The Emergence of Talent

Summary

In this reflective video, Cassin explores the concept of talent, questioning its existence and impact on artistic development. Initially believing talent was innate, Cassin later attributes skill to hard work and practice. Through personal experiences and observations, Cassin suggests that 'talented' individuals often have a history of copying art from a young age, which instills a strong visual library and intuition. The video challenges viewers to understand their strengths, practice with purpose, and develop their own talents by copying and learning from others' work. Cassin emphasizes the importance of process over results, and the joy of working in areas where one excels naturally.

Takeaways

• 🤔 The concept of 'talent' is subjective and can change over time as one's abilities and perceptions evolve.
• 🎨 Early in life, the speaker believed they were talented because they were better than their peers, but later realized talent might be more about hard work.
• 🚀 Meeting others who were naturally better at drawing led to a reevaluation of the speaker's own talent and the importance of hard work.
• 🤷‍♂️ The idea that talent might not exist at all was considered, as the speaker noticed people who practiced more seemed to improve more.
• 👀 Encountering individuals who had an intuitive grasp of skills, like drawing, led to a renewed belief in talent, despite an analytical mindset.
• 🧠 The speaker suggests talent might be related to physical differences in the brain, like a photographic memory, which can't be controlled.
• 🖋️ Copying art from a young age was identified as a pattern among those who seemed talented, as it helps establish a standard for comparison.
• 📈 The importance of having a reference point for improvement was highlighted, as it provides a basis for comparison and a sense of what looks right.
• 🔄 The speaker's own lack of copying as a child was recognized as a reason for not developing an intuitive sense of drawing proportions.
• 💡 Tracing can be a useful tool for learning, as it teaches about lines, angles, and curves, and helps identify personal drawing tendencies.
• 🎯 The realization that talent might be a result of early copying and practice led to the advice of copying good artists to develop one's own skills.
• 🌟 Recognizing and utilizing one's natural predispositions and strengths is key to leveraging talent and finding success in one's chosen field.

Q & A

What did the speaker initially believe about talent when they were young?

The speaker initially believed they were talented because they drew better than the kids around them.

How did the speaker's perception of their own talent change when they entered high school?

The speaker's perception changed when they met people in high school who drew much better than them, leading them to believe they were not talented or that their talent had run out.

What was the turning point for the speaker in reconsidering the role of talent?

The turning point was when the speaker started working harder and noticed improvement, leading them to think that maybe talent doesn't matter and it's more about hard work.

Why did the speaker become frustrated with some people who claimed to have talent?

The speaker became frustrated because these people couldn't explain how they did certain things and would say they 'just felt it out', which didn't align with the speaker's analytical mindset.

What is one physical difference the speaker mentions that might contribute to talent?

The speaker mentions a possible physical difference such as a photographic memory or changes in brain function due to an accident, like being hit in the head with a baseball or struck by lightning.

What pattern did the speaker notice among people who claimed to 'just feel it out' regarding their talent?

The speaker noticed that people who claimed to 'just feel it out' often had a history of copying drawings of art they liked at a young age.

Why did the speaker believe copying was wrong when they were young?

The speaker believed copying was wrong because they thought it was morally or ethically wrong, similar to cheating, although they later realized this belief was flawed.

What did the speaker learn from trying to trace drawings?

The speaker learned about making lines, especially angles or curves they were not used to, and recognized their own tendencies in drawing, such as stopping an arm too short.

Why is having a standard important for artists according to the speaker?

Having a standard is important for artists because it provides a point of comparison to measure improvement and to know whether their work looks correct or not.

What advice does the speaker give to people who didn't copy as a child and want to improve their art?

The speaker advises that even if you didn't copy as a child, you can still start copying now to develop a sense of what looks right and to improve your art.

What does the speaker suggest as a method to improve specific aspects of art, like drawing eyes?

The speaker suggests copying the same element, like eyes, multiple times from different works of an artist to improve that specific aspect.

Why does the speaker argue against the 'no pain, no gain' mentality?

