Importance of Natural Resources

Unsupportive Parents and Toxic Environments – Draftsmen S1E08


Marshall: You know that song, don’t you? Stan: I love Queen. Good! Don’t stop me Stan: She did it. That was good, I wish the camera
was recording. Well, this videos demonetized. Hey Marshall Marshall: Hey Stan. Stan: Welcome back to San Diego. Marshall: Great to be back here in San Diego
for the Draftsmen Podcast, I’m Marshall Vandruff an art teacher and drawer. Stan: I’m Stan Prokopenko, founder of Proko.com
where we teach people how to draw. Marshall: Your ears okay over there Brandon? Stan: When that ‘founder’ came out of my mouth,
I was like “yeah, Brandon’s ears just died”. Marshall: Let’s roll the intro. Marshall: it’s always like the first
time. Stan: What do you mean by that? Marshall: I mean it’s – watching that intro
is always like seeing it for the first time. Stan: Uh-huh. Today’s topic is
gonna be about – it’s kind of your thing. Marshall: My thing? Stan: You’re gonna be leading today Marshall. Marshall: Am I? Stan: Absolutely. Marshall: It’s because we can talk about environment
and – Stan: Well, you put this into our little show
planning thing and I’m not quite sure what we gonna do. Marshall: Did I? What’s the topic officially? Stan: Its environmental conditions. Marshall: Environmental conditions… Oh yeah
of course. Stan: Focus on environmental reports, the
TSA report – Sean: Global warming. Stan: Global warming Marshall: We did talk about this once before.
Because you’re talking about building this environment so that you could focus on – Stan: Oh! Ideal – I thought this was different. Marshall: No, this is different. Now we’re
talking about environmental conditions for – wasn’t it for developing an artist, for
developing a talent so that if you want to – Stan: I’m not sure. Marshall: OK. Stan: You start and I will follow your lead. Marshall: OK, I’ll start this because I
– just a few weeks ago in a class, I had a student take me aside at the break to explain
that his family not only wasn’t supportive, they were anti supportive. They wanted him
to stop trying to be an artist. Now, within a matter of ten hours previous I had gotten
an email on the same thing and I also had another student in that class who is one of
the best young promising artists I know who has had some family tension over “you shouldn’t
do this” and I had to address it to the class. Stan: How did you address it? Marshall: I said “look, the better thing is
if you’ve got a supportive family. So let’s talk about – let’s talk about what’s best,
we’re gonna get to that but – Stan: Get a new family… Marshall: I need a few minutes on the supportive
family thing. Okay, if you’ve got a supportive family that treats you even in your adolescence
and your college years with the same kind of respect they treated your childhood which
is to let you give this a shot, that’s great. I would not have been a professional illustrator
if I had not lived in Gene and Eleanor’s home until I was 26 years old because I got jobs
but I didn’t get enough jobs to make my living and so they supported me, I was the first
person in the history of our family of amateur artists and musicians to ever say I’m going
to do this as a professional and they were confused about it and there was a little tension
about it but there was never any discouragement. So, I had a really good thing as I know you
did too. Stan: Oh yeah, I lived with my parents since
I was 28. So I lose! You beat me to it Marshall. Marshall: Yeah. Stan: You were 26 you said? Marshall: Yeah, and I could not make a living
as an illustrator till I was almost 28, that was where I started, Ok, now I’m actually
making my living, exposed to just getting jobs. So that’s the ideal, but now let’s move
to the next point of thought here which is that you can have support around you that
is too supportive, everything you do gets put on the refrigerator and praised and you
are not up against the real world where when you go out there, you are not going to get
that kind of praise, you will simply not get hired because you’ve got nothing that you’re
pushing against. Stan: Yeah, there’s no struggle. Marshall: Right. So, if you have got an unsupportive
family, it’s not a good thing. It’s not a good thing to have the people trying to keep
you from running your race by trying to hold you down, but let’s take a moment to empathize
with them, 9 out of 10, 99 out of 100, people who set out to be professional artists are
not able to pull it off and all they know is that if you’re gonna set out to be an artist,
you’re gonna be just like this other person and this other person and all of these people
that they know that you’re gonna end up poor and they don’t know that much about the industry
and they don’t know how it actually happens and so they’ve got a fear that you’re gonna
be the one that is dependent on everyone else for the rest of life. Stan: Is it really 99%? Marshall: Well, when you look at art school,
when you look at people who have become art majors in universities, you figure they’re
devoting 4 years of this, it’s not 1 out of 10 that actually make a living in the industry
doing the thing they studied to do. Stan: But there’s so many jobs that are – Marshall: There are so many jobs. Stan: Like, how – I don’t get it. Marshall: Well, let me – Stan: Are we talking about all created – like
all jobs for artists or are we talking about just like gallery painters and – Marshall: I would make a graphic like this,
there are a hundred thousand jobs or more in Southern California of people that are
making their – Stan: Just in Southern California? Marshall: Just in Southern California, people
that are making their living in the creative field. Just Los Angeles alone, it’s gonna
be many many thousands. Well, there used to be – it used to be there was something like
70 or 80 thousand members of the Screen Actors Guild. And that’s the members of it, that’s
not the ones that are trying to be actors that can’t get into the guild. And then when
you see the people that are trying to get those jobs, it’s gonna be in the millions.
So it’s just – it’s going to funnel down. Now, I’m saying this not to make a point about
school or how hard it is but saying this to say that your family that is not supportive
probably has a reason. One of my students, well they wanted him to quit art and go into
the military and he told me, he – he wrote me a description of what happened in his family
history that he had an uncle who was an award-winning artist who burned all of his work, gave up
art and that the family has since discouraged it. It’s like in Coco, you know, no musicians
in this family. That kind of phenomenon really does happen in life. So, it’s a it’s a struggle
if you are the one who has got the budding gift and you’ve got an environment that is
difficult. So now let me get my last point because I know i’ve elaborated a lot; there
is one caveat, one kind of advantage if you’ve got an unsupportive environment. Back in 1964,
a book by Dr. Eric Bern, a psychiatrist, came out called Games People Play. Transactional
Analysis is an interesting book about how people play power games in relationships and
almost all of these games are negative. There was one game, two actually, that can have
some positive effect. One of them is “i’ll Show Them”. It’s a bad game but it’s they
didn’t believe in me and I’m gonna punish them for it, but there’s a more positive variation
on them which is that I am going to succeed because they didn’t believe it. They said
I couldn’t do it, Lucille Ball was told that she could not be – she did not have it to
work as an actress and then she became the most successful. So, you’ve got something
that you can push against and then there’s a more positive variation on it called “they’ll
be glad they knew me”. This is that I am going to succeed, they will wish that they treated
me better but I am going to succeed in spite of that and so you’ve got this straightjacket,
you’ve got a struggle – Stan: It sounds very similar. Marshall: They are very similar, but he figured
the all shows them was more of a punishing thing, that they’ll be glad they knew me will
be at least that they get a caveat; that is our child, that is our nephew, that is our
person and they did succeed and I’m you know, I probably should have supported him more
but at least I get to bask in that success after all. Now, I say that knowing that it
that is cold comfort but it has happened, I’ve seen it happen with students who had
a person in their life that didn’t think they could do it and they put their energy down
like a bowl and said “because they don’t believe it, I have got to compensate for the fact
that I don’t have cheerleaders, I’ve got naysayers and I have got to prove it on my
own”. Now, that’s to say, you can have too much negativity that can drag you down, you
can also have too much positivity and if you just could say, “well, what have I got left
if I got an unsupportive family?” you’ve at least got that. If you’ve got a fighting spirit,
you could say “I’m gonna fight that spirit and I’m gonna win”. Stan: For the parents though, listening, it’s
like, even if you believe that it’s kind of risky for your child to go into a certain
field, do you really want to be the person telling them they shouldn’t do it. Like, let
them learn on their own, like be supportive no matter what it is. I mean, unless it’s
like criminal you know. Marshall: Unless you’re from a family of criminals,
you could be a good criminal. Stan: Yeah, but I mean if they have a passion
for something and you just disagree with it, just go with it, like be supportive. Marshall: Next to the last chapter of the
Sports Psychology book, he talked about how to be a great sport parent and it’s really
how to be a great parent and it’s very short but it has a lot to do with playing the role
of emotional support because you’re not the expert in the field. My parents, because they
