 Excellent. Hello, Scott. How are you doing? I'm doing good, Kim. How are you? I'm doing awful, but all better now. We'll make it all better today by talking about my favorite horror movie, Villain. Yo, you're already spoiling things. But first, my name is Kim Diaz Holm, also called en unge her Holm. I make a lot of art for free youth. And with me, I have my friend, Scott Kristiansava, who makes a lot of great art and videos. And we like to hang out and talk and draw and embarrass each other once a month, every first Saturday of the month. So if you would like to see more of that, then do subscribe and do all that jazz. Now, for the first month, we are for the first time, I mean, we have made a community poll where we asked what we should draw. And Scott's idea, would you say what your idea was? Mine was to draw our favorite anime character. And mine was to draw our favorite horror villain. Yes, who won? By a long shot. I actually haven't checked the poll. I know when I voted, it was like 25% to 75%. So it was overwhelming. Maybe to recheck the poll. Maybe a landslide has come in. Who knows? I doubt it too. It seems villains are more popular than news. Who would I thank? Hello, Vincent from the Netherlands. Thank you. Okay, so the results are Team Kim with a favorite horror villain. 75%. Team Scott with a favorite anime hero. 25%. 25%. I'll get you next time, Kim. Yeah, you need to step up your voting game. You need to do some gerrymandering. So Donna loves your painted nails. And so in honor of painting with you today, she painted my nails. She painted them a nice gray. I've never had my nails painted. Mine is gray as well today. Oh, nice. We matched. Nail bros. Nail bros. I feel like when you put little shoes on dogs and they keep kind of trying to shake it off. That's what I feel like right now. I keep trying to shake off the paint, but I'm not used to the additional weight. But for now, we are nail bros. Nail bros, yes. Excellent. Hello to everyone in the chat. And we have Santa day close in the chat. Hey, Santa. Welcome. But shall we reveal our favorite, what we chose for our favorite horror villain to draw? You want to go first. And first, maybe tell a little bit about why you chose the thing you chose. Build a pension like it was a horror movie. I don't like horror movies. It might not be a shock to most of you. But I thought of the scariest movies that I had seen. One was a nightmare in Elm Street, but Donna won't let me draw Freddy Krueger. And then the other one was poltergeist. But I looked at the house for poltergeist. It was such a boring house. So I thought what movies were horror movies that were kind of fun. I thought of the Lost Boys. So I'm going to paint Kiefer Sutherland as David from Lost Boys. I mean, that's halfway as horrible as Kiefer Sutherland in 24. So that's a good choice. What about you? Okay. So for me, it was really, really hard because I love horror and I love horror villains. And, you know, it's not just a question of which is the coolest villain or most iconic or best performance or best movie. It's also just which looks the coolest, which looks the freakiest, which is fun to draw. And I've drawn, most people don't know this, but I do fan art on my own once in a while. And I've drawn a lot of my favorites. I've drawn like Vincent Price in Mask of Red Death, which is amazing. I've drawn Boris Karloff as Frankenstein's monster, which again, amazing. But one of my problems is, of course, I can't do any of them for free use. And now on the screens with you, I do not care about for you. I'll draw whatever you want me to draw. And luckily, the thing I chose to draw is also out of copyright. It is Nosferatu. Nosferatu. Because that is just such an iconic look and performance and great movie. It is still a creepy movie. And that's difficult for a silent film to do. My only exposure to Nosferatu is the music video for Under Pressure. That's the only, that's all I know of it. And then I think there was that movie with, was it Willem Dafoe played? And I think I tried watching the movie. I wasn't that interested in it, but that's fantastic. But it, I mean, it literally could have become any number of other horror characters. Yeah, it was a feast of all of the things, you know. I was torn, I almost did what we do in the shadows, you know. I was like, but I almost did Brom Stoker's Dracula. I've done, I mean, Brom Stoker's Dracula would have worked for me as well. I think Gary Oldman's performance there is one of my all time favorite performances. Yeah, yeah, amazing. So, but I was like, I'll draw Keeper Sutherland. That's always fun. I'll never understand that. I mean, you have Gary Oldman with a lot of weird makeup on and the fancest hair ever. Yeah. And you got Keeper Sutherland with, you know, what we in Norwegian call it, hockey slice, hockey haircut. Oh, well, I, to be fair, I've drawn them both. I painted them both in the past. It's just a mood thing today. But you're in a Kiefer mood. That's a good mood. Kiefer mood. Yeah. You're just keeping it real. I'm sorry. I'll let yourself out. Yeah, I'll let you do, you do the talking now. Oh, gosh. So we have a lot of people here. Just great. Everybody, of course, is talking about my nails now. Thanks. Yeah, Donna had fun painting them. How long have you been painting your nails? Me? Yeah. Basically, since I was originally, since