[User] Please transcribe this text

[Assistant] So when porn agents started calling from the webcam world and like saying, hey, have you ever thought about doing pro porn? You know, I'm like, oh yeah, what are tube sites? Porn's still like this glitterati thing where people make millions, right?


[User] Please transcribe this text

[Assistant] Right? And, uh, so I was like, ah, fuck it. Uhm, I think honestly I had some nihilism at that point. Like, when a startup business dies, it's like your baby. Like, you love it. You spend all of this time on it. And I think I was still grieving in a lot of ways. And so, I was just like,


[User] Please transcribe this text

[Assistant] Exactly. That should be your tagline. I want you to just disappear in my pussy for a while. Yeah, there's a reason the French call it the little death.


[User] Please transcribe this text

[Assistant] I had a really interesting, fun, amazing life. Like, whenever I met my husband, I was like, hey, so I want to fuck you tonight, but I'm really tired because I'm getting over, like,


[User] Please transcribe this text

[Assistant] Fuck, what did I have at that point? I had gotten like spider bites.


[User] Please transcribe this text

[Assistant] From, from like some like tropical, some like tropical


[User] Please transcribe this text

[Assistant] Spider had like bitten me through my hammock as I was like leaving Mexico and I was in his town and I was just like, hey, like I super wanna fuck you but I may fall asleep on you because I'm like really sick at the moment.


[User] Please transcribe this text

[Assistant] Or I could do what I wanted to do and do the things that made me happy that I had natural aptitudes in and uhm,


[User] Please transcribe this text

[Assistant] Exactly. I think regardless of your belief system, you have to have like a healthy, a healthy suspicion that there's a possibility that this is all that there is or that what comes next, you know, consciousness may not even resemble what we think of it as it is now. So enjoy the most of this as you can. Yes.


[User] Please transcribe this text

[Assistant] Do the things that you love, do the things that make you feel good, uhm.


[User] Please transcribe this text

[Assistant] Obviously not to the detriment of others. Right. Uhm.


[User] Please transcribe this text

[Assistant] But no, I just don't understand being miserable. I've always been like...


[User] Please transcribe this text

[Assistant] I was a uniquely serious child. I was just like thinking about like, what happens when we die and like, what is the meaning of life at like 13 and 14 and 15 and like reading philosophers like a fucking dork.


[User] Please transcribe this text

[Assistant] Well, first off, I'm so flattered that you would reach out to me for that, of all reasons. Uhm, I was really taken aback. That was just one of those things where I was just like,


[User] Please transcribe this text

[Assistant] But as far as new girls, the biggest issue that I see that they have coming in, and I felt this in other jobs, I remember being taken advantage of as a bartender whenever I was in college, uhm, just having to


[User] Please transcribe this text

[Assistant] Uhm, the biggest issue that happens that I see is that girls get into a situation where they feel that they don't have the economic security.


[User] Please transcribe this text

[Assistant] To enforce their boundaries. If it's a, oh, if I say no on a set that, if I say I don't want to do something on a set.


[User] Please transcribe this text

[Assistant] Really what their problems are is that it sounds like she's expressing more opinions on how she would like to be treated and touched than the average girl.


[User] Please transcribe this text

[Assistant] Absolutely, and people forget that because of this relationship that we have, like, I think the average length of a porn performer's career is like three months or something like that. There's like some crazy statistic for like the average length.


[User] Please transcribe this text

[Assistant] And so a lot of us don't have the time to build up the relationships because I see a difference now in how I'm treated as someone who is quote unquote a name. They're like, oh, she's rated numbers such and such on Pornhub. We have to be nice to her. But I remember how they treated me whenever I was new.


[User] Please transcribe this text

[Assistant] I know that those two experiences are different and so one of the big things that I see is believing girls whenever.


[User] Please transcribe this text

[Assistant] Someone, uhm, does something to them that you go, oh, they've never treated me that way.


[User] Please transcribe this text

[Assistant] But I think when a lot of us observe it, it's because they know better than to treat us that way, which suggests a kind of sinister...


[User] Please transcribe this text

[Assistant] Uhm, scenario. And so the question becomes, you know, how do we, how do we fix that? How do we make that not happen? And the biggest way that I see that happening is girls developing their own streams of income. Things like Snapchat, things like OnlyFans, things like ManyVids, uh, Pornhub Premium channels, things along those nature.


[User] Please transcribe this text

[Assistant] About, so whenever I first came into the business, I,


[User] Please transcribe this text

[Assistant] And I get there, and the director pulls me aside and says, you know, did your agent talk to you about what we're doing today? And he's got that tone in his voice and I'm like, oh fuck. Yeah.


[User] Please transcribe this text

[Assistant] Yes, yes, yes, yes. And I'm like, I'm like so new, I'm like, push compliance, what the fuck does that mean? Uhm, and so I'm just like,


[User] Please transcribe this text

[Assistant] Okay, I mean, at that point I don't really, there's not really a space in which I can think about, okay, do I want to do this or do I not want to do this? I've just driven three hours and it's this company that has this sort of like pre-established definition of what they do and so I'm confused going into it. And I agree to do the scene.


[User] Please transcribe this text

[Assistant] Like, really uhm, I'm one of those people that just, the nerves are kind of crossed in me and so you like pinch my nipple and I'm like, ooh, that's nice. I just like a little bit of pain. That was, they...


[User] Please transcribe this text

[Assistant] And I realized, you know, if I had had my secondary income streams more set up at that point, I probably would have stopped and thought more critically and gone, okay.


[User] Please transcribe this text

[Assistant] Alright, I need to change the script here. We need to soften this up. We need to like do these things and that things. It's not that anybody forced me into that scenario. It was that I felt that I had to go along and be agreeable in order to get more bookings even though it was beyond my level of comfort. Right.


[User] Please transcribe this text

[Assistant] And I look back on that situation now and I realize I've probably encountered that situation 20 or 30 times over but it's never gotten to the point where I was dry heaving on a bathroom floor again because


[User] Please transcribe this text

[Assistant] We need to change the script, or we need to stop and do this, or we need to do something differently. And if they ever came back to me with a, no we can't do that, I could be like, well sorry, I gotta go.


[User] Please transcribe this text

[Assistant] And I can do that just as effectively as browsers or mofos or evil angel or any of those can at this point because of the internet and because of social media.


[User] Please transcribe this text

[Assistant] And girls don't realize that they have the power now.


[User] Please transcribe this text

[Assistant] I compare porn girls and porn performers, not just women, men and women, a lot of ways to athletes, a lot of them come from backgrounds where economic management is not a taught skill.


[User] Please transcribe this text

[Assistant] I know one AVN, an AVN award winning performer who shot hundreds of titles, who is my age, I'm about to be 25, uhm, who owes the IRS $300,000. And that's, that at that point, you look at that and that goes,


[User] Please transcribe this text

[Assistant] Someone failed to educate you here. This is, this is obviously, this is not normal behavior. Someone's failed to educate you here. And so the question then becomes, where do girls get education on this topic? And if you're clever,


[User] Please transcribe this text

[Assistant] And so I started asking myself about six or seven months ago, how can we...


[User] Please transcribe this text

[Assistant] Struggle the way that we do now. And when you're new and when you're bumping into things and figuring out, okay, this, this...


[User] Please transcribe this text

[Assistant] Basically create crash courses for new girls, uhm.


[User] Please transcribe this text

[Assistant] That every performer who has ever shot for a major studio should be able to access both adequate mental healthcare and adequate resources to


[User] Please transcribe this text

[Assistant] Just the basics, something as simple as walking you through the basic steps of signing up for FanCentro or MyFreeCams or CamSoda or things like that to...


[User] Please transcribe this text

[Assistant] Setting up income, uhm, setting up income monitoring software and, you know, doing bookkeeping and that type of thing. Just all of these cheat codes that you amass over years talking to your network of girls, just what would happen if we just gave girls those resources just up front, if we gave them, you know, our years of


[User] Please transcribe this text

[Assistant] Of struggling, and we simplified that into wisdom that girls could take and apply to their lives early on so that way they perhaps don't have, as you said, these sort of traumatic experiences early on.


[User] Please transcribe this text

[Assistant] I feel deeply enriched by my time in the adult performance industry. I feel, uhm,


[User] Please transcribe this text

[Assistant] By virtue of letting me set my own schedule, by virtue of allowing me an avenue of expressing my sexuality, it's given me a community of like-minded misfits that I love and adore. It's given me


[User] Please transcribe this text

[Assistant] Uh, thrill seeking and jumping around in jungles sometimes has, sometimes has ramifications.


[User] Please transcribe this text

[Assistant] But I, I take an antidepressant every day, and some days those antidepressants work better than others, and when I have a day,


[User] Please transcribe this text

[Assistant] Where I can't get out of bed. Fortunately those days have been a lot less frequent actually since I got into porn, hilariously enough.


[User] Please transcribe this text

[Assistant] When I have a day like that, I am able to...


[User] Please transcribe this text

[Assistant] I, I think that in some ways people wonder why there's this sort of...


[User] Please transcribe this text

[Assistant] Stereotype of a neuro-atypical sex worker, that there's, that a sex worker always has, always seems to have something going on with them. It's because it's an amazing job for people with mental illness, like the schedule.


[User] Please transcribe this text

[Assistant] The ability to work from home whenever you want to work from home like you couldn't design a better job for someone with a mental illness who's treating it


[User] Please transcribe this text

[Assistant] It is. And it, a lot of us have it to varying degrees. I'm very functional, fortunately.


[User] Please transcribe this text

[Assistant] Show up to a nine to five job every day have been taken away from me. So I feel a lot of, a lot more stabilized, uh, actually being able to do this job and I'm very grateful for that.


[User] Please transcribe this text

[Assistant] Uhm, but more than that, it's so amazing this little community that we have, and I think that we must...