did not know the field, I remember putting them through anxiety because my dad in particular,
he had built many houses and he did creative work and made his money with it but Marshall’s
gonna set out to be a picture drawer? And I remember there was an energy in him of…
You know, and he wanted to help, he wanted to be supportive, it’s just that he really
didn’t know how and that’s where you seek mentors, that’s why you go to college. Stan: I think that’s okay to be worried, I
mean that just means he loved you and he was worried that you were going on the wrong path,
but did he discourage you? Marshall: No, not at all. Stan: That’s good. Marshall: But I remember when I did an illustration
that I got $300 for, and I remember he was pleased about that, but he wasn’t elated
and then I did a little technical illustration of a cutaway of a cord of a little like a
scuzzy kind of cord thing and they paid me $750 for it and I remember him saying “you
got paid $750 for that?”, I said “yeah”, and I remember his energy feeling relieved. $750
took you two or three days to do it, this could happen. Stan: I guess we were both lucky we had great
parents that supported us. Marshall: Hey well, if you – if you don’t
have that in your family, there’s one thing you can do, you can find a new family, you
can find a new – Stan: Come on… Marshall: Team of support. Stan: Oh not – like you don’t mean find a
new family, you get some friends and – Marshall: I have a new metaphoric family. Stan: Okay, i’ve got you. Marshall: And that means plugging into a positive
community which is the second thing I deal with environment is that environment can have
to do with whether you live next to the toxic dump and it can have to do whether you live
in a place where there’s never any sunshine and all these other things can affect your
productivity and your mood, but by far the most important thing is the people that you
are surrounded by. It is better to be in a not that great physical environment if you’ve
got good community going than to be in a great physical environment where your team members
work against you and all of the other things that can go wrong. That’s worth seeking. Stan: Yeah, where can they find that? Marshall: Some of my best students have been
the ones that they say “I’m into this” and they create these little communities. I’ve
had that happen and wave after wave after wave after wave over last Stan: What do you mean they create the community? Marshall: They create community by becoming
friends, by hanging out, by doing artwork outside – when the semester is over, now they’re
gonna work on their summer project. I’ve seen that happen many times, more times than I
can even recount. So, that’s an example of going to the cheapest school possible but
finding the teachers who will serve you, they’ve got several teachers who serve them and then
finding the peers that will make them stronger and encourage them. And so yeah, that’s what
that’s about, that’s seeking a new family. And if you figure, if my parents will just
for two hundred bucks a month let me have a room to sleep in, I will spend all of my
time in these classrooms and around these people that are making me better. Stan: That reminds me of a statistic that
I found out about. I wanted to make a video about it but I’m not sure if I will, and we
were looking at Google Trends for searches of how to draw, the search ‘how to draw’ and
in June it plummets for like 2 or 3 months for the summer break and then it goes back
up when people go back to school. A search ‘how to draw’. Marshall: That is not a good thing. Stan: No, that just means that everyone’s
searching how to draw while they’re in school and they go on summer break and they stop
drawing. Marshall: School can – some of these environments
can burn people out to where they never – there’ll never be an artist now, because they’re so
– they associate it so much with negative feelings. And to me that happens, when everything
gets organized around midterms and finals and I’ve had students we’ve had – a student
where we had to call in the paramedics from having been up for two or three days on Red
Bull and – Stan: To do it like finish a project? Marshall: Yeah, to finish – to meet the final
deadline and – and so, what are we doing, what is the point of this? That’s not a healthy
thing. Stan: Well, why did they have to – was the
deadline really strict or like what – did they procrastinate – Marshall: Or they take 18 units and now they’ve
got to get it done and then when it’s done, flop over in exhaustion and spend the summer
not doing anything but recovering from what happened in school. Stan: They burn out. Marshall: Yeah, it’s just – it’s really a
bad thing. Stan: Well, do you think that’s the case for
just a few people or that’s the trend for most people? Marshall: It depends on the environment. There
are some environments that that’s the norm and then there are environments where ‘we
did these projects for school, we’re done with them. Now, June’s here, I don’t want
to take a vacation. My vacation is gonna be this next project that I couldn’t wait to
get that one done’, and that’s how Norman Rockwell felt about every illustration he
did, that the next one is going to be the best one. Drew Struzan was asked about his
illustration and he said “my favorite one is the next one that I’m gonna do”. Because
they’ve got this enthusiasm for the work. And if that is characteristic of that social
environment, I think that’s probably a healthy environment for your creativity. Stan: You mentioned something about Modern
Day James… Marshall: Modern Day James – well, he can
tell his own story but he came into my classroom and told the story, he was gonna be a doctor. Stan: He’s one of your students? Marshall: Well, no, he’s not one of – Stan: Or he came in as like a guest to talk
– Marshall: He came in as a guest. Stan: After he was already YouTube famous? Marshall: Yes. And students had told me about
Modern Day James and they were in love with – this was at the junior college. Said, “do
you know about Modern Day James?” So we started to watch Modern Day James stuff in the classroom,
and then when he came out here, I said “let’s have you be in the classroom and I’ll ask
students – what would you wanna ask him”, so I called up his cell phone and you know
what, he’s gonna answer it. They saw him and they didn’t even know who he was because you
don’t recognize sometimes a person from what you know him on YouTube. Stan: Well, mostly you just hear his voice
in his videos. Marshall: That’s right, yeah. Stan: So, he was sitting in the back of the
classroom… Marshall: He was sitting in the back of the
classroom… Stan: And then you’re like “hey, I’m gonna
call him up”. Marshall: And I called him up, unfortunately
the gag didn’t work because the cell service did not – Stan: Oh, his phone didn’t ring? Marshall: So, he did come up to the front
of the classroom and we kind of co-taught the class that evening and he told us his
story; he was gonna be a doctor, he was gonna – I think he even might have started medical
school – Stan: Oh really? Marshall: His parents – he made a pitch to
his parents, he made a business proposition essentially to his parents that they would
give him a certain amount of time to prove himself and because he created his own deadline
for when he would get his YouTube channel together and that kind of thing, he went into
overdrive and treated this as if it were medical school, disciplined himself, didn’t waste
any time and now, he’s Modern Day James. Stan: Wait, what was the business proposition
he gave his parents? Marshall: Well, let me live at home for a
certain amount of time until I can see if I can get my YouTube channel going. Stan: Okay and so his parents were not supportive,
they were forcing him to be a doctor? Marshall: No, they were they were – he – Stan: So, why did he have to make a proposition? Marshall: He change his mind because – instead
of going to medical school, I mean, every every parent wants their kid to do something
like that, I want to start – I want to be an Internet teacher and an artist and so,
he pitched it to them that he thinks he can do this. But I’m telling his story and I’m
probably getting it all wrong – Stan: If you could just tell the best possible
story – Marshall: Yeah, that’s the best I can do. Stan: – what would you wish the story was
like. Marshall: Well, e should do it next time.
We’re gonna open up our phone and get him on the speakerphone and he could say “Marshall,
you got it all wrong, but I still forgive you and then he can clarify it”. Stan: He can comment as well. Marshall: Yeah. Stan: James, if you’re listening. Marshall: James was guy who – Stan: Tell us your story in the comment. Marshall: He was being proactive by saying
“this is unusual to ask for my parents to support me for a while to do this”. Stan: It’s not that unusual, we both did that.
I mean, we didn’t make a business proposition though, we both as adults had our parents
supporting us. Marshall: To make an ultimatum, to make a
bet with them; “I think I can do this in two years or three years or four years. And if
I don’t, how about if I – I pay you back this much”. Stan: Oh! Wait, is this, are you making that
part up? Marshall: No. I’m making this up.
I’m speculating that that could be a proactive way to do it. I mean some parents would say,
“No. Don’t do that. I just want you to go to medical school.”
Stan: It’s also the pressure that we were talking about a few episodes ago where if
you have that, the ‘on and off’ periods where sometimes you just don’t do it and you’re
a little lazy and you need that pressure to get it done.
Marshall: Yes. Stan: That’s a great way to do it.
Marshall: That is pressure to get it done. Stan: What else would you like to add?
Marshall: I’d like to move on to our question? Stan: Really? So, we’re done?
Marshall: So, let’s yeah, let’s do the ad. Stan: Let’s take an ad break?
Marshall: And we can go in the second half. Stan: Oh, you’re not playing the ad for us?