I was 16, and then I took a break for, I guess, 15 years, when I decided to not focus on my appearance, but just try to get better from this bipolar thingamabob. Yeah. So that was the impetus to stop painting nails. Oh, you already started penciling. Well, you were talking. You were going on. Yeah, then I'll start drawing. So then I'll, you know, start to catch up, catch up with you. You'll usually do three drawing, three, you know, three finish. Yeah, I mean, it's already further along than you. The likeness is there. And it is, I saw you did a video on negative space. Yeah, people were asking me about it. And, you know, it's funny because I didn't study it. You know, I wasn't good about it in school, but when you start talking about it, you're like, okay, somewhere along the way, I picked it up. And it was nice to kind of talk about it and work out some little thumbnails and do that. I liked it. Of course, it's so weird going from shorts, which, you know, in the first hour you'll have at least me, I will have 100,000 views. And I've only had one long term, long form video. I've made what, 10 or so? I've only had one go over 100. Most of them are sitting around 15,000. And it's just so weird, you know, to have 2 million followers and only 15,000 people have seen a video that you've made. You have shorts followers. That's the thing. Those are not the same. And but I do think that that long term it is probably a lot better to move over to, at least when you're trying to make sort of evergreen content. I hate the word content. But you're trying to make something, or actually you're trying to make something that's not content, something that's not merely to fill a container, but actually to have a life of its own and a use of its own and to have a worth in itself. Then shorts is a difficult form. It is. I've heard from a lot of people who are trying to get away from shorts because they're just kind of like candy. You get that little fix and then you just scroll to the next one and scroll to the next one. But there's no substance to it. And so people, I've heard that a lot of people are trying to move to just watching longer videos because there's more thought that goes into it. There's more depth to it, depending on the videos that you watch, I'm assuming, but I hope I'm doing it. Definitely. I think it's hard, but I do think, at least for me, I hope it's right. I'm not abandoning the shorts. I do like that format, but to focus more on the long format is probably good. And I'm getting like, I'm getting 2,000 views, not 15,000 views. It sucks a little bit, but it's also, if you compare how good I am, good, but how experienced I am at making shorts, my lack of experience making longer format, which is harder. And it's not just twice the length isn't twice as hard. It's at some point it becomes exponential. Yeah. There's a lot of trying to fill that empty space and try to make it not just filling empty space, where you're actually saying something of some importance. And to say it in a rhythm that is, I mean, the rhythm of the short 90% of the time is that's all you can do. But if you try to do that in a 10-minute video, then I'm sorry for your audience. I've been really impressed with how easily you've transitioned over to the long format. And I'm 100% certain that the gods of the algorithms will pick it up. And I only mentioned the negative space video, because of course everything you say in it is wrong. Well, I would love to hear your thoughts on negative space. Maybe you can make a video on it. I'm starting writing it, but I'm like you, I'm not pushing out, you know, five videos every five minutes just to fill the content bowl. Yeah. I'm struggling a lot more than you try to adapt to the longer format. I'm struggling emotionally. There was at least satisfaction of knowing that people were seeing your videos when you do the shorts. When you do the longer stuff, it's just like I spent 10 hours on this video and no one's seeing it. Where if I spent two hours on a short, I can get a million views. And it's a hard pill to swallow. Yeah. But I mean, if you swallow 15,000 of anything, it should be hard. Yeah. This is my mood lately. Too many bad jokes. That's why I'm here. Don is here. So let's see. Maybe do you have any? Okay. Everybody just loves that we're nail bros. And they liked the video on a negative space. Yeah. They're free to like it as long as they don't listen to it. That's all right. Tell me what's wrong. Okay. So I like it. Let's not lie. I got pissed off at a lot of things he said. I like it. I understand your perspective. I disagree. Disrespectfully. Of course. I think that you presented a very sort of how can I say this? It is a limited view of negative space. Because yes, the background is most of the time negative space. But the thing is anything can be negative space because it is a matter of the focal item or the focal field. Yeah. So that's something that's important to understand because then you can start while drawing you can start using negative space as a measuring tool. Okay. And what I mean by that is, for instance, if I'm going to draw, if I'm going to draw, let's just draw on this fellow here. It can be really tricky to draw this shadow shape because that is a difficult shadow shape. It goes all sorts of weird places. But if you've already drawn this nose shape, it