Drawing Tikis | Jon Brommet | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (1h 24m)
    • 1. Drawing Tikis!

      2:01
    • 2. About Tiki Tony

      2:48
    • 3. A Brief Tiki History

      6:07
    • 4. Drawing Tikis With Jon

      11:21
    • 5. Inking Your Illustration

      9:55
    • 6. Drawing Tikis With Tony

      11:03
    • 7. Cleaning Up Your Illustration In Photoshop

      9:37
    • 8. Editing & Moving Pieces If Neccessary

      4:17
    • 9. Coloring Your Illustration

      12:32
    • 10. Outro

      1:28
    • 11. Bonus Tiki Tony Interview

      6:53
    • 12. Other Classes

      3:33
    • 13. A Message From Future Jon

      2:24
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About This Class

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Tiki culture exploded in North America in the late 50's and early 60's as Hawaii became the official 50th state of the United States of America in 1959. In the late 60's it had a fast decline, but there are still some dedicated artists who love the Polynesian art form.

In this class I will show you how I approach drawing a tiki, importing it into Photoshop and colouring it in there.

This class also features one of my favourite artists and long time tiki artist; Tiki Tony. He bring his wealth of knowledge and teaches us a brief history, as well as his approach to drawing Tikis.

This is a great class if you have any interest in Tiki or Polynesian art. Even if you haven't considered it before, you will likely have a blast drawing your own tikis!

I look forward to you checking out the class!

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Jon Brommet

Crusoe Design Co.