Speaker 1: Oh! No. Crest, brush your teeth! Marshall: How long was that?
Stan: What the fuck man? You brush your own teeth. That’s the ad. The ad has a crest.
That reminds me, Cooper loves brushing his teeth. Marshall: And he’s not even not even two. And he does it himself?
Stan: He wants to do it himself and I keep trying to do for him. No. Sometimes, what
I’ll do is, I’ll brush it for like 15 seconds try to like really get him to do this correctly
and then I’ll let him sit there and like chew on it for two more minutes.
Marshall: It’s crazy though. I remember teaching my son to brush his teeth and it was about
the age of two. And I remember that, now you’re going to do this. We are going to see if you
we can do this on your own. And you’re going to squeeze the toothpaste. He went. Just the
whole thing. Stan: He didn’t start brushing teeth till
he was around two? Or when you were just teaching him? Marshall: I was brushing his teeth for him until he was about two and now we’re going
to do it. But the first thing he did was took the toothpaste tube and squeezed it all out.
And he didn’t know any better. Said, “Okay. Now, see we’re going to have to replace that
whole tooth paste tube.” Which is so hard to be patient. But it was amusing
though to see what a huge job it is to teach a two-year-old and not quite two-year-old
how to brush their teeth. And I remember the thing that went through my mind is that animals,
raising baby birds. The birds have something called instinct. Humans don’t seem to have
this. You have to teach these creatures everything. And if it’s this much energy to teach a small
creature how to brush his teeth, then all the other things, tying shoes and all, there’s
a lot of work ahead. Stan: Yeah.
Marshall: But at least it’s fun. Stan: I don’t know. Maybe my kid is smarter
than yours. Marshall: Yeah.
Stan: He seems to pick things up without me having to teach him. How old is
your son now? Marshall: He’s twenty eight. And he can brush
his own teeth or so he’s been telling me. Stan: Finally. All right. Do we have a-
Sean: Do we have a question? Marshall: Yeah.
Sean: All right. So, from Jared. Jared: Hi Stan. My name is Jared. I’m currently
a student in college studying drawing and animation. My dream is to work for Disney
Animation Studios. So, my question is, what kind of variety of drawing should I be adding
to my portfolio now in order to get the best career after school? Thanks.
Stan: This is funny how this works out. We’re talking about portfolios next time. So, yeah,
we’re going to dedicate the next episode to portfolios but we should kind of do a little
teaser. Marshall: I’m happy too. This is something
that I mean, Aaron Blaise is the mutant to life, yeah.
Stan: Yeah. That’s exactly what I was going to say. I just interviewed Aaron Blaise and
one of the questions in that interview was, ‘what kind of portfolio should animators have?’
And he answered that question. So, go watch my interview with Aaron Blaise it’s already
out. Marshall: I’ve got it queued up and I started
to watch it and I have not had a chance to finish it. But he’d be one of the first people
to go to Stan: Yeah. Umm, he says basically what he
would like to see is, if you’re going for an animator position, don’t submit bouncing
balls and all the stuff that they teach you at school. Don’t submit your homework. Submit
actual projects that you did on your own showing that you could tell a story through body language.
Show them that you’re a good actor. You can bring life to a character. Don’t show them
that you know follow through and anticipation like these things could be learned in a few
months. Show then that you got what they actually need which is telling a story. Bringing characters
to life. Marshall: Ralph Bakshi years ago was asked
about, ‘How do you get a career as an animator?’, and he said, “Do an animation. Do some animations.
Show people what you can do.” And that in his time, it was almost impossible to do that.
You had to get a couple hundred thousand dollars to fund it. Now you can do it on your laptop.
Now you can do it with with tools that are readily available. And I think he said that
around 2009, 2010 to a group of animators. But, there’s the first thing, is learn to
animate. And then prove that you can animate by doing some pieces and then seek work. And
if you’re seeking to do this at the level of Disney, well, it wouldn’t hurt to know
Disney’s animation history and to read Frank and Ali’s book the illusion of life. And there’s
just so many resources you can live in the commentaries on the DVDs and the extras and
the history of it and all of that other stuff to learn about what the evolution of Disney
Studios was. Which is interesting in its own right. For full animation, you may know who
Steven Kyoto is. Steven Kyoto and his brothers have been one of the most respected stop-motion
animation studios in Hollywood. He’s the guy who animated Large Marge in Pee-wee’s Big
Adventure. Do you know what I’m talking about? Stan: I know Pee-wee.
Marshall: The truck driver woman that turned into a monster, it was an amazing moment in
film. Large Merge: And when they finally pulled
the driver’s body from the twisted, burning wreck, it looked like this. Aargh!
Marshall: He animated that. He animated the Narwhal in Elf that says, that wishes him
the best. Stan: Okay.
Marshall: And Steven Kyoto and his brothers wrote and animated and they made a film called
Killer Clowns From Outer Space which has a cult following. I have not yet seen it.
Stan: I’ve seen that one. Marshall: But I know people really, really
care about this thing. He has come to speak to my students and he talked about how he
was thinking of doing a stop-motion animation course but he said that Richard Williams animation
course, essentially teaches everything except you just apply it to stop motion instead of
to hand-drawn animation. And I’ve watched that Richard Williams course. Seven, six or
seven times with students. I think it’s a great course. I’m not even an animator but
he teaches you. He talks about the sophisticated use of the basics. And that you just learned
the basics of animation. And then all the greatest animation is essentially just taking
those basics and evolving them into whatever else you’re going to do. And he covers most
of it, almost all of it in that Richard Williams, Animators Survival Kit Animated. So, it’s
the video version of it as opposed to the book. But that’s not about having a career.
Stan: Yeah. I mean he’s asking about a portfolio. Marshall: That’s putting together your skills.
Stan: What to put in portfolio. But I want to say, you’re asking about what drawings
to put in a portfolio. I guess that’s if you’re trying to get into 2d animation, make sure
your portfolio is very, very specific for the job you’re applying for. You know, if
you’re applying to work for Cartoon Network don’t show them a bunch of 3d stuff that you
work. Make sure you can show them that you can design characters. You can animate in
that style. Just make sure that you know what they’re actually looking for. Make it easy
for them to choose you in your portfolio. Marshall: That’s going to be the whole thing
that the portfolio thing is about. Stan: Next week?
Marshall: Yeah. Stan: Okay.
Marshall: Make it easy to choose you. Is that you understand you’re connecting the client
and the talent. Stan: I’m excited to hear your thoughts on
that next week. Marshall: Yeah. Cody Shank is an example in
my life. Cody was in my perspective class in 2014, I think it was, and then that online
school ended, but every time I would come into the online perspective class, he would
be there early and he would have caricatures of 1960s TV show characters. And I thought
this guy knows. Stan: Actors right? Caricatures of?
Marshall: Yeah and caricatures of actors from Hogan’s Heroes and things like that. He was
born in the 1990s, so this is stuff 30 years before his time but I recognized all this
stuff. And so when the school ended and I kept in touch with him I even met with his
parents on Skype and talked with him about doing an internship. He had this love of retro
work from the 50s and 60s which included Jay Ward Productions, Rocky and Bullwinkle and
that kind of thing. Which I like that style of animating. And I proposed to them that
if he were to intern with me that he would work on an animation. And so he did that.
We worked. Stan: He sang about the Proko animation?
Marshall: Yeah. That was the thing for you. Stan: It hasn’t been released yet.
Marshall: It hasn’t been released yet. Stan: It waits for the prospective course.
Marshall: Yeah. So, we can always cut this. Stan: Which is going to come in 2037.
Marshall: Yeah. Yeah right. We can always cut this out if it’s not appropriate.
Stan: No, let’s record it. But that is a very, very good animation that’s ready to be published
when the prospective course comes out that Cody Shank made. I love that cartoon.
Marshall: And he was not an animator before, he took one or two of the online classes in
animating. And before we did this, before we did this internship, I sat down with Dave
Pruiksma. Dave Pruiksma is one of the great Disney animators. We taught at the same school.
He animated Mrs. Potts, you know, Angela Lansbury’s character and lots of other Disney stuff.
And I said, “Look, I’ve got a guy who wants to get good at limited animation. He’s going
to do an internship. It’s going to be like that Rocky and Bullwinkle stuff.” I said,
“What do you, any thoughts about this?” He said, “The first thing he should do is learn
to animate.” And that means learn the stuff that the Disney animators and others were
developing so much in the 1930s. Stan: Right. Learn the fundamentals.
Marshall: Yes. Stan: But the portfolio doesn’t show that.
You don’t have to show your fundamental studies. Marshall: Yes. Okay. But let me carry through
this. Stan: Right? Okay.
Marshall: He said that the great limited animation and television at the time, this would include