can be a lot easier to take this little negative space, which is the light in this area, and use that as a measuring tool. So you go and you sort of constantly while drawing, you're deciding what the negative space is when you're drawing. And then you can sort of let it go afterward. And then of course in the composition itself, negative space is, as you were talking about, the space around the figure. But it's also the space that leads your eyes to the correct, to the right place. I mean. Yeah. Yeah. You've read how to draw comics the Marvel way. Yeah. And John Bushima has these these ridiculous explanations in his art of how and how to lead the eye of the reader. And he's sort of saying that this composition is like a circle and this is a this is how. Yeah. Yeah. Yeah. I never understood that part. No, no, no. But that took me years to get. And suddenly I realized that what is talking about that you don't get a single clue of in Stan Lee's text is he's talking about how the negative space manipulates your eye. Okay. Okay. And then these tapes start taking making sense. But if you don't, if you if you look at the positive space in those tapes, it looks like, you know, he's just putting random squigglies on top of the room. But it is actually they make sense if you look at everything except the shape he draws. Okay. Okay. And so that's leading your eye to what's important. Yeah. And that's sort of, you know, the thing that made Jack Kirby such a magnificent storyteller and that John Bushima took from Kirby and did in another style. And it's what makes Frank Miller great. And it's what makes the comics I like all share. Yeah. Yeah. Well, that's why we need you to make a video about that to kind of expand on that. Yeah. But these are no, but see, these are these are stuff that I think the more we put the stuff out there, the more we're going to help because I don't, you know, I mean, people ask me, you do one on values, can you do one on shading? Yeah, I'm like, I don't know. There's there's some stuff that you're like, oh, I could talk about that. And then there's other stuff where it's like, I can take a stab at it, but it's not really something I, you know, and I think a lot of us realize, like, we never feel like experts on something. But excuse me. Oh, we have questions. Okay. I saw that someone asked, let's go to learn any Swedish from Kim. And I would love to teach you some Swedish. Oh, gosh, the most important thing is to whenever anyone says something, you say, oh, if you agree, you say, oh, if you disagree, you say, oh, that's all you need. Except if you are puzzled by anything, then you need to say, oh, I love it. Alright, what's the question here? How do we not overthink things and just do something? I'll let you take that one, Kim. I've never not overthink something in my life. I overthink things a lot, but with experience, with seeing, with the experience of jumping into things that I haven't thought properly through, and also with experience of jumping into things I thought I had properly thought through and failing, you start getting sort of a sense for when, when you shouldn't wait until you thought things through and when you should. And it's not 100%. It's not, you know, I still overthink most of my things, and that's why I'm stuck, like, with, you know, I'm stuck halfway writing a video about negative space, halfway writing a video about Judas Priest, halfway writing a video about another about today, again, halfway writing a video about hating Scott, halfway writing a video about Talwell, and they're all halfway because I start overthinking. But with experience, I get better at pushing myself to just do it, just do it, as the poet said. And to know when I can, because I will never be satisfied. So I can't wait until I feel satisfied that I'm ready, that that time will never come. So you start to get a sense of when you are ready enough, ready, ready enough. Yeah, it's, it's, it's, I think, yeah, that's the thing that, that going on to TikTok and making art every day for the last almost four years, taught me to just let go. It's just a piece of paper. And that helped me stop overthinking it. This, this, like, right, this, immediately, I was like, oh, the eyes are looking the opposite way. And I want to just throw it away and start over. I'm like, why, why? It's just a, it's just a piece of, you know, it's just a piece of paper. I'll finish it. I'll have had fun. Don't overthink it. Don't over worry about it. Learning to let go of perfection is the thing, you know, went, I think you and I have made enough pieces of art to know that we'll never achieve perfection. And no, no, no, no, no, no, the next one, the next one will be perfect. I just, I think, I think I've finally come to that piece about going, okay, I'm never gonna, it's never gonna be perfect. Stop trying to make stuff perfect. And there was actually a video I saw was on TikTok. It was gosh, probably back in 2020, 2021 of an artist who was, is a digital artist, and they were doing these wonderful environments, like, you know, like a library or whatever it was, and it was very artsy. And they had just mentioned that they were so terrified of doing environments, because of all the perspective and the lines and whatnot. And because their lines were never straight, their perspective was never right. And it, and they said