[User] Please transcribe this text

[Assistant] When you have a position where you feel comfortable talking about your personal demons, I think that those of us who come from positions of power and privilege and who have a platform must talk about


[User] Please transcribe this text

[Assistant] Our personal struggles to pave the path to make it easier for the performers and the members of our subculture that can't do that.


[User] Please transcribe this text

[Assistant] Out of my content store because she passed away last month, uhm.


[User] Please transcribe this text

[Assistant] And it's, it's difficult to talk about, uhm, August was, August was a hero of mine. She was one of the first girls that I had worked with coming into the business actually, like first ten scenes that I'd done with other female talent.


[User] Please transcribe this text

[Assistant] Uhm, and I just, I just idolized her. I just thought, I just worshiped the ground that she walked on it. She was all the things that I endeavored to be, which was, you know, sweet and kind and humble, but still so successful and, and fun.


[User] Please transcribe this text

[Assistant] It's just, I think a lot of us are unsettled and have been unsettled since her death and we don't want her death to go without meaning and so whenever Kevin started talking to me about the August Names project and I mentioned the master class stuff that we're doing but really the crux of


[User] Please transcribe this text

[Assistant] Uh, you come to the August Ames Foundation, uh, and you say, I have a problem and I'd like to seek help. And the August Ames Connect, they can connect you to a network of perfo- of performer.


[User] Please transcribe this text

[Assistant] Try to, uhm, make us feel less than for what we do, which is always a big fear of performers and sex workers going into therapy is that they're going to say, uhm, well the reason that you're miserable is because you do sex work and it's like, no doc, I was miserable before I got into sex work.


[User] Please transcribe this text

[Assistant] Here shortly, so anybody who is within the industry, who is shot for the big studios, if you are interested in doing the pilot program, then I strongly encourage you either reach out to me or to Kevin on Twitter about that.


[User] Please transcribe this text

[Assistant] And we'll happily connect you to perhaps joining the pilot program.


[User] Please transcribe this text

[Assistant] There's still a lot of things to, uh, to iron out the kinks, but it's, I finally feel like I've sort of found


[User] Please transcribe this text

[Assistant] The avenue that I needed to, to kind of deal with her death and the death of others that we've had.


[User] Please transcribe this text

[Assistant] It's, it's just so unsettling and I don't want to see any more dead girls in our business.


[User] Please transcribe this text

[Assistant] I, I, I can't, I can't stress that enough. This, that shouldn't, cutting yourself off from


[User] Please transcribe this text

[Assistant] I really see that the work that uhm, we're doing as far as helping girls with getting their content set up and doing other things really like it seems like a simple enough thing and like something that wouldn't actually contribute to health but I see it as, you know, we all have, we all have our giftings and talents and we all should use those to the betterment of our community and so.


[User] Please transcribe this text

[Assistant] Make risky decisions with their house in order to pay the rent.


[User] Please transcribe this text

[Assistant] Uhm, about doing my own script and one thing that I love about Brie


[User] Please transcribe this text

[Assistant] Is that Brie has tried to create a platform that lifts up performer voices?


[User] Please transcribe this text

[Assistant] It's so funny how like people are like, wait, you mean if we ask the girls?


[User] Please transcribe this text

[Assistant] But yeaah, so back to the, back to the thing with Brie is that


[User] Please transcribe this text

[Assistant] Whatever we started talking about, it was a situation in which we were like, okay, we want to do a group scene, uhm,


[User] Please transcribe this text

[Assistant] So multiple partners, and to tell you the truth, like for me, group scenes are one of those things where if it's a bunch of dudes on me at one time, like that's not really a fetish of mine per se.


[User] Please transcribe this text

[Assistant] And so the question for me then became, how can I connect to this work meaningfully? Uhm, because I always like to feel connected to the work that I do either by, uhm,


[User] Please transcribe this text

[Assistant] There's a lot in both mainstream therapy and then in the sort of indigenous shamanic kind of traditions that I studied in college and living with the Maya through the work that I did that says that reliving experiences, particularly the traumatic experiences, can be extremely helpful for recovery.


[User] Please transcribe this text

[Assistant] Tender to me, that's something that still had some sting to it and, and changed the outcome of that through my work and see how that felt.


[User] Please transcribe this text

[Assistant] But more importantly than what I hoped to gain out of it, uh, a lot of women.


[User] Please transcribe this text

[Assistant] After being assaulted, their fantasies revolve around, uhm, rough situations and, and sometimes, you know, what we would call perhaps degrading situations and, and there's a kind of cycle of shame that goes around that of like,


[User] Please transcribe this text

[Assistant] We try to work things out through sex in some ways. A lot of people are drawn to working things out. I've actually had uhm,


[User] Please transcribe this text

[Assistant] And then, you know, you look out throughout history and you see all these...


[User] Please transcribe this text

[Assistant] You see all these stylized versions of sex that we have, and whenever that happens, when we, when we receive a trauma,


[User] Please transcribe this text

[Assistant] We get kind of obsessed with it. And so like a lot of, a lot of my college years was just spent like obsessively trying to pick up the pieces and repair the damage that had been done to me.


[User] Please transcribe this text

[Assistant] This project sort of eroses that. And so the, the premise is this mafia daughter is in her home at night.


[User] Please transcribe this text

[Assistant] And you watch as three men invade the home and they take out the bodyguard and kidnap the girl and then you see this sort of...


[User] Please transcribe this text

[Assistant] The premise is basically, I wanted to...


[User] Please transcribe this text

[Assistant] Show a story where a woman could be put into a situation that was dangerous and use her wit and sexuality to get her way out of it.


[User] Please transcribe this text

[Assistant] Maybe make your life more difficult if you get a little sticklery about sticking to HR regulations or, you know, being extra nice to the cop who pulled you over or this, that, whatever.


[User] Please transcribe this text

[Assistant] Our condition to sort of use, we can't use violence usually. Right. As women, and so.


[User] Please transcribe this text

[Assistant] Uh, fuck me. And send photos to my dad. Because my dad's trying to hold out and...


[User] Please transcribe this text

[Assistant] And then I drive to a secondary location. My dad is there with the money.


[User] Please transcribe this text

[Assistant] A masked man gets out of the car that's driving me, takes the money from my dad, and then shoots my dad. Gets, the masked man gets back in the car.


[User] Please transcribe this text

[Assistant] Looks at me and says, where to? And I tell him to the airport and he takes off his mask and it's my bodyguard from the beginning.


[User] Please transcribe this text

[Assistant] Oh wow. And so you see that the twist is, is that the girl kind of orchestrated this whole situation to get a payout and it's kind of implied to escape from a shitty home life.


[User] Please transcribe this text

[Assistant] And I was really excited, uhm, I was really nervous and so I brought this to, I actually brought the treatment to a couple of, of...


[User] Please transcribe this text

[Assistant] Women who had underwent sexual assault and had talked to them about it and they said,


[User] Please transcribe this text

[Assistant] Wow, this is amazing. We, we have wanted material like this and haven't really felt good about finding it.


[User] Please transcribe this text

[Assistant] Well, because it's so tender, there's so much trauma related to this, and I was...


[User] Please transcribe this text

[Assistant] Holding the gun at my masked, uhm, my masked attackers. That moment, I was so deeply in subspace throughout the scene and then I had to dive for the gun and shoot them and I'm like still shaking from being in subspace at that moment and, and


[User] Please transcribe this text

[Assistant] And, and people, I didn't want to talk about what happened to me because I didn't want my experience as a sex worker to be written off of like, ugh, just another sad whore.


[User] Please transcribe this text

[Assistant] Trying to work out and puzzle out why people, why, you know, bad things happen to good people, why seemingly good people.


[User] Please transcribe this text

[Assistant] I felt broken for a long time being a very sexual woman. Uhm, there's not a lot of spaces, especially in the conservative south where I grew up for women who are very sexual or very sexually outgoing.


[User] Please transcribe this text

[Assistant] Uhm, that's, that's really fun for me and it's very, uhm, it's kind of a gratifying way to redress the things that have happened to me.


[User] Please transcribe this text

[Assistant] You're so sweet. You're so sweet. I'm just, I'm not into this. I think it's kind of a sort of...


[User] Please transcribe this text

[Assistant] I, I don't like some of the language that we use around that, like, I don't feel, uhm,


[User] Please transcribe this text

[Assistant] I feel that there's a time and a space where we do have to acknowledge our woundedness in the immediate aftermath, but then I think the question then becomes, how can we transform these experiences into meaningful things for us, things that


[User] Please transcribe this text

[Assistant] Uhm, enhance and strengthen the kind of tapestry of, of our character and existence.


[User] Please transcribe this text

[Assistant] Uhm, haha, I think the first thing that I tell people, uhm, god, I'm so indelicate, you know, I'm from, I was raised in a trailer park, so, I don't exactly, uh,


[User] Please transcribe this text

[Assistant] Like, go get your HPV shot, cause if you don't have one of the strains, you're probably gonna get that. Uhm, and you're probably gonna get some form of like cold sores or something like that. Like, you're in close contact with human beings 24-7. And it's also fine. It's not a big deal.


[User] Please transcribe this text

[Assistant] But I always tell people that. Uhm, I always tell people- I tell people as many unglamorous things as I can about porn. I tell them all of the awful stuff first. And I'm like, alright, but it's not all bad.


[User] Please transcribe this text

[Assistant] Uhm, and then I talk to them about the good things, but I always lead with the horrible. I'm always just like, alright, don't do this, because then you could get trapped into this situation that would look a lot like, you know...


[User] Please transcribe this text

[Assistant] Like, don't get locked into a long contract, because then you're basically being human trafficked, and then don't do this, don't do that. Like, I go with all of these, like, super long, uhm, negatives, but the thing is, is that what I wish


[User] Please transcribe this text

[Assistant] I think the biggest thing that I wish that I had known whenever I first got into the business was that there are so many ways to exist within pornography.