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Transcripts

1. Drawing Tikis!: Hello everybody and welcome to Drawing Tikis. My name is Jon Brommet. In this class, I'm going to not only show you how to draw Tikis, I'm then going to show you how to take them into Photoshop, edit them in there and make them look cleaner. I'm going to show you a few different ways to do them in a non-traditional style the way that I draw them. I've also got a really amazing artist that's along with me and his name is Tiki Tony. He's in California and he's been doing Tiki drawing for a very long time. He is one of my favorite artists, especially when it comes to Tiki drawing. We are lucky enough to have him as part of this class. So he's going to show us his process. He's also going to talk a little bit about history so you actually know what you're drawing and you know about different Tiki deities like Tangaroa , Ku, Lono, and a few others. I think all around that this is going to be a really fun class for you to get into drawing Tikis and get an idea of how fun they are. It's just a fun thing to draw and even if you've never done it before, not really in it, oceanic art, I think that you are still going to have fun in this class except only for a beginner drawing a Tiki. In Photoshop, I'm going to assume that you've actually used Photoshop a couple times. I'm not going go over, this is the paint brush tool, this is an arrow tool. I'm going to assume that you have a little bit of an idea how to use Photoshop and then we're going to dive right into it. So I really hope you take this class and thank you so much to Tiki Tony because he did an awesome job and this is going to be fun. So see you in second. 2. About Tiki Tony: Thanks so much for doing the class. Welcome everybody. This is Tiki Tony. He's definitely the pro when it comes to drawing tikis. He's been doing it for a very long time. To start with, I want to know, where are you from? I'm from Ventura, California. I guess between Malibu and Santa Barbara, people know those places [inaudible]. What got you in the art to start with? I've always drawn. Just from a little kid, kindergarten, one of my report card said, "Talks too much but likes to draw." From there I was doomed. That's awesome. I think I'm the same. I definitely talk too much. By the way, you have a bad ass background. I love your shop. Looks wicked. Thank you. I have a board in the wall and you have a way cooler things going on. Just the workshop. I like to make a funky place to work in. It looks awesome, man. What got you into the Polynesian art and then specifically drawing tikis. You know what? When I was like 16, 17, a friend started to go surfing and I started to go with her and we started surfing a lot more. By the time I was 18, I was looking up the history of surfing, and saw, it's from Hawaii and then just pulled Hawaiian tropical escape. It really fired me up and then I found tikis from there. When I was about 18, 19, I had just started college so I had one day off a week where I wasn't at school. So I'd go to the beach, I would grab driftwood on the beach and there was a little pocket knife, I would carve these little tikis and I was just like, "Oh my God, this is it." I loved it. I loved the idea of it. I would go surf, come in, carve a tiki and I just felt like I was living in this fantasy world really. That was, I'm 36 now, many years later [inaudible]. That's awesome. You do a great job. When I thought of doing this class with you, because I've done a couple for clients, but mostly, I'm a Canadian. I've never been to Hawaii. I don't know why I like to draw them. But basically, ever since I was little, I can remember seeing totem poles, and not of the same thing. But a similar idea of like a face on the wood and it's carved. I'm just was so fascinated with them and it wasn't until a few years ago that I was like, "Those are cool to draw." I got into drawing some of that stuff, Then I started looking for guys who were doing tiki artwork online. I don't even remember how I found you, but obviously, I love what you're doing and you are the first guy and only guy I contacted to be part of this class. That's cool. Really excited that you want to be part of it and I think that you're going to be basically just the perfect teacher for this stuff. As much as I'm going to be teaching the class about drawing tikis, I don't have the culture and all the experience and stuff for drawing it so that's why I think it's going to be awesome to have your take on it and how you actually go about them. 3. A Brief Tiki History: But you mentioned to me that you wanted to talk about history, which I think is important. Because you see a lot of people that draw, let's say you're drawing a plane because you just think planes are cool, I've got a plane behind me or whatever. I know what it's like. Yeah. If you don't know anything about planes what you may end up doing is drawing something really inaccurate, someone who knows about planes is going to be like, "This person knows nothing about what they're doing." I think it's actually awesome when you're drawing a subject, whether it's animals or people or anything, if you have a bit more of an understanding of the history or an anatomy or things, obviously this isn't an anatomy thing, but I think it's super important. When you want to talk to me about history, I'm going to sit back and learn just like the students are, and I'm amped. We're going to try and show some pictures about what you're talking about afterwards, but I'm amped man, so take it away. Take as much time as you want to, no rush. I'm not going to go that crazy, this is the rough overlay. Like I said, I started researching Hawaii surfing and tikis came about. Then I learned, I always knew peripherally tikis, what they were, like totem poles were around. Yeah. There's a lot of tikis around Southern California, but I was looking up the history of it and I realized from reading, this was more when I went away to college and we'd start reading the oceanic art history books. Each tiki is just a carved representation of a chief that had once lived, so it's actually like a physical representation of someone who had lived before. Usually the chief had done something so great that they were deified, this is my rough history. That's okay, we're not checking sources. Once I get word for word, don't hold me to this. That's okay. But basically, one of my favorite tikis is Tangaroa, it's from the Cook Islands or its traditional name is Rarotonga. Okay. It's called the Cook Islands because Captain Cook went there, he named it so it stuck. But Tangaroa, he's known as the fisherman god. What I was reading history was they don't like specifically know history-wise why he's a fisherman god, but what they can estimate from why he's called that is he either invented something for fishing or he invented some new technique for fishing that made fishing more prosperous for his people. If you're stuck on this island and the Polynesians, they were good at sailing, so it could go around. But food is pretty important when you're on an island, you've got the fish around you and you've got certain crops they cultivated. But there would be famine years if stuff didn't grow or something went bad, which, if you've seen Moana, you might see that, they talk about that. Tangaroa, they estimate came up with a new technique and he was known as the fisherman god, so I don't know if it was a fishhook that worked better or it was fishing in a new area, but it's cool to see this story turn into this current representation. It's neat too that it's like these tikis are, it's like nature and humans combined, it's like they took this once living tree, this tall cylinder and then they carved it into a man basically, a representation of a man or a woman, sometimes they're ancestral too. But a few history things like that are really neat when there's a story woven into why they look a certain way. If you see, I'll send you photos of Tangaroa, but he looks like a fish, like he's got a fish-like mouth. You're like, "Were they thinking that or is that just like happy accident?" Right. They might have been incorporating what he does and what he stands for as part of his actual creating, and all that stuff I love. It's cool to incorporate that into what you're doing as an artist, if you can actually have a little bit of a story behind what you're doing. Are there any other famous ones that people can look up that you know off of the top of your head? In Hawaii there's Ku, it's K-U spelled, there's also Lono, L-O-N-O. If you just look up oceanic art history in Google image, you'll tend to get a lot of the images from, like the Bishop Museum is a good source. What I would say too, people like Shad's work and artists like that who simplify shapes and go to the source, go to the historic tiki, simplify the shapes that you see from there to make your own thing. You don't even need to copy it line-for-line or whatever. Right. I'm trying to think of others, there are so many, like every Hawaiian god name, there's a tiki for it, Kanaloa, Pele. There are so many. I'm putting you on the spot, but it's just that, that's cool to have. Because to a lot of people, Google can be a disservice sometimes. That's true. Because for example if you type in "Mayan calendar", you're going to see a lot of the Aztec calendar, that's not Mayan calendar at all. That's a good point. Sometimes when you go to Google images you're like, "This is it, I'm learning," but you're not. You're learning incorrectly, right? True. That's what's good about talking to someone like you is you're actually pointing us to some important ones that we can actually look at, and at least we have a base to search from there. Whereas if I just click Google, I might get some guy, I might look at an old tiki and I'm like, "Wow, that's amazing." But some guy just made that last week in Boston, right? Yeah, you never know. Yeah. Bishop Museum is good, in Chicago there's a Field Museum which has these amazing Papua New Guinea carvings. Those might be good sites to go to, I'm sure they have images there. 