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Brad's Art School

Intro to digital art course.

Kick start your digital art skills with this beginners course designed to give you the skills to tackle harder more challenging topics ahead.

• Easy to follow lessons for beginners
• Dozens of sketches included to paint along with
• Homework assignments to reinforce the tutorials

Designed for Beginners

When I started taking art seriously a few years ago I felt that many of the really great courses and tutorials out there were just to advanced for me. I needed to learn some of the basics before I could really dive in and see results. That's what this course is designed to do.

• 1. Introduction - What you will need 6:37
• 2. Main software features 9:18
• 3. Drawing Cubes 13:19
• 3. Drawing Cylinders 12:23
• 3. Homework: Moar shapes!! 3:46
• 4. Pencils to line art 13:36
• 4. Block in coloring 9:57
• 4. Color effects 10:19
• 4. Homework: Line work and coloring 0:57
• 5. Line-less painting 14:51
• 5. Homework: character panting 0:55
• 6. Using the hard round brush 23:50
• 6. Homework 1: Potion drawing 0:47
• 6. Potion experiments 3:29
• 7. Using Photo Reference 16:15
• 7. Homework: Drawing from memory 2:44
• 8. Adding backgrounds 11:50
• 8. Homework: Filling a room 1:24
• 9. Advanced Coloring with blend modes 15:58
• 9.Homework: Color challenge 0:38

What Tools do I need?

You are going to need something to draw on like a drawing tablet or an iPad or Android tablet. You can use any drawing software you are conformable with. In the course I provide cheat sheets for apps like Photoshop, Procreate, Clip Studio, Krita etc. So you can find the features I'm using in my drawing app in yours.

How long do I have the Course?

FOREVER! It's yours to take at your pace. You can speed through all the lessons and projects or you can take it at your own speed. You can download all the assets and videos and view them anywhere.

Is it good for beginners?

Yes! if you are already taking high level drawing courses this one might be a bit basic for you. It really is meant for people are just getting started or want to pick up some new skills. It's designed to be the first steps in your drawing career so you can then jump into other courses and tutorials with more confidence.

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• Grade 7 Science & Engineering

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Homework in Seventh Grade Science

Homework Philosophy

The purpose of homework is to reinforce topics covered in class and to introduce topics that will be covered the day it is due. Homework often refers back to the results of an activity performed in class that day and often connects directly to what will be learned the following day. To get the most out of the next science class, timely homework completion is essential.

Amount of Homework

There is usually 1 homework assignment every week. Each homework assignment should take about 20-30 minutes to complete. Upcoming homework assignments are listed in Google Classroom.

Assigning of Homework Notice of upcoming homework is usually given the day before. All assignments will be posted on Google Classroom. The reason for not providing greater advance notice is that the homework often follows up on a specific activity or lab performed in class that day. If the student were to complete the homework before the activity, the results of that lab will be known ahead of time.

Types of Homework Typical Homework  The most common HW assignment is a reading. The reading is 2-3 pages on average and requires answering about 3-5 short questions. The readings are specially designed to further the student's understanding of what is being learned in class at the time. They may make specific reference to results of the activity performed that day. They may also prepare students for the discussion or activity that will take place the next day. The readings are an important part of the sequential narrative of the IQWST unit. 

Other Homework Sometimes students will have to complete writing assignments that were started in class. Other times the homework is to study for a test or quiz. When there is a test or a quiz, there will be a specific HW assignment requiring the completion of a study guide.

Example HW Assignment

This is an example of a typical homework assignment:  Reading 1.3 Wildlife Biologists at Work .

Homework Expectations

• All answers must be in POQIA.
• Your homework is complete if you have answered every question (or attempted to answer every question). To show that you attempted it, you must start a POQIA answer.
• Sentences are complete.
• Spelling is accurate.
• Proper capitalization and punctuation are used.
• I expect you to make an appropriate effort to answer each question the best you can.
• The appropriate effort is best determined by the length of time it takes you to complete your assignment. A typical homework assignment should take about 10-30 minutes.
• It is expected that you will not answer every question perfectly and sometimes your answers will be wrong, but most answers should be correct.
• Color 1: Key information (main idea, important details, key terms)
• Color 2: Examples
• Homework must be submitted to Google Classroom  before the stated time. Otherwise, it is considered late.

