Join Anthony Jones for an in-depth discussion in this video Anthony Jones, part of Anthony Jones: Concept Artist.
- My name is Anthony Jones and I am a concept artist since, I think, 2008. I forget. I've been working for companies like Blizzard, Hasbro, and so on and so forth. Currently I'm a teacher, and what I do is I teach young artists the ins and outs of concept art, but more importantly, I think the most important thing that I do is also keep them motivated. I find it's not just about teaching how to paint, but teaching people to keep painting.
You know what I mean? Because a lot of the times, people are like, "Okay, I see how you do this and how you do that." But sometimes they get distracted or they have bad time management. And so I find myself someone that's really good at that, I've learned over the last several years, so I teach people that too. That's kind of what I do now. Currently we're doing a lot of VR stuff. We got a job with Insomniac to work on one of their games which is, it's already announced and stuff. I believe it's Edge of Nowhere.
We're working on that and it's all in the VR space. VR is pretty big now, and we're really in that right now. As a concept artist, I went from Photoshop, and then to photobashing, to then to 3D, and then the next step to me is like VR. So, Unreal, Unity, all these game engine basically are out and they're free, so it's kind of like why not learn them? It's actually not too difficult to learn them, and I always encourage my students and anybody and say, "This is going to be the next thing everybody is "going to be complaining about." There's always one generation that's like, "Back in my day," and I'm already seeing that happen within my generation where people are going to be complaining about VR and I'm like, "Just get in it." There's no reason why you shouldn't.
You have platforms like Lynda.com and other online tutorials that are available. A lot of their stuff is even free, it's on YouTube. There's no reason why you can't learn these new tools. We're working on these things and we're literally on the frontier of the stuff. For instance, I worked on this project that I won't mention, but I basically built my concept in a virtual space, so they were able to fly around and see the designs. Not just in the three dimensional space.
Not like a 3D file like a JPEG of it, but actually see it with light so they can manipulate and, and they don't have to have any experience. That's the beauty. Usually, you have to have a 3D guy on set or whatever, but with this, as long as you know how to play a first-person shooter, you can navigate. I think that's pretty cool. I imagine, one day it's going to be like a year or two from now, the concepts I'll be doing will be super epic. Imagine Jarvin from Iron Man.
So you would walk into the environment it's like (laser sounds) lasers and all that stuff, and you see the concept come out on a dolly. I imagine that can literally happen in a few years from now, and the director's like, "All right, approved." Because, usually a lot of the reasons why you have concept art is to save a lot of money and time, but if you're able to show the concept in real time with real lighting and a lot of control for the director or whoever is in charge, then they're going to approve it almost immediately. There'd be a few other iterations.
I think there's still room for 2D, obviously. It's just fast to be able to, in an hour or two, demonstrate, "Hey, this is what it's going to go towards. "Give me about a couple of days or even a week, "and I'll put it into a virtual space you can just explore. "And if there's any changes, "then I'll still make those changes." but the iteration stage I think will be shortened. Instead of taking months and months of like 2D iteration, I think that should only last a week or so, and then you just jump into 3D immediately and the whole thing could be a one-month turnaround.
In terms of investors, I think that's what we did for this client. We gave them this 3D space, they showed it to their investors, and they already want to work with us again. I talked with a guy who said back in the day, there was a time where just knowing Maya would get you tons of money in all these jobs. Just knowing the software, and I feel like that's kind of what's happening now. If you just know Unreal and know some 3D, and you can put those together and build virtual environments over a short amount of time, you're on the frontier of what's happening now.
This date is 2015, we'll see how it changes in two years. It'll be a whole different deal, I'm sure. But what I'm trying to say it's just, it's happening so fast. Even every day, I'm just kind of like, "I can't believe how crazy the future is." We're living it already. I'm just trying to be on the frontier of that. James Cameron was asked the same kind of question. That's why he's one of my favorite people in the world. If you ask him, because he was on the frontier, he's sending stuff into space, he's deep sea diving to the bottom of the ocean.