it was when they accepted to have their lines be not straight, to have their perspective not be perfect, that their art had a, you know, had a care, had character. It had that life of its own. And I think that just something in that really clicked. And when I started to go out and paint outdoors, I stopped, I don't use a ruler to draw a building. I just do it by freehand and, and I eyeball it. And if the perspective isn't perfect, it's not perfect. It's just a sketch of my sketchbook. And I think a lot of times you just have to realize that you're not doing a mechanical diagram that people are going to be using as a schematic to save the world, you know, it's like, if this is off by one millimeter, you know, everything, it's just a drawing. And I think that search for perfection is somehow inherently elevating our, the worth of our art more than it should be. You know, it's not that important. It's just a drawing. I think I recently saw an interview on Rick Beato's YouTube with Nuno Betonkort, the guitarist from 90s ballad sensation Xtreme, which he's an extremely good guitarist. And they were talking about what makes a good guitar solo and stuff like that. And he was talking about how when he was actually recording a solo, he couldn't sit. He had to jump up to move because that introduces the, it introduces the body into the sound. And it also, you know, when you're moving with the music, you start making mistakes. And those mistakes are beautiful. And those are, you know, what makes it alive. And I think, you know, for me, one of the fun things about drawing metal concerts is, you know, there's no way to not make mistakes. You have to involve your body, you know, it's it's such a visceral, it's such a physical, religious thing. And it isn't the perfection that makes it, makes it beautiful. It is, it is false. And it's really hard to see that in your own work. It's really easy to to see that in other people's work. Yeah, yeah. I mean, you know, looking at my favorite artists, I love their mistakes. All the things. Thank you. Oh, you weren't talking about me. Now I was talking about favorite artists. Yeah, you're right. You're right. And he was, they were also thinking about talking about AI in that interview and about how, for people who make these mistakes and can play with their fingers and the body and their soul, then just bring it on. Yeah. AI is just, it's not, the thing is, I absolutely love the mistakes of AI. I mean, I think it's beautiful when AI tries to guess, when you're exposed the background in Photoshop and the AI guess is completely wrong. And when it can't draw fingers and all of that stuff in, I think that is beautiful. I think that has value. And as AI gets better, you will remove that. And then AI starts becoming more dangerous because then it just becomes generic. Yeah, it becomes the average. And, you know, there are a lot of executives and idea men and money people who can't tell average from great. Yeah. And they will be more than happy cutting the cost and selling an average product. My problem is the executives, my problem is the average everyday person who will also think that that's good. So if the executives start churning crap out through AI and people are just like, oh, this is so great. You know, look how, the thing is, look how realistic it is. It's the thing that people, and you're just like that. And that's, I worry about the dumbing down of the world. That's what I worry about is, you know, our world starts churning out AI lifeless stuff and the masses feed on that. And they consider that, well, this is my entertainment now, and I'm totally okay with it. I feel like as artists, it's our job to keep pushing and striving for hopefully something better than something lifeless. That's what art has always been. It's pointing a mirror back on the world in all of its weirdness. I don't think a computer can do that adequately. The thing is, I've started playing around with AI and I'm having so much fun with it. And it is brilliant in all depidity. And it's also, you know, really powerful tools for making things quicker and better. You can use it like that. But there is something fundamental about how you are interacting with AI. And I think you, probably, I'm not going to psychoanalyse you too much, but when you worked on Animal Cracker, when instead of sitting down and drawing something yourself, you tell people to do it and they come back with something. That's the feeling you get from making AI art. Yeah. Except, you know, if you're a decent person, you will treat your employees like decent humans, even when they don't deliver something perfect for you. Yeah. And you will also not take credit for their work when they do make something. Yeah. Amazing for you. But what you see in a lot of artists who get bigger and directors is that they're losing some of their humanity in being so used to thinking that creativity is waiting for others to do something and then being pissed off or taking credit for it. Yeah. Yeah. And that's the feeling you get when you sit and you prompt the AI again and again. And instead of going like, oh, I really wanted this, I was fraught to turn out well, but I can't do this. I'm not good enough. I need to be better. Instead, you go, oh, you stupid machine. Oh, I hate you machine. Oh, you're the worst. Yeah. And people who are not in a