Homework Grading

Homework makes up about 15% of the term grade depending on the term. Each homework assignment is worth 10 pts. Full credit is awarded if all of the HW expectations are met. If any of the expectations are not met, the HW grade will be a 7. If a significant portion of expectations is not met, the grade will be a 0 or 5. Homework assignments that are graded a 0 or 5 can be brought up to a 7. Late or revised homework that is over one week old will not be accepted. 

POQIA stands for “Part Of Question In Answer." POQIA helps you write strong answers because:

• Take for example the question, Which basic need is a fox meeting by feeding on berries? By starting a POQIA answer...The basic need a fox meets by feeding on berries is...you become focused on completing the response with a basic need and you are then led to reexamine the four basic needs of all living things.
• Consider these two answers:   Answer 1: It is food.   Answer 2: The basic need a fox meets by feeding on berries is the need for food. Which answer is clearer? Certainly, the answer without pronouns is clearer.
• Let’s consider a different question and two possible answers. Do you think a finch’s large beak is a helpful trait? Explain.   Answer 1: Yes because the finch's large beak can help the bird to crack open seeds with thick shells.   Answer 2: I think that the finch’s large beak is a helpful trait because the beak can help the bird crack open seeds with thick shells. The first answer is not a grammatically correct sentence. By starting a POQIA response, this common mistake can be avoided.
• Consider that seemingly simple question about berries. While taking the time to generate a POQIA response, you might consider that berries are 90% water, thus providing water for the animal. You may also realize they are energy-rich, which may help the fox develop a layer of fat. With that in mind, you might end up writing the following... The basic needs a fox meets by eating berries are the needs for food, water, and keeping internal conditions stable. The fox gets both energy and water from the berries. If the fox eats enough berries, the fox will maintain a layer of fat. The layer of fat provides insulation that will help keep the fox’s internal temperature constant
• Finally, POQIA develops good writing. Good writing takes practice and requires developing good habits. With practice, POQIA will become automatic and your writing will grow stronger. A strong writer has a distinct advantage in science.
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•     Homework Habits…   What are a parent’s homework responsibilities?             Parents are the key to making homework a positive experience for their children. Therefore, I ask that parents make homework a top priority at home, provide the necessary supplies and a quiet homework environment, set aside a time every day when homework should be completed, and provide praise and support when needed!   Why do I assign homework?             I believe homework is important because it helps reinforce what has been learned in class, prepares students for upcoming lessons, teaches responsibility and helps students develop positive study habits.   What are your child’s homework responsibilities?             I expect students to do their personal best on each assignment. I expect homework to be neat not sloppy. All written work should be done in pencil, unless specified otherwise. I expect homework to be completely finished by class time the following morning.   How are the assignment books used?             All students were given an assignment book in which they write down their daily homework. Students will copy each night’s assignments in their assignment book. Please check and sign their assignment book nightly.   What will happen if students do not complete their homework assignments?             If students choose not to do their homework, they will stay in at recess and complete what is missing. They also choose to lose certain privileges, for example.... breathing. If the missing homework is habitual, I will ask that parents begin checking and signing completed homework each night. After three homework assignments have not been turned in, or are turned in incomplete, the student’s grade will be lowered.   What about legitimate reasons for a student not completing a homework assignment (i.e. I was sailing with my teacher.)?             If there is a legitimate reason the student is unable to finish the assignment, PLEASE send a note stating why the assignment could not be completed. (Bonus points are given for creative and original reasons.) The note must be signed by the parent.      
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Brian tyree henry joins uni’s pharrell williams-michel gondry musical, breaking news.

Quentin Tarantino Drops ‘The Movie Critic’ As His Final Film

By Justin Kroll

Justin Kroll

Film Editor

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EXCLUSIVE: Quentin Tarantino ’s movies are always full of surprises, and here is one about The Movie Critic we did not expect. Deadline can reveal that Tarantino has dropped the film as his 10th and final project. He simply changed his mind, Deadline has been told.