4. Drawing Tikis With Jon: We're actually just going to get right into it. So as I mentioned in the intro video, all you need is a piece of paper or a little sketch book, a marker of some sort, I'm using a Micron Pigma Graphic 1. It's just a little thicker. I like it. But you could easily use a Sharpie or any tool. It doesn't really matter which one you're using. I've just got a mechanical pencil. Of course, you can use a normal pencil. I do have a ruler and an eraser stick. But again, if you have any ruler or any eraser, it doesn't matter. In this case, I've got these cool little bullets and things in a grid, so I don't even really need to use my ruler. I actually like the look, especially for Tikis, I liked the look of a hand-drawn imperfect design. We're going to clean it up a tiny bit when we get to our tracing paper or you can just use a normal piece of paper and hold it up to the window, of course. We're going to get right into it. I'm going to show you my method. I draw fairly non-traditionally. I just draw what I like. I draw the look that I think is cool, and I've seen lots of different Tiki inspiration. I try and bring my own thing to it. You're going to see in the next video that Tiki tOny, he's also not fully traditional, but he uses a lot of different traditional Tikis in his designs like Tangaroa, which we spoke about earlier. He's definitely more traditional than I am. I've just learned recently from him just like you guys are going to. I actually think I probably am going to move a little more traditional, and try and draw some of the old Tiki ideas from Hawaii and things like that, because it just adds a new level to your art. It has some actual meaning and it's a little bit cooler to me. So now that I actually know the meaning and you guys will too, and may change, at least how I'm going to actually approach things. But for the sake of the video, I'm going to show you a few different methods. I've also given you a PDF that you can print out that has different eyes and different noses and mouths, just in case you're having a tough time deciding what to draw or you just not having that kind of inspiration. So generally, what I like to do is start over here on this page roughly, is I will loosely sketch out the shape that I want. Again, it doesn't have to be too perfect, don't worry about it. But some sort of rectangle and you can choose how tall you want it. This guy's going to be a little bit fatter and shorter. Then generally for me anyway, the head is going to be at least half of it. Then I'm going to draw in the body and the legs afterwards. They may actually do in this case and I'm going to bring the head down a little bit. I'm going to lengthen this a little so, and this is definitely the point where you do not need to worry about being loose, and quickly slopping in some lines and making it where you want. So the body is actually a bit longer, so I'll do something like that. Anyway, you don't even have to erase the lines as you're going at this point, but that gives you a rough idea. I seem to start around the mouth and a lot of the ones I do, I like to break that box a little bit. I like to go outside of it a little bit. So there's a lot of different mouths that I like to draw, this one is the classic Tiki mouth, where it goes dips into the center and gets wider at the edges. Gives it a little bit of a cartoon look, but it's fun. Generally, you want to give it some of lips. It's a bit tricky because normally I don't have a camera overlooking at some, I have to worry about blocking the camera with my hands. But you get the idea and I'm going to give them some teeth and it'd be something like this. I'm going to draw both teeth at roughly the same angle. Real mouth on a more realistic drawing. Be careful though, that kind of stuff. So something like that, we're going to give them a tongue. Generally, this is all going to be sketched in black afterwards. So I don't need to worry too much about that. Depending again on the style that you're actually going to go for, I like to give these big nose, I think those are fun. Big, ugly nose. Then I also like to bring them up like a huge bridge of a nose that's actually going to like go in with the eyes. So at that point, and this is where I'm starting to think of the different eyes that I want to draw, and how fun and clever and creative I want to make them. In this case, the thing I'm going to go with a 45 degree roughly, like a pinch circle. Then I'm going to allow that to go into the nose and I'm going to add another line that goes, and this time we're breaking the box a bit. I'm going to put a line through his eyes, and just the same idea here. Another thing too is when you're drawing, it's not too difficult to actually mirror it later on in the game, so you don't have to worry too much about making this perfect. I don't want to take too much of your time on the stuff, so I'll get a little looser with that eye. What's cool here is I like to bring that eyebrow in so that it actually connects to the bridge of the nose, given these eyebrows here. Again, I like to break out of the box just a little bit, each piece trying to break out a little bit and want the nose to flow into there, flow right into the eyebrows. Then you can add little decorations here, maybe give him some almost like football, baseball paint here. Then I tend to give them a little bit of rounded here. Then also a round a little down here. So I'm going to give him this little, I don't know if it's a crown or what it is. Bring a piece in, bigger crown. Let's add some lines in here, some little details. You can go as far with it as you want, you can even do something high crazy, and I like the all seeing eye or something. Of course, I say that with most of my classes, but the whole idea if you're drawing in things is just to have fun. Especially at this phase, you don't want to get too concerned about making every little lines smooth and perfect. A lot of the times, you're going to bring it into a computer anyway to clean it up. So try not to stress too much about that stuff. But that's the base of what I want, I could add a little. So bigger, fatter top there just for fun and then if we're going to getting into the body. A lot of the ones, it depends on, well kind of, a guy that you're actually drawing. But I'm going to give my guy this big muscularity, like packs, basically something along those lines. Then you could even go as crazy as giving them these stylized abs. It's not going to be good enough for six pack though. He didn't hit the gym. Then so I am breaking down now, I'm going a little farther, but just as I went from here to here, and I had a lot of height, I'm also going to add a lot of at the bottom. So even though I have an idea of what my plan is, it changes a lot, of course, just like anybody's. So I'm going to give them these big three toes. You can see I didn't balance that out well, but that's okay at this stage. Then these are going to be his legs, and then you can maybe add that little six pack, pop it out there, end this here thing. Then let's get this and maybe I'd angle those more, so we can focus on having the base and the top a little in line with each other, flatten that. Then the last thing I need to add in is his hands. So let's bring him to the center here and we're going to bring about decent points. Same thing, kind of a cartoon like three finger thing. Maybe those levels are a bit too high. Let's drop them down, going to curve them to those little biceps. It depends, of course, on how cartooned you want your design to look and things like that. Usually, with Tikis, if I have some space, I'll just draw some extra lines and you can add some decorations and spruce it up a little bit. You'll see in the next video that Tiki tOny, he adds a lot of little grains or at least you'll see from the links that I'll show you, his work that he actually adds some little lines to give it some texture to make it look like it's actually made of wood. So that's the base of the design that I want to do. So we're going to go into fast forward and we'll make some more. 5. Inking Your Illustration: I think that this guy right here, is definitely a little mean. He looks like a football player with the marks down there. This guy is definitely a lot more jolly and fat and fun. I like to give a lot of the Tikis bellies. There's definitely two styles. You can have the mean guy with the tough and packs or you can make them a little curvier. To me there's something funny about having a Tiki that's coming up at the belly and stuff, and he's just a big jolly looking guy. I played it further this guy really, I like him a lot too. He looks a little bit more mean and more like a maniac. I did an experiment with not doing a body, on both of these. Like I said for you guys I guess probably actually a really good idea, if you're not too comfortable with doing this to skip doing the body and the hands and the feet and stuff like that. But it's going to just depend on how easy it is for you and what you prefer to, of course. Which look here like better. Because these are cool. These are almost like mask at this point you curve that as big mask, and actually wear something like that. It's definitely going to depend, and this guy was one of my favorites for sure. I thought this guy was fun. I gave him a little body. But for whatever reason I like this guy the best. I think for this drawing. I may end up going back and reworking them. That's another thing, on top of doing maybe some little tiny sketches first is probably a great idea for you. Also once you get your guy, don't be afraid to go over with paper and refine him again before you get to the marker step. You can see even though I have this grid and I go off center, and I don't follow the grid well, and that's because I don't want to worry about the little nitty gritty right away. I want to just get it done and get it fun. Just work on some, just the overall concept to make sure that I like it before I worry about each little piece fallen into a grid, and actually lining up. As I said before, I'd actually like to draw it just as one line. I'm actually going to refine this guy, basically redraw him. Then I'm going to go into markers. There's a few different ways to redraw a character, and it can be a little bit tricky because naturally in a sketchbook, I want to use the next page or whatever to redraw him, but then I can't look back at my drawing. There's a few different ways you can do this. One of the easier ones, of