Hanna-Barbera stuff, it’s not full feature animation. They couldn’t do full feature animation
because they didn’t have the time that work on something for two years. They got to crank
these things out every week. But he said those animators who came from feature animation,
doing stuff for Warner Brothers and MGM and Disney, they were good animators. So, then
when they go to TV and they got to cut corners and make it simpler, they know what they’re
doing as animator’s and they just find inventive ways to do it simpler. So, I told Cody about
this and he understood. But we figured, let’s do a little bit of a shortcut. Watch a lot
of these Rocky and Bullwinkle fractured fairy tales and these kinds of things that they
do. And Cody did that and did it and did it until he wired the style of that kind of drawing
and then bit a time, we worked for almost three years by way of Skype. I never even
met Cody in person. Stan: Yeah. Me neither.
Marshall: But we worked on it bit at a time, storyboarding it out, getting the the voices
in there and then he pulled it off. And the result of this is that without the world knowing
who he is yet, you started hiring him as an animator and doesn’t he do, I mean, he does
most of your 2d animation. Stan: Yeah. And the anatomy course, I think
halfway through we started replacing some of the Skelly stuff with more 2d animation and
he’s the one that does all that and all. Marshall: But I admire Cody just because he’s
been a joy to work with and he’s a hard worker and he’s talented and he liked that style.
So, you find somebody who says, “I love the 1960s style.” Okay, that doesn’t mean we’re
going to be pulling you away from doing this, we’re going to find a way to co-travel. And
that is a little microcosm of the way many a story is told. That you learn how to do
it. You do it. You show people. You got to get good enough to do it regularly. That’s
one of the things that can be problem. If you take three years to do an animation and
then somebody hires you to do it and you’ve got to get it done in a month or two, you’ve
got a problem. So, doing the slow motion thing to learn how to do it, then doing another
one, then doing another one and say, “Now, I’m ready to start meeting deadlines instead
of just pulling it off. Stan: Oh, yeah. I guess you’re saying if you’re
going to be applying for a job make sure you’re actually ready to apply.
Marshall: Right. Stan: Don’t just put try to put together a
strong portfolio. Marshall: Yeah. In the industry there used
to be a nickname and I won’t mention the name of the school but other people have publicly,
they called it the, the name of that school a problem. Which is that you spent a year
doing in an illustration that is so awesome and then nobody can hire you to do that illustration
because you need one year to do it. Stan: Yeah.
Marshall: So, you never learned to be a professional by doing it on deadlines but it’s okay to
spend a year or more doing an animation if that’s where you’re learning the craft.
Stan: Marshall. Marshall: Yeah.
Stan: What’s your thing? Marshall: I’m going to tell you what my thing
has been. I have been living in a another documentary. I’ve only watched this once.
It’s called The West. It’s produced by Ken Burns and directed by Steven Ives and it came
out in 1996. In 1989, he came out with one called the Civil War. But I didn’t have television.
I never saw these things on television. And I had no interest in the civil war when I
was in high school when they tried to teach it to us. But everybody says, “You got to
see the Civil War. You got to see it.”, so I watched it on VHS and it was so moving and
so powerful. So, I knew that The West would be good but I never saw it until just this
last month. And it is so moving and powerful. And to a person there’s like total of 12 hours.
Over eight or nine episodes. But it puts you into that framework of where you look at what
happened on this continent 200 years ago to about a hundred years ago. And there is so
much horror and glory and it’s not one of those things where you can watch it casually.
These are going to be an hour and a half where you’re going to be put into looking. It’s
tons of photographs because the Civil War was documented and the Old West was documented.
And so, you’re going to look into the faces of people who’ve been long dead and you’re
going to hear their stories. And I think it’ll be interesting to anyone. But to anyone who
lives on this continent or if you’ve driven across this continent. Which I have a couple
times and all other large portions of it. You will see the land differently. It’ll be
connected to stories. So, I recommend it but not as casual viewing and I don’t think you’ll
be disappointed and you will certainly be emotionally moved. And it’s narrated by Peter
Coyote who has a voice that sounds very distinctly American. A bit like the classic American
sound of Stan: You always love things that have a great
voice narrator. Marshall: Henry Fonda but with a hippie twist. Marshall: Yeah. Peter Coyote is a narration
alone is just is interesting just to listen to. Stan: Every single thing you bring up that’s like a movies.
Marshall: Yeah. Stan: Or an audiobook. You love it because
of the voice. Marshall: There are and there’s a guy named.
Stan: And it’s got a great voice. Marshall: There’s a guy named. There’s a Native
American named Nomaday. I think his name is Inscott Nomaday who has a beautiful resonant
voice. And yeah, they’re interesting people that they interview. So, it’s a lot of color
photography of interviews with people talking about these historians and that kind of thing
juxtaposed with some of the most intense faces of Native American kids. And from the camera,
I don’t know whether they knew exactly what was going on with that camera, but they look
into the camera and just it brings alive the stories of actual people. The story of the
railroad happening and all the stuff that went on with that. The introduction of the
horse to this continent and how that changed Native Americans lives. Some of the things
you’ve heard about like the Trail of Tears and and the Wounded Knee Massacre. And they
show photographs of these stuff too. So, it should be rated R in some ways for some of
the things that get in front of the camera from these old photographs. But I was prompted
to watch it because of seeing Buster Scruggs. And Buster Scruggs were stories about The
West. So, it’s like okay, now let’s take away from the movie version of The West to go to
something that’s about the real thing. That has been my thing. It’s on my mind every day.
Stan: Okay. I guess my thing this week is building my dream studio.
Marshall: I can see why. Stan: Yeah.
Marshall: This is great. Stan: One to two years ago, I brainstorm like,
what would I put in my dream studio if I could build a dream studio? And now I’m like trying
to, you know, doing it. Marshall: And you’re happy with it?
Stan: Well, I haven’t, it’s not done yet. Marshall: But are you happy with how it’s
going so far? Stan: Oh, yeah.
Marshall: Well, we’ve got this set here. Stan: This is a podcast set.
Marshall: It’s a great. Did you have aspirations to at some point actually build your dream
studio from a plot of land? Stan: Oh, like the building itself?
Marshall: Yes. Where you do the design of the layout?
Stan: I don’t think so. It was more about having a box and then putting stuff in it.
Marshall: Yeah. Yeah. Stan: Like I don’t care if I build the actual
building. Marshall: Yeah.
Stan: It’s the stuff in it. Marshall: Well, you’re doing it.
Stan: Yeah. Marshall: And it’s making this podcast happen.
This is not happening outdoors in an alley. Stan: It’s true. Yeah. Tall ceilings, we are
building artificial giant skylight. Marshall: You going to do a stop-motion animation
studio in here? Stan: I don’t do animation anymore.
Marshall: Okay. Stan: I got Cody.
Marshall: Well, this was a really lousy what’s your thing.
Stan: What? My dream studio? Come on Marshall, I brought up my shoes in the first episode,
I have headphones. Marshall: I love your dream studio.
Stan: My dream studio isn’t good enough for you?
Marshall: I love your dream studio. It’s wonderful. I’m so privileged to be a part of it.
Stan: Thank you guys for joining us in the Draftsmen Podcast. My name is Stan Prokopenko.
This is Marshall Vandruff. Marshall: That’s true.
Stan: How many stars do they need to leave us?
Marshall: Leave us the amount of stars that you think that this is worth.
Stan: And how many stars is that? Marshall: If it’s five, I’m not going to complain.
Stan: Five is the correct answer. Marshall: Thanks.
Stan: And. Marshall: And?
Stan: Leave a comment on YouTube. Marshall: If you have had an unsupportive
environment and you have overcome it give us the story. Tell us anything that you think.
What would you say to a person who says, “Look, I think I’ve got talent but I do not have
a supportive environment.”? What brief advice could you give them?
Stan: And what would you put in your dream studio?
Marshall: What would I put in my dream studio? Stan: No. I’m asking the audience.
Marshall: Oh! Yeah. Yeah. Stan: I don’t care about you.
Marshall: Yeah, right. Stan: But actually I do. But I think that
time is up. But I actually really do. Maybe we should, I want to know what your dream studio is. Marshall: Will bring up my dream studio another
time. Stan: If you want to hear what Marshall’s
dream studio is join us in a future episode. Marshall: Yeah.
Stan: See you then. Marshall: Yeah.
Stan: What are those called? Speaker 1: Teasers.
Stan: [chuckle] No. No. When like lost was the master that where it’s like a.
Speaker 1: A mystery box. Stan: What? No.
Speaker 1: Lost. Yeah. Stan: Yeah. Lost but when.
Marshall: Cliffhanger. Stan: Cliffhanger. That’s what the word I
was looking. We just left it on a cliffhanger. Marshall: Yeah.
Stan: What is Marshall’s dream studio? Marshall: Oh! Let me tell you about my dream
studio.