[User] Please transcribe this text

[Assistant] There are so many paths that you can take, you could be a girl-girl only performer, you can be a webcam model, sometimes born performer, you can be this, that, whatever, and that


[User] Please transcribe this text

[Assistant] You don't have to do or be any one way to be successful. I think that like agents come in and they just want to, they're like, we're going to make you the next Riley Reid or we're going to make you the next Lana Rhodes and say, you've got to start out doing everything exactly this way.


[User] Please transcribe this text

[Assistant] There's this whole sense of like it's do or die and that you have to work, you know.


[User] Please transcribe this text

[Assistant] 25 days a month in your early days, cause you never know.


[User] Please transcribe this text

[Assistant] Go slow. Do this at your own pace. Take a personal inventory of yourself often. See how you feel about the things that you're doing. And really, uhm, don't get in a rush.


[User] Please transcribe this text

[Assistant] Yeah, I think realistically every girl should understand


[User] Please transcribe this text

[Assistant] The health side of this, understand the health and hygiene side of what we do, they should understand.


[User] Please transcribe this text

[Assistant] Uhm, you're realistically only taking about 50% of your take-home pay, uhm, is what you keep, but...


[User] Please transcribe this text

[Assistant] The biggest thing that I see is just girls that need to look before they leap.


[User] Please transcribe this text

[Assistant] I think a lot of girls get into this business and realize very quickly on, I didn't do my research about what this job was gonna be like.


[User] Please transcribe this text

[Assistant] Talk to three different agents before you sign with any minimum. Talk to three different agents.


[User] Please transcribe this text

[Assistant] Talk to different girls within their agencies. If you haven't worked with a director before.


[User] Please transcribe this text

[Assistant] Ask about him. Ask girls in your agency. Ask other places. Figure out, because like, your agent?


[User] Please transcribe this text

[Assistant] A lot of these agents that I see, uhm, and I'll just like, I'll just be honest, like, I don't have a lot of use or...


[User] Please transcribe this text

[Assistant] Uh, liking for a lot of the agents in the business that we have, uhm, I think that we're quickly outgrowing the model of agencies that way.


[User] Please transcribe this text

[Assistant] And so the key is like, do your research about the agencies, please, please, please. I had an opportunity to sign with that same agent that you're talking about, because I know exactly who it is. I had an opportunity to sign with them, uh, at the, after my first scene. I did my first scene.


[User] Please transcribe this text

[Assistant] Oh, you people are evil! Like, actually evil! You don't give a fuck about the girls that are in your agency. Like, you just want a booking and like, you- no, no!


[User] Please transcribe this text

[Assistant] Definitely feel it out, uh, if you can go without an agent. Go without an agent. Uhm, but don't, uhm.


[User] Please transcribe this text

[Assistant] They really do in this age of social media, like if you're a prospective performer who has questions, if you're a male performer who has questions, it's-


[User] Please transcribe this text

[Assistant] As far as female talent go, I often find that if you have cam, if you're a cam girl who's considering doing pro porn or if you're, you know, a civilian who's looking at it, I've definitely talked to both. I've, I've talked to civilian girls, I've talked to girls who are in.


[User] Please transcribe this text

[Assistant] Other similar sex workspaces, I've talked to girls that are new within the business and so on and so forth, like any question that you may have, be it about health, be it about hygiene, be it about this, that, whatever, cause let me tell you, this is like going back to kindergarten. I feel like I spent my first year in porn just sick.


[User] Please transcribe this text

[Assistant] Not from like STDs, I've actually never popped a bad test.


[User] Please transcribe this text

[Assistant] Again, things where you're very grateful for having. Yeah, no, like, cause you can get very sick very fast having sex with this many people. It's so many different biomes, it's so many different immune systems. So, have savings before you start into porn. Like, do web-caming, do Snapchat, do stuff like that first, because like,


[User] Please transcribe this text

[Assistant] Yeah, I mean, so please, please, please, please.


[User] Please transcribe this text

[Assistant] Take care of your bodies, ask lots of questions, do your research, all of those things.


[User] Please transcribe this text

[Assistant] You're so kind. Thanks for letting me come on and talk about these things. They're all so near and dear to my heart and I can tell that they're near and dear to yours. Yeah, absolutely.


[User] Please transcribe this text

[Assistant] Yes, you can find me, uhm, on Twitter, at Lena, L-E-N-A, is a peach. And then on Instagram, at Lena Paul XO. See, my voice, it's been holding out so good, I'm so proud. Don't crack. We're almost done, we're almost done. Don't crack.


[User] Please transcribe this text

[Assistant] So, our moms are gonna start playing when they unveil the statue. Wanna go? Sure.


[User] Please transcribe this text

[Assistant] Well, let's see. Kitchen dishes need washing. Our bed needs to be made. Uhm, bathroom needs cleaning. Furniture needs polishing. And uhm, this floor needs sweeping.


[User] Please transcribe this text

[Assistant] Okay, first of all, let me get something straight. This is a journal, not a diary. Yeah, I know what it says on the cover, but...


[User] Please transcribe this text

[Assistant] Well, my mom went out to buy this thing. I specifically told her not to buy one that's a diary on it.


[User] Please transcribe this text

[Assistant] This just proves Mom doesn't understand anything about kids my age.


[User] Please transcribe this text

[Assistant] Who wants to see a movie about a kid who's stuck in middle school with a bunch of morons?


[User] Please transcribe this text

[Assistant] I'm overweight capacity and we're maxing out this bush plane.


[User] Please transcribe this text

[Assistant] We don't have a sequence, I think, for the simple reason that the water levels are too high. The fish aren't trapped, the bears can't feed, uh, we can't film what's not happening.


[User] Please transcribe this text

[Assistant] Uhm, very frustrating. I think everybody feels like we've failed somehow.


[User] Please transcribe this text

[Assistant] Uhm, and if the light wasn't enough to keep you awake, you just hear all these sounds and I think they sound even louder when you're in your tent.


[User] Please transcribe this text

[Assistant] Dash outside and then everything goes quiet and then as soon as you come back in the tent again, like that.


[User] Please transcribe this text

[Assistant] Oh, oh, the next station is New York.


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[Assistant] Oh, the next station is New York. Next.


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[Assistant] This train arrives in Toronto at 10 o'clock.


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[Assistant] This train arrives in Toronto at 10 o'clock.


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[Assistant] Clock. This train.


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[Assistant] I always take this train.


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[Assistant] Excuse me, how much are these shoes and these coats?


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[Assistant] Excuse me, how much are these shoes and these coats?


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[Assistant] 3 t-shirts and 2 hats


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[Assistant] Tourist Is this the tourist information?


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[Assistant] Is this the tourist information? Is this the tourist information?


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[Assistant] Information is this the tourist information.


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[Assistant] Political philosophy examines philosophical questions about the relations between states and their citizens.


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[Assistant] And a central question in political philosophy is whether we have an obligation to obey the law.


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[Assistant] And this is connected to the question of whether states are legitimate.


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[Assistant] Solving the problem of political obligation requires establishing that we have an obligation to obey the law and explaining the grounds of that obligation.


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[Assistant] And obeying the law is importantly different from complying with the law. Complying with the law is simply doing what the law commands.


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[Assistant] Whereas obeying the law is doing what the law commands because it commands it.


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[Assistant] Having an obligation to comply with the law merely requires that you have some obligation that's fulfilled by acting in accordance with the law.


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[Assistant] Having an obligation to obey the law requires that you have an obligation to obey the law because it's the law.


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[Assistant] There are a number of different possible grounds for political obligation. The first is that the state benefits its citizens. The second is that we've consented to the states. And the third, that we're part of a fair cooperative scheme and that this gives us reasons to obey the law.


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[Assistant] If the problem of political obligation can't be solved, then philosophical anarchism is true. We don't have an obligation to obey the law.


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[Assistant] But even if philosophical anarchism is true, we still have many obligations to comply with the law. To do what the law says, we just might not have an obligation to obey the law.


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[Assistant] It would be true that we should act in accordance with the law, but not because the law commands it. Thank you very much.


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[Assistant] Hmm. Oh!


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[Assistant] A woman talks to Vikram in a store.


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[Assistant] So, uh, why don't you, uhm, Ali, why don't you take the guy behind here? Whose name is? Shout out. Gary. Gary? Alright, so Gary, why don't you stand up? And...


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[Assistant] Alright, so why don't we let a needs to be player one this time? You understand the rule of the game? So make your offer.


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[Assistant] Five is better than nothing. But the five is better than nothing argument would have argued against making any rejection in this game. Is that right?


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[Assistant] Alright, what else is going on? So I agree, pride is part of what's going on. What else is going on here?


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[Assistant] Right, that's essentially what the situation is, and you just chanced upon this dollar that I just gave you. It isn't clear that there's any particularly great moral claim to give it to someone else, but I think people read this as a situation about splitting a cake in an environment of distributional justice. They view it as a larger picture. Is that right?


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[Assistant] And that suggests that there really is some notion of fairness or some notion of distributional justice going on in people's heads here. Rightly or wrongly. Alright?


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[Assistant] Extremely simple games. We should be a little bit careful about reading backward induction into what's gonna happen in the real world.


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[Assistant] Right, so this game is exactly the same as playing the previous game, except with flip rolls. But we're gonna add one catch. The catch is this. In the first round, the money on the table is a dollar.


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[Assistant] Let's see what people have learned. So who are our first pair? Our first pair were, uh, Aquia and who was Aquia's? Noah. Alright.


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[Assistant] 43. You're gonna push the envelope at it'll best. Alright.