course, is to use the tracing paper again. What you could do, and this time, let's go ahead and grab that ruler real quick. It's a little bit hard for me to see my grid through everything but, I'm going to apply here and there. First let's go ahead and draw that line and make it really prominent, so that we're not missing it. Then what we can do, we can actually either really roughly trace this on here right now and then recreate it on the next page. Another thing you can sometimes do is make it work right onto this paper right now and skip a step. That of course is what I'm going to try and do because, I'm still a graphic designer, and a lot of the times I've got a lot of different clients wanting things, then the goal is to get something done that's awesome, but also not take forever. It's just how my mind works too. I like to go quick and move on to the next fun job or the next fun drawing. Of course don't rush it and do a bad job either. I'm going to bring this in and use a Sharpie afterwards or a micron, but you can actually just go straight from your pencil drawing. There's nothing wrong with doing that either. You might've seen how a lot of my sketches that I was working on, I did this same eye, and I think that that just makes him look a little extra nice and fun. Again, at this point I'm really not worrying about having a perfect circle or anything like that because you have to remember that Tikis were carved out of driftwood and things. When you're carving something by hand all these years ago, you didn't have perfect power tools and you didn't have perfect things to make great perfect circles. That shouldn't be the point of drawing the Tiki to me. You just want to have fun. I think if you're worried about it being perfect, it's going to be to each their own. But for me I just want to have fun. Sometimes these things aren't going to line up perfectly in Photoshop either, but that's okay we'll make it work. I get this guy a nice big crooked teeth, or a tongue. Depending on how comfortable you are with Photoshop too you may not have a hard time filling in some odd lines. Then you don't have to use your marker either. Of course, you can just go straight into creating something in Photoshop. I definitely towards the earlier parts of my career, I like to try and create things directly on a computer and use Photoshop or use illustrator and not even put pencil to paper. I think the reason why I did that was because I was a perfectionist, so it was a lot easier. Well, I can make this look a lot more perfect on the computer right from the start. But what I realized fairly soon into the process was that, I'm using that as a crutch. I'm actually drawing straight into the computer, because I'm not good at drawing by hand. I can understand that for any new artist or anyone starting out of course. It makes sense that, you don't want to embarrass yourself and anyone do it quick. If you can't even get it to something that you can recognize on by hand, but on the computer you can do 10 times the job then it all makes sense. I understand, but from my own experience anyway, once I gave up using the computer for the whole process and started using my hands, and drawing on paper. It was night and day difference for me that I just straight became a better designer and a better artist obviously. I'm trying to move his belly up a little bit. I think it's a bit low. As I said, this point you could just use this right as it is and take a picture and bring it into Photoshop. You could either allow these lines, it's going to add a pretty new little texture. I'd go in here with a brush and clean this up. But it just depends on the lucky one. If you want to go over it with a thick marker or a thin marker, you can definitely do that as well. That's what I'm going to do. Now, there's lots of different ways and get another piece tracing pairing and fold this over. I'm just going to grab a new piece. Another thing I like to do to when I'm done these drawings is I'll actually cut this out and I'll glue it and I'll just tape it back into my actual sketchbook because I like to keep everything organized and everything together and documented. It's really nice to go through your sketchbook when you're done and see the process and have all the pieces together. Of course, from years from now you want to be able to go through your sketchbook and look back on everything. That's the whole point of a sketchbook. I do use my iPad Pro a lot to draw but it's just, I don't know, there's something more fun about being able to actually look through a physical sketchbook. There's lots of different great sketchbooks out there. I've used a little bit of everything. I've tried no names. I've tried more scans. The one I'm drawn in right now is a field note lunar, field notes as my partially owned anyway by Aaron Draplin, who is actually a online teacher as well. He's really a good designer as well, so he's worth checking out if you've never heard of. Again, I'm going to make mistakes and get sloppy, but it's easy enough to go in there and clean this stuff up in a Photoshop. But I do like to have it imperfect. I repeat myself saying this about 50 times, so I'm sure through the class, but coming out with Tiki Tony's way coming up next is awesome and really worth checking out and when I asked Tiki Tony to be a part of the class, I hadn't met them. I had only know him from following him on Instagram. I really lucked out, I think we all lucked out that he is a awesome artist. Luckily he turned out to be an extremely nice caring dude. He's going to bring this class to the next level. I'm really happy to have him involved. There you go. Now we can see the entire process. We've got the sloppy sketch. We've got our refined sketch, and then we've got our marker. Now we're simply just going to take a photo of this. Take a photo that too, just so you have it. I'm going to bring in into Photoshop and clean it up. We'll show you in a minute how we get there but I want to take a pause and show you Tiki Tony's way of drawing it. We're going to let him take over for the next video. 6. Drawing Tikis With Tony: When you're actually drawing, because obviously, you have a wide variety of things that you draw, you're drawing not just tikis too, like you've got the toucan, I see that a lot. That's definitely one of my favorites that you're doing. But when you're drawing an actual tiki that's representing a human or a face and it's got a character to it, do you sometimes relate that to a story or is it a take on a different tiki that you've seen and you like, or you're creating your own character at this point? You know what? For the most part, I do keep each of my tikis based on the traditional ones. With any of the ones that I draw, like Tangaroas, perhaps, it'll have the same basic forms as the original Tangaroas. Yeah. Also form-wise too, I do like to keep my shapes simple and basic. Going back to a tiki was carved from a tree, so it's a tall cylinder. I keep mine the same way. Aesthetically, I just like it and even when I'm just drawing simple shapes, I think about the tools they were using. They used an ax, it's like a sideways ax. Okay. They created these horizontals instead of vertical, but even that, often what I'll start with is the line between the head and the body, and that's usually like a distinguished line, from drawing to the actual carved ones, it's apparent. That's cool. Thinking about like, "This line here, originally, would have been carved with this needle tool." Yeah, I know that part of your style anyway, you'll add the little tick marks that make it look like a little bit of wood grain and staff. Those little touches definitely throw back to tradition. Good observation. Yeah. Another thing too, I can't ignore this, but the tikis that I draw and whatever, it's really an American artist's diversion of it all. The story goes, in World War II, soldiers, they were stationed in the South Pacific. When the war was over, they came back and they brought these carved tikis with them and some of those people apparently opened up tiki bars, tiki restaurants. Right. That whole 1950s, '60s, mid-century is a huge influence on me too. Not just the original, because I do definitely cartoonize and simplify them. That's okay because it's about what you want to do and it's about being fun. There's obviously incorporating the history and the characters and the things that you're doing, and you know more about it than I'm sure a lot of people that are actually drawing these. That's all fantastic. But of course, with any illustration, you just want to have fun. It doesn't have to be perfect and you don't have to relate everything. I'm going back a little bit on what I said before. It helps to know what you're doing and it helps to have that. It's the thing of, you need to know the rules before you break them. Totally. If you know the base of what you want to do, then you can break those rules and you can have fun with it. That's what I want the students to do too. I want them to draw from a bunch of different inspiration, including yours. I don't want them to copy anyone's style or just draw a tiki that looks like you would have drawn as best as they can mimic. I want them to have fun and start to experiment with the different facial features and the body language and things like that. I agree with you that I recommend, I like the cylinder, the straight lines and things because that's what the tradition is. They don't have to stick to that, of course, but that's what I like. Talking about facial features and things, I want to get into you drawing, I guess more. When you're doing the facial features, do you think about before you're drawing, I want this one to be happy, so he's going to have a big smile, eye brows up and things like that or do you just start drawing and see what flows? You know what? I usually just start drawing. I used to always start with the eyes. Now I actually try to think formless. I usually will even do the head, "What if I can just draw it maybe backwards?" Okay. Yeah. That's cool. I'll roughly here so you can see. Yeah, let's see. All right. Actually, from the Tangaroa. It's a bit loose because I'm drawing them backwards. All good. This will even be the rounded part. Yeah. Can you see? Yeah. We're good. I can see it. It's just basically