[MUSIC PLAYING]
BRADLEY THEODORE: Creativity is very important to me
because it's always been an outlet.
My work consists of a lot of strokes and a lot of color.
I call it impression of soul.
SOUGWEN CHUNG: The central tenet of my work
is expressive gesture, which I've
translated into drawing in different forms.
It's sometimes an installation and sometimes
with robotic collaborations.
It's about just focusing on the mark and the page.
CHRIS PRYNOSKI: I would characterize
our work at Titmouse as pretty dumb, pretty juvenile.
ANTONIO CANOBBIO: It's pretty dumb, yeah.
CHRIS PRYNOSKI: Yeah.
We make a bunch of cartoons for the TV set, for video games,
for movies, for commercials.
ANTONIO CANOBBIO: We take care of all your cartoon needs,
yeah.
ROZ CHAST: I always really liked to draw
from the time I was a little kid.
I was very, very lucky to connect with "The New Yorker"
when I was 23.
And I've been working there since then.
BOB MANKOFF: I've been cartoon editor since 1997.
I've been a cartoonist for the magazine since 1977.
It only took me 20 years to ascend
to become the king of cartoons.
SCOTT MCCLOUD: Traditionally, drawing
was a way of representing 3D space.
To draw in 3D space is a completely different challenge.
Drawing in virtual reality, we have to go back to basics.
SPEAKER 1: Go ahead and try that on.
BRADLEY THEODORE: I had seen some videos of the technology,
but actually using it, it's a totally different world Whoa.
Oh, oh, holy.
Whoa, whoa, whoa, whoa.
CHRIS PRYNOSKI: And when people first put it on--
BRADLEY THEODORE: That's crazy.
CHRIS PRYNOSKI: --they start painting in front of them.
But then when they start to turn and realize like, oh,
wait a second.
I can be inside of my own painting?
That's nuts.
BRADLEY THEODORE: Whoa, whoa.
SPEAKER 1: So you can walk right into it.
BRADLEY THEODORE: Woo, that's crazy.
Oh, my gosh.
ROZ CHAST: I happen to love flatness.
Two dimensions is almost too much trouble.
Making the lines for the first time,
I realized I'm not drawing the illusion
of three-dimensional space.
I can actually pull with my tool to make
the person's arm go out.
SCOTT MCCLOUD: You're circling the work
and you're creating the work, but the work circling you
is something unusual.
BRADLEY THEODORE: It was like you're dreaming.
So it's like creating art in your dreams.
SOUGWEN CHUNG: You lose sense of time.
You lose sense of space and you don't even care.
ROZ CHAST: Everything else just disappears.
BOB MANKOFF: Doing it is like nothing you've experienced.
At this stage, we're sharing information.
We're giving feedback about what would be helpful for us.
SPEAKER 2: The first thing.
ANTONIO CANOBBIO: Oh, nice.
CHRIS PRYNOSKI: Oh, that's great.
ANTONIO CANOBBIO: That's awesome.
SPEAKER: And I made them brighter--
ANTONIO CANOBBIO: Oh, and they are brighter--
SPEAKER 2: --when you select them.
ANTONIO CANOBBIO: They are introducing new things.
So we are guinea pigs for this, like the stencils
or new brushes.
Oh, look at that.
So much smoother.
Wow, it is so much smoother.
Let's try this new thing and let's push it even more.
CHRIS PRYNOSKI: Try and draw an egg with horns
or like, hey, have you ever thought about this?
And they're like, no one's ever tried to do that before.
SOUGWEN CHUNG: It's not just experimenting with the tool.
It's about experimenting with a different way
of thinking and creating.
SCOTT MCCLOUD: Each individual artist
is going to bring a different set of sensibilities
and is going to help discover the potential of this new tool.
SOUGWEN CHUNG: How I draw in VR is
going to be different from how a five-year-old draws in VR
or even like a 56-year-old.
There is huge potential that we couldn't
consider unless we work with all these different people.
BOB MANKOFF: As these new tools are developed,
you diversify the number of people
who can be creative in all sorts of different ways.
BRADLEY THEODORE: When acrylic came on the scene,
there was a large group of artists that refused to do. it.
And they're like, I want oil paint.
I would never paint in acrylic.
And now, they're painting in acrylic.
CHRIS PRYNOSKI: You just feel like you're
in the beginning of something new, but at the same time,
it's really familiar.
It's that weird overlap of like new, never been done,
familiar feels comfortable.
See where these come together?
"Tilt Brush," right in the middle.
ROZ CHAST: There is no way I came
close to tapping the potential of what this can do.
BRADLEY THEODORE: I believe this is
going to be a part of the art community in the future.
ANTONIO CANOBBIO: How often in your lifetime will
a new medium show up?
SOUGWEN CHUNG: Drawing in virtual reality
challenges you to create what's in your imagination,
and then inhabit it.
SCOTT MCCLOUD: As we get new creative tools,
we're also going to have new ways in which
to redefine our own role as creative beings.
To me, it seems like just the tip
of the iceberg of what this sort of art creation can be.
[MUSIC PLAYING]