He's one of the few people that's seen the bottom of the ocean. They asked him, "What's your favorite technology?" and he says, "Paper and pencil." A lot of people don't know this, James Cameron used to be a matte painter, amazing matte painter. If you look at his sketches for aliens, he did these amazing sketches, like these storyboards that are actually well-drawn perspective architectural designs. He says because it's like paper and pencil, there's nothing faster to get an idea down.
I believe that still. I think technology is becoming so much easier, so much more accessible that it's almost like the technical know-how is not important anymore. If you were a 3D artist, you had to know how to UV, you had to know how to retopologize, you had to know how to texture, you had to know animation, like edge flow. You needed to know all these things, but now software is just like, "No, you can just press a button and we'll figure it out." These jobs are being replaced by computers and really good algorithms, and so now it's getting to the point where it's like you got to know what you're talking about.
You have to understand, like you said, like color, lighting, form. The tool doesn't give that to you for free. That is still a human thing, and I can't wait for the technology to be so good that all you have to do is wear a helmet, and then you just imagine the concept. Literally, there's no tools anymore. It's just like whatever you can imagine, it will make. Then it will reveal that if you don't know what you're talking about, you'll make these abominations of like art because you don't form anatomy on a conscious level.
It's called the illusion of knowledge, this idea where we are exposed to things all the time, for example like a zipper, we use a zipper everyday of our lives, but if I were to ask you, "Hey, here are some raw material, "build a zipper from scratch." You just wouldn't be able to do it, right? Unless you were like a zipper manufacturer or someone that knew that field, you have to actually know all the little parts of how that's put together. That's what makes us humans great, because we can build off of others, we don't have to, I don't have to know how my cellphone works to utilize it and really optimize it.
But my point is, is that like, yeah, knowing stuff is very valuable and we live in the age of information and you got to know stuff, because the tools are just going to be too easy. I went to a talk actually with a kid from high school literally 19 years old. He knew guns, man. Like he's a gun designer for Star Citizen, and he's an amazing artist. When you hear him talk about guns, it's almost like he would be able to build a gun from scratch. I realized, listening to him, I was like, "I don't know how to make guns." I'm a terrible gun designer.
This is a 19 year old kid who is like taking paper and like blueprints and building guns out of paper and I'm just like, "That's what it takes." He's using Maya and stuff and to design and it's like people are asking, "Oh, how to use Maya over Max and this?" And he was like, "Maya just works." It doesn't matter, because it's just, he just knows how to make guns. I think eventually people need to catch on that, it's not so much the tools you should attach yourself, it's just knowledge. Obviously, learn the tools, but knowledge is very valuable, and I think it's going to be even more so pretty soon.
It's going to be mostly 3D for sure, because there's, 3D is getting so much easier, I just started jumping back into 3D. I've always dabbled with ZBrush since college. Then recently they just made it so intuitive. It's almost kind of silly not to mess with it. I have students who asked me, "Oh, should I learn 3D? "I'm afraid I won't learn my fundamentals "or I have like this lack of ability, "I'm like spreading myself too thin." And I said, "You can learn your fundamentals in 3D, "who said you can't?" There's a really good artist, a friend of mine, a good artist friend of mine, whose name is Vitaly Bulgarov, he's pretty much hands down one of the best 3D concept artist that exist.
He doesn't draw, but he has great design sense, he has great mechanical functionality in his designs. He understands practical design sensibilities and he learned that through 3D. I was like, it doesn't matter whether you do 2D or 3D or photobashing or VR. You just got to know what you're doing. It doesn't matter what the tools are. You just got to know where you're doing and then the tools will just support it. Also there's this weird idea of that people think traditional and digital are very different, the same thing.
The reason why I paint quickly because I'm always like, I'm known for my speed in terms of digital painting. People think maybe it's because of Photoshop, obviously Photoshop helps, but it's because of traditional painting is why I paint fast. I studied from masters, they've been doing it for like millennia, you know what I mean? They've been painting for thousands of years and I'm just taking notes of all the stuff and strategies that he's developed over the years.