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[Assistant] To a more complicated game in which there can be several rounds of offers. But we're gonna go slowly, so we'll start this with two rounds. Alright?


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[Assistant] Delta times a dollar, because you can get a dollar tomorrow, but that's only worth delta, uh, that dollar tomorrow is worth just delta today, then two will reject. Alright?


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[Assistant] Alright, and this goes from Delta dollars here.


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[Assistant] Objects like one, delta, delta squared, delta cubed, delta, what are they called?


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[Assistant] I just multiplied everything through by delta and I just shifted the long one for convenience. What do I do now? Anyone remember?


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[Assistant] So you have to offer him at least delta today and keep one minus delta for yourself. Then we looked at a three stage game. In this three stage game, if player two rejects in the first round,


[User] Please transcribe this text

[Assistant] If you had to wait a year between every offer, then that discount factor would be a big deal. But I actually made a third assumption, and I made it without telling you. What was the third assumption I made? I snuck the third assumption past you without telling you. What was that third assumption?


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[Assistant] Delta 1 equals delta 2. Why does that matter? Let's just think about it intuitively a second.


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[Assistant] The patient pie is going to do better. Right, the patient pie is going to do better.


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[Assistant] There's another remarkable thing here though. It's also hidden. So not only did we end up with an even split, but something else remarkable happened in this bargaining game. What was the other thing, somewhat amazingly, very unrealistic thing, that occurred in this bargaining game? Let's see if we can spot it.


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[Assistant] Good, everyone see that? So in this bargaining game, I set it up as alternating offer bargaining.


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[Assistant] Alright, so there's times when you're gonna know something about what other people's discount factor is, how patient they are, but lots of times you're not gonna know.


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[Assistant] So one thing is, you just don't know what the discount factor is. By the way, what else might you not know about the other side? What else might you not know?


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[Assistant] Right, they have rents to pay, they have immediate demands on their cash, right? A typical worker is typically poorer than your typical manager, not always, but typically, alright? And they just have to, they have to pay the rent, they have to feed their children.


[User] Please transcribe this text

[Assistant] And that means that typically, people who are poorer are going to do less well, although the late night TV show may be an exception.


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[Assistant] Any other thoughts about who has strength and who has weakness in bargaining? What other kind of stunts do we see people do in bargaining?


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[Assistant] I had extraordinary parents. I was so lucky. My mother was the best organizer I ever knew, and she always insisted, even back then, on having her own dime. She started her.


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[Assistant] Her dairy, so that she could have her penny, and that sense of independence has certainly been passed on to me. My daddy was a minister.


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[Assistant] And they were real partners. And my oldest sibling is a sister. I'm the youngest, and there are three boys in between. But I always knew I was as smart as my brothers. I always was a tomboy. I always had the same high aspirations that they had.


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[Assistant] But most importantly, they were the best role models because they said, if you see a need, don't ask why somebody doesn't do it. See what you can do. There was no home for the aged in our hometown.


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[Assistant] But that's how we learned that it was our obligation to take care of those who couldn't take care of themselves. I had, uhm, 12 foster sisters and brothers.


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[Assistant] Doors down for me, stepped on a nail, delivered his grandmother, got tetanus, went to the hospital, no tetanus shots, he died. He was 11 years old. I remember that.


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[Assistant] Uhm, and a migrant family that happened to be black, we all ran out to help, it was in the front of the church, and the ambulance came, saw that the white truck drivers were not injured, saw that the black migrant workers were, turned around and left them.


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[Assistant] He made it clear that reading was kind of the window to the outside world. And so that was a great gift from them.


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[Assistant] There was white and black water signs, but I didn't know that, and didn't pay much attention to that, and I was with one of my Sunday school teachers, and I drank out of the wrong water fountain. And she jerked me away, and I didn't know what had happened.


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[Assistant] We're starving. And that's a slow process. Uhm, and nobody wanted to listen. Every congressman that came to Mississippi, I'd say, go see. And most of them didn't want to do anything about it.


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[Assistant] Uhm, but I saw grinding poverty. The state of Mississippi wanted, during voter registration efforts, and with outside white kids coming in to help black citizens register to vote, uhm, they wanted everybody to leave the state, so they were trying to starve them out, and they switched from


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[Assistant] And he saw a teacher carve up an apple for eight or ten children, and he had to run out because he was in tears. He couldn't believe it. But only when Robert Kennedy decided he would come, I had gone to testify about the Head Start program, because they were attacking.


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[Assistant] Uhm, and there was this massive need and people were trying to push the poor out. And so, you know, Head Start came and we applied for it because the state turned it down. And that's true of a lot of states that don't take Medicaid these days.


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[Assistant] Uhm, was a more strategic way to proceed. Uhm, and so the Children's Defense Fund was born out of the Poor People's Campaign.


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[Assistant] The privilege of serving as the Poor People's Campaign Coordinator for policy, uhm, for two years, and there were two of them, and it was not a failure because the seeds have changed.


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[Assistant] Well, I think the children now are sort of become a mainstream issue. We have got lots of new laws.


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[Assistant] We've been trying to reform the child welfare system for decades. We finally got a big breakthrough this year, and it says, be ready with the proposals when somebody's ready to move. And sometimes it takes five years, ten years, twenty years, but you're there.


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[Assistant] Put our future and our children's future and safety at risk, uhm, in a world that is still too much governed by violence, we must end that. We must stop investing in war and start investing in the young and in peace. And we are really so far away from doing that.


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[Assistant] To have to fight these battles all over again. And so I get more radical the older I get, the more radical I get. Because there's just some things that we as adults have to do for the next generations. And I looked at the sacrifices of Mrs. Hamers and all those people in Mississippi who risked their lives to give us a better life.


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[Assistant] Well, the people are mostly idiots, so I guess technically speaking, we're the voice of people making fun of the people.


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[Assistant] Hello, I'm Cesar Santos. I am glad I get the opportunity to film, uh, my process, my painting process. I want to share this with you because I think it's important that you have a different perspective, or at least my perspective of how I approach, uhm, the portraiture, the art of portraiture.


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[Assistant] These are, uh, it's not based on a specific school of thought or tradition. It's mainly common sense approach that you can introduce in your own, uh, for your own painting styles.


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[Assistant] And you will see how, how useful it is. So you can paint along or sit down and just write notes and use it for later. So first I'm going to start with drawing.


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[Assistant] You can have, uh, you can decide to paint directly with, with paint. I decide to separate them because drawing


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[Assistant] Is what makes a difference between a masterpiece and an amateur or a bad work of art.


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[Assistant] It's all about the under structure. Normally we are amazed by color and the superficial quality, the texture, the paint application. But really, you can change all that. Sometimes you can even not have color at all and the piece will be strong because it has the


[User] Please transcribe this text

[Assistant] Under the understructure, the drawing, the construction of the uhm, that goes under the painting.


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[Assistant] Well made. So if that is, if you have a strong drawing, you can get away with poor coloring, poor brush strokes, and still be good.


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[Assistant] That's why we see masterpieces all the time in our computers and they all have different colors. They don't look any, uh, anything like the originals, but they still look good. And that is because the, the drawing and the structure was good underneath. So I want to go and separate those things.


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[Assistant] Also, drawing, it's important because a shape does not depend on value. It can exist by itself. Actually, you can have a line drawing that describes the person's character, the person's mood.


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[Assistant] Of space, of a shape before you add value to it. And then color has to have value and shape. So that's, I want, it's important when we are studying to separate those three things. To study, uh, form early from color.


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[Assistant] And all these separated from, from uh, shape.


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[Assistant] Her facing me directly is not, uh, very nice. It's better to have a little bit of a symmetry to her face and that, but I don't want three quarters either. I want to show


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[Assistant] Uh, one ear and almost the other one give hints of the other ear, so that's how I'm judging the distance. Also, I want the light to be, uh, dominant over her face and just a shadow area on one side. We have to treat the subject


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[Assistant] Uhm, with, with attention. It's not just putting someone there, putting a light, and go for it. You have to think about the purpose. In this case, it's a young woman, and I don't want to have a harsh, uhm, shadow on her, because for the subject, uh, and for what I want my, uhm, to portray,


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[Assistant] I think I find that that is better if the shadow is defined but softer. You have some reflected light bouncing off that shadow.


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[Assistant] But I definitely will be on the light side, because think of the shadow as the bass in a band. It's in the background.


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[Assistant] It's uh, keeping everything organized, but really what's telling the story is the lights. And the lights think of it as the violin solo, coming in the front and telling the story. And that's how I want to, to make that painting. That's how I want to compose my elements to do that.


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[Assistant] And a little bit of an angle. Uhm, also, I'm tilting her head a little bit just to create more movement.


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[Assistant] If you see, I'm creating a spiral composition, that is, her chest is facing one direction, her head another direction, and then her eyes another direction. So I'm basically creating this, this, and this. It gives movement, uhm, to the portrait. Alright, so let's get started.


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[Assistant] I love this, this view of her here. And I'm gonna go over the materials I'm gonna use for, to start my drawing. First, I'm gonna use my palette knife, which I'm putting uhm, pine pastel sponge. It comes for the reason to pick up the charcoal.


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[Assistant] And here, they, uh, they come in different colors and they have, uh, Pan Pastel has, uh, this compressed kind of dust.


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[Assistant] Uh, harder, and do it like that. I'll, I'll show it afterwards. But for now, this can give you very nice, sketchy, ghosty lines, uh, which you want for planning out and mapping, uh, the portrait on the canvas.


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[Assistant] So I'll be using that also, the knitting needle. Uh, this I use to make measurements, compare, you know, height, uh, versus width, and also relate it to my canvas. I'm not doing size size, I'm just doing, uhm, comparative measurement here. So this comes handy.