Reader Comments

  1. I grew up in a family obsessed with sports. Anything that wasn’t athletics was seen as lesser. I went to college on a full ride athletic scholarship but was told I couldn’t keep my major in art and was forced to switch majors before starting because it would take too much away from volleyball. Fast forward 10 years and a lot of hard work and judgement from my family and now I work full time at a tattoo studio and own a custom clothing company and also do graphic design work.

  2. Stan interrupts too much and sees things as a child. Instead of listening to welcome information, he barges into the narrative with childish comments.

  3. I’d never really thought much about it tbh, both my parents have been supportive of my art, but one of them has torn me down because of their own personal issues stemming from neglect and a career in the military, which when combining the support but my own insecurities and weaknesses from the, essentially, abuse; I’m proud of the genuine passion I have for art but it’s so hard not to get hit by the ‘resistance’, as mentioned by another comment here that made me think about it. I’ve often ignored the abuse I received, because I’m in such a good place now with many opportunities and supports, that now I’m taking another look at it, it’s strange but makes a lot more sense.

  4. When I first started to try to get into the drawing industry, I had a friend who drew comic covers take a look at my portfolio, and he told me I should just quit, that I would never make it in the industry. That hurt…but I asked him, what can I improve. So he told me there were some major areas that I needed to work on, proportions, composition of my layouts, and some drawing basics. So I took note of that and spent the next year focusing on just those things he told me. After a year, I showed him my art again and he said it wasn't even the same artist he saw before. Try to get your critics to tell you what they don't like, and then use that as a focus point to your improvement.

  5. I'll have to see if I overcome my unsupportive environment since I'm in it right now. Being an adult with a wife and kid no one thinks I should go back to school for illustration because they think a more financially supportive job is best. Whatever happens though I'll still learn to draw on my own regardless what anyone says.

  6. Man this stories on the comment section of those who have rough times by surrounded with unsupported parents and acquaintance. This makes me greatfull a lot more that my parents are supporting me to be a digital artist. I hope all you guys always find comfort in drawing maybe its not your main career as an artist, but whats matter is you guys keep drawing and be happy. 😊

  7. "Many parents can be TOO supportive" OH MAN, I can't relate. I'm 25 and I still feel like a teen who knows nothing in my parents' household. They don't approve of me drawing whenI'm studying graphic design.

  8. Usually a part of the silent viewership but I just wanted to say that this podcast has quickly become a cherished moment of mine, painting along the both of you talking. The quality of information provided by the friendly flow of casual conversation you got going on is a really awesome formula. Looking forward to more and more episodes. 😀

  9. I was discouraged by my family from studying art, but I'm studying business and informatics right now and Its not the worst decision ever. There aren't really any art schools in my country that are worth the money, at least in terms of what I'm looking for. I don't really enjoy my degree but I learn a lot about business, marketing, design thinking and some programming which could be really useful in the future if I want to do my own thing. I've been teaching myself in my spare time and I'll save up for a short course of some kind if I feel like I'm not getting anywhere on my own anymore. And if I find that I don't enjoy art as a career or I can't find work I always have something to fall back on. Honestly the internet is so good right now if you want to learn art and get critique that if you have internet access you could get to a really high level if you practise enough and in the right way.

  10. I must say, the only thing better than watching your videos is watching them with zero ads. Forever.

  11. My parents were always supportive of my brother and I. My dad drew too and he sure did pass that artist gene down, to many members of the family. Two of us got scholarships to colleges, but I chose Anthropology with archaeology as my profession. Later on in my life, drawing and painting came back to me and I am selling my work. I couldn't be more happy. Thanks Dad for gifting me with that gene of yours, when I was being born. I am sure I can be a better artist if I took some classes from you guys. I am the rebellious sort. LOL

  12. I've been enjoying your podcasts a lot, so thank you for making them and talking about such interesting and essential topics 🙂 I'm looking forward to future episodes !

  13. On leaving school I wanted to become a photographer. Parents had my head master tell me not to become a photographer. I was also not allowed to join the military. I was physically forced to become a welder fabricator. Because my Father (Army Major) called me thick. After completing my welding apprenticeship. I was financially able to take control of my life. My final qualification was a HND in computer science. spent the next 30 years working as a IT financial consultant. Earning £5K per week. Never forgave my parents. On retiring I have taken up drawing and watercolour I still maintain my interest in Photography.