The speaker argues against the 'no pain, no gain' mentality because they believe that one should enjoy the process of creating art, and it should not feel like hard work if it's something they are interested in.

Outlines

00:00

🤔 The Concept of Talent

The speaker, Cassin, initiates a discussion on the existence and nature of talent. Reflecting on personal experiences, Cassin recounts being labeled as talented in youth due to drawing skills that surpassed peers. However, upon encountering peers in high school with superior abilities, Cassin questioned the existence of talent. The narrative continues with Cassin's realization that perhaps talent is not inherent but a product of hard work. This idea is further complicated by encounters with individuals who seemed to possess an inexplicable talent, challenging Cassin's analytical mindset. The speaker concludes this paragraph by contemplating three aspects of talent: physical differences, early copying of art, and the development of intuition through practice.

05:03

🎨 The Role of Copying in Artistic Development

Cassin explores the practice of copying as a means of artistic development, challenging initial misconceptions about the morality and efficacy of copying. The speaker highlights the benefits of copying, such as establishing a standard for comparison and improving line work. Cassin shares personal experiments with tracing and the insights gained from these exercises, like recognizing personal drawing tendencies. The narrative emphasizes the importance of copying as a foundational skill, often overlooked by those who wish to draw from imagination without a reference point. The speaker suggests that those who copy from a young age develop a sense of proportion and 'rightness' in their art, which they later attribute to intuition or talent.

10:03

🚀 Leveraging Talent Through Practice

In this section, Cassin discusses how individuals who did not copy as children can still develop a sense of 'talent' through deliberate practice. The speaker addresses the misconception that drawing from imagination is inherently superior to drawing from reference, suggesting that the ease of the latter is due to having a standard to compare against. Cassin encourages the practice of drawing from imagination to improve, drawing parallels to musical composition. The narrative also touches on the idea of being process-oriented rather than results-oriented, emphasizing the importance of enjoying the act of creation over solely focusing on the end product.

15:04

🎭 Embracing Personal Talents

Cassin delves into the idea of natural predispositions and how understanding one's strengths can enhance artistic expression. The speaker shares personal experiences of struggling with tasks that did not come easily, only to find more success and enjoyment in areas that felt more natural. Cassin challenges the notion that difficulty equates to improvement, advocating for the pursuit of interests and strengths as a pathway to mastery. The narrative encourages artists to identify and utilize their innate talents, such as a natural sense of design or an ease with perspective, to find fulfillment and success in their work.

20:05

🎨 The Joy of Creation Over 'No Pain, No Gain'

Cassin refutes the 'no pain, no gain' mentality, arguing that enjoyable and engaging work leads to better results. The speaker shares personal anecdotes of spending long hours on art that felt more like fun than labor, suggesting that when one is passionate about their work, it shows in the final product. Cassin emphasizes the importance of practice versus performance, advocating for a mindset where the creation process is enjoyable and the final execution is a reflection of that practice. The narrative concludes with a call to view art as a field that, like any other, is built on understanding and leveraging one's talents and interests.

Keywords

💡Talent

Talent refers to a natural aptitude or skill in a particular area, often displayed at a higher level than the average. In the video, the concept of talent is explored in the context of art and drawing. The speaker discusses personal experiences and observations suggesting that talent might be overestimated and that hard work and practice are more critical for improvement. The narrative challenges the traditional belief in talent by highlighting the importance of effort and practice.

💡Hard Work

Hard work is the dedicated effort put into tasks to achieve a goal or result. The video emphasizes that hard work is essential for skill development and mastery, often more so than innate talent. The speaker shares personal anecdotes where increased effort led to noticeable improvements in drawing skills, suggesting that hard work can compensate for perceived lack of talent.

💡Intuition

Intuition is the ability to understand or know something immediately, without the need for conscious reasoning. In the script, some individuals are described as having an intuitive grasp of art, where they 'just feel it out' without needing to analyze. This concept is contrasted with the speaker's analytical approach, illustrating the diversity of learning and understanding styles.

