wrong. Artists grow by, “Wow, I really nailed that space. That that passage is amazing. That stand is incredible. I love how this medium and this gel work together. And I think I could replicate that in a predictable way again and again and again.” That’s how you build a body of work. Not being like, “I hate how I do eyes.” John: Now, Flame Gremlin Cinnamon: This will help you. John: Flame Gremlin was asking,
Cinnamon: Hi Flame.
John: Could you please go over the side quest again? Cinnamon: Can you pull that up on the description again? I can’t remember how I read it- wrote it. It’s in the description. John is going to refresh me. It’s been a week. The Sherpa has been going bananas lately. (laughs) I’ve just been, like, crazy. John: Ok, so the mini quest says, optional. Trace a picture of your face and add an inspirational quote that speaks to you. Add color, ink, or pen. So, and you know, post these if you like. Right. But this is part of the artist process. Part of the artist process is in private, or publicly, doing self portraits. Because, and this is really fascinating, there is a fabulous argument that all art is self protrait. Is just the artist talking about themselves. Which I think is kinda true. I kinda see myself in pieces. So this is a fabulous thing. Most people really are uncomfortable with doing self portraits and they get really blocked and it’s one of the first wonderful things that you can unblock. And a great way to do that is take a picture of yourself that you like. Trace it onto paper. Turn it into an art thing and put a beautiful quote with it. And when you see that and you see that of yourself you’ll even- it’s like, it’s better than a pair of skinny jeans. John: Hmm. Cool Cinnamon: Skinny jeans are, you know. This is wonderful. You say just something beautiful, you know. You know, she turned her dreams into plans and her can’t into cans. You did a beautiful picture of yourself and you can color that in. You can just do pen and ink. You can show that to our community. On instagram or the Hart Party page, or in Angelooney or wherever you want to share that. Email it to me. Or you can keep it private. You can keep that for yourself. It is actually really acceptable to keep that for yourself. I think art journalers are geniuses on this. John: Yeah. Cinnamon: They keep those books of art to themselves. Private. Some art belongs to you, only. John: That’s true. Cinnamon: It doesn’t belong to the world. I have pieces that I’ve sold, I really regretted it. John: Yeah Cinnamon: Some of them, I’m throwing them out the door and saying, go live somewhere else. But some of them I’m like, man, I wish I hadn’t let that piece go. John: Yeah. Cinnamon: You know. So, when you recognize that you’ve done something that speaks personally to you and is maybe a little raw and revealing, don’t necessarily put that out to the world. It’s ok to keep a secret and then it’s also just as ok to be like, I’m so proud of this! Check me shining. That’s ok too. It’s ok to shine. Ok to shine.
John: Yep. Yeah. Cinnamon: And don’t let anyone take your shine. They got their own light. They can go shine their own light. They have their own. They don’t need to take your lightbulb. (John laughs) Have you met people like that? They’re trying to hoard everybody else’s lightbulb, but not turning on their own light? You’re like, just turn on your own light! John: Yep. Cinnamon: The one right there. I’ve got this one. I’m gonna keep it on. John: Yeah. The fact that you chose to turn yours off doesn’t mean I’m trying to dim you, if I could flip your light switch I would, but you gotta flip it. That was a weird tangent. (both laugh) Relative to this week. John: Oh, and Kim K is back. Cinnamon: Hi Kim K! John: She returned from the cruise. Cinnamon: Well, she’s Kim S now. John: Oh. Cinnamon: Kim S. How ya doing? Mrs. Mrs. John: All back from the cruise. Cinnamon: We’ve had a lot of Hart Party Wedding. We had a proposal. John: Oh, that’s right. We had that wonderful proposal that happened when a couple was painting your painting at home together. And when they got to the end of the sunset, he wrote will you marry me on the sunset. Cinnamon: This made me cry. John: Yeah. That was great. I just loved that. Cinnamon: Cause he really did. He’s a proposal… He loves proposals. He did a good proposal for me and we love proposals. We’re so excited that Kim S. Everybody congratulate Mrs. is doing really well, and thank you for everything you’ve done. We so appreciate it. Love the Hart Mail. The new Hart Mail is totally working. John: Yeah, we’ve got some Hart mail back here. And please do post up a picture of your side quests. Your mini-quests. Cinnamon: We love them! John: Because, um, We’re getting so many of them that I might not be able to get all of them in the beginning but I’m gonna make a new segment, so that at the end, I can play them all and leave them up for a longer period of time. Cinnamon: Yeah. And if ever I miss anything, it isn’t ever that I’m ignoring you. If you ask me a question and I