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[Assistant] So basically this is all I need to start my drawing. In terms of the canvas, I'm using Linen, it's uh, the brand is Artfix, it's oiled ground, and


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[Assistant] I have a Camping Tura on it, which is kind of a, uhm, flesh color. It's not, uhm, totally grey, it's a warmer grey. But I decided there's a difference between an Imprimatura and a Camping Tura. In Italian, Imprimatura means the first coat of paint on this.


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[Assistant] That does not have to be, uh, tone. It could be white. It could be just, uh, white paint to prepare the canvas. That is the imprimatura. It's whatever layer first. Now, the campintura, campo is field in Italian, and it's basically a field color that sets your mood. You can use it


[User] Please transcribe this text

[Assistant] In your favor, if you know you're painting, for instance, a landscape, and you want a rainy day or something, you get a grayish, bluish, and you set the canvas to that tone so that becomes friendlier and useful for your painting.


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[Assistant] Not so dark or not so light because when I put


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[Assistant] When I apply paint on it, and I put lighter colors, I will be able to judge them pretty good on this value. And if I put darker colors, I will be able to see them too and judge them, and judge them better.


[User] Please transcribe this text

[Assistant] If they are, uh, if the canvas is white, I most of the time paint on white canvas, but I think it's easier. And again, you want to set yourself up to make it easier on you because there's, it's hard enough to paint.


[User] Please transcribe this text

[Assistant] Uhm, 20 by 16 inch canvas, and I think it's a nice size for just a head and shoulders portrait. So, let's get to drawing. Alright, so placement.


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[Assistant] I look at the space I have to work with and I want to mark kind of like around the top.


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[Assistant] Why here? In the measurement.


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[Assistant] I make two marks here and here. And that is to construct a circle.


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[Assistant] I mean, it doesn't have to be a perfect circle, but I think it's easier if uhm, if I say an egg shape, you say an egg of what type of animal?


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[Assistant] So it's harder to judge and be more specific about an egg shape than a circle. Everybody knows what a circle should look like. So of course, same height, same width, and kind of connecting. And that would be more or less the top part of my head. Of her head, in this case. And then from there,


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[Assistant] After I have that, it's just flat in your mind, think of it as a sphere.


[User] Please transcribe this text

[Assistant] So this is the head and this is the sphere. And again, this system I have gathered from different teachings. Uh, Lumis, Andrew Lumis is part of this and uses it and other artists and methods. So this is just a kind of how I have become, uh, come to simplify.


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[Assistant] So the second thing I'll do is I decide on the...


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[Assistant] Eyebrow line. That will be the center of the circle and I look at her and I study that angle and kind of go for it.


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[Assistant] And as you can see, there's a little bit of a curvature, because again, I'm thinking circular, a sphere around it.


[User] Please transcribe this text

[Assistant] The, after that I go for, I need to decide on what's the front of her face. Otherwise, and that way I can always set her back into a pose correctly if I know exactly what her front, the front is. In this case, she's facing a little bit to my right.


[User] Please transcribe this text

[Assistant] So I'm gonna, if this will be the center of the circle here, I'll just turn it a little bit to this side and kind of


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[Assistant] Then, after that, I have the eyebrow. I get the hairline.


[User] Please transcribe this text

[Assistant] If, if the sphere was the whole ass of the upper skull of the head, the upper part of the head,


[User] Please transcribe this text

[Assistant] I kind of eyeball it and say, okay, that's gonna be the hairline there. And then we know that if you divide that, if you get that same distance,


[User] Please transcribe this text

[Assistant] From the eyebrow to the hairline and move it down, you know that the bottom of the nose is going to be the bottom of the circle here, which is pretty much the same distance.


[User] Please transcribe this text

[Assistant] And then that same distance again will give you the bottom of the shin.


[User] Please transcribe this text

[Assistant] The top of the head, the bottom of the head, and this, uh, equal parts in between eyebrows. So if the eyebrows are there, we know that the eyes will be around there.


[User] Please transcribe this text

[Assistant] Also another important point when constructing this that I use is this kind of point, landmarks, uhm, this, uh, the upper part


[User] Please transcribe this text

[Assistant] of the, of the eye socket there, the bone there, that corner. And you, the head turns rather quickly after it hits that point, it goes backwards or uhm, you know, sharply. So I look for those points and I go and mark them.


[User] Please transcribe this text

[Assistant] After I get these points, I have the front of the face. Of course I have to say if this is the middle, this side here should be a little bit bigger than this side just because of perspective. Uhm, so I'm just making sure that is that.


[User] Please transcribe this text

[Assistant] Now, the bottom section here that we measured, again, this is supposed to be three equal parts from hairline to eyebrows, eyebrows bottom of the nose, bottom of the nose to bottom of the shin. If we divide that section in half, we come to the bottom of the lower lip.


[User] Please transcribe this text

[Assistant] I think it's a little bit low there, so let me raise it up a little.


[User] Please transcribe this text

[Assistant] And we can just look at it and connect.


[User] Please transcribe this text

[Assistant] And then now we can have a more precise egg shape than if we just kind of went for it at first.


[User] Please transcribe this text

[Assistant] So, as you're measuring and looking and reacting to the model, just, uhm, keep thinking about it.


[User] Please transcribe this text

[Assistant] You know, get charcoal and mass in some angles. I know that this area here, uh, in the eye socket, in the top part of the eye goes inward. We have, uh, you know, the forehead and then the eyes come in. So I'm just trying to visualize it and make it so that it feels that it's just shopped in. Uhm, also we need, since we have the center here, we can kind of decide where


[User] Please transcribe this text

[Assistant] Painting, even with color, is drawing. It doesn't matter what material you're using to draw, but the idea of constructing it from the inside out is what is important.


[User] Please transcribe this text

[Assistant] Most people don't like it, because we see finished paintings, and again, you like the qualities of the surface, and the trick is the inside of stuff. And what I'm doing here, my look, uhm, you know, like,


[User] Please transcribe this text

[Assistant] Either simple or difficult, but it's important. It's the most important thing, uhm, in, in painting, painting realistically is the structure of the drawing. So I'm just gonna keep, uhm, looking, adding stuff.


[User] Please transcribe this text

[Assistant] After we have a little bit of suggested features.


[User] Please transcribe this text

[Assistant] We can go find the ears, top of the ear, bottom of the ear. So, I think...


[User] Please transcribe this text

[Assistant] The bottom of the ear should line up with the bottom of the nose. So the bottom of the nose coming around should be around here. And on the other side.


[User] Please transcribe this text

[Assistant] It should be one ear there. And the top of the ear should line up with, uh, the eyebrows. With that bone that I was telling you. So if you keep going that way.


[User] Please transcribe this text

[Assistant] That should be the top of the ear, but where, the top of the ear, where it touches the head, it's a little bit lower, so it's more aligned with the eye. If you follow a line, bottom of the eye, I mean at the end of the eye there and connect it, uhm, that is where the ear starts.


[User] Please transcribe this text

[Assistant] Also important, when yours normally


[User] Please transcribe this text

[Assistant] We don't see straight lines in nature. There is hardly any perfect circle or straight lines.


[User] Please transcribe this text

[Assistant] As artists, we have to incorporate those type of lines and shapes.


[User] Please transcribe this text

[Assistant] That's the best way that if you just try guessing at a circle. Most likely you're going to have a better result if you construct it and simplify it first into simple forms.


[User] Please transcribe this text

[Assistant] Then if you just go at it. So, as I'm constructing this drawing, I am going for straight lines, so I'm sure of the angles.


[User] Please transcribe this text

[Assistant] I know when I look at her, there's a bunch of curves. Everything is curves. But as artists, we have to simplify and make them, uh, more directional, more, you know, straighter.


[User] Please transcribe this text

[Assistant] That's gonna make our drawing more precise, which is what you want.


[User] Please transcribe this text

[Assistant] Again, I'm trying to find proportions, I'm cutting. After this, I'll be articulating a little bit more, all those simplified lines, and turn, uh, more specifically, towards, uh, together.


[User] Please transcribe this text

[Assistant] Sometimes we have preconceptions of, of things we look at.


[User] Please transcribe this text

[Assistant] This is a head, I'm looking at a female, you know, uh, figure.


[User] Please transcribe this text

[Assistant] Avoid all those preconceptions and really look at your subject and measure distance. Dream into shapes that are, that is not hair. Oh, this is the hair. No, just look at a dark shape that is framing her head and going around it and connecting it with the shadow at the bottom there.


[User] Please transcribe this text

[Assistant] I think those are thus, uh, useful because you are actually relating more to that visual world instead of saying, oh hair, how do I make hair? A bunch of lines, uh, going down like this. No, it's just a mass of darkness.


[User] Please transcribe this text

[Assistant] Going around this shadow shape is a little bit lighter.


[User] Please transcribe this text

[Assistant] And I think that's a better relationship to your subject.


[User] Please transcribe this text

[Assistant] So again, I'm just constructing here, uhm, looking at the angle.


[User] Please transcribe this text

[Assistant] I use sometimes, because angles also, they're hard to judge. You know, when something is vertical, or horizontal, when it's a little bit like that.


[User] Please transcribe this text

[Assistant] Is to think about the time in a watch. We always, we are familiar with the time in a clock. So if this is 12.


[User] Please transcribe this text

[Assistant] And we have this angle, you say, is that 5 after 12? Or, you know, uh, 5 to 12? Or what is that? So we know this is a quarter.


[User] Please transcribe this text

[Assistant] What is this? So you kind of guess and kind of imitate that angle with the knitted needle and then look at the knitted needle and say, oh, that's two minutes to twelve. So then instead of having this straight here, you just tilt it a little bit and you know that that's the correct angle.


[User] Please transcribe this text

[Assistant] Finding, uh, the features, the place, the placement of things. To get the likeness, we don't need details. Try to avoid going to details because that's what everybody does. That's what the common person does. We all are made biologically to look at details. If you have a little cut, oh, there's a little, you know.