💡Copying

Copying, in the context of the video, refers to the act of replicating existing artwork as a learning tool. The speaker initially viewed copying negatively but later recognized its value in developing a visual library and understanding of proportions and standards in art. Copying is presented as a method to internalize artistic standards and improve by comparing one's work to that of skilled artists.

💡Reference

Reference in the video denotes using existing artwork or real-world objects as a guide for drawing. The speaker contrasts drawing from reference with drawing from imagination, noting that having a reference point makes it easier to improve because it provides a standard for comparison. The concept is integral to the discussion on how artists develop their skills.

💡Improvement

Improvement, as discussed in the video, is the process of becoming better at a skill over time. The speaker reflects on personal growth in art, suggesting that improvement is incremental and requires consistent practice. The video implies that improvement is not always linear and is often tied to the effort and methods one employs.

💡Process Oriented

Being process oriented means focusing on the activities or actions taken to achieve a goal, rather than solely on the outcome. The video advocates for a process-oriented approach to art, where the enjoyment and learning from the act of creating are emphasized over the final product. This mindset is presented as healthier and more conducive to genuine skill development.

💡Results Oriented

Results oriented is the opposite of process oriented, where the focus is on the end outcome or result. The speaker cautions against being solely results oriented in art, as it can lead to disappointment and an inaccurate assessment of one's abilities. The video suggests that this mindset may hinder the learning process and enjoyment of the craft.

💡Anatomy

Anatomy, in this context, refers to the study of the structure of the human or animal body. The speaker discusses learning anatomy through copying detailed illustrations, emphasizing systematic practice. This keyword is used to illustrate how focused copying can lead to a deep understanding of complex subjects within art.

💡Predispositions

Predispositions are natural inclinations or tendencies towards certain behaviors or skills. The video suggests that individuals may have predispositions that make them more suited to specific artistic disciplines. The speaker encourages identifying and leveraging these predispositions to enhance one's artistic practice.

💡No Pain, No Gain

The phrase 'no pain, no gain' implies that one must endure hardship to achieve success. The speaker disputes this notion, arguing that if one is passionate and interested in their work, it should not feel like painful effort. Instead, the video promotes the idea that enjoyable, interest-driven work leads to better results and a more fulfilling experience.

Highlights

The concept of talent is questioned and its existence debated.

Early belief in talent was challenged by meeting others with superior skills.

The realization that hard work might be more important than talent.

Talent might not exist; instead, extensive practice could be the key to skill.

Some individuals have an innate ability to perform tasks exceptionally well.

Physical differences or unusual experiences might contribute to talent.

Copying art at a young age could be a significant factor in developing talent.

The importance of having a standard to compare one's work for improvement.

Tracing can be a valuable learning tool for understanding proportions and lines.

The idea that talent might be rooted in intuition developed through copying.

The advice to copy parts of artworks to learn specific skills.

The notion that talent could be a natural predisposition to certain tasks.

The importance of finding and utilizing one's own strengths and interests.

The misconception that difficulty in creating equates to quality.

The idea that practice should be process-oriented, not solely results-oriented.

The distinction between practicing and performing in art.

The belief that art should be viewed like any other skill-based field.

The encouragement to copy and develop a standard for self-improvement.

Transcripts

[Music]