creative field already and especially money people will confuse that feeling for creativity. Yeah. Yeah. That frustration they think is the frustration of creating something. Yeah. And the thing is the frustration of creating something is something that gives you a personal growth. Grow as the person by enduring the creation of something. You might grow in the wrong way. You might grow to be moron, but you grow. Yeah. But with the creativity that comes from default using AI, you don't grow. There is nothing. Yeah. The process is the opposite of creativity. Yeah. I've seen people say, well, you don't understand how much time I put into getting the art just right. Coming up with just the right prompt. That's not work, though. It is. And it is a very frustrating work. And I'm sure that people who are truly creative people who embrace AI and play around with it will figure out ways to be creative with it. That I can't even imagine at this point. And they will do wonderful stuff with it. But it is the people who aren't quite conscientious enough will get a reason to think they're being creative while in reality they're just learning to be a dick. And this is something that might be funny. But I've started whenever I use AI and I use it a lot now. Whenever I write a script, I give it to an AI afterwards to rewrite it shorter. And then I take what the AI rewrote shorter and rewrite some of that into my script to make mine shorter. I never take the text in pace because that doesn't work. It's not my voice. But I use it as a lousy editor. But I always say thank you to the AI. I compliment it. And I think that that's important. Because if we don't do that, we will start thinking that when we normalize talking to AI and if we don't say thank you, we will train ourselves to be bastards to people in real life as well. So instead of not saying thank you to AI, I'm taking this as an excuse to start saying thank you to Auroch for being good to sit at. Thank you to the wind for feeling great. Thank you to Thank you to modern nature and to this holder of dirty water for keeping my water safe today. Thank you. And it sounds silly, but I mean it. I think if people don't do that, I think we'll be AI make people even more socially awkward. Yeah. No, you're right. You're right. I'm always right. That's that's one of one of my favorite things about you. Okay, I think I'm gonna put some watercolors on this. Okay. So I'm Donna, I'm sure we have a lot of questions. What is your favorite fine liner pen? Mine, of course, is always the zebra brush pen. Yeah, I mean, my very favorite fine liner pen is the ones that burn in hell and turn to ashes because only weakling new pens. But I've always been comfortable with the basic pilot which had the head with the two holes from each side. Techno point. Techno point. Okay. It is. I like the peeling of working with that. By the way, the nose frotty looks amazing. And I love the use of negative space. Thank you. The ear on our right is so nice. Now it's just not to mess it up or mess it up. Correct. They want to know if you clean your brushes. Clean my brushes. No, no, God forbid. I used to buy really expensive brushes like Winston Newton series seven. Fantastic brush. I absolutely love that brush. But I found that for me, it's better to not use such good brushes and buy, you know, cheap synthetic hair brushes, student grade brushes. And because then I don't feel as guilty when I forget to clean them. I don't have to. I still have to apologize to my brushes, of course. I mean, I'm not meaning to imply that brushes are less worth than AI. So I am sorry for the abuse I put them through. But the abuse costs me a little less. Yeah. So I mean, look at this. It's not this isn't you can't see it. You can see now. This isn't how a brush is supposed to. This is brush abuse. It still has a point, though. How did you get how do you get it to keep the point? The point comes and goes. I've tried those brush shapers, and it they did not work at all. It's like a waxy kind of thing. You dipped it in. Yeah. No, no, no, that doesn't work. At least yeah, tell me about it. Okay, so I will tell you about it. You know, those brush shapers don't work. Yeah, no. What I'm wondering now is, I want to do something black here to give the shadow of the body, but I don't want it too much. I love it the way it is. I wouldn't touch it, honestly. That's just me personally. But I think I think now you're, I mean, there is, now you just told me that I have to do it. Hey, what do I know? You know, negative space, you know. All right, let me see if I can mute. Okay, so what I will do is, I will leave it up to the gods. I will overload my brush with ink and close my eyes and do like, and yeah, I think this. So the next question is, what supplies do we use? What are the cheapest ones? I just want to say, look what you forced me to do. I actually started doing the supply list on my long form videos, just like Scott does, I think. And so now you have a supply list on all my videos. But the truth is that I don't, there are very few things I religiously buy. If my local art store has a new brand of paper I haven't tried, that looks interesting, I will go for that. And you know, I'm currently using, this is a student grade brush, it's a great Norwegian brand. Then I have probably this is an Amsterdam brush. And then I have one from