[User] Please transcribe this text

[Assistant] People growing or something. You see it. But as artists, we have to avoid that.


[User] Please transcribe this text

[Assistant] And look, uh, simplify everything. And uhm, I think it's important.


[User] Please transcribe this text

[Assistant] After you have the features to look at it and see a resemblance of the sitter. It should get the likeness rather quickly. You don't need more information than just the placement of the big masses and big things. Also consider shadow shapes.


[User] Please transcribe this text

[Assistant] After have placement of the features, go and describe and design your own shadow shape. That's the difference.


[User] Please transcribe this text

[Assistant] I'll be jealous, excuse my wife. They will always, they will design the shadow shape differently because she will come here tomorrow and have a little bit of a shift and some of them change.


[User] Please transcribe this text

[Assistant] And you should just, as a painter, describe them and find patterns that you like on those shadow tapes and put them down.


[User] Please transcribe this text

[Assistant] I'm measuring the distance from where the neck meets the


[User] Please transcribe this text

[Assistant] The traps there to the bottom of the ear and see how it relates. So I see that from the mouth to the eyebrow line, it's the same as from the bottom of the ear.


[User] Please transcribe this text

[Assistant] And again, if you see her blouse, it's a curve. It's a nice graceful curve that goes around. But again, I see a major shift, low point here, high point, and I just connect them with straight lines just so I'm sure, uh, I get those major distances correct.


[User] Please transcribe this text

[Assistant] So I see that this distance seems a little bit smaller than this, so I'm good. I have all this space here. So then how, that's how I judge that. That's fine.


[User] Please transcribe this text

[Assistant] So for instance, uhm, right now I felt that it was too symmetrical here, and I just want to increase that gesture. So I just ask her to do it, but you can do it yourself too.


[User] Please transcribe this text

[Assistant] I'll make that decision if you sometimes change stuff around. Alright, so.


[User] Please transcribe this text

[Assistant] It's probably not looking pretty. Nobody's gonna pass by and say, whoa, look at those eyes. But just take time on this because everything else after this is gonna be faster. I'll be teaching an indirect approach to painting.


[User] Please transcribe this text

[Assistant] And that means that everything I do is a setup for a, for a layer after or for, or for more additional work on top of that.


[User] Please transcribe this text

[Assistant] This is not the end of that. For instance, a la prima is more direct type of painting where you need to solve problems immediately and you have to consider shape, value, and color almost at the same time.


[User] Please transcribe this text

[Assistant] But my approach that I'm teaching here is more traditional or academic in the sense that you are just treating everything in order.


[User] Please transcribe this text

[Assistant] Uh, you know, giving time to develop the shapes and it's a setup for later. So don't worry if it's not looking beautiful now, just make sure everything is correct. Uh, and the afterlapes are gonna come out easier.


[User] Please transcribe this text

[Assistant] So I realized that the size of the face is the same with exactly


[User] Please transcribe this text

[Assistant] From here to the hairline here, to the bottom of the shin, it's the same as from this point to this point. And I have it pretty much there with how I did it correct, but I just wanted to make sure that it's correct.


[User] Please transcribe this text

[Assistant] We have these laces that I'm sure they're gonna change tomorrow. But, uh, but that's fine.


[User] Please transcribe this text

[Assistant] I don't need to get crazy about these shapes because nobody's going to say, oh, that's wrong. That's just your own design. And you decide on what you want to do with that. Same on this side.


[User] Please transcribe this text

[Assistant] Forehead to the top of the nose here.


[User] Please transcribe this text

[Assistant] So from here to here is the same as from here to the end. And again, I got it right. Uhm, so. So yeaah.


[User] Please transcribe this text

[Assistant] I think that's uh, and again, of course, you can get a projector and avoid all this stuff, just project it and there's a face, a picture, and just go over every little...


[User] Please transcribe this text

[Assistant] Line and draw it, but that comes with a detachment and a lack of really understanding the form within it and it's gonna show up later in the upper layer. So if you're lazy about it, you're gonna pay the consequences.


[User] Please transcribe this text

[Assistant] Nothing morally wrong in doing it, it's just like, you know, you're kind of cheating yourself if you don't know how to really construct.


[User] Please transcribe this text

[Assistant] Yeah, I'm trying to construct the braid here. Is this, all this stuff can...


[User] Please transcribe this text

[Assistant] If tomorrow I see that she has it in a, in a, you know, a way that is more attractive or that I find it, uh, better for my design, I just change it. I just change it back to that. This is just as a...


[User] Please transcribe this text

[Assistant] Okay, so now I find that I'm ready to be more specific and articulate a little bit more.


[User] Please transcribe this text

[Assistant] On the features, the portions, and just trying to get crispier and sharper. How about it?


[User] Please transcribe this text

[Assistant] Uh, things that I find helpful that I always have around, we should learn, I mean, we should know this stuff.


[User] Please transcribe this text

[Assistant] It's, uh, the skull in that same angle. Because with this, you know what's happening underneath this surface that we have here. You know when you see highlights and bone structure underneath, you understand what it means. If you don't study at least basic anatomy around the head,


[User] Please transcribe this text

[Assistant] This, uhm, planal head and here is basically to see the surface of things. I know this is a male figure, but it's just a general idea of planes in the head, on the head, on the face.


[User] Please transcribe this text

[Assistant] And you can follow, you can see where, why things are lighter than other and related to your model. That's why it's important to have it in the same angle and position so you can say, oh, that's why the shadow goes like that because that plane is turning backwards.


[User] Please transcribe this text

[Assistant] So these things are useful and you should have them around and study them so you don't have to have them around all the time and learn them. So when you're looking at her, you're thinking of under structure and also surface, uh, plane, uh, shifts. Every time we come back from a bake,


[User] Please transcribe this text

[Assistant] Approaching this in a new way and looking and say, what did I miss? How wrong is it? If you come and say, oh, it's looking good. Amazing. Eh, you're not doing yourself any favors. I mean, it feels good, but it's better if you're honest and you say, okay, let me see how I can improve this and how I can make it better.


[User] Please transcribe this text

[Assistant] So, that's what I'm gonna do now, just looking at her.


[User] Please transcribe this text

[Assistant] Of course there are millions of stuff missing there, but for, for what I have, I have to make it better. Instead of adding stuff, it's so, so many things that I need to keep adding that it's easier, uhm, to keep adding stuff thinking that whatever is wrong is gonna fix this, fix itself. And it's not going to. So you better be, uhm, you know, just have, what you have, just make it better.


[User] Please transcribe this text

[Assistant] And what I'm gonna be erasing is those lines that I did at the beginning that were just for construct of this, a construction of these things. And take it away because I don't need it anymore. And, uh.


[User] Please transcribe this text

[Assistant] What I'm using is this, uh, needle eraser, which most artists know, and it's just very flexible. You can turn it around, clean it up again, a couple of twists like this.


[User] Please transcribe this text

[Assistant] And you can make it into little shapes, so if you need to take a point that you don't like, just sharpen it up and take it away. If you want a broader area to be erased, just


[User] Please transcribe this text

[Assistant] Eraser like that. So it's a very useful, uhm, and handy drawing tool, the eraser.


[User] Please transcribe this text

[Assistant] Uhm, there are many tools that you can use to draw, especially to be, you can have a line charcoal or pencil. Normally pencils tend to show through.


[User] Please transcribe this text

[Assistant] In time, through the oil layers. So I don't recommend it if you're gonna leave it underneath the paint. But this tool is really useful because it's...


[User] Please transcribe this text

[Assistant] It's not, it's easy to erase. You want something that you can erase quickly. Because at this stage, you probably, you know, have a...


[User] Please transcribe this text

[Assistant] A lot of things that you want to move around, you don't want something to be permanent.


[User] Please transcribe this text

[Assistant] And also, it's kind of like a dusty, sketchy, uh, feeling to it that you can move around and, uh,


[User] Please transcribe this text

[Assistant] And then you're gonna see after I do this, I'm gonna go get a charcoal and be more specific about it.


[User] Please transcribe this text

[Assistant] Uhm, so yeaah, I really like this tool for that reason.


[User] Please transcribe this text

[Assistant] Make sure you study, uh, structure of the eyes, structure of, you know, the nose, and all the features. Because without knowledge of how they are built and their planes, you're really going to have a hard time just having a visual, uhm,


[User] Please transcribe this text

[Assistant] And again, what I'm doing here, I'm going over, uhm, shadow shapes and structure.


[User] Please transcribe this text

[Assistant] Uh, things. I'm not going, I'm not describing half tones or, or, you know, details around stuff. No, I'm just going.


[User] Please transcribe this text

[Assistant] Either marking landmarks of the features or shadow versus light.


[User] Please transcribe this text

[Assistant] Uh, if we're looking for instance at this, the forehead here, uhm,


[User] Please transcribe this text

[Assistant] We have first the boundaries, the, you know, the form around the shapes, so.


[User] Please transcribe this text

[Assistant] We go, we know that this, we have found that this is the top, uh, the bottom, and the sides. So we kind of have the shape around. So that's the external drawing of, uh, of that forehead, of that shape.


[User] Please transcribe this text

[Assistant] Now, for the internal drawing, we have to understand the planes. This here, uh, it's kind of like a, you know, a curvy surface that goes around, and then it has


[User] Please transcribe this text

[Assistant] This you can see it darker because, because it goes backwards a little faster and then after this point that I found right at the beginning


[User] Please transcribe this text

[Assistant] We have to understand that this plane is facing us, this second part here is a little bit facing that way, a little bit outside, and then this even more.


[User] Please transcribe this text

[Assistant] And that's how, if you understand that, then you understand why is it that it's kind of darker.