hey everyone cassin here and today I

want to talk about

talent and is it real does it exist um

when I was young I was told that I was

talented uh and I believed it because I

drew things better than the kids around

me now that doesn't mean they were good

it just means they were better than the

kids around me but uh once I got into

high school I met people who drew much

better than me and so I decided that I

must not be that talented after all or

that my talent had run out at some point

and it wasn't until many years later

that I came across this idea that maybe

it's all about hard work and it wasn't

that I wasn't tellal ented it was just

that I work uh wasn't working hard

enough and

so

I started working harder and I started

improving more um it still took a long

time but eventually I I started to think

that hey maybe talent doesn't matter at

all maybe there is no such thing as

Talent maybe it just was that uh those

people who were better than me probably

just did a lot more drawing

and then later in life

I met people who sort of made me believe

in Talent again simply because they

would do things that I don't know it

didn't make sense to me how they were

able to do it cuz I would ask them to

explain it and they couldn't really say

what they were doing they would always

say things like oh you just feel it out

and this was so frustrating to me

because I'm someone who thinks pretty

analytically so I need to understand why

something is is happening and not just

uh feel it out that that didn't mean

anything to me um but I still thought

maybe they I don't know maybe there's

Talent is still not a big deal and the

hardest thing was meeting students who

uh some students were more the way I was

it it wasn't easy for them to learn

Concepts well for me it's easy to learn

Concepts but not to apply them but uh

yeah I would meet some students who were

very I want to say talented because they

just picked up on things really

quickly

and then I met Kim jungi who just you

know if you don't believe in Talent just

look at him and you'll believe in it and

so

what I decided is okay so Talent must

exist because I see it in front of

me

but so what you know is there a way I

can understand this and I really did

want to understand especially I wanted

to

understand why people would say you just

feel it out and what that meant and

where that's coming from and I figure

there's a probably

three uh things about Talent one is that

there are people who just have a

physical difference maybe it's a

photographic memory um with Kim jungi he

mentioned that he was hit in the head at

a young age with a baseball and after

that he just kept drawing and it's

something I kind of believe cuz I heard

a story of uh some guy who got hit by

lightning and then he started playing

piano all all the time and got really

good at it but he had never he was a

doctor before something like that anyway

so there's that and that's something

that I don't think you know I mean

unless in the future we have we can take

pills or do something that you know

enhances areas of our brain um that's

something you can't control so okay put

that off to the side okay

well then there's this other thing which

is the well people who just feel it and

then I I started noticing a pattern

whenever I talk to people who had this

thing where they just say oh I just I

just feel it out they they all mentioned

that they would copy drawings of art

they liked at a young age and started to

think wait does that have anything to do

with it and uh I talked to uh jet from

the Jetty jet show and he mentioned that

um he hadn't thought about it but yeah

he did copy uh stuff from a young age

and uh I I just started encountering

more and more of these so-called

talented artists who had the same story

that when they were young they copied

stuff and I remember back to when I was

young and I did not copy anything um I

had two flawed beliefs one is that I

thought copying was somehow I don't know

morally or ethically

wrong I don't know I I I thought no

that's I don't know if it was cheating

but it just felt wrong somehow and the

other thing is that I thought well I'm

not good at copying anyway and both of

those were wrong um there's nothing

ethically or morally wrong about copying

in fact there's nothing even wrong about

tracing and this is another another Hot

Topic but I I think the problem with

tracing is when you trace

stuff that you couldn't draw for the

purpose of something to show others as

if you did you know like hey here's my

work oh that's a cool face how'd you do

that and she traced it off a photo it's

like well that's not what I think is

helpful when you trace um and I don't

trace but I did it once just to try um

few months ago I did it and what I

realized is it teaches you a lot in

terms of how to make lines especially

angles or curves that you're not used to

making um you might see someone's

artwork and you think like

well okay I would draw like a certain

thing and if you do a copy a straight up

copy um you might make the mistake that

maybe you make an arm too short or

something when it's actually much longer

but you don't you don't actually see it

whereas when you trace it while you're

tracing it if you're thinking like well

how would I draw this and then you

imagine yourself drawing it while you're

tracing it then you you hit things where