For me it's, when I ask the students, I ask this all the time to my traditional students, I'm like, "So, just because "you can paint in let's say watercolor, "does it mean you could paint in oils?" No, right? It's the tools. From oils you can go to gouache? From gouache can you go acrylic, into pastel? No, those are all separate but yet for whatever reason people think that they're the same, they're not. It's the same thing from oils to Photoshop, in Photoshop to 3D, they're all just tools, but what doesn't change or what transcends the tools is knowledge, just knowing.
I learned this from watching a traditional painter paint in front of me and he had like a fully render like torso in like five minutes, and I was like, "What the?" And Bob Ross is a great and famous painter and he paints traditionally and he has landscapes in literally five to ten minutes. So speed is not so much about the tools, it's about who is wielding the tools and what they know and they use the tools to the maximum capacity as well as knowing what they're doing. In the future this concept artist will be people that will just pretty much live in 3D and then 2D will be embraced because of the speed of just getting those ideas on paper faster, because there might be a weird kind of generic sensibility, I feel like it's going to reverse, it's going to go back so you kind of just draw, you know what I mean? Before they jump into their 3D, but I could be wrong, maybe the 3D is so good that you could sketch in 3D.
You can do like dozens of designs in ZBrush and it will just be just as good. It's hard to tell, but I know everybody is going to be definitely 3D, it's going to be a standard, it's already is, I think. Being a 3D concept artist, you'll have to be, like for us we were really loose with what we're doing and people understood that we're going to a more tighter version. That still remains, like you still got to stay loose. You can't like put all of your effort into one design the first go, you have to kind of spread it thin, say "This is kind of where we're going, "here's the general shapes." Same thing you would do in 2D, you don't just straight up paint a fully colored illustration say, "This is my only design I ever did for you guys.
"Is it approved or not?" Almost always it's not approved. You still have to do varying sketches, this is now being in 3D. That's what we do, we do like varying of sketches. Then I actually threw them into Photoshop and paint over it, say, "This is kind of where I'm going though. "Here's my ambitions with these very basic models." Then they will look at them, "Say, okay, great. 'We like this one, that one." Then I would go back into 3D and model my concept to match the, my concept.
Then do that again, and give him another paint over of like more in details and then eventually we get to the point where we almost have the full 3D model in view and then also a more painted concept that's a little more glamorified, has all the Michael Bay effects and lens flares. For me it's like, technically it still will be the same, you still need rough, you still need the sketch face, you still need the finalizing, I think that it just will look different. Because it's the same with any other medium before it, it's better to have more option in the early stages so that way you can choose and kind of Frankenstein it until it becomes a final concept.
I don't think any good design has really, very few maybe in the history of good designs have been done once, and it just was like, knocked it out of the park, regardless of the tools. Technically, the only reason why people don't do it in 3D now or in the past is because, it's just so hard to just even make something in 3D. Let alone be just playing around in it and having fun. Now that vary is like getting knocked down like day by day.
We're at SIGGRAPH, I'm sure there's some technology some guys like, "Hey actually, now you could probably "just draw a little line art, "and we'll just make 3D replica." Done, did, and then print it on your desk and then show your, you know, like this, it's like, as we speak, I'm sure people are on the frontier or some new tech that some kid in high school is going to have the fourth version of it where it's all tailored and perfect and they don't even know that there was a time where people probably used Photoshop to design, you know what I mean? In my generation, we don't know that there was a time that Syd Mead existed with using markers.
He's still around using markers. But for me people were, "I don't know if I want to use 3D." I'm like, "You're already using Photoshop." Don't you understand that you're already, you're living, there's enough of time that has past that we can see that there was a time where people use a lower technology and now we're on the frontier. Ten, eleven years ago there was no YouTube. Isn't that crazy? I'm not an old person, man, I haven't lived that long and I'm able to say back in my day, there was no YouTube. Isn't that crazy? Ten years from now, I still won't be that old (laughs) and I'll be saying, "Right back in my day "we didn't have online tutorials." Like out of the box, like from every angle, you know what I mean? My first job I ever got was for a small indie company called Crazy Pixel.