  14. So for me and my family kind of was supportive they were supportive but it was more like okay well if it doesn't work then what's next then it really say that so to speak but I've always felt like that was their underlying like comments that they wanted to say but not so much say like what would hurt my feelings would be when my dad would say things that I got to have no life because I'd be in the room drawing all day but how would I put in the work to get better as an artist it was only until like I started doing tattoos or getting prospects as a professional artist and they always say that I could do it like to me that wasn't fair cuz then they would try to get on me for like on how to run my business as an artist or how to do things as an artist when they're not the ones doing it so late to me I always feel like that just wasn't fair but what I would do is just try I just realized that I had to be my own motivation to get better.

    let's who am I to judge when I'm My Own Worst Enemy because they could be telling me something looks so good but then I'm looking at it like a it looks terrible so how could I really be mad at the comments the positive comments that they would say when I'm beating them up with my own negativity but I think that's also what pushed me is knowing that like I can be better but I don't really know what better is it is if I'm always so quick to judge it and call it something ugly when it's really nice but I'm learning.

  15. Haha I can't really relate to that:
    My parents were like: you can choose any job you want but you have to make a living out of it. We're not going to pay till you're 40.
    And I was like: Perfect, because I have no plans to do an art related job so it works for me.
    I'm studying industrial engineering now and art is my full-time hobby (next to music) and I'm totally happy 🙂

  16. One thing that always messes me up is when I compare my art to those that I like or want to be at the level of and realize how out of my depth and how far away I am from being "good" thoughts like these arrive: "man I'm trash at drawing I should just give up" or "what's the point of drawing anything I know it'll be bad" I get a total defeatist mentally due to me over shooting myself thinking this should be easy why can't I get it knowing that it's going to take work, work that's hard for me to get

    I'm sure some of you can relate to me on all this
    (At least I hope).

  17. third world country people can really relate to this 100%
    unsupportive parents
    Toxic environments
    Power
    peers who can't relate
    "POWER"
    POWER
    POWER

  18. I grew up in an abusive home and it has had a massive impact on my growth as an artist. Not only was I discouraged from doing art, but from ages 16 until 18 when I escaped, I was not allowed to draw. Yup. I would be punished by my parents for drawing. It was against the rules. My mother constantly got mad at me simply for taking art classes in school and tried to call the school to transfer me out of all of them and into the most boring electives she could (I say that not to bash people with other interests, of course. She knew school was my safe haven and wanted to make it miserable for me in any way she could). Sometimes she would do random searches of my backpack and start screaming at me over my drawings and art projects. I had to hold onto all my papers and notes stating my art class assignments to PROVE to her that these drawings were mandatory for a project. When she couldn't stop me from drawing, she micromanaged and insulted what I drew. I literally wasn't able to study anatomy until I moved out because if I drew so much as a girl wearing a short sleeved shirt and shorts, id be accused of drawing sexual content and my sexuality would come under question (yup, they were homophobic too).
    It took me a long time to stop being on edge while I draw, especially when other people are around. Now, it's still hard to pick up the pencil. I've almost conditioned myself. After years of abuse, I basically just taught myself to kill time and try to make the day past as fast and problem-free as possible. I wanted my childhood to end as fast as possible so I could get away.
    3 years free now, but there are still clear residual effects and setbacks caused by my abuse. Including on my artwork. I still have a whole life ahead of me to fix these things, I'm still young! But it's rough knowing that I don't have anyone by my side supporting my future as an artist.
    Now that I'm free, my abusers still have the audacity to brag about my artwork. They stalk my social media profiles, too. I know which accounts are theirs. I have to remind myself when I start selling at conventions that I can't announce that I'm going beforehand and it's doubtful that it will still be safe after. They may very well come to these cons while I try to make a living with my art and come harass me and intimidate me. Even now that I'm free, they're still trying to make sure I fail as an artist. But I'm still pushing through. This is my passion.

  19. I guess I got lucky. Both my parents are supportive of me trying to be an artist. I have occasionally had toxic environment when I was in school and there was somebody named Adam who thought his art was hot and everything I did was garbage and chicken scratch, and another time with my eldest sister writing a letter to her friend that I just copy everything, but I don’t really blame her we were kids at the time. But that’s a story for another time but for the most part; my family has been supportive so it wasn’t all bad. Thanks for the video it was a good discussion.

    And for all the people who don’t feel supported don’t give up you matter, and if you keep working at it you will eventually find that support one day. Keep going I know you can do it!

  20. Proko, i'm 22 And i start learning to draw this year, i been using your free lessons And others sources, can you talk on your next potcast obout How people like me old beginers should Aproach drawing, Thanks.

  21. Thank you!! Both of you (and all involved). I’m working on my own at my art, it’s great that you guys dig into the everyday experience of artists. Keep doing what you’re doing, in particular exploring the fundamentals and less glamorous aspects of daring to put pencil / pen to paper.

  22. Currently trying to overcome my past, as an adult with family and all the responsibilities of the world. I still remember giving up any hopes of art when I was a child. I was about 10-12 years old and was doodling on the back of my book instead of doing my homework. And suddenly I felt someone standing behind me. It was my mum. And she looked terrifyingly furious. So much anger… And she beat me so hard for doodling and threatened me with taking me out of school and sending me to work at the street market. Up to today, that memory is burned into me and I curse it so much. I just stopped trying to learn new things. But now I have my life and I'm trying to learn from scratch. Being 30 and trying to learn to become an illustrator (even as a hobbyist) is not easy with a full time job and family. But I'm making progress thanks to people like Proko and the person behind drawabox and other wonderful artists guiding me past frustrations and roadblocks. So… Never overcame the environment. Just trying to overcome the memories. To all of you who are still living with unproductive environments created by elders around you especially, here's a virtual hug from me to you. I hope you can overcome it. Just remember to never stop loving yourself.

  23. My parents were always supportive when I was young and they wanted me to make a career out of it. Once I explained that I really have no desire to make money off my art and would be much happier just doing art for myself, they started telling me it's a waste of time. I even got into an argument with a friend after that friend told me that I should just quit drawing if I'm not going to make it my job.
    Art is not a waste of time as long as you are enjoying making it. You don't need to make a profit off it if you don't want to. I think that's important for people to know. As long as you enjoy the making of the art then it was worth the time you put into it.
    You don't need to make art your job if you don't want to. If you just prefer drawing for yourself, then do that!

  24. My family was always too supportive. I always felt gifted because everything I created got pinned onto a wall and praised. It was a really bad experience to realize how average I am.

  25. At the end of the day, any creative field (whether its graphic design, illustration, etc) is typically skill based. If you're having trouble finding work, there might be a chance you just need to get better and practice. Regardless, if your work in amazing, they will always take it over the person producing amateur stuff.

    For example, I work at a design firm in CT and we've been searching around for another designer. Although, all the designers we've found in CT that are available, don't really have work thats up to par. Yet i'm sure most of these people feed into that 99% statistic that was mentioned saying its impossible to be a creative…

  26. Most dreams aren't impossible to achieve. Although most people at some point are talked into believing they are impossible to achieve. If you believe that at any level, you already lost

  27. those thumbnails make my day every single time. can you imagine trying to approach a lady from behind and when she turns around has the face of stan? looool

  28. I love how you guys add the artworks and artists names u mention it really helps us with find new artist to help inspire! thank you

  29. I have a family I can't trust in support, they make me feel likse art is an easy thing to make….by being over-positive. Learning Art is obviously not an easy task. My aunt once found a drawing, thought it was mine, praised it, A LOT, but truth was, it was my 6 years old's sister simple tree, sun, house drawing…. My mother does the same.
    I like support, but I hate FAKE support.