it's like oh wow I would have stopped

the arm

a long time ago okay so he makes the

arms longer or uh I would have made this

uh angle more severe but it's actually a

very gentle angle things like that

little things that I think you can uh

learn from um just a little bit of

tracing I don't even think you need to

do too much you just need to do you know

a few pages

um

and probably figure out you know okay so

these are my Tendencies I tend to do

this like this

and that was important but more

important for me was that okay well I

didn't copy at a young age I understand

why this is helpful now because people

who copy from other people at a young

age what they're doing is first of all

they have a standard and this is so

important I've uh heard people who say

they aren't improving and what I think

it is is that they're not comparing to a

standard so um for instance if I wanted

to draw a hand and I have reference of a

hand and then I draw that reference then

I have a point of comparison I know is

my hand correct does it look like the

other hand or does it not um now if I

just draw it from imagination what's my

point of reference if you've got a good

visual Library that's your point of

reference but if you don't or and and

for me it wasn't even that I didn't it

just took me so many years of drawing to

develop one

um but yeah it's a case of uh

not having a point to compare it to uh

that's probably why you're not

improving and uh that's why also you

should do many drawings of the same

thing so that you draw it once it's like

okay that's my first step try again to

improve but again you need something to

compare it to so with these people they

were

drawing uh works by artists obviously at

that time better than them and often

they would draw the work of their

favorite artists and so they're drawing

pretty highlevel stuff or at least

getting used to moving their arm

creating those shapes and uh building up

a sense of basic proportion you know

this is kind of how things look and they

draw poses that maybe someone like me

who never copied I just couldn't think

of those poses and so what happens is

later

on they develop a sense of what looks

right and what doesn't look right so

when they draw and uh they're making a

drawing and and it sort of doesn't look

right they know okay well I I remember a

long time ago or even if they don't

consciously remember it they get a sense

of like yeah this should this line

should probably be here and that's what

they mean by I think I mean all this is

just me making stuff up from my brain

and uh so they get a sense of that's I

just feel it you know I don't need to

know uh or I don't need to analyze it

because I just feel where this goes and

then if someone asked them maybe they

would say well it's just intuition and

then someone from the outside might look

at that and say well they just feel

things out and they have intuition I

guess they have talent right

but understanding this

means there is a root cause of that

so-called talent and uh for someone

who's young you can take advantage of it

you can actually start practicing to

develop that simply by copying good

artists and doing it a lot so that's

what I would have told myself is when I

was young okay do that but but but but

what if you're in my situation and you

didn't copy when you're young now what

well the thing is you still can do the

same thing you still can copy now you

know um one of the things is that I

thought I couldn't copy or I wasn't good

at copying the thing is

that this is this is also the reason why

people say they can't draw from

imagination but they can draw from

reference the thing is that well when

you draw from reference of course you

have it's easier because you have

something to copy and uh you have a

standard of what you think looks right

and then when you draw from imagination

it does not meet that standard

and I used to try composing music I

still try sometimes but um I have no

formal training or pretty much any

training whatsoever so I don't know

anything but I just had fun composing

music so I would compose music uh but I

knew people who

were training to be concert pianists and

they didn't compose and it was weird to

me like wait why don't you compose you

are really good and the answer I kept

hearing was that well because my work

sounds horrible and it wasn't I it

wasn't that it sounded horrible it was

that they would Play Pieces by Beethoven

or Rak manov or deusi or pofv and it's

like okay so that is your standard and

then by

comparison their work that they do uh

from their own mind seems worse and so

they they think they're no good and

that's the same thing that happens when

you draw when you're good good at

drawing from reference and you try

imagination now what's the solution just

keep doing it just keep composing for

the composers or just keep drawing from

imagination because yeah of course of

course it's going to look worse it's

harder it's harder to do things from

imagination um it took me many years and

I still find that yeah if I draw

something and I have a

reference

um it will look better

than if I just draw things from my mind

and hopefully one day that'll turn

around but at this point it hasn't but

the reason I said I wasn't good at

copying is cuz when I would draw from

the reference and I'm just copying it

for the sake of copying I have the