Yes, I was nervous. I didn't know what the job entailed. And a lot of what I do now is to kind of prepare people because I wasn't prepared. You go to these schools and they teach you how to do the work, they teach you the software, they teach you what's going on. But sometimes they don't teach you real work experience. They don't teach you about crunch, what that really feels like. They don't teach you about managing your finances. They don't teach you any of that stuff. That I think should be even taught in early as high school. For me, it was a really great experience.
It was about a year and half of just learning how the industry works from a very small scope. But it was good enough for me to be able to kind of foundationally build a better understanding of how to become a good artist. Then when I went to... So the company was called Crazy Pixel and then Crazy Pixel unfortunately went under and then I was laid off and I didn't have a job, and the work that I did for them I wasn't really proud of, so I had no portfolio. I had to work my butt off and then really kind a make a portfolio that I felt was my own work.
But then I got my big industry job which was at Sony Santa Monica. Again I went there and I was more prepared. Working for the smaller company, understanding crunch, understanding deadlines, understanding that your job isn't permanent, these types of things made me way more prepared. One thing that I didn't... I always tell my students is that, you should work in personal work. It's something I didn't do when I worked at the small company. Even though I was working for big bad Sony, I still found time to work on my personal work, that way I control my destiny, you know what I mean? Ever since then I have literally been able to control where I can go and keep money coming in, I had a steady flow, and it's because of my personal work.
Even right now if you were to go to my website, there's very few commercial work. And people ask me "Why don't you put "your commercial work up?" I'm like, "Well because I rather just work on stuff "that I do already, like for fun and get paid for it." I've already worked long enough to build a resume of industry or companies that are well-known in the industry. So I don't think I need to prove myself kind of thing. If you're first starting out, it's probably more important to show a lot of commercial work, but now I'm at the point where I like I want to get work for what I do.
In fact the recent jobs is because of the stuff I've been doing in the real and not too many people are doing it. We have one of our students who got hired literally because of his personal work from Unreal, you know what I mean? I always encourage my students to do personal work, get in the habit of doing personal work because you'll be much happier, because you'll get jobs doing that. Don't just show work that you did professionally because you may get that job again. We didn't like that job. We have a student that does graphic design and he has nothing but graphic design and he's like "I keep getting graphic design jobs." "Well, that's all I have to show." You got to hide that stuff away, and then have those other stuff you want to do.
It's really important to understand what you can't control rather than the things you can't control. For instance being laid off, you can't control that. We have a friend recently like their store closed, it's not related to the industry but this is a good example. Their store closed and now she doesn't have a job. That's because the company and the higher ups they made a lot of bad decisions, now nobody has jobs. This happens all the time. In an industry like Life of Pi is a really good example, like they made Life of Pi with Rhythm & Hues and Rhythm & Hues made all the effects and yet, they shut down.
How could that happened? It happens because we're living in an industry where smaller companies are starting to take overseas, internet exist, all this stuff. You want to not focus on these things because one thing we can always count on is everything is changing, we just talked about it earlier. Even in the tools is just changing. But what can you control, what can you focus on that will keep you in good standings and the two things that I've focus on and the things that I think are probably the only things you really can control is the quality of your work, that the work you do is really good and professional and is of industry standards and the people you know.
Basically building a good group of friends and social network. I always imagine it like if you were to have a beautiful art museum of all your works, but there's like a dirt road and it's like the only way to get there is off road, golf cart ride or something like that, and it only can take two people at a time or something like that. That's like if you only have a website. But if you have a website, but then you build like a highway like Facebook and then you use Instagram, then you go to events like SIGGRAPH to make friends, you make new friends with new people, so they then build like kind of small dirt paths to your place, and then eventually you build all these paths and then people will eventually find you and those highways will open up and then all of a sudden traffic is coming in and out.