don’t respond, Um, it’s just, I don’t know if you guys know this, but Facebook does not show me everything. John: Oh yeah. Cinnamon: Sometimes. It’s really selective. You put it out in the world and you think it’s there, but it’s not really there. It’s like a pretend there, and even on the messages, sometimes it won’t, like, update me. It’s really crazy so I’m never ignoring you. It doesn’t bother me if you re-ask and I try to make that sure I get in there everyday and do something. And I try to read as much as I can and we love it. I’ll be sitting at my computer and I’ll read it to John and he’ll laugh or he’ll cry. The stories mean a lot! You know, and we just so appreciate you as a community. I’m in, um, the YouTube mentoring program. John: Mm-hmm Cinnamon: Which is pretty cool. YouTube provides free mentoring. When they’re like, “You need some…. You’re gonna grow and you need some help.'” And so I’ve been mentoring and I have been listening to the gamers talk. Confirming my, I have the best community. John: We do have the best community. Cinnamon: We do. Art the whole DIY art segment. You guys are the best. John: Yes. Cinnamon: The best! You make being live on YouTube a joy. John: Mm-hmm Cinnamon: Love it. Do it. Like, as long as you guys- And, oh, thank you for your quest suggestions. We have almost two years of quests. Don’t stop. If you guys keep coming, I will keep sharing this information with you. Let me know if information was helpful. Let me know if you need work on something. This is your space. This is your journey. We’re trying to guide, facilitate, help you through it. So, I’m open it it. I’m here to hear it. I hope you guys are gonna, now that you know how to transfer Mr. Puggles. John: Mm-hmm. Cinnamon: And here’s a little tip on tracing. Try to just get the outside contours. Chuck loves to catch my highlights and lowlights. Very much, and it can be useful information. And if you want it it’s there. And it also makes a really cute coloring page that’s free. But also you can just do the outside basic shape. John: Yeah. Cinnamon: You know, so this way you’re with me for the abstract pug. And then I hope Saturday I haven’t done a live viewer directed in a while. John: No, not in a while. Cinnamon: Not gonna be preplanned. We’ve got some colors that are voted on. All that’s on the facebook page. That post is pinned to the top. John: Mm-hmm. Cinnamon: Still working on the website. Trying to get better at it. John: Yep. And keep sending in your suggestions for the quests, like she said, because that’s really great stuff for us to use when we’re putting the mission and badges together in the app. Cinnamon: You never know. We’re gonna work on our coloring book, Chuck’s working on a coloring book too! John. Yeah. Chuck has a- We have two- Cinnamon: Sherpa life. John: That’s right, we have two Sherpa coloring books. Cinnamon: His is totally different and super fun. I’m way excited about it. If you’re in Angelooney you’ve kinda seen the direction that’s going. And if you’re following me on Periscope or Instagram, you’re seeing updates on the coloring book I’m working on that. That’s definitely coming out. Every suggestion you guys have made is genius. Thank you. John: Yeah. And we have quest shirts and aprons and things coming. Cinnamon: The quest shirts.
John: Yep. So, soon we’ll have some of that stuff ready. And it will all be up on the website to be seen soon. Cinnamon: Super fun stuff! Thank you! John: Yeah. Cinnamon: I just can’t say that enough. The gratitude I have is just astounding. John: Yeah, thank you guys, so much. Cinnamon: Thank you. We’re gonna see you at the easel tomorrow, which is really soon. Or, on an I-card. (laughs) John: Are we? Cinnamon: Well, yeah, cause tomorrow we have a class cause we had a- you got snowed in. John: I got snowed in. That’s right. Cinnamon: He got snowed in. So the schedule is all crazy. I had to move collabs, I had to be- stuff. Oh, and for you Alice in Wonderland fans, pay attention to the YouTube channel on the fifth. John: Oh yeah. Cinnamon: Yeah. John: Yeah, Oh, and real quick, tune into the MayMay show with, uh, on February first. On no, Melody Lane. She’s got Melody Lane, Crafting Chica, on February first. Cinnamon: That’s Crafty Life Live. They have a group on Facebook. You can find them really easily. Um. OH! Ok, I know we gotta go, but I just have to tell this to you because you guys are here. Your hard core. You’re about the art. You’re probably following Lindsay. Has anyone noticed that Lindsay is on the creators? As an expert? John: She is an expert. Cinnamon: She is! So she is coming up on her special too. I’m pretty excited, I’m like watching it like… John: We have so many YouTube friends now. I love it. Cinnamon: I know. It makes life really fun. YouTubers are so awesome! John: Alright guys. Cinnamon: You guys are awesome. See you at the easel really soon! John: Love you guys.
Cinnamon: Ba-bye. (closing music) We’re having an art party, why don’t you come with me? A straight from the heart party, now everybody……