like a rectangular square, slightly rounded. Sometimes I'll even do the center line. Yeah. It's nice too, design-wise, you would know this graphic design. You always want to connect shape to shape. For sure. The corner here you want to connect there, to keep it really stylized. That helps to give it the depth too, right? Yeah, exactly. Line for line. Then here's what I said, there's the line for the heads of the body. Then this would be the body and the hands. I usually don't draw this loose. That's okay. Now, it's awesome, I think for anyone learning, which I'm learning, too, while watching you, just to see your process. Generally, the head is bigger, right? You're going to draw the head two-thirds thing, and the body and everything else is small? Yeah. You know what? That's a good point. I forgot to say that. Their designs, they were intentional. The head was bigger because the head was the most important part. They knew that that's where your brain was. Eyes are also exaggerated. Then in Hawaii, there's a Ku. If you look up the Kona coast Ku, it's amazing. It's amazing detail. I don't know how they were able to carve it with the tools they had then. But it's really aggressive. The mouth is open. There's all sorts of teeth. It's almost shark-like. That was representative, was their God of War or aggressive. They wanted to show this was like a warning symbol almost. Right. You always want to take that into account. A lot of my stuff is lighthearted. You'll see smiley faces. I do tend to like "cutesify" them. Yeah. Then also, too, like you said, the toucan. The toucan is from South America. These tikis I carve or draw are from Polynesia, so I'm merging cultures. That's okay. I still feel I'm definitely finding my style. I think part of the problem is I'm a graphic designer, as you know, and so I have very different clients and very different requests. I would be doing them a disservice if everything I did always looked the same. True. Sometime on my social media things, I only post a certain look because that's the look that I like best, but I do tons and tons of work that looks nothing like what I post. That's interesting. Yeah, you have to be a chameleon. Yeah, exactly. You have to have a lot of different abilities, but I think when it comes to illustration, you're better to find a style, which is something I worked towards, but when I was trying to think about it a little bit, what I was thinking is, I play guitar as well. I think about most guitar players, they really find their styles simply by imitating a combination of their influences. If you like Jimi Hendrix, and you like Eric Clapton, and you have these different influences, I think what usually makes a really good guitar player is they learn all those people's songs. Then they put them all together and they end up developing, whether they know it or not, a style based on all of those artists, all the inspiration that really drives them. I think it's really natural and makes a lot of sense that that's what you're doing. Whether you realize it or not, is that you're drawing in these different cultures and you're putting them together into your own style. I think it makes sense on a ton of different art levels. Cool. That's a really good observation. It's funny, when I started drawing tikis, well, I noticed it more when I was about 20 when I went away to school, that everyone was like, "I totally see Dr. Seuss and Tim Burton. I was like, "Whoa, those are my favorite artists and it's funny to see that come out." I didn't even see it. But I'll send you some photos of paintings and things and you can see my trees, they do look like Dr. Seuss' trees, building. Then Tim Burton's was darker sides stuff and big eyes, things like that. It makes total sense as far as drawing your own inspiration. That's why for this class, I'm going to put together a Pinterest board and I'm going to take definitely your advice too. I'll get you to send me some ideas of other artists that you think do this really well, because there's no better way, especially if you're just starting out. A lot of students probably have never drawn a tiki before, they're going to see all these different examples. I think it's cool to draw, take pieces from each thing. That's also a really good way to not just copy someone's style because that's easy to do. I've seen some students, unfortunately. Again, it's okay because you're just learning, but if you just copy what you see, then you're not helping yourself that much. It's a good way to learn, as long as in the end, you branch off to combining things together. It's a really good way to make sure that you're not falling into copyright things where you're stealing people's artwork. You want to bring your own element to it. That's a good idea. Actually, I was just thinking of that. When I often see new tiki carvers and things on social media, I can see where they're carving-copying another artist, whereas some of the best new people I see, they start off and they carve and they copy traditional historic tiki. If you start from the source, then you're not getting a bad copy of a copy. Right. Absolutely. I can see it too, sometimes people send me like, "Do you see this guy? He's copying your stuff?" I'm like, "It's okay, they're just learning." Right. Yes, exactly. That's definitely important to learn that, but it's good for them to know too. You're right, if you go right back to the source and you build your own way up, that's probably the best way, in any art, this applies not just to tikis, but just art in general. For sure. Yeah. Start from the source. That's what got me started. History of surfing in Hawaii. Doing the historical ones. Then later on, that's when I found artists like Shag and Bosko. They were the first ones that I saw creating this tiki art. They're living artists now. Then went from there. Awesome. I'll put links to them as well in the class, as well as all of your stuff, of course, so that students can take a look at that and learn. 7. Cleaning Up Your Illustration In Photoshop: So here is my drawing that I took with my marker and I inked it in and I simply just took a photo with my iPhone and we're just simply going to, basically, separate it and color this. Now, I know that this class is going to be a bit longer than my normal classes, so we're going to move at a fairly brisk pace but you can definitely ask me any questions if I skip over anything, and I am assuming that you have some experience with Photoshop. So I'm not going to explain a ton about what tools, but I do have a habit of breaking down some of the obvious stuff so I may end up doing that by accident but I am going to try and move quick. Definitely, if you have questions, like I said just shoot them to me and we'll figure them out. So to start with, we are going to make another layer just a copy of this I always like to keep the original sketch. You never know when you may need it. So I'm going to hit command "J" that's control J on a PC. Again, if I say command at any point, you can just control if you have a PC. The main thing we're going to do is open up our Layers panel, that's Command L and I'm just going to drag this up here and this is the white, so we're going to make that nice and bright white baseline until all my other colors are gone, and we're going to turn this black, and pull it to a dark black that's going to do most of it for you, I do see some hair happening in there, so I will pull the neutral is a little closer to the blacks and make the black a little darker. Just a little bit of experimenting and then we can clean it up from there. So now, we've got most of that pretty clean. Once, you have that down with your levels we're just going to zoom in here and I'm going to make a layer in between these two by hitting "Command" or "Control" on PC while I click this "New Layer icon" and making sure that we have our background to white, I'm just going to hit command "Delete" or "Control delete" which fills it with white. Now, if we go back up to this layer, we are going to hit our mask and we're going to grab our brush key that is B on your keyboard and I'm going to use a hard brush and using my brackets, I'm just going to zoom in here and this is where I want to clean up some of this goo but what I'm going to do is going to avoid some of that so you don't have to get too picky about that. I mainly want to make sure that some of my lines are clean, I don't mind having sloppiness that doesn't bother me but sometimes you may not want it too strong. I'm just going to come in here, clean that up a little bit and what you can do too, is actually, just paint directly into your work if you don't mind damaging or anything like that. So I'm actually using my iPad Pro while I do this if I'm using an app called Astropad. So it's forcing me to push a little harder, so I'm just going to turn that pressure sensitivity off up there because depending on what you're doing, that can be annoying but this is a good point to just go through some stuff and clean up a few of those little mistake areas. Like I said, a bunch of times, I like to, actually, have my artwork kind of sloppy, kind of imperfect, but I do think that there's a bit of controlled chaos. You don't want to go too overboard and you don't want to get too sloppy and then you look like you don't know what you're doing and nobody wants that. I'm just quickly go on through and seen anything I missed or anything but I think maybe a little bit too hairy. You may not even see where my cursor is, that's why I'm cleaning that points but too small little things and then we got some stuff going on in here with the eye that this is too big for. So again, I'm using my brackets just to get in there nice and quickly, smooth that out, get rid of this little smudge, clean myself up with it. I actually feel like this little piece is unnecessary, I think that when you look at this part workup close that just doesn't need to be there or from it. Once you're not zoomed in this far, it looks a bit out of place so we'll remove that, clean this up a little. That's pretty good, I'm pretty happy with that. There's a few spots or I may end up having come in with some black like right here I could probably use some. So I'm going to do is I'm just going to make a separate layer, grab my paintbrush. Again, make sure