  30. This seems bizzar to me since I'm the only one in my family who doesn't think I should go to art school

  31. I listened to the whole podcast, great talk! In my case, my parents are indifferent to me pursuing art and don't really care much for it but I've grown up in a poor dysfunctional family that has left me burnt out a lot. I love drawing, but often times I feel unable to create imaginative concepts and stuff. Most things I do come out boring, stiff, and lifeless and I've been told that through online art groups as well which is something I'm always striving to improve on by learning new things. However, growing up in a toxic family has made me insecure about my voice as an artist and makes me doubt myself and my ability to succeed in anything. I always hear artists in interviews say "you need to live life" and have great experiences but I have no friends at 21, my family is very nasty towards each other, and growing up we were too poor and there were too many fights to "live a little" and even celebrate stuff like birthdays and holidays. I always get triggered when I hear artists say it because it makes me feel that everything I will ever do will be crappy because I've had a crappy life so far. I recognize it's not a necessity to have a positive environment but it is a mental hurdle I'm desperate to overcome and I know its possible I just need to be more patient and nicer to myself. Thanks to those who are sharing their stories in the comments, I didn't think there going to be some that also grew up in toxic environments similar to my own.

  32. My mother supported my art by enrolling me in the “Young Famous Artist Course” but only encouraged me to either be a school teacher or secretary because that would be the only way to survive

  33. I graduated in computer science and I want to pursue art and be a professional artist. I don't have any artist friends and mentors. I'm just relying on great artists on the internet for advice and dwvelop my skills. I have supportive family though. But I still feel alone and a little lost.

  34. as someone who was broken by an toxic enviroment the most important thing for me is to believe in myself since i was kept being told i was worthless and my dreams were worthless i started believing in that. believing in myself was hard and still is but at least i know i have one person who knows i can do good and thats me.

  35. I think it should be balanced and parents not giving full 100% support all time shouldn't be seen as abusive. As kids start to grow older and make own decisions, parents, no longer being in total control of life choices can give other perceptions and optional views of possible paths. Let's say if one's parents have every scribble of their child on the wall, they might not give their child the most objective feedback.

    Sometimes big support might also create the environment of pressure. The idea that one simply does not fit into those praises people are giving and it might result tilt. So parents being a little against bright eyed idealism might bring some important friction to make proper steps on arts, sometimes it might require taking different jobs until there is proper market on ones art or proper vision in what way one can make that money.

  36. Yes, I had an unsupported parent (single-parent family) and after 25 years of working on wonderful (and not so wonderful) jobs in the animation/illustration business, they still are unsupportive. Whenever a contract ends, my brother and his wife still think I should go back to school and get a diploma in something that would give me a steady paycheque like it was in the 1970s. I love my career and I wouldn't change it for the world!

  37. Unrelated to the question asked, but I was curious on your experience with artists with Aphantasia. I remember in a previous episode one of you mentioned visualizing everything in your head, but for those of us with aphantasia that simply isn't possible. We can't see anything; as a result, we can't visualize a scene or rotate a box in our mind.

    While, I'm surely it is only a minor setback to creativity and art skill, it does make me wonder. Do aphantasiacs struggle with art more frequently than others?

  38. For me it is kind of weird, i cant exactly say my parents stood against me but they certainly did not approve of me following art as a profession since i was 13 [they wanted me to be either a sailor (father) or a plumber (mother)], i am 27 at the moment, and i kinda do have a deal with them in a way, i just quite my job one month ago to follow art full time, i was an interpreter, and i have the mere amount of six month (5 at this point in time) to create a good portfolio, and probably go overseas…i work a very tight schedule everyday that starts at 8 and finishes at 7pm, i do nothing but draw, animate, do online courses and build my online profile. but i love everyday so much, it's a blessing! My parents do have their concerns but a man got do what a man got to do 😀

  39. hearing marshall talking about artist struggles …bring me memories…and recent situations im living with my parents…dude sometimes i feel so fckn old for this but im still fighting to find my place…

  40. Since my childhood I've been told that there is no money in doing art. It's only a hobby. So my family forced me to get a "normal" profession. So I did….

    It's been more than 15years I work full time on a profession I hate so much. Luckily in the same time I work in doing art. Consistently 2 hours a day.

    The effect? – I am an owner of art company and I earn more than in my full time job, still working 2 hours a day…

    Recently I told my wife that I can easily make my income double but I have to quit my full time job… Probably you can guess the answer – forget honey "doing art is only a hobby".

    Conclusion?
    1) Don't expect anyone to understand you.
    2) Don't listen advices.
    3) Keep your plans secret.

  41. I wish i could've seen this 15 years ago.
    My dad told me to not even try because "there's always gonna be someone better than you".
    That's very discouraging to a child.
    I never stopped drawing tho but I also never pursued a career in art.
    Also as a parent you should not only encourage your child and be supportive,
    but you should also inspire them by taking them to an art museum for example, or an exhibition about whatever their interested in.

  42. Liking old art is unusual? I really like Dean Cornwell and Norman rockwells stuff and overall the 1930s southern astethic

  43. Thanks for these, guys. I've learned a lot from Proko. Also, love Marshall's work as the narrator in A Christmas Story.

  44. I studied for my B.A in fine art at Wirral Met which was an off shoot of Liverpool University in the UK… It destroyed me. Ruined my life, demoralized me and taught me nothing. I've never recovered and 20 years later still struggle with the emotional scars.. It was a scam degree at the time because they were trying to get as many pupils onto the course as possible, in a new college building, so it was a complete shambles ran by incompetents. It disillusioned me and the people there seriously damaged my sense of self, confidence, and worth.

  45. 🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟

  46. That ending was the best, actually it's what got me to comment, so well played guys!

    I've had a unsupportive family environment, I decided to really pursue Art at 24 after I had actually been to Art School and University…but I didn't pay attention when I was younger.

    I?'ve managed to become a games artist for 5 years since but now I am taking some time out to really improve my skills again 🙂

    For me I believe in working hard and keep pushing, people will say this and that and you have to decide whether or not they are right… I've seen many of my Art friends try and do art and end up dropping off one by one.

    My instagram is https://www.instagram.com/jensenchung/?hl=en if people are interested.

  47. I began drawing anime and disney when I was like 8 or 10. I was really passionate about it for years, experiencing hyperfocus a lot of times while drawing. I eventually stopped around the age of 16 when life got kinda serious and academics where becoming a priority.
    Back then I wasn't sure what i wanted to do in life. I just "knew" that art wasn't going to make me money. And the ressources about the many types of art careers weren't availabe to me.
    In addition to that no one really was supporting my passion and that drove me away from that direction.
    I didn't know what I want in life and I didn't have confidence to pursue something outside the box.

    Now that I am 25 I know exactly what I want in life. I had to try three subjects in university to understand that I am not cut out for academics and I never have been. I was always an artist.

    Being an artist is like a calling. You can not run away from that.
    And no one can drag you away from it either. No matter what people say.
    That creative spirit is IN YOU. It lives inside you.
    No one can take that away from you.

  48. My story is split, I mean, my mother at the beginning was concerned about my career path and how it will turn out, but then she supported me and has been supporting me in all of the things I have tried to do no matter what, and on the other side, I have my dad, which don't career what I do for living or in what things I am into so…

  49. My mother and ex-boyfriend never supported me. And depression starts draining me, and draining.. I'm don't make anything. I can't force myself to make anything. It's give me a frustrating because I can't done nothing! I'm in therapy but can't even leave that. I should draw, art therapy but I can't. It's so bad. 😭💔

    I'm trying make a portfolio for art school in my city, but I can't even find motivation and my depression make this worse. Pro tips for motivation? Make this better?

  50. Another bad thing is when you are spoiled by good conditions..

    Saying that I mean that your parents provide you everything and there is no room for a challenge, you just don't feel you need to be fighting.

    But of course it is very personal, but its kinda a trap and you are not getting the true matter of the problem in the beginning.

    So that's much more worse than unsupportive family.