reference to compare it to so I I look

at my copy and it's like well that

doesn't look as good as the

reference so I must suck at copying

instead of thinking this is my first

drawing from this reference

and this reference is from someone who's

been

drawing thousands or hundreds of

thousands of images so why would it why

would it be that good I just need to

keep copying more and more

so I think that's really important just

understanding the reality of things and

um like

why why would you expect expect

something you draw from imagination to

be as good as your things from reference

how does that make sense why would that

make sense why would that why would that

be the way it

is it isn't like it shouldn't be right

like it it's kind of obvious that no

yeah of course I should be trying more

like it's not going to look good and I

think the problem again and I brought

this up before is this idea of you have

an expectation a standard that or not a

standard you have an expectation of what

you want to produce so your goal

oriented your results oriented rather

than process oriented process oriented

means I know I'm going to improve by

doing stuff so I'm just doing it and

enjoying it and yeah it's it's not good

the next one's going to be better that's

okay you're just you're into the process

it's not the end result results oriented

is where I see the most problems and

this is how I was where I would sit down

and think I'm going to do a drawing of

whatever you know

um and then get disappointed when it did

not come out the way it was in my mind

and I don't see a problem with this I

think this is something you should do

but it's not what you judge your skill

on or your improvement on especially not

your

improvement cuz

that's not going to help you improve

fast because let's say I do one drawing

and I think I'm doing a scene in my mind

and it turns out a certain way and then

I do another drawing maybe a few days

later and it's like okay so that was two

drawing two drawings and that's not

enough to help you improve and also

you're drawing completely different

things completely different subject

matter um forget the subject matter it's

just like it's just different you're not

you don't have a reference to improve on

so what I started doing is just looking

at other artists more and copying their

Works more um but again uh advice that

jet gave me is that don't copy the whole

image for instance let's say you want to

learn how to draw or how a certain

artist draws eyes just go through all

their work and just copy the eye

and um and I would recommend to even

copy the same eyes a few times until you

get it right but let's say that's a

method you would do okay then what's

going to happen is you are going to

improve at drawing those eyes and then

you might think well okay now I'm good

at drawing these eyes but I suck at

drawing everything else well yeah so

then you tackle each issue one at a time

and that's also the way I think it

helped me to learn Anatomy because if

you if you look at an anatomy book and

and I heard people who or I heard of

people who would uh simply open up the

book and just copy every single image

from front to back and they said this

helped them learn Anatomy now I'm pretty

sure all of those people were the same

people who copied things from a young

age like they've already developed that

talent and if you find you're good at

drawing and things come easy to you

maybe you can actually write in the

comments if that is the case like cuz

I'm I'm open to being wrong I just have

this feeling that I think most people

who are uh you know really good at a

later age probably started copying from

things at a young age and and when I say

good I don't mean I mean kind of scary

good you know like cuz there's good and

I was as I as I said before I was I

thought I was talented people said I was

good but it's like yeah you're you're

better than the kids in your class but

are you like almost professional level

or you know like th those scary good

people where it's like wait

what M because there's there's there's a

lot of those people around and yeah I'm

curious to know if that's if that's

common okay so the last thing I want to

touch on with Talent is is let's say you

are copying and you're doing all that

and whatever results you're having or um

but I do think people have natural

predispositions to certain things

they're better at doing some things than

others and I think the best way of

utilizing Talent is to find out what you

like and what you do

well and using that so something that

happened with me and I know a couple of

my friends who are artists who have the

same problem

is they they think because they can do

something easily it must not be

good and when they do things that are

difficult they think well now I'm

improving and I had this a lot where I

would spend hours and hours and hours

and hours on something that was painful

and hard for me because I wasn't good at

it and I didn't like doing it but I

worked a lot and I would show people the

end result and it's like yeah it's okay

whereas I really wanted them to to say

wow you improved so much I noticed all

these things that you did that cuz I

felt I was improving it's like oh wow

I'm getting better at I don't know know

rendering or I didn't know how to do

this and now I can do that and instead

it was just like me and then I would do