it's a sound hard and I'm just going to paint in real quick. There so many ways that you can work in Photoshop when it comes to Eddie artwork, definitely, if you have a different way of doing something that you're more comfortable with, that's fine. Just stick with what you're best with but some of these ways are ways that I find useful and easy and it also allows me to pretty quickly go back and fix anything that I might have messed up at this point. So I'm pretty happy with all that we're going to make a new layer here and I'm going to go to select, and then I want to go down to color range and then what I'm going to do is I'm going to use my little eyedropper and I'm going to click somewhere in the black. I've got my little fuzziness slider here. I want to get most of the black but I don't want it to pick up some of these weird grays and stuff so we'll see where that [inaudible] , let's just try going crazy and see if it selects any of that junk we don't want, don't seem to. It's now, you'd see, it's filled indefinitely most that area if you want some of this stuff to be completely black, there's a few different ways to do it, one of the ways that we can command-click here, and when I hit "All Delete", I can hit it a few times it's going to help fill in some of that stuff as you can see there. If you are going to smooth these lines out, you could obviously redraw, you can even bring in an illustrator if you have that and do a live trace but this has worked pretty well for me. If we zoom in nice and close, we've got a little bit of jagged lines which I like the look of but we've lost some of those middle grace and things like that or, basically, just black and white at this point. That's pretty good and now that we have, let's just make sure that whites filled with what, actually, did there's accidentally put that on my white layer. So I'm command clicking on this icon. Sorry, I might have skipped that to make these merchants and I'm going to alt delete a couple times. Let's just making sure that there were black like we were there and I'm zooming in and out with those that keys and holding option. So now that we've got that pretty good, we're just going to drag it over here and I want to command J another layer, I going to drag it back over and we're going to go to edit, transform and we want to flip horizontally. This is we're going to realize like I didn't actually mean this quite as well as a one and but that's pretty normal for me, so we're going to try and make it work. The idea is trying to find that happy medium. You're going to see, we want that melts overlap, you want that teeth to overlap nicely, the pineapple, it's okay. It's just a matter of whether you want one or two little stems up at the top. So most of that stuff, actually, works pretty good. We've got an issue with the hands, we've got an issue with the base, there's a few ways that we can fix that. So this is where I am going to get a little destructive and I'm going to treat this as if so you grab all this stuff and put it in a folder and we can call that whatever you want to call it, we can call it working folder or something along those lines and double-click that. We'll call those working files, those are just down there hit and we don't need to think about those too much anymore. I would like to make sure that the stuff centered, so I'm just going to hit command A. If we go to my move tool, we can use these little sliders just to make sure that everything's nice and centered and then we're going to get in here and just, the only reason I got a little bit destructive at this point is because I just consider it like a piece of artwork paper. So if I mess something up, I can always go back and redraw and draw it back out again. I got my pressure on here again, the opacity. I've sold a crank that'll pass to the up and let's get it in here. Zoom in a bit more I make sure that I'm using a nice hard brush and let this 0.2 I'm not afraid to, actually, remove too much because I can use my brush to bring it back in and I'm going to go ahead and time-lapse this part because I know this video's already getting too long. So we're going to skip ahead but you get the idea that I'm just using my brush and my eraser tools. So I'm going to erase parts that I don't want and use the brush tool, I kind of paint them back in. 8. Editing & Moving Pieces If Neccessary: Some of you are probably going to want to know how I tackle these hands. I will come out of that fast-forward time-lapse and I'll show you what I'm going to do. Basically, I'm just going to loosely select this hand and I'm going to move it over because clearly it's too far. I realized how sloppy that is, but we'll hit Command X just to delete it and command V to paste on top. I'm going to bring it over here and I'm going to erase the other junk we don't want that's all around the hand. Anywhere I get a little bit sloppy, I'll brush it back in. We've got something like that where the hand is basically done. I'm going to bring the hand back in, and we'll go ahead and we will use a ruler, so Command R. We're going to bring that to the center or very close to the center like so. We're going to make sure that our edge of our hand falls on the right of that center, just like that. If we go back to our layer before, we'll use our Eraser tool to get rid of any junk that is fallen in between, and our brush tool just to fill in any spots. That actually blends in pretty good so I'll bring it up. Go back and we just want to bring that over that a little bit more. Erase anything we don't need and then we'll just come over here, and erase this hand completely. Like I said, I was using an iPad Pro with Astropad. But if you have just a mouse or if you have a Wacom stylus, just use whatever you've got. I used a mouse for a very long time before I went to the Wacom and then over to the iPad Pro. If you have any questions about that transition, just let me know and I will be happy to answer you. Smearing that. If we hold shift, we're moving it all on that same axis. We're just going to make some touches there a little bit. Then what we can do is merge those together, Command A. I'll just use this to make sure they're nice and centered. Since they are, we will come back in here with our Eraser tool and erase the parts we don't need. We use Command E to put them back together. We'll just call this Tiki at this point. Let's zoom out to take a look, we'll hide that. The only thing we got is this belly button went a little bit crazy on us. I'll do the same thing. We'll just Command X, Command V, bring it back down, erase it. You could at this point just make an all new one, but again, I want to keep some of that sloppiness that it had. Suppose center that, put it back together as our Tiki or somehow is that in there. There we go. That is the basic principles that I'll use to create any hand drawing that I have and turn it back just into inks. Sometimes when I'm doing this and I'm going quickly, I'll get some sloppy points in here which happened down here. I'll just go back in and erase them. Just look real closely at what you're doing. Maybe if you're recording a class, try and be more professional, that would probably help. That's the basic. Look, I'm going to go ahead and I'm going to ink it too. But again, I'm going to do that in time-lapse because this class is running very long. 9. Coloring Your Illustration: Some of you are probably going to want to know how I tackle these hands. So I will come out of that fast-forward time-lapse and I'll show you what I'm going to do. Basically, I'm going to loosely select this hand and I'm going to move it over because clearly, it's too far. I realized how sloppy that is, but we'll hit Command X just to delete it, and Command V to paste it on top. I'm going to bring it over here and I'm going to erase the other junk we don't want that's all around the hand. Anywhere I get a little bit sloppy, I'll brush it back in. So we've got something like that where the hand is basically done. So I'm going to bring the hand back in, and we'll go ahead and we will use a ruler, so Command R, and I'm going to bring that to the center or very close to the center like so. We're going to make sure that our edge of our hand falls on the right of that center, just like that. If we go back to our layer before, we'll use our eraser tool to get rid of any junk that has fallen in between, and our brush tool, of course, just to fill in any spots, and that actually blends in pretty good. So I'll bring it up. So go back and we just want to bring that over that little bit more. Erase anything we don't need and then, we'll just come over here and erase this hand completely. Like I said, I was using an iPad Pro with Astropad, but if you have a mouse, or if you have a Wacom stylus, just use whatever you've got. I used a mouse for a very long time before I went to the Wacom and then over to the iPad Pro. If you have any questions about that transition, just let me know and I will be happy to answer you. So smearing that. If we hold Shift, we're moving it all on that same axis. So we're going make it so it touches that a little bit, and then what we can do is merge those together. Command A, and I'll just use this to make sure they're nice and centered, and since they are, we will come back in here with our eraser tool and erase the parts we don't need and use Command E to put them back together. We'll just call this Tiki at this point and let's zoom out to take a look, we'll hide that. So the only thing we've got is this belly button went a little bit crazy on us. So I'll do the same thing, I will just Command X, Command V, bring it back down, erase it. We could, at this point, just make an all new one. But again, I want to keep some of that sloppiness that it had. So we'll center that, put it back together as our Tiki, which somehow has that in there. There we go. So that is the basic principle that I'll use to create any hand drawing that I have and turn it back into inks. Sometimes when I'm doing this and I'm going quickly, I'll get some sloppy points in here which happened down here. So I'll just go back in and erase them. Just look real closely at what you're doing, and maybe if you're recording a class, try and be more professional, that would probably help. So that's the basic look. I'm