[User] Please transcribe this text

[Assistant] Over here, because we have one light source and the reason for one light source is that it makes it easier.


[User] Please transcribe this text

[Assistant] Uh, for us to see because all the forms have one light and then it goes, it moves around and go and gets darker as it moves away from, from the light.


[User] Please transcribe this text

[Assistant] Is, is this, uh, oval and the light as we have it in this area is coming from this angle and so basically


[User] Please transcribe this text

[Assistant] I mean, I have to fall into this again, but it's an egg shape overall. And within that, you have slices cut up and added to it.


[User] Please transcribe this text

[Assistant] And to be, to have the features and the, you know, the eye sockets. So just think that everything down here is gonna be darker than up here. Even if we see a highlight, for instance, on the shin here.


[User] Please transcribe this text

[Assistant] And I'm gonna go over that later, but just as a reminder, uhm, when you're building this, think of that fall of light, egg shape, three dimensional aspect of this, so you have a better understanding of what you're doing.


[User] Please transcribe this text

[Assistant] And this tool can be really messy too, so this tool is not made for details, and I do that on purpose, so I force myself to kind of be, uh, general about it. The moment I try to put a detail, it's kind of messy and clumsy, so it's not, uh,


[User] Please transcribe this text

[Assistant] What you see me doing here, I'm describing again the shadow shape when it starts and the boundaries of it. So first I go the form around it, the edges, the shape, and then I describe what's inside of it.


[User] Please transcribe this text

[Assistant] And this, what I'm doing here, takes years of practice. This is the most difficult part of painting.


[User] Please transcribe this text

[Assistant] Is, uh, understanding the form and drawing it in proportion.


[User] Please transcribe this text

[Assistant] And that's what most people, you know, skip or...


[User] Please transcribe this text

[Assistant] Feel painful about doing, but again, I say it again because it's, I've heard it so many times and I used to not believe it, but it is uhm, the fact that


[User] Please transcribe this text

[Assistant] The medium is not the brushes you use or the brand of color is this.


[User] Please transcribe this text

[Assistant] There's hardly any color in Velázquez's paintings. Uh, I mean, there is, but you see the control comes from the structure, the drawing, and the values, and the handling of the brush, not the real color. But people can appreciate the color because all those other elements are so well represented.


[User] Please transcribe this text

[Assistant] So now let me focus here because I want to find the edge of this shadow.


[User] Please transcribe this text

[Assistant] So before I went more overall, boom, boom, boom, constructing everything at the same time, after I went piece by piece and I'm doing, I'm going down. I haven't even attended to the ma, uh, to the, uh, construction of the mouth yet. I'm going to go do that, uhm, next.


[User] Please transcribe this text

[Assistant] Knowing, knowing this structure is that you can


[User] Please transcribe this text

[Assistant] Uhm, change them to your advantage. If you have a shorter mouth, it's maybe more feminine, uh, some people consider it more beautiful or bigger eyes and if you just


[User] Please transcribe this text

[Assistant] Uh, don't know these things or don't know how to, how they work together in the face, you might have not good, uh, results. So, it's a good idea to, to know this stuff because you can play around with them.


[User] Please transcribe this text

[Assistant] But for now I'm gonna try to represent really what I see.


[User] Please transcribe this text

[Assistant] And it's better to get used to minute detail when you're studying.


[User] Please transcribe this text

[Assistant] Because if you get used to that, it's easier to get looser afterwards. If you start loose and kind of, uh,


[User] Please transcribe this text

[Assistant] Wanna be cool about it, then you're gonna pay the consequences because it's hard to go back to, to, uh, tight.


[User] Please transcribe this text

[Assistant] Look at all the masters. Look at even, you know, Rembrandt, when he was young, was doing very, very, uhm, precise work.


[User] Please transcribe this text

[Assistant] Of course his masterpieces are, you know, came later on, but as a student you want to make sure you really study everything, uh,


[User] Please transcribe this text

[Assistant] Around the eyes and I want to go back and see if I can improve that before I keep adding stuff. Like I said, you don't want to keep adding stuff and get distracted. You have to force your mind to go back to what you did and double checking that is okay. That's how you want it.


[User] Please transcribe this text

[Assistant] And right now, the drawing is looking a little bit off because I have, uh, this


[User] Please transcribe this text

[Assistant] Not only you kind of practice it, you rehearsed it, so when you're painting you know where things go, but also it makes your painting so much easier.


[User] Please transcribe this text

[Assistant] Now I'm just dealing with proportions. Imagine if I have to deal with proportions, values, and color at the same time. So if I get the proportions wrong when I'm just focusing on proportion, imagine how wrong I'm going to have it when I have to think about the value and the color that goes with it. So, yeaah, you don't want to make that mistake.


[User] Please transcribe this text

[Assistant] Unless you're really awesome and you can do everything at the same time, then you can, you know, I recommend doing that. But, I can't. It's better if I separate these things.


[User] Please transcribe this text

[Assistant] Oh, by the way, the color of this uh, charcoal and pan pastel is raw umber. In case you want to get the same...


[User] Please transcribe this text

[Assistant] Color I'm using. Uhm, sometimes I use black, darker.


[User] Please transcribe this text

[Assistant] But I, I kind of like this kind of timid, uhm,


[User] Please transcribe this text

[Assistant] I don't want to be, I'm not dealing with values, so I don't care. I just want to have it visible and uhm, friendly so when I paint on top of it, it's not too different.


[User] Please transcribe this text

[Assistant] Normally in my studio, my wife is behind me looking at stuff, uh, once in a while and telling me, oh, I think that's looking weird, but now she's in front of me, she doesn't know what I'm doing until the break.


[User] Please transcribe this text

[Assistant] See, so now this looks a little bit more clean. I mean it needs some work, but at least, uh, it's a little bit more...


[User] Please transcribe this text

[Assistant] Even though you think I'm doing details, I'm just not thinking about them. I'm, uh, I'm trying to just read the form around the eyes and, you know, if I, I look for the highest point in the eye, for instance, and if I bring my, my knitting needle,


[User] Please transcribe this text

[Assistant] Uh, up and I just move it down and I see what area of the eye it touches first. Uhm, my drawing is back here, if I go here like that, but I think in reality it's a little bit more like the same. Maybe I have to lower.


[User] Please transcribe this text

[Assistant] Sometimes, just by looking at it for such a long time, you get kind of tired of it and you don't see it anymore. So at that point, we just move on to a different area.


[User] Please transcribe this text

[Assistant] Alright, so now I'm working on the lips, the upper lip goes


[User] Please transcribe this text

[Assistant] The nose with the inside of the eyes. So as long as that relationship is kind of working here, kind of on the right track, and then of course we look for


[User] Please transcribe this text

[Assistant] The half of this upper lip was too big, so I just...


[User] Please transcribe this text

[Assistant] How to make it smaller. This is kind of like what you should be thinking when you're drawing. It's like a conversation with yourself about what you're looking at. Oh, why is this there? Why is that there? Is this higher? Is this lower? So that's what keeps it, keeps you engaged and correcting stuff.


[User] Please transcribe this text

[Assistant] Don't forget about the ear, you know, it's very intricate shapes in there. And I tend to leave it for later a lot of the times and then I have to kind of attend to it, catch up. But it deserves the attention. If you want something to not call the attention in your painting, make sure you paint it well.


[User] Please transcribe this text

[Assistant] Because sometimes you say, oh I don't want that to call the attention, and just kind of like brush stroke a little bit, or kind of sketch it out, that will call more the attention. If you want something to be like, oh that's the ear, I don't want to be the main character of my painting, make sure that you paint it correctly, so this like doesn't call the attention.


[User] Please transcribe this text

[Assistant] Let's go back and add making sure because really I don't know if this distance from the


[User] Please transcribe this text

[Assistant] Boundary here of the hair to the hairline touching the flesh there. I don't know if that's really correct or not. How do I make sure that's correct? Well, now if I like the forehead, how it's looking, then I say okay, on this side it's starting on the right side here.


[User] Please transcribe this text

[Assistant] And we subdivide this distance by what we have there. So, so what I, my thinking here is I want to make sure that this distance is correct. So the headband is in the middle of that. So if I subdivide this distance and try to find


[User] Please transcribe this text

[Assistant] And see how that relates to that, so I see that, uhm, height-wise is kind of here, and then horizontally, uh, vertically,


[User] Please transcribe this text

[Assistant] It's on the side of the eye here, so it's kind of like around here somewhere and I make my best guess and go for it. These are things that they don't have to be


[User] Please transcribe this text

[Assistant] Precisely the right place, because we normally don't.


[User] Please transcribe this text

[Assistant] Recognize these things we're not familiar with. The face we are familiar with. If you put an eye a little bit higher up.


[User] Please transcribe this text

[Assistant] Everybody's gonna see it, because we are used to communicating with people all the time, or hence, if they're missing something or, uh, something is awkward about them, we see them immediately. But, if the hair is kind of in the wrong position...


[User] Please transcribe this text

[Assistant] We're not familiar with those things, so we just miss, we don't, uh, regard them as errors.


[User] Please transcribe this text

[Assistant] We just accept them for what they are. So, you don't have to really be crazy about placing, uh, those things that are outside the features.


[User] Please transcribe this text

[Assistant] Alright, so I kind of fit that into that. That's gonna be all. This is gonna be the hair in this area here.


[User] Please transcribe this text

[Assistant] And also, I have shapes here, no? I have...


[User] Please transcribe this text

[Assistant] The hair from here to here, then the white hair piece, and then the back of the head. The hair in the back there.


[User] Please transcribe this text

[Assistant] I kinda judge it first like this, then I add a value to the dark mass of the hair.


[User] Please transcribe this text

[Assistant] And that will help me see it easier, if uhm,


[User] Please transcribe this text

[Assistant] If there was a mistake or something was wrong with it, it's easier to see it once you put the value.


