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Jon Real: Got an airplane out here.
900 feet below us going by.
-What's Kevin's last name?
Kristian: Kruse.
-Kevin Kruse.
-His dad's name is Tom Cruise.
-Oh, haha.
So, hey, we're at the launch pep, we're going to go pick up Kevin Kruse.
So, we're going to yank the airplane out and get ready to go.
Backup number two is another iPad.
Backup number three is my smartphone.
-Yeah.
-The iPads have database that cover the whole US.
-It's strange looking at this from the sky.
-Yeah.
-Right down there's Oceanside Airport.
There's Dana Point right there.
We'll be at Dana Point in about seven or eight minutes.
-Cool.
-Wow!
-Wow man, awesome.
-That was cool.
-Welcome to Montgomery Field.
-Thank you, John.
-Didn't scare you too bad, did I?
-Felt like I was in safe hands.
-Yeah.
That's all there is to it.
So what we did is we just took what would have been about a two and a half hour drive
down here and turned it into 50 minutes.
You can feel the bottom.
-Mmmh.
-Okay.
So, this wing...
-[Inaudible] in condensation.
-Yeah.
If you're up high, it gets cold soaked.
I've actually come back from Colorado and you land and marine air, it's got frost and
then a couple days later, you come back, you have big puddles under the airplane, it's
water.
Almost all of the landing gear is retracted and enclosed by the gear doors.
Um -
-And these, the wing gears stay closed laterally, right?
Side to side.
-Yeah, they come back up like this.
-Oh, that's great.
-Yeah.
-Exhaust right there.
-Yup.
And nowadays it's - if you can bring it up on an iPad with an app and figure out and
come up with a number, you're all good.
Well, in fact, when I got my ratings, you literally had to go out and do the algebra
to figure weight and balance - how to move things and now you just put in a different
pile and put it in [Inaudible].
It's just there's my - there's my wing and balance.
-Right.
I'm going to start off pretty simple.
-Yeah, of course.
-I want - Just the materials to be nice and streamlined.
So we're here in San Diego.
Uh, we've got John's beautiful plane in front of us and that's going to be our subject matter
for today.
Um, I'm on location.
Uh, we have just a couple of hours to draw and I want to spend my time thumbnailing.
I want to do small relatively simple drawings with an emphasis on construction, shapes,
and really, really simple values.
So, what I'm probably going to do is start off with just a three-quarter view of the
plane.
We've got top down light, kind of that eye level with it.
And then I'll probably just work my way around.
So, I think my goal when I'm thumbnailing is to just focus on the essence or the gesture
or what makes this like moony plane the plane that it is.
I'm going to start off just doing a little thumbnail drawings of the plane in black and
white, two values.
We're going to have a light side and a dark side.
But I'm going to stick with a simple micron black pen, brush pen.
This is just for large dark areas and I'm going to use a very light N0-Copic marker
that I can just use to sketch in a very very simple construction of the plane.
And again, just like figure drawing, I am looking at the object in front of me, in this
case of plane instead of a person and I'm looking at the relationships of shapes and
angles.
So, I'll use my pen or my marker and I'll hold it up and I'll kind of take stock of
the angles of the different parts of the plane.
So, maybe what the angle of the wing is and then bringing the marker down, placing it
on my paper and just trying to mimic that.
So, at this point after I'm done using the marker to do a really simple lay in of the
plane, I'm going in with my pen.
I'm just working on establishing a kind of silhouette.
Making sure I'm not diving into too much detail of interior shapes yet.
I want to add those selectively, so things don't become a little too cluttered or a little
too specific.
And again, at this point when we're thumbnailing, we're not aiming for total accuracy.
Uh, this is more about just kind of enjoying the process of looking and observing and trying
to just do your best to mimic what you see.
Maybe stylizing or exaggerating proportions or just having fun with it.
Once I have a strong two value image just black and white, I can decide okay, well,
how much - how much detail do I want to add now?
what's going to contribute to the image or the thumbnail and what's going to help reinforce
this sensation or this appearance of light in this case, top down right on - right on
the plane?
Should just be kind of a relaxed exercise.
I'm going to drop in a shape for the cast shadow just so this little sketch is not free
floating, just kind of sitting on something.
So, at this point I'm pretty happy with this just loose line drawing, loose thumbnail and
I want to go ahead and just look at the plane, maybe squint my eyes or blur my vision and just
try to get an idea of what the two value images, what the impression of light is - which planes
are facing the light and are lit and then which planes are not facing the light and
are shadow.
Um and kind of in my mind creating a bit of a rule set.
Okay, well if this underwing area is dark, then the underwing area of the wing in the
back will be dark as well.
And trying to create some consistency so that the thumbnail has some sense of realism in
terms of the lighting scenario.
As I'm looking at the plane right now, I'm noticing that within the shadow areas, the
areas that aren't receiving any light, there's still a large range of values.
You know, the white painted surfaces are nearly as dark as the tires that are in shadow.
For the sake of simplicity, I want to make the conscious choice to cluster everything
that's in shadow into this single black value.
And again, by leaving some of these like little tiny white marks around the wheels and other
parts of the plane in relation to the cast shadow, I'm showing a little bit of information
that communicates where the wheels are so that they're not totally lost in the shadow.
But there's not enough of the white value to become distracting or too high contrast
with the areas that are - should be fully white, that are receiving lots of light.
John's plane has these two great stripes running across the side of the fuselage.
Now, they're not totally in the light value and not quite close to the black that I've
established as my shadows.
So, I'm not going to - I'm not going to make them too dark.
I'm just going to indicate them with line instead.
Before it gets too complicated, I'm going to stop and take a look.
I think the level of details are okay for a sketch like this and we're going to move
on.
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