That's the best way to think about it. For me I have made hundreds of, if not maybe thousands of friends whether I know them in person or know them only online through just social network, like I said I'm embracing the technology that we have. It's important because if you feel like you're good enough, you probably are. Just as much as you think that nobody knows who you are there's also small studios that don't know who you are that are looking for you and nobody knows about who they are either.
There's a small studio called Shield Breakers, I think it's called Shield Breaker Studios are making this really cool game, it's called Bierzerkers. We met them at a Indie Cave, and they're making this really cool game in their small studio, I think like 10, maybe 15, maybe 20 now. And they're like a legit game company, and will probably become the next big thing. Blizzard wasn't always, originally it was just four guys. You never know, and the only way to know is to go to these events, meet, and you'll be surprised.
if you go to this like PAX East, it has hundreds, thousands of small game studios looking for fresh talent and fresh skilled people. If you only look at the big companies, you can count them on your fingers, then yeah, your chances are probably very slim. But if you understand the very simple logic that there is not just 10 game companies or 10 film studios, that's clearly not true, there's hundreds, maybe thousands of game studios all around the world. You need to do yourself a favor and look for them just as much as they're trying to look for you.
Also put your stuff out there so that people will indirectly help you out. I always tell people 90% of jobs I've gotten is because of people I know. I'm doing this interview because I know you. Right? Because I actually know who you are, we were friends outside of this conversation. I tell people it's good to make friends and to communicate and talk to each other. You'll find that everybody is generally friendly, and it's a really good community, everybody is pretty supportive of one another.
Inspiration though is really important because you have to understand that the way that you will become better and more creative is by having inspiration. Inspiration comes in many forms, it's not just artwork, it could be the kinds of clothes you buy. It could be the kinds of cars you like to look at. For me I love to just gather information, and to me that's what really is the best way of inspiration. For instance if I were to list all...
I did this once for my students, because one student was asking me, "How do you get inspired for your values and anatomy?" Those specific two things. I said, "Okay, let me just start writing names "of all the artist that I can think of on top of my head." I just was writing, writing, and I just kept writing name after name after name into the chat, and then I ended up about a 120 names, in over like five to ten minutes. And I was like "See, I can't just tell you one artist, "because I will be very misleading for it." Because every time I paint, I'm not thinking of one art, like God that I say, "This one person is my main inspiration." I feel that's important to understand because if you do do that, that means your work is very recognizable, "Oh, he paints like Leyendecker.
"Oh, he paints like Sargent." Like very clearly, there's no doubt about it. But if you were inspired by thousands of artists, which I am, I have hundreds of books. I have, when I was telling him I have 17 anatomy books, so I can't even say I've inspired by one anatomy artist. It's more I have of thousands of people over my shoulder and every time I make a mark, one is guy is like, "Oh, I wouldn't have done that." And another guy is like, "Yeah, you probably "should do it this way." "So, okay, cool." Then another person, "Well, that mark is great "but maybe you should do it this way." Obviously, I don't have voices talking to me.
But I feel like every stroke is guided subconsciously because of all of the things I've learned indirectly or directly from my greatest inspirations. My best advice to anybody if they are really trying to start out and try to gather a lot of inspiration is to just do just that. Don't look at one source, look at everything because we're living in a time where there's really no excuse for that. Think about like the Renaissance, there's clear, there is a clear look, and it's because everybody was doing this very thorough very dynamic, very anatomically correct and scientifically correct, like paintings, because that was just kind of like the only thing that people could share.
They didn't have internet. Now we have the internet, like my Pinterest for instance, I use Pinterest and I have just like artist from China, Japan, from Europe, Russian artist some of my favorite artist from there or my latest inspirations. I'm just like every time I go to my feed it's just awesome. Then also I have product design, architectural designs. I'm looking at people that their whole day is thinking about cool looking shapes, like graphic designers and stuff like that.