    Because you just don't push yourself to climb up the next mountain, because there is no motivation, which for the majority of us is money.
    So if you have money it's hard to push yourself to go hard…..for something else.

  51. God, such convoluted answers. For your animation portfolio show examples of strong posing, silhouette, storytelling. Do some expressive animations using whatever software you can get access to, though stick to 2D or 3D if that’s what you’re applying for.
    You can get a different position than your ideal one to start with. Once you’re in the door more options will present themselves.

  52. 1 you have to know what is the reason made your parents unsupportive

    2 prove them they are wrong

    3 Tadaaa!! they will support you

    my parents thought that drawing is not something to get paid doing it
    but they started supporting me the moment i made money for the first time from commissions
    they were like
    is there anybody willing to pay for you to give them just drawings !!!
    i was in high school then
    and they supported me to go to art school
    and now they are helping me very much and they become very supportive + am living in a great environment with my best friends and art mates from the school

  53. Hi guys! Amazing work. Can you guys do a show when you teach how you would approach and how far you need to go in studies to draw American comics. My feeling is, for draw something like marvel and dc comics sounds like you really need to know perspective, dynamic poses and anatomy but how far do you need to go in studies of fine art? Thank you for your attention!! Keep going with the fantastic work

  54. It's so weird how American parents would take rent from their children. Not bad, I guess but so alien for my culture.
    Also I have a not exactly toxic but not exactly supportive family about art the best decision I made was to move out. That way you are creating distance with them and even if they don't support it's not 24/7 but just every now and then when you meet. Sometimes it looks like a bargain to live at home, let them take care of utilities, food, laundry but honestly to have freedom to do what you want is so much more important even if you have to rent a cheap room in not so great conditions.

  55. I don't kow if there was unsupportive invrionment. there was just never a real chance we havent even a art teacher at the scool, i mean he technical was there but olways drunk. to get pincels for scool the parents needet to drive over 200 km. We were living in a villige. There was abusing and punishment in my childhood just for everything that i didnt overcome even yet. The opinion about beeing an artist was like had a chance to be an Astronaut. Until i was 18 years i didnt even Spoke, read or even understood English
    i learned it by my self in 2 years. I learned german in 1 year. 3 months ago i started to learn Drawning by my self. i dont want to take the shortcut to get good artist in 2 weeks:). Im already 31 maybe i will not even become a good artist. But Your videos about anatomy and basic Drawning are Really helpful. few Days Ago i was payed for making some Emotes for twitch 🙂 small project about 80 dollars. @Proko Today i thought about an Art Studio That would be with Big windows even the whole walls would made of Glass so the Sun can FLooding the Whole Studio. For Evryone i hope u will reach your dream no matter what or who will try to stop it from doing to it

  56. As far as I can remember, my mother was the most supportive person in the family (we are three boys, one is in animation and the third one left graphic design because of toxic bosses ^^ )

    But I remember very well that I struggle soooo much to receive approval from my father. It totally changed the day I had my first job as a Background artist (wich actually was just fixing background because a chinese company as left a production before the end, so we replace them and try to save what left XD)

    We had our first real conversation from a father to his "growing son" (I was almost 30)

    The thing is that my grand father was an accomplished artist and cartoonist. He worked with severale great cartoonist from the 40 – 50's like Franquin, Morris and so forth, but he was also alchoolic which put my father who was the eldest of the familly in the position of "Bread Winner" as my grand father wasn't always able to work.

    And so I remind clearly that for few years when I desperatly tried to learn everything was quite chaos around me.

    I will never be able to thanks my Mom for her help and believe in her kids.

  57. Oh jeez, march 2019 was one of those moments in my life that i was getting my soul energy sucked out of my body. I burned out to meet the deadlines l, badly. I didn't slept for almost 6 days straight, high on cocaine or speed just to stay awake. Since then i finished the fine arts accademy and everything now is better cause i had the time to recharge. Always try to don't burn out like this, it just make the fun go away…leaving you alone, tired to the bones, addicted to some shit and depressed.

  58. As a high school animation teacher, I've had to be that adoptive parent for a handful of students who have had toxic home environments ruled by unsupportive parents. My advice is right on par with what Marshall says here. I do have to walk a fine line because parents come up to me, challenging the things I've said. At the same time, I pretty real with my students. If their first response is playing Nintendo Switch, Playstation, etc., and/or going on social media (for hours) rather than work on their craft, then spending tons of money on art school or fancy devices may not be worth it for their families. My job is to curate much of the content available because there's so much out there. I must admit that many of my students just aren't "hungry". A sliver are thirsty to better their craft, about as many that can be counted in one hand. And, that's after teaching high school for roughly 13 years. But, it's really difficult to witness the talent coming out of my classes and hear students tell me that they've had to work side gigs just to buy some art supplies because their parents think art is stupid. I've hooked up some of these kids with books and more importantly, special skill-building assignments. If anything, these students will wear their struggles as badges of honor when they are successful.

  59. Side note, does anyone here know where I can get that Richard Williams 16-DVD box set that Marshall mentions, here? I would love to get it for my students. There's an Animator's Survival Kit Animators website, but the link to the store is "dead". There's no mention of it on eBay or Amazon. Any help would be much appreciated!

  60. My father tore my some of my drawing because I was taking too long to go eat lunch with him outside but I didn’t want to go outside and even though I’ve got good grades, did all my homework, got into the number one ranked school in my country that went against my wishes in going to an art school, I still have to face him kicking, slapping and punching my abdoment and face. Even my homework got torn in his rage. I redrew that piece in the end. (4 months ago)

    Another time was that I was staying up to 11 as the printer couldn’t print a gift I drew for my friend and classmate for her birthday tomorrow drawn digitally. He started to inpose bans on my already limited time drawing. (1 month ago)

    I couldn’t practice digitally or traditionally, having to draw in school. Recently, I’ve started to do Inktober on my exam papers and made a deal with my friend to go to the council to talk my feelings out because I’m so drained emotionally seeing my creations that I’ve put 4 hours worth of effort into being torned and destroyed by a parental figure and I just- I just can't deal with it anymore. I still live in a society were people couldn’t care less about the amount of effort spent and I’m supposedly banned from instgram because I’ve talked to some people about my situation and my father was checking through my phone and saw that I mentioned the police being called to our home to stop abusing my mother by hitting her with a towel and decided that I wasn’t supposed to be doing it.

    The police being called on him happened 7 years ago and the banning me from instagram thing happened 4 months ago, 15 to 30 minutes after him tearing my art and worksheets.

    These are links to my torn art pieces: https://tiktogram.com/user/uwu_things_happen_here (it should be in the highlight) and this is the redrawn version: https://tiktogram.com/media/2036051276453836323_12389054717 I’m just so tired I’ll just leave it at here I should be studying math.

  61. My family encouraged me to draw when I was a kid, but when I was a teenager I started to be bad at school because my family was having problems and one of my main things for overcoming those bad moments was drawing and designing, when the school year finished I had to repeat the school year :/ and my parents burned all my drawing and forbidden to draw again… is still hard when I think about it but I understand. Now I’m working in get that spirit again and is hard, my wounds are not bleeding but I feel the soreness and I’m insecure about my art and perusing my dream as artist. … I’m 35, I guess I’ll have to work double XD

  62. I would line all of the walls of my dream studio with cork board so that I could tack sketchbook pages and shopping lists on it. Otherwise I'd just have a comfy chair and a spacious desk.

  63. iam 19 years old…making a living as an artist at 19……i decided to ignore every negative thought coming from my parents and unsupportive people…and look where iam today….you just have to cut down that negative force…….and focus on your goals…make connections…hang around people who feed you wth positive energy….and bring the best out of you…yah thats pretty much it

Leave a Reply

Your email address will not be published. Required fields are marked *