going to go ahead and I'm going to ink it, too. But again, I'm going to do that in time-lapse because this class is running very, very long. So before I start painting this and going into our time-lapse, I do want to quickly go over one thing that I skipped. So you want to go to Image and then Image Size, and what I've done is, I just brought in my scan from my phone. So it's just where it's at. But you can make this now what you need to. So a lot of the times, you're going to want this 300 dpi. So we'll change that, turn off Resample. That's going to make it 10 inches by 13 inches. We'll click "OK". That's fine and that's your goal. If you're going to be printing anything, you want to make sure you're in that 300 dpi area and then from there, you can change your canvas size to where you need it to be. If you're going to be doing an art print or something, you might want either 11.5 or 11, 17, something like that. But just make sure you try and keep the resolution as high as possible. In this case, I'm probably going to be using this as part of the class and on social media for Instagram and things like that. So I'm going to make it a square and then I'll fill that background with that piece that I missed, so I can move forward from there. So that's all. I want to make sure that you know to keep it 300 dpi and let's get this moving and fast forward. I'm basically going to be using a soft brush, and I'm going to be using some tools, and some colors like that to fill it in, and selecting the background from the tiki is fairly straightforward. I think probably anyone who has a little bit of experience is going to know that all I have to do is just grab my wand tool, click outside of this and I can inverse that. So I'm going to Select Inverse here and that's basically how I'm going to make a fill layer for my tiki, so I could fill that with any color right now just to get you situated here. So we're going to make a brown color, brownie orange, fill that, so that's going to be there, and the same idea using the wand tool like pieces, and the same thing for the background. So other than that, if anything I do here that you have questions, of course, just feel free to ask me. Most of it is going to be very straightforward, where I'm going to use layers, and I'm going to add another layer, where I'm going to be using a black brush, and I'm going to actually have my pressure sensitivity, and I'm going to add some highlights and things in here using my brush, and it'll be a soft brush, and then I got to convert them to half-tones, which I'll show you that part. But that's the idea, and then I'm going to fill in the whole thing. So we'll go to fast-forward finally. Now that we have our design roughly where we want it, I'm going to go ahead and I'm going to put a color overlay on this color here because I want it to be black. I want everything to be black, basically. Another thing I think I want to do is, I'm going to do the two parts separately. I'll go like this. It doesn't hurt just to double-check. So my artwork is 12 by 12, and it should be 300 dpi. So let me just double check here. So if we make a new artboard, it should be 12 by 12, 300 dpi, paste that in there, and we're going to go to Grayscale, Flatten is fine, Discard, Bitmap. You want make sure the output matches the input, that was the mistake I made last time, and that might change the frequency, but I think we can go to 24. Let's just see here. Bring it back to the grayscale one-to-one and we're copying it and pasting it. This is where you can decide, too, if that's too dark or that's too light. Let's see it with color. I think it's just a little bit darker than I want. So all we have to do is go back here a bit and using our levels, let's brighten it up a bit. Take out some of that detail and I'm going to pump them up a little bit too, I like big half-tones. Just make sure to unlock your background because sometimes are just duplicated. Delete that guy, paste him back in. We can go to Multiply. We can do the 'select same color', 'fill color' too thing. So that's pretty cool. So what we'll do is, go to Normal and we're going to go Select, Color Range. Make sure you click that black and then we're going to make a new layer, fill it with black a couple times, delete that. Now the cool thing here is, if we double-click it, go to Color Overlay, and select this color, I am going to pick some color like dark brown gold color and then we just need to make sure we put that under our artwork. That's a cool effect, I think anyway. Then, we're just going to follow the same process and I'm going to put a texture on it, so back to fast forward. So that's basically my finished tiki. I may go in and make a few tiny refinements. But for the sake of this class, that's the look we're going for, that's what we're after. I know this one was definitely a long one and then I quickly went through certain parts, but it's because I've taught classes on half-tones. I've taught classes on how to illustrate in Photoshop and I've taught classes on a lot of the subjects that I skipped. So like I said, if you missed anything or you have any questions, just shoot me an email or comment in the class and I can either direct you to another class or help you one-on-one. Very easygoing. So thanks so much and onto the next part. 10. Outro: Thank you so much for taking the class. I hope you guys enjoyed it. I hope you guys got into the Tiki oceanic kind of artwork and that you really are going to have fun and it's going to be something that you can add to your repertoire going forward. Definitely make sure, as I've mentioned before, not to copy somebody's artwork like Tiki Tony. Come up with your own thing and kind of make it a part of who you are and the way that you like to draw and use the advice that he's given us like going back to the original carvings and draw from inspiration from them specifically before you start kind of working your way into using other artist's ideas or just kind of mimicking their side. You don't want to do that as an artists ever. It's a good reminder just to kind of push yourself. If you do copy other artists, just to get some practice, just make sure you don't post that online. Just keep that privately in your sketch book. That's okay if you want to learn from it that way. Thank you so much again for taking the class. Make sure you follow me on @Jon Brommet on every social media and www.JonBrommet.com. I've got lots of cool mugs, pins, prints, things for you to buy. Definitely make sure you check out Tiki Tony, www.TikiTony.com. Follow him on Instagram @TikiTony and you're going to want to check out his wife stuff too, because she's also a really amazing artist and I'm going to link everything in the class for you. Thank you so much for taking the class and we'll see you soon because I'm always going to be back with another one. Bye. 11. Bonus Tiki Tony Interview: If we go back a little bit to your actual illustration thing, a lot of people always want to know, I think most people will say it's not super important. It's like Jimi Hendrix, he's a good guitar player on any guitar, right? But everyone always loves to know tools, I find that. What are your main go-to tools for when you're creating your illustrations? Honestly, I used to just exclusively draw just like Sharpie. Normal like, I don't know, is it fine point, subtle Sharpie. The last year or so, I've actually been using pencil. Okay, yeah. Just just like a cheap mechanical pencil to lightly play on things out a little bit better and then I just go over it with Sharpie. I do one run through with the Sharpie and then I go over it too and smooth it out, because I like thick and thin line. Then I go, lately too, I've been using a thinner Sharpie and print the name of a thin black pens to detail like you said- Like a micron or something? A stake wood line, something like that. Yes. So, are you bringing your artwork into Photoshop at some point when you're making art prints or? Yeah. From there, I scan it. Sometimes if it's small enough, I just take a photo with my phone, so I don't have to- Yeah, they're pretty good now. So nice. Then I just color in Photoshop. Okay, that's what I was going to ask you, it's coloring. So coloring is always digital? Pretty much, yeah. I mean, I paint too on canvas. Some of those look more graphic, but then I'll add some shading too. But I need a time to paint as much because I'm trying to get as much work as possible. Yes, baby too. Right? Got the new baby. Yes. Congratulations, by the way. Thanks, thanks. That's awesome. Ten-months-old and now she's crawling fast, so I don't have time to have paint. Well, the art is all over the house, that's true. Because my wife, she does ceramics and when she glazes, we glaze like right in the living room. I think it's interesting. They're beautiful too and I'm definitely will put some links to all your website because you've got some really cool art prints on there. The mouse ones that you've been doing recently are really neat. I thought was really cool. I was looking at those ceramics that your wife making, they are one-of-a-kind art. Like the mugs, original pieces of artwork that you can purchase as a mug. I would be scared to death to use it as a mug personally, if I have to put it on a shelf. But they're awesome and I'm definitely going to pick up some stuff from both of you guys. I think that's cool too when you have a wife who does art too because you guys are both creative together and you come up with lots of stuff. Figure out things like the prints and then we're having mugs made now by this [inaudible] Tiki Diablo in LA, he's going to start making some of our mugs for us. I love the actual Tikis too, that's another thing. The wood ones that you're actually carving. I recently picked up some readily knives myself, and I've started, I've visually drawn little ivory carving, little old men right now to start with. But I recently as like now, I want to do some Tikis, I want to do some, and I think that they'll actually help drawing as well because once you see something in a 3D physical form, you start thinking a little more, right? Yeah, totally. So thank you so much man. You've been super helpful. Thanks for everything that you've taught us. I'm definitely going to put together all your photos and things because