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[assume vivid astro focus: Learning to Paint]

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[Eli Sudbrack, avaf]

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I have to take my glasses off

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just to do this,

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because I have to be really close

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so I can see detail.

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Ulrika is actually amazingly proficient at doing that.

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I'm just painting for the first time

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since last year.

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I'm still learning.

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[Ulrika Andersson, Assistant]

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[ANDERSSON] I did photorealistic painting
for about 10 years,

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before I started working on this.

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So this is a nice change.

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I guess I have a pretty steady hand.

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It's kind of like working with nail polish

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because it gets that build up.

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But, I've kind of gotten used to it now.

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I think it's, like, a matter of figuring out,

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kind of, how to layer it.

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But, I kind of like it.

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I really like the surface that you get.

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I listen to audiobooks and comedy podcasts,

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so, I guess Eli hears me giggling.

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But, there's usually music...

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[SUDBRACK] She laughs a lot

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[ANDERSSON LAUGHS]

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[SUDBRACK] Which is excellent.

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[ANDERSSON] I'm giggling and Eli is listening to music.

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[SUDBRACK] So these here are

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the paints that we have been using.

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They're all K-60 Krink colors.

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Maybe you should call them, like, graffiti paint.

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They just use it with an applicator,

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and they just do...you know, tag,

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with the applicator here.

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We take the foamy thing out

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and we just use the actual paint,

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you know, with brushes.

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Because it has this sort of, like,

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enamel lacquer quality to it.

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And it is an alcohol-based paint,

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which dries really fast.

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I'm not so fond of this tone--

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it's too eggy.

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So we start mixing it with white,

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so it will have, like, a lighter,

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brighter yellow.

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For these paintings,

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I wasn't sure if I should have more, like,

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block colors,

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or if I should just pattern everything--

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make everything really crazy.

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I always have issues with leaving things

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absolutely white.

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[COUNTING, "...three, four, five, six..."]

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These are many layers

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of different shapes that are colored in

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for this painting.

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Christine is going to be finishing up tracing.

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I'm going to use this to start coloring that
canvas.

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[COUNTING, "Nine, ten. Ten layers!"]

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The Krink wouldn't really allow me

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to change that much,

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because I can't really overlay the colors.

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But it's sort of like a coloring-by-numbers
process.

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These shapes...

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I wanted to make it lighter.

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First, I was going to turn the whole thing
red.

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And then I felt like,

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I'm just going to outline red.

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And then I started doing it, and I said,

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oh, this actually looks good like this.

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I recently went to the Philadelphia Museum
of Art

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to visit, again, that Duchamp room.

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And I was looking at the large glass.

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I have this image of this mechanic figure

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called "The Bride".

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I thought, maybe,

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those trannies from those paintings,

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one of them might have been transformed

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into absolute abstraction in geometry.

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I felt, that's the connection--

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that's "The Bride".

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I made some references to that here,

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like, there's like this fluid

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that she exalts in this area here.

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That became this fluid here.

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I brought this piece to this bottom area here.

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I used this Jimi Hendrix cover,

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and I wanted to use this grass element,

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and I traced it over here.

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This green area came out of, like,

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something that I was looking at by Al Held

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to create a more 3-D element on this painting.

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Sometimes I feel like I should bring another
reference,

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and then sometimes I feel like I should not

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bring any reference at all.

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That something should just come

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more organic out of my mind.

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[CHRISTINE WILCOX ACKERMAN] Once I'm done
tracing it,

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I'll go do some freehand.

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I spent maybe five hours just doing the first...

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[Christine Wilcox Ackerman, Assistant]

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layer from the scan,

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and then Eli worked on it

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for probably at least a week, right?

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[SUDBRACK] Yeah, it took me a while to finish
that one.

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[WILCOX ACKERMAN] So Eli, do you want to look
at

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the first lines that I fixed?

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[SUDBRACK] Yeah.

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[WILCOX ACKERMAN] And make sure...

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[SUDBRACK, VOICE OVER] I had a really hard
time on this one... [LAUGHS]

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Like, adding color and other shapes.

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But now I'm happy with it.

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[SUDBRACK] Oh, yeah, definitely.

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Definitely, yeah.

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Perfect. Thank you.

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If I'm able to spend a whole day just painting,

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that's, like, the paradise day for me.

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Like, this traditional idea of the artist--

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the painter.

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[HAMAIDE-PIERSON] I like these little, like,

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marshmallow teeth. [LAUGHS]

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No?

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[SUDBRACK] You know what that is?

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[HAMAIDE-PIERSON] No.

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[SUDBRACK] A reference to Duchamp.

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[HAMAIDE-PIERSON] The glass panels?

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[SUDBRACK] Yeah.

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[HAMAIDE-PIERSON] Yeah yeah yeah...

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[SUDBRACK] The two panels.

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[HAMAIDE-PIERSON] Yeah yeah yeah...

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[SUDBRACK] Right? And the large glass.

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The top section, what the bride is...

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[Christophe Hamaide-Pierson, avaf]

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[SUDBRACK] There's like these fumes coming
out of the bride.

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[HAMAIDE-PIERSON] Right.

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[SUDBRACK, VOICE OVER] I keep thinking, like,

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how would it be

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when I use different paint?

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Am I going to be

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working right on the canvas

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and do something that's more spontaneous?

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[SUDBRACK] ...fumes that drag them up--

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they're wet, or something--

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that's what that comes from.

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[HAMAIDE-PIERSON] I see...

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Marshmallow.