I know a lot of concept artist aren't doing that, and it's probably why my stuff stand out in terms of graphic read and values and all the stuff is because, they're like, "Where, where is your inspiration?" Then I'm like, "I can't tell you, man." Because it would, it wouldn't really give you a really good answer, you will just be like, "Oh, I just got to do a lot of research and paint a lot." It's really indirect, and so I usually try to focus more on what their ambitions are like, "I want to work for Blizzard." Okay, well there's a clear visual language we can talk about in what you should be doing that you're not doing now.
Instead of asking me what my inspirations are, because I'm also inspired by Pixar, but I can't get a job at Pixar, because my work doesn't reflect that. But I understand why Pixar is awesome. Then I can help them and say, "Okay, you need to do this, this. "Look at Glen Keane, James Baxter, "some of the great animators. "These guys are awesome. "Look at this, study John Lasseter, "like old shorts and stuff like that." How do I know these? Because I love everything. I love all those good artwork, even though I might not do it, you know what I mean? About two years ago, I started a Kickstarter, and the Kickstarter was for an art book called Heaven's Hell.
It's kind of a play on words and stuff like that, but the idea of it was just my lunch sketches that I did during, again back to personal work. I just did all these sketches and that's kind of where I really starting. People knew my work from Sony and they were pretty impressed by it but this is like my own, there's nothing attached to it, I didn't work for anybody else, this is just what I like to do. It blew up, people thought it was really cool, they're really interested in it. I was like, "Well, I wonder if I can make an art book?" So then I put the Kickstarter together, I was only looking for nine grand.
It was just enough to be able to help pay for the publishing of the book and stuff like that. I think we sold 9000 at the first day, so it already reached its goal on the first day. Then it just got better and better. What happened for me, man was pretty tremendous, it showed me a few things. One thing was that people cared about what I did. People cared about the kind of message that I have to say because I was also teaching people and talking to people about what then can do and how they can promote their own stuff. The most important thing is that really most important thing is that I felt internally that I had something that I could be proud of.
I had some confidence in my own ability. A lot of artist, they don't know if they're doing good. When you work with the art director sometimes they can be bashing your work, and you don't really think you're any good. Then you show it to people and they're like, "No, you're great." That awesome. For me it was a really good experience because I learned a lot of lessons not just from that but also in the development of like making a book, making something that is tangible because I was telling people I was going to have it done in six months, no big deal, no problem. Then six months go by, I still haven't finished it, and I was just like, "What the, what's going on?" I discover it was so much harder to build so much content in short amount time, I underestimated it.
I learned a valuable lesson. Luckily for me at a very small scale of what happens when you get a bulk of money and you don't really have any experience of the thing that you said you were going to do. I started teaching people that too. I started teaching like, "If you're going to make "a Kickstarter, you're going to do this crowdfunding, "know what you're doing." Either have the product all ready and all you needed to do is just prove that it was something that was worth selling. Or actually have experience in doing whatever it is that you're saying you're going to do. I didn't have any. I've never made an art book before.
Luckily for me my fans were devote, and very powerful, and they would listen to me and they've been very patient with me over the last two years. It's finally nice to just have it done. Even when, there's a time where people like, "Hey man, what's going on? "We feel like we've been taking advantage of." And I felt like, "That sucks." I don't want to be that person. And so I started giving people their money back. I was, "Look, no hard feelings. "If you need your money back, there's no big deal." I started doing that for people and people were like, "I had like this bad taste for you, "but now I'm like you're not so bad." Because apparently in Kickstarter you don't have to do that.
You don't have to do that. You can just go, "Oh, I'm sorry guys, I didn't make a thing. "Better luck next time." But I wanted to not... I represented being able to follow your dreams and do what you like to do. Also about being honest and also about helping people achieve and learn from you if you made any mistakes. I made mistakes, man. I've made tons of mistakes. But for me it was more about just getting the book done eventually, and now it's done. Like I said, we're going to go look at the print. It's cool, man. Like I said, a lot of people have been sticking with us this whole time, they didn't care...