like the simplest drawing that takes me

no effort and it's like an expression a

character or

something and people would be impressed

by it they'd be like wow that's cool and

I'd

think yeah but that took that was easy

that's that's not good though that's you

know as if easy meant not good and hard

meant good it doesn't and what's so

important is to realize that when you

look at people who are extremely

successful they just do what they like

to do they're using the well this comes

easy to me as an advantage um so it's

important to figure out who you are and

this takes time it took me many years to

to learn who I was but it probably would

have taken me less time had I been

focusing on that from the

start so what are my talents my talents

are I am good at analysis I can break

down

complex ideas into manageable

chunks okay uh I'm pretty good with eyes

I'm pretty good with faces I like faces

I like characters I like expression

emotion

and I like style

okay so then it's up to me to use that

like okay so those are your strengths

that's your

army um someone who might be the type

who uh learned by copying it's like well

okay I've I have a natural sense of what

looks right and so they have their

advantage and then it's about using that

if you're a person who maybe you've got

a good sense for design then it's like

okay well maybe you should incorporate

that more maybe you should do more

design work um if you are someone who

is you you just find things like

perspective really simple it's like okay

that's awesome maybe you could do

something with that like architecture uh

concept art is very perspective heavy

actually everything is perspective heavy

if you I mean Comics are perspective of

heavy so anything with that so I think

that's where it really shines is that

when you

stop um there's the expression you know

no pain no gain I I don't think this is

true honestly I don't think so because I

would look at people doing stuff and

they would do a ton of drawings so yeah

it seems like it's hard right they're

doing hundreds of drawings and

it's like wow that is hard work that

you're doing and no pain no gain right

well the thing is that if they were

drawing something they were interested

in that's not work I mean it is work but

it's not hard work it's not painful

because when I would draw things I'm

interested in it just was kind of fun

it's like oh okay but I know from

experience when I would do things I

don't want to do or I don't like doing

then it really does feel like work it's

like oh I have to

draw I have to practice drawing

buildings I hate drawing buildings and

when I did it it felt like a

chore but it shouldn't you know when

when when you know what you want it

becomes fun um or at least interesting

at least that much so it's not that hard

when I was doing value studies I I was

doing still life and things and I did a

lot of drawing I did like easily over 12

hours a day and it

was it wasn't hard it was just oh okay

it's I know I I had a purpose so um I

don't I don't agree with the no pay no

gain mentality I think instead it is you

have to do a lot of work and you're

going to do the best work if you're

interested in it and if it's something

you like that comes through no matter

people can tell and I've had enough

cases where um I show them work and I'm

not saying any I'm not saying like hey

this piece I enjoyed and it was easy for

me and that piece is hard but they

always pick the piece that was easier

for me as the that's the good one that's

the one I gravitate towards so um yeah

so if you are young copy a lot and have

a standard if you want to if you want to

improve have a standard do something

from something don't just say oh I'm

going to draw a picture sure and I'm

going to do a girl sitting at a desk

blah blah blah you have the story in

your mind um no no I have some cuz

there's two things there's practicing

and there's

performing they're completely different

things performing is one yeah you have

your story you want to execute you want

here's my picture that should be easy

it's a practicing that is hard it's a

practicing that's like oh I'm I'm

thinking I'm using my my energy to

figure your stuff out but the

uh the performance should be easy it

shouldn't you if you if you're doing a

drawing and it's really tough and it's

like you know maybe you're doing a

drawing for someone and it's really

difficult for you then that means you

are not doing the practicing well I mean

going back to uh piano it's just an easy

analogy for me to make it's like well if

if a Pianist went to the piano and they

were playing a new piece

during performance that would be

terrible you don't you don't do that you

do you practice the piece and you get

good at it and then you play it and then

it's and it should be easy when you play

it for other people that's and and and I

I think that's one of my goals is just

to get it so people view art the same

way they view other fields because it

it's no different and this idea of well

this person's talented and there's

talent and this stuff it's like no

there's a reason for this there's

there's always a reason for it and we

got to figure out the reason and once

you know the reason you can figure out

how to make it work for you so even if

you're older there's a way to make it

work for you so yep that's pretty much

it hope that helped and thanks for

watching