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Word is that Tarantino had rewritten his script, which delayed the start of production. But this is his 10th and final film, and Tarantino simply decided The Movie Critic will not be it.

This is the biggest surprise to Tarantino fans since years back when Deadline revealed he had shelved The Hateful Eight after he gave a small group of actors his script and one of them shared it with their rep. Soon it had been copied and the rough draft was shared all over town and online. Tarantino felt betrayed, but he eventually returned to the project after staging a reading for charity and drawing raves for it.

As for The Movie Critic, originally planned to be his 10th and final film, Tarantino has simply had a change of heart and Deadline hears he will not be moving forward with the project. Sources close to the director said he changed his mind and is going back to the drawing board to figure out what that final movie will be.

The Movie Critic project gained a lot of momentum after the SAG-AFTRA strike ended when Deadline broke that Pitt would be joining the film, with the hope to start shooting it in 2024. Tarantino opened up a bit to Deadline’s Baz Bamigboye  at Cannes in May, when the filmmaker presided over a screening of  Rolling Thunder . He said at the time his movie was set in California the year of that film’s release, which was 1977, and that it “is based on a guy who really lived but was never really famous, and he used to write movie reviews for a porno rag.”

Like with shelving The Hateful Eight , Tarantino has pivoted when he finds it necessary, a trait that has served him well in his career and is sure to help on whatever he does decide to do as his final film.

We will update the story when there is more to reveal.

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Here are some resources for your course.  Just click on the subject  and it should take you to resources. Any problems please e-mail me [email protected]

• Types of micrometers
• Tool Maker's Button
• Using an Edge Finder
• Types of Knee and Column Milling Machines
• Thread Measuring - three wire method
• Direct Indexing
• Simple (Plain) Indexing
• Differential Indexing
• Rotary Broaching
• Setting speed and Feed for a Milling Machine

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Critic’s Notebook

Keith Haring’s Legacy Is Not Found at the Museum

Three decades after his death, his work is still sold on products and in stores. But his concept of public art is most powerfully preserved on the street.

By Max Lakin

Toward the end of “Radiant: The Life and Line of Keith Haring,” Brad Gooch’s exhaustive new biography, he quotes from a journal entry Haring made after visiting the Museum of Modern Art in 1988 expressing his “sense of injustice” that contemporaries of his “were represented upstairs in the galleries, while he was confined to the lobby gift shop: ‘They have not even shown one of my pieces yet. In their eyes I don’t exist.’”

Haring’s frustration surely feels surprising for anyone who is familiar with his work, which is mostly everyone. You needn’t be able to name a Keith Haring picture to recognize it; its vibrating line and electric palette announce itself as efficiently as a neon sign. That was true in 1988, by which time Haring had completed more than 50 murals around the world, largely for hospitals and children’s charities, and was designing Swatch watches and ads for Absolut vodka and Run DMC. And it is more so now, 34 years after his death , in 1990 at the age of 31, as his work continues to permeate contemporary art.

In his short but intense career, Haring’s pulsating figures became an inextricable part of New York City life, like ancient hieroglyphics that weren’t as much drawn as unearthed. Remnants of his public works, like his crimson “Crack is Wack” handball court mural in East Harlem from 1986 and the 700-foot wraparound frieze in Woodhull Medical Center done the same year, remain highly visible. At once modern and classical, gnomic yet instantly clear, Haring’s work distilled the Pop Art of the previous decades and Neo-Expressionism of the 1980s, wrapping in uptown graffiti movements into a genderless, raceless utopia — a basic but expansive vision of human equality. And yet the most likely place you’ll encounter it now is still not the museum, but the mall, which was his own doing.

Haring’s view was that art ought to be available to as many people as possible, and he correctly identified that most people’s exposure to it was not in galleries but on the street and in stores.

Today, the breadth of artist-branded merchandise — the tchotchkes and T-shirts that function as an accessible counterpart to the art market’s billion-dollar machine — is unremarkable. But the convulsions occasioned by the opening, in 1986, of Haring’