[User] Please transcribe this text

[Assistant] Because you see it's dark so you just want to go get it over with and put the value first. The thing with that is that you only check it once. Instead of doing first lines, making sure that it looks good, then filling it in. If you do that, then you kind of double check that it was in the right place.


[User] Please transcribe this text

[Assistant] Maybe you still have it wrong, but at least you tried more, more than one time.


[User] Please transcribe this text

[Assistant] It's so easy to go and fill in dark areas. It's just fun, you know? It's like it feels really good, look.


[User] Please transcribe this text

[Assistant] The thing with this indirect approach is that


[User] Please transcribe this text

[Assistant] Since you're setting yourself up for later stages, you never really enjoy, like uhm, well I'm enjoying this process, but you're not really painting or describing hair. Right now all you're doing is mapping kind of the construction area, the boundaries you're setting.


[User] Please transcribe this text

[Assistant] Uh, for painting. So the last day is when we're really gonna have fun painting nuances and subtleties and details. Uh, before that is just getting ready for that moment.


[User] Please transcribe this text

[Assistant] If, if you're drawing to paint on top of it, there are certain things that you don't need to do because you're gonna cover it. All you need here is useful information.


[User] Please transcribe this text

[Assistant] I don't want to go into making, you know, half tones or stuff like that that I'm going to cover up. Just if I need it for, to judge proportion better, then I do it. Otherwise,


[User] Please transcribe this text

[Assistant] I just leave it like that because I'm gonna paint over many times.


[User] Please transcribe this text

[Assistant] And say yes, in fact, I see a little bit of that shift of playing here.


[User] Please transcribe this text

[Assistant] That's a little bit of a shade there, because it turns inward.


[User] Please transcribe this text

[Assistant] All this is gonna be, and of course you don't have to do exactly this, but this is kind of like a guide.


[User] Please transcribe this text

[Assistant] To, for instance, I see she has a half tone that goes from


[User] Please transcribe this text

[Assistant] Down and it's because of this.


[User] Please transcribe this text

[Assistant] See, I'm just doing this for the class purpose. I don't, I don't draw these planes when I'm painting. Uhm, but I think it's useful for you to see what I'm talking about.


[User] Please transcribe this text

[Assistant] So you have to be thinking of a couple of things at the same time. The overall movement of tone, meaning the egg shape, getting the light from this side, the sphere, and going darker as it goes towards the shadow and towards the bottom.


[User] Please transcribe this text

[Assistant] And also, within that, those straight planes. So, it's a couple of things that you have to keep in mind. And all the relationships around them.


[User] Please transcribe this text

[Assistant] So I kind of have it here so you can see what I'm doing is kind of visible too.


[User] Please transcribe this text

[Assistant] I'm gonna exaggerate this plane just like the head here so you can see how they really make more of a structure in the head, a face.


[User] Please transcribe this text

[Assistant] Alright, so, you know, uhm, I think we are pretty much, we got most of the things down. You don't wanna go over, you know, spend your time just trying to, there is a point that you have to just say, okay, next. And, uhm, now I'm gonna get, I'm gonna let my little


[User] Please transcribe this text

[Assistant] 2B, uh, not the softest, but pretty soft. And I'm gonna


[User] Please transcribe this text

[Assistant] Just be more specific about the drawing so that we can fix it and get to painting.


[User] Please transcribe this text

[Assistant] The other tool left sometimes a couple of lines, two or three marks, and now you have to decide for one. I'm selecting, I'm looking at the model and selecting which one I really want to keep.


[User] Please transcribe this text

[Assistant] Pretty satisfied with uh, likeness I get to this point. I can see this and relate it to her. But it's more important to have a good character.


[User] Please transcribe this text

[Assistant] In, in a painting, in a, in a portrait, uh, that's where you want to really get it. And that, and you get the character really by paying attention to...


[User] Please transcribe this text

[Assistant] To the, to the features and values and just making a good job at it. Create a nice sense of.


[User] Please transcribe this text

[Assistant] Of personality. That's what's more important than likeness.


[User] Please transcribe this text

[Assistant] But of course, if you do that right, then the lightness comes along with it.


[User] Please transcribe this text

[Assistant] I could teach all the structure of the eye and all that, but it's impossible. It would be too much to go over what I'm really thinking about now because it's just, uh, it takes, I think it will


[User] Please transcribe this text

[Assistant] I will take a whole video to go over how to draw features in the face. And I don't want to really be into that because I want to get to the end of this which is to get to painting, all the layers of painting.


[User] Please transcribe this text

[Assistant] And that's why sometimes you just see me quiet trying to develop something. But it's really an intricate thing. And especially, you know, the, the eyes, the features. You want to make sure.


[User] Please transcribe this text

[Assistant] There are books out there, uhm, like the Vanderpool.


[User] Please transcribe this text

[Assistant] And Harold Speed and they go into details about structure. The Russians are really good at, at, uh, structure of the face and features. So that knowledge is out there. That's more of a kind of a homework type of thing.


[User] Please transcribe this text

[Assistant] Been traveling for, my wife just came back from Italy and now I'm sitting here here to post for me. And, uh, she hasn't had a break, she hasn't had a break, so. Feel bad, but we're young, we can do that.


[User] Please transcribe this text

[Assistant] I just, uh, took a picture of her. I mean, this is another hairstyle. But I decided to, uhm, to kind of...


[User] Please transcribe this text

[Assistant] It's a, it's something useful, because it's already flat there and you can relate. I believe in using all the tools you have to your advantage and using them. I was saying earlier in my interview,


[User] Please transcribe this text

[Assistant] And I think it's important to mention that there are two types of mentality of artists. One is the more purist, conservative, and the other one is more adventurous and avant-garde. And we have seen it throughout our history. They used to be painting and the normal medium was tempera.


[User] Please transcribe this text

[Assistant] And that was the norm. Now when, when the northern painters introduced oil painting to, to the Renaissance artists in Florence, they, some of them accepted it immediately. They say, oh my god, look at this. This is amazing. How can we blend this and it stays wet for a longer period?


[User] Please transcribe this text

[Assistant] And they kind of, uh, embraced it and took it. Some other artists said, no, no, no, what is that? You know, you want to paint real, if you're a real painter, you paint with tempera and, and work with fresco and let it dry and then do more layers on it. And the same thing happened with, uh,


[User] Please transcribe this text

[Assistant] For instance, in, uh, Botticelli, idealizing the form,


[User] Please transcribe this text

[Assistant] And, uh, suddenly they introduce anatomy and say, look at this tool, now we know more, uhm, about anatomy so we can paint more realistically. And again, some, uh,


[User] Please transcribe this text

[Assistant] Type of artist said, no, no, no, we don't want to do that. That's bad. That's cheating. You're looking at anatomy. That's why you're painting that muscle there. Like, make it up. Come on. And so you always had this, this, uh, discussion and arguing between artists. And I think it's healthy. It's just different points of views.


[User] Please transcribe this text

[Assistant] And this is just a charcoal, uh, uh, tool to draw it. So nothing here is more important in my view than


[User] Please transcribe this text

[Assistant] This, whatever is going to happen, because this is going to last forever, I mean forever, no, but a few hundred years that we know of.


[User] Please transcribe this text

[Assistant] That is sad because you don't have control. You're depending on this tool. But the more


[User] Please transcribe this text

[Assistant] And if they develop something tomorrow that I can have a floating head here and turn it around and drop from it, uh, I'll be willing to use it as well, so.


[User] Please transcribe this text

[Assistant] I know it's kind of uncomfortable to have the model kind of, this is easier and everybody understands this, but this can be a little bit trickier. So I understand that.


[User] Please transcribe this text

[Assistant] I'm putting more information here. I'm not doing the pupil and the highlights.


[User] Please transcribe this text

[Assistant] I am just putting useful information that I would, I would use uhm, when I'm painting.


[User] Please transcribe this text

[Assistant] And again, this is not also written in stone. I can change this if I find that when I put color.


[User] Please transcribe this text

[Assistant] I find that it was off or made a mistake, just fix it up. That's the beauty of, of using oil. You can just, uh, paint things over and fix it up and so on.


[User] Please transcribe this text

[Assistant] If we s- if we are a little lazy and skip this...


[User] Please transcribe this text

[Assistant] Attention of getting the right shapes.


[User] Please transcribe this text

[Assistant] We will have a hard time trying to rescue all those things afterwards when you're dealing with other elements.


[User] Please transcribe this text

[Assistant] Belong to their environment. Uhm, nothing lives outside their environment. So,


[User] Please transcribe this text

[Assistant] But uhm, they make no sense if they're in the wrong place. The reason I didn't do these details or refining these shapes before is that I wasn't sure


[User] Please transcribe this text

[Assistant] They go there. Imagine you do all this work.


[User] Please transcribe this text

[Assistant] With an I, and then you find out that it's too high or too low.


[User] Please transcribe this text

[Assistant] So, you want to make sure, that's why I use that tool, because that tool gives me that ability to shift quickly. And once I said, okay, this is going to go there, then I can be specific about it.


[User] Please transcribe this text

[Assistant] And this is also the time to be more specific about the model also. You want to make sure what you're looking at is in the right place so that later if she moves around it's okay because you already have it fixed on your canvas.


[User] Please transcribe this text

[Assistant] You can be doing a detail of some different angles, then every feature is going to be facing a different way. You don't want, you want to avoid that.


[User] Please transcribe this text

[Assistant] There is the bone that we can see that division because there is a highlight there. So the bone stops here and all this cartilage.


[User] Please transcribe this text

[Assistant] If you study that, then you can understand why the nose is doing what it's doing.


[User] Please transcribe this text

[Assistant] The two wings here of the nastros are kind of attaching themselves.