Daylor and Rowney. So I have all these different things that I just try out and see if I like it. If I like it, then I'll probably buy it again someday. The only thing that is really, hasn't changed in a few years is I buy the Talents Indian ink for the very practical reason that it's the only brand in my local art store that comes in liter bottles. You got through it so quickly. Yeah. And also I use white acrylic from Golden's, because from Golden fluid acrylic, because I just find that it works better than any other fluid acrylic I've bought. I bet, I bet. That's sort of one of the things for me is that there are places where you can save money. I mean, ink, for instance, doesn't have to be, it just has to be an ink that you like. Yeah. Just two seconds, I'll be fast. Okay. Does anybody in the live know what Kiefer Sutherland's eye color is? Red. Interesting that we both chose webpires. Yeah. They are the coolest. Yeah, I think so. I mean, in terms of just being a villain, it works. Yeah. You didn't answer about your supplies, also about cheap supplies. Yeah. For me, it's the Zebra brush pen. That's $2.65. It's my favorite pen, because I'm not a real artist like Kim. And then I love... Despite in your voice, there was a magnificent... My favorite sketch pad is the Be Creative Watercolor pad. It's $15, and I just love the texture of it. It's 100% cotton paper, and it just makes my art feel pretty. But other than that, I'll use any pencil. I like a 4H pencil. I like a hard pencil, and any eraser. How can you be so wrong? Hard pencils are against God's will. You and I are so opposite. It makes it hilarious. Those are pretty much it. I'm not married to any kind of pencil, but like I said, the Be Creative sketchbook and the Zebra brush pen are my two go-to. As far as watercolors, I use... Did I lose contact with you? No. I'm still here. Did you lose me? Oh, he froze. Can you hear me? I'm not hearing Scott. Hopefully you... Hey, I can see Scott. I can see Scott, but I can't hear anything. Can you hear me, dear? So... You can't hear me? Is that my problem? Can you hear me? Okay. How about now? I just muted and unmuted myself. We can see and hear both of you. Okay, then maybe it's my problem. Sorry. Okay, so now you can't hear me, Donna? Okay, okay, good. Okay, so you can hear me now or no? Okay, okay. Okay, so let's see if I can hear you now. Hello, hello, hello, hello, hello. Oh, it was just my Bluetooth. My Bluetooth got freaked out by Kiefer Sutherland's eye color. All right. Give him his blue eyes. Oh, when he turns to a vampire. Okay. Well, fortunately, he's still handsome, Kiefer Sutherland. In an evil sort of way. Yeah. The handsomification of vampires. I think it's interesting. Yeah. Because people... Bella Lugosi, I think, did that, right? Right. Now, it starts even before that, because the first modern vampire story is called The Vampire with a Y and there, the Italian writer, I don't remember his name, takes... It was conceived the same night that Frankenstein was conceived with the story of the Percy Shelley and Mary Shelley and Lord Byron and also this Italian guy who I've forgotten the name of spends the summer at a cabin or at a mansion and there's this huge stormy night and they come up with this bet on who could make the scariest story and Mary Shelley wins, basically. But Polidori is his name. Polidori writes The Vampire and he basically writes Lord Byron as a vampire. And it's about Lord Byron being a manipulative asshole, but very pretty. And then the Dracula novel comes a little bit later. It came later. That came later and builds on that and makes The Vampire even more sexy. And then there's a little step back with Nocturatu. Some would say, I am inclined to disagree. He's got his charm, maybe not typical. You wouldn't call it boyish good looks. I guess. And then you get Anne Rice with even sexier vampires and you get the Locke Boys, which is just 80s. It's the boy band of vampires. It's the new kids on the undead block. The new kids in the churchyard. And then you finally get the sparklies in Twilight. Yes. Don't forget to interview with The Vampire with Tom Cruise and Brad Pitt. Oh, yes. And there's been some setbacks like Keyford Sutherland's makeup and also all the makeup vampires in Buffy. But they were really hot. I mean, this hotification of The Vampire has basically been going on since the start. So then starting to sparkle is just a logical step in the same direction that Bram Stoker's Dracula stepped in. And the next will be a rainbow disco vampires and it will be glorious. With painted nails. With painted, I mean, seriously, if you're a vampire and you don't paint your nails. Yeah, you even vampire, bro. I don't like that you made me do those dark shapes. All right, I made you do what? You made me put in those shapes. Yeah, it was some I liked it better with all that empty space. We call it, you know, what professionals call it negative space? Well, what do I know about negative space? That's the question. All right, I have to fill in this block here. I'm actually thinking of studying your art a little bit more, because I think that you are really good at capturing even a wonky eyed Keyford Sutherland's likeness. He is wonky eyed, but you see that it's him. You see it very quickly. And I've set myself a new artistic goal, and that is to be able to capture someone's