Because during this time I started doing my online tutorials, I started doing my mentorship, and people said the things that I do for the community, I try to host events, I do socials, I did lots of stuff to get people together and people said... Well, there's one person who wrote, he said, "Even if you never finish the book, "just the amount of stuff you did "for the community is enough. "I feel like I've invested well." And I was like, "Man, that's, that's great." But I don't want to just be that guy. "Oh cool, I guess I won't finish the book then "because of that one." I was like, "No, I'm going to still finish it, "but I appreciate that comment." It thought me that, we are a good community and people are generally rooting for you to do well.
I'm glad to be like, announce that it's literally is finished, and we're going to be doing a book launch sometime in September, maybe early October and it's going to be a great thing. I learned recently that the thing that I really love to do is to learn. When I was in high school I was a musician and I love learning how to become a good guitarist. That was something that I love to do. For me as a kid, I wanted to be a musician, I wanted to make money making music, but then that didn't work out.
Then I went into games, I was like, "I wanted to make video games." But then I learned about concept art, "I'm going to do that, that's my way in." So then I did concept art, and I started getting successful overtime, years will go by and make more, more work and actually make more money. But that money in better work it wasn't necessarily making me feel any better. I felt just as good as I did in the very beginning even when I started playing guitar, the very first time I started learning how to draw.
I felt the same as I did when I'm working for the biggest studio in the world. When I was looking at Blizzard, I'm sitting there, I'm working on a game that I love, I've played since I was a kid, drawing for it, working on something I know people are going to lose their minds on. I felt the same. I didn't feel any different. And I was like, "What the, what's going on here?" Then I felt again this longing for something else. I'm at the top. What else is there? I guess I can try to make my own games or whatever, but even then what's the point? That's when I started to teach, because teaching is one of the best ways to learn.
Now I love that, I actually do feel happier to see that people are improving and that they are like achieving their goals. This makes me way more happier. And what this does is allows me to study new stuff, so I can teach new stuff. I'm like, "I like this." Because I like to get good at things that I'm not good at. Right now I'm learning how to juggle, as a demonstration of how to juggle like design, values and color. I'm already all right at it. What are we at like 16 seconds now? He's a jerk, he doesn't believe in me. (laughs) - [Voiceover] That's great about the juggle.
- Yeah, but I'm trying to demonstrate and I have a friend he's a director and we're talking about the power of practice and we want try to put together a documentary, and me doing something I'm not very good which is three-pointers. But I want to prove over a week's time, I'm going to shoot 300... I'm going to try to make 300 points. I heard Kobe Bryant did this. He was terrible at three-pointers and then said, "Not again." He went everyday he would shoot 300 baskets or make 300 baskets for three-pointer. So each three-pointer was basically one point.
That could have easily been like 1200 or even 2000 shots in a day, five, six hours of doing that. I'm going to try to do the same thing in about a week. I'm going to do, in the beginning I'm going to do like one minute countdown of how bad I am and then at then at the end do another one minute countdown to see if I have improved. I'm pretty positive you will see significant improvement. We're going to do a documentary just showing... I always like to use this analogy of, people like to see, when you see a magic trick, it's like an illusion, you're like, "Wow, magic." But then I could show you how the magic trick is done.
I'm just going to do this crazy stuff with your hands, and it's a lot of hand movement and a lot of stuff that you couldn't just do right away. Not only that did you trick, which is magic, now I've shown you the trick which is now the magic's gone, but it doesn't mean you can also do the magic trick, you would have to practice, practice, practice, practice the thing that makes the magic trick. Doing just the slide of hand is hard and you would have to practice that to be able to make people believe that it's magic.
When people see my paintings, that's what it feels like, they're like, "Oh, it's magic. I could never do that in a million years." I said, "No, it will take you about three years. "You need a million." Three years of hard focus dedication and practice, you'll be able to do it, maybe less. Especially if you learn from me, I can just tell you all the shortcuts, so you can avoid a lot of the bumpy road that I had to take. But yeah, you don't need a million years, like a few years, right? That's pretty much where I stand with all that in terms of what I'm learning. I'm learning how to learn. There it is.