I've linked them to you. I may even get you to take a look at projects as they start to come up and see what your comments are, because people love constructive criticism, and maybe you might want a comment. People should definitely follow your @tikitony on Instagram and you're also on Facebook, right? Yeah. Tiki Tony Murphy on Facebook. Okay, and your website's tikitony.com, it's all very easy to find. You're a smart man. You don't have 10 different usernames. No, I'm not smart, that's why I know, keep it simple. Yes. Well, that's good. I'm going to show your website and is there anything else you want to promote or talk about? Like I know you've been doing these mouse prints lately. Yeah, I definitely been doing more Disneyland stuff. There's a Tiki Bar at Disneyland called Trader Sam's, when they opened the one here in LA, the buyer for the props bought one of my paintings at an art show. I went up there and then I realized like, "My God," there's this whole group of Tiki people that are crazy Disney fans. I just been doing more and more of that lately. Sorry, got distracted. My dog came up. That's okay. My cat's just off to the end. I'm like, "Please don't meow or make sounds." Hey buddy. That's awesome. For the Disney stuff, like a painting that's up in there, it has nothing to do with Disneyland. It's like, I'll send you a photo of it too. But it's three kind of characters; one's a shrine, or one's an explorer, and then one is trader Sam and he's taking them hostage. But I just noticed, there's this huge group of Disney people, and I love Disneyland, and I kept it quiet for a long time. I love Disney stuff and now it's like I'll be able to like, "Oh, okay, there's other people out there who like good stuff too." I get it, and it works really well for your design style because you have that friendly, happy, fun look and it's perfect. Yeah, makes sense. I think I follow a lot of artists and I think people like to go dark. That's an easy way for some reason. Lots of people there's dark, you got crows and skulls and things and I think it's refreshing even though you draw skulls, you do them so differently. That's why for a new artists out there or somebody I really recommend follow as many different styles of artists as possible because I felt tons of artists that are drawing dark, super intricate, crazy things. Same here. Yeah, but it's nice to have the fun. To have face curls and the eyes, yeah. But it's nice to have that fun. I love Tex Avery drawings and things like that because they have that cartoon sensibility that make you smile and make you happy, and that's just as important, right? Yeah, totally. Okay, man. Well, thanks so much. Before I let you go, do you have any advice to someone who's drawing a Tiki for the very first time? I guess, keep it simple. Don't go too complex in the beginning. Just think of stacking three boxes. The box for the sea, one for the arms and then one for the head. Stick to that way. Perfect, yeah. There's lots of inspiration that looks cool. I was talking to you via email. It's like, if you are really starting out for Tikis, you can do a Mr. Potato Head type thing. Where you find an eye, a type of eye that you like, put that in there and put that in the box, what type of mouth you like, put that in the box. You piece it all together with the different elements that you've seen other people do that you like and it's a good start anyway to get into drawing this kind of art. Right? Yeah, totally. Awesome. 12. Other Classes: So I know that I'm crazy enough to make an outro saying goodbye, and then I added a bonus video on top of that where we talked for way too long, and then now I'm back with another video, even though I've already said goodbye twice, and this is getting awkward now, really at this point. I don't even know how to say goodbye one more time. But before I do, I just wanted to quickly tell you about some of my other classes because this is my 18th, I've taught 17 before this, and I want to make sure you guys know about them because I put a lot of work into them just like this class. If you thought this class is way too long, I understand there's a lot more short classes out there. If you just click on my name in the class, it'll bring you to this, or it's just skillshare.com/jonbrommet, and we'll go to teaching, and if you click See All you will be able to see, of course, all of my classes. Here, I've done a lot of different ones on different things. So in the corner you'll see a little icon. The PS with the blue is Photoshop. The AI with the orange is Illustrator, and then there's one that's InDesign, which is pink, and some of them use both, as you can see here. So you can quickly decide, "Well, I want to learn the Photoshop thing," and you can just skim through the classes and see which ones use that program. Or you can do the Illustrator thing and so on and so forth. But I've taught a lot of different things and done so get quicker, fun, and I just learn something that's going to be interesting to you, like the ugly sweater, or things that you'll maybe used more often, which are some of my illustration classes. Let's draw the bike one. There's a lot of showing you how to actually create vector objects in Illustrator. I've done some design ones about using a monogram, how to design one of those. Time-saving actions, and Illustrator's probably my most underrated class because if you use Illustrator, saving actions and using them in your workflow is going to ridiculously speed up your design skills, and when you're using the program, there's a lot of tea as things that you do every day, that you may not even think about it until you see that class. I would be surprised if it does not significantly speed up your day. Same idea here. This is a definitely ungraded class. It's going to show you how to use mail merge. So if you're using envelopes, for a wedding or any big invite where you have a big list, you can just make an Excel file, and design a custom envelope and it'll put them all in so you can print them on your home printer. Stickers is really cool. I'll show you. A lot of these things are illustration-based, but it'll show you how to set up a sticker so that you can get it made. That Pathfinder is the patch. The pen tool is definitely my biggest class, and of course, this shows you how to use the pen tool mainly in Adobe Illustrator. It demystifies it and shows you that it's a lot easier to use than you may have thought beforehand. I'll also show you how to set up your own business cards to properly print them, so it'll save you money that, if you're not a professional designer or even if you are and you just didn't know enough about bleeds and things like that, it'll show you how to properly set them up, dye cuts, and lots of fun stuff. I'll show you how to make textures and half-tones, I just showed a little bit of half-tones in this class. Block printing, which is a more hands-on things same with my gel transfer class. So I think there's a lot of different classes here. I've covered a huge amount of different topics. I've covered some photography stuff, I've covered some illustration stuffs, some graphic design stuff, some hands-on crafts things like gel transfers and block printing. So please, if you have a chance, check out some of my other classes, I think that you will enjoy them if you enjoyed this class, and if you didn't enjoy this class, then, sorry. I tried, but I think you probably did. Thanks so much. Again, 13. A Message From Future Jon: Wait, one more thing. I'm adding this, this Future Jon Brahma [phonetic] talking to you, I hope you enjoyed the class that you just watched. Some of these classes have been recorded a few years ago. I just wanted to give a little up to date on what I'm doing now. You can see that I've put out a ton of classes potentially from the class that you just watched as you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the Skill Share website or go to skillshare.com/jonbrahma. It's written just like that with no h, just J-O-N, and you'll see here I've got things broken down in my newest classes. This may even look slightly different for you because I'm putting out classes once a month right now. I've got my most popular classes, Illustration, Efficiency in Illustrator, Photo-shop stuff, and then all of my other classes, and make sure that if it's not already selected, you click "See More" to see the rest of it, so many different classes. I hope you guys will be inspired to learn lots more and hopefully you're enjoying my classes and want to see more. If that's not enough, I'm at John Brown[phonetic] on Instagram so you can check out my Instagram as well to know what I'm doing and I post all my new art work there and of course let you know when I'm doing new Skill Share stuff, and I've started a YouTube channel where I put short videos that are instructional. Obviously advertising in my Skill Share class, but short videos that I can't really put a whole-class out. I put here on YouTube. I even do things like have conversations with other teachers, like tab with a park, plan to do that kind of stuff more often. If you head over to johnbrown.com, I've newly updated my website. I have a digital shop or you can grab my procreate brushes or other things like that. On top of seeing that my different portfolio elements and things like that, I've also got a Etsy Shop, which I'll click here and it would open this, so you can buy all of my pins and different art things that I've created. I will ship them to you from me. I've gotten them all produced here in my home and they look awesome and I know that they're cool. I just recently started a Thread Less Shop, which you could click here because there's about unskilled sharing contact. Everything's linked from our website. This new Thread Less Shop has all my march that can be printed on demand on a really weirdly wild variety of things like, I don't know, let's just click one of these things here. It's going to open a t-shirt, but let's just say maybe instead of a t-shirt you wanted I don't know what, I duvet cover or shower curtains. Why wouldn't you want those things? I don't know. Anyway, I've got lots of different things going on, so if you'd like what I'm doing and please check out more of that and I'll keep making more things. Thanks everyone. Bye-bye.