portrait likeness in while they are talking and moving in 10 to 15 minutes. Wow. I don't know if I could do that. Well, it will be portrait like this. It will be mine. Yeah, I think that's the key is to come up with your style and not try to make it look exactly like the person to try to find just that. I've always been so fascinated with cartoonists, caricature artists, who could do that. And it's such an amazing art to say, after just someone's likeness with so few lines. Who was that artist? Was it Hirschfeld? Is that the right name? They used to do is like they did a lot of people from Broadway. Just very simple, like almost like a continuous line. Oh, yeah, I think there's a rings bell. I don't know. Someone in the live helped me out is the name Hirschfeld. But you know, they would do these amazing portraits of actors on Broadway and stage and screen and and it would just be amazing. You know, but how does Scott get the perfect wash? Oh, that is with watercolors. It's just to dry before you do the next layer so they don't mix. But also the paper makes a big deal. Okay, yeah. Hitomi says Alan Hirschfeld had it right. I'll check him out. Yeah, they're there. You know, with just it's the simplicity is just amazing. And I've always wanted to be able to do that. But you know, like I've tried caricature many times. And I think I did okay, but it just always felt so forced. I just I so admire people who can just do a little doodle, do a little sketch and you go, Oh, that's this person. That's that me. I feel like I have to get it at least 90% right. Otherwise, you know, you know, but you'd still be interested to study in that regard, because you do you have this very comic booky, very classic comic book style, superhero comic style. And you still get the likeness. So and there's something in that knowing how the faces are built. And then taking that and combining it, I think what I want to do is combine it with a little bit of stuff like Hirschfeld and newspaper cartoonists. Yeah, stuff like that. And also a little bit of the more traditional portrait. Yeah, prediction to take those elements and also to take the elements of cheap, like $10, $20 street cartoonists. Yeah, street portrait artists, because they the thing I figured out when I many moons ago when I sat on the street drawing, I mostly did backgrounds, landscapes and stuff like that. But once in a while, people would ask for a portrait. And people who ask for portraits on the street don't know how they look. So the few times where when I've nailed the portrait or the caricature, they were pissed off. One guy threatened to hit me unless he got his money, beat me up unless he got his money back. And I nailed that for that. That was the best street caricature I've ever done. And I was almost beat up for it. So. So the trick that street artists, street, the caricature artists have figured out is how to draw something that has enough of a likeness without offending looks like something on TV, in a sense. Yeah, yeah. And to take some of that and not necessarily make it look like something on TV, but make it look like something in a portrait gallery, but still loose and expressionistic and cartoony. I think there's a combination there that I want to try to find. Yeah. It's sort of an evolution of the concert art drawing. I love the concert art drawings. I love that. I realized it while I was drawing Tony Harnell from TNT, the great Norwegian metal legends of the 80s. I love that you're doing that. And he was doing a acoustic storytelling night show. And I thought I nailed, I thought I did a good job and he was super gracious and super friendly and nice and everything. And but when I showed him the art, I thought it doesn't look like me. And as he said it or wrote it, he had the flu, so we didn't get to talk, but as he wrote it, I just said, oh, shit, he's right. And it was that little, it had a lot of those superficial traits of him, but he didn't have that little, that is him. It didn't have that little spark. And ever since then, I've sort of decided that, yeah, I need to get that. I need to get the thing that, where you go. Yeah, he might have been hit in the middle of the face with a baseball bat as a kid, but he's still keeper Sutherland. Sorry, I'm trying to compliment you, but I'm being an asshole. I was going to point it out. I knew it as soon as I did it, I was like, nope, those eyes are off. Yeah, I think it is still. Yeah, that's one of the best characters from one of the best movies, uh, Hot Shots. Isn't that Walleye? Oh, yeah. Back when, uh, what was his name? Um, Martin Sheen. Charlie Sheen. Charlie Sheen was a commodity. Yes. Oh, I loved Charlie Sheen. A bit harder to love now. Yeah. But, but, oh, he was perfect in the movies and also Harry Elves as the antagonist. Yeah. As the, uh, he's just magnificent. It is even better than in The Princess Bride. Well, I wouldn't go that far. Let's not get crazy. I mean, Hot Shots, Harry Elves, greatest role. It's just the way it is. Oh, gosh. Yeah. I feel like I was really slow today. I would. We took our time. We took our time. Hmm. Oh, it's funny. You were like, oh, no, you got a head start on me. And then you still finished yours before me and you're like, I felt like I was slow. And that's one of the things that I'm also working on now is to be slower sometimes. Yeah. Now, these are, these are always fun to just kind of just hang out and just doodle, you know. Yes. And it's nice to see you do something that's like, like Nosaratu, like do some sort of likeness. It's a very vague likeness. I think I, yeah, I haven't finished the Zelda piece yet. You didn't finish. I thought we finished it during the live. What more is there to do? Thingamabobs. I need to do some things here and some things there and probably some things around here. And there's all these things. You're gonna, you're gonna, you're gonna do to it what you just did to the Nosaratu. It was fine and you just noodled it. But now I have to do it. It is a very childish impulse that I do have whenever someone says to me like, no, I don't think I should, I don't think you should do that. Oh, yes, I should. I have to. And it's, it's not a good tendency, but it's fun. Yeah. You are hilarious. All right, honey, you said there was one more question or they want to see our nails together. And everybody says Nosaratu looks great. Thank you. And just because you said that, I have to play some more random docs on it. I'm gonna keep doing it till you guys stop complimenting me. Yeah. Oh, that looks finished. No, it's not. But wait, there's more. It is a, it is a disease, this art thing. Yeah, I've, I've, I'm very proud of myself because I've, I've finally learned to let pieces just kind of go. Actually, I think I've always been pretty good at that. And I think a lot of that is, I get to a certain point with a piece where I go, I want to do something else. I get bored very quickly. Oh, yeah, I know the feeling. Oh, for me, it's like, I can't be done with a piece quick enough. Yeah. And that, that, that's sort of a far conspect to what we said about the AI is the impatience you get from waiting for an AI to give you the right response to your prompt. Yeah. That, that is, I'm less healthy sort of impatience. And when you are working with art, with creativity, with actually producing something, you sort of have to, you have to find your relationship with your impatience. Yeah. And I don't know if you have to do that in the same way with AI or with commissioning art or anything like that. I think it is unique to the creative process. You have to be very much in communication with your impatience. That's true. That's true. I've, like I said, I'm very proud of myself for being able to do that. I don't know why I just suddenly, it clicked to go, this is done, move on, move this is done. Okay, apparently we have 334 people in the live right now, so hello everybody. We were painting our favorite horror movie villains. I did David from The Lost Boys and I did Chuck from Nosferatu. Yeah. David Chuck. It's not really, his nice name wasn't Chuck. Yeah, a little known fact, David is actually Chuck's great nephew. And we also painted our, well, your nails are always painted, right? Yeah. We are nail buddies. Yeah, we could say that we nailed the nails. You could, but it would be really bad. I'm very glad I didn't say we nailed it because then it would, I mean, yeah, yeah. Then we would have to start baking cakes. Yeah. Well, this is something for everybody who's here. This is something that we do once a month together on Kim's channel. And we always have fun. I know that we're gonna let you guys decide, you think we should give them four options next time rather than two? Yeah. I mean, we can, I know that a lot of people were asking us to do a combination of the options this time. So we could do four and have to do a combination of the two most popular ones. That would make it hellish. So like take our favorite horror villain, but in an anime style? Yeah. Oh, God. Or a horror villain meeting the anime hero or something like that. So the next, based on what people vote on, then next month it could be your favorite Kiefer Sutherland roll, but as a potato. I'm starting to not like you anymore, Kim. I don't know why you ever liked me. I think Kiefer Sutherland has a hay fever. Yeah, I'm doing what you're doing. So I'm sitting here adding stuff that I shouldn't be doing because yeah. All right. We'll consider this done. This was very fun. Yeah. It's time to stop wrecking our art, Scott. Yes. Let's stop noodling these. Kiefer the red nose went fire. There are a lot of girls in town. Yeah. Okay. All right. This was fantastic as always. It was so fun. Yeah. Kim, thank you for hanging out with me and everybody, all 353 of you, thank you for hanging out with us. And I promised Donna we would do one more. These are our nails. Donna painted my nails and it just so happens that it matches Kim's nails. So nail, nail friends, nail friends. And then yes, please follow Kim for all of his wonderful, wonderful art. And yeah, that's all I got. Yeah. Don't follow Scott. He has too many already. Yeah. Please follow Scott. And also do check out Scott's newer long form videos because he's been taking the plunge into making long form content. And he's really good at it. And all the videos are really, they're great. They're personal. They are informative. And you learn a lot from them as long as they're not about negative space, negative space. And Kim will be, will be giving a rebuttal video soon, I'm sure. Yes, yes, yes. Okay, this was so much fun. And thank you all for coming. And thank you so much, Scott, for giving us Kiefer the Red Nosed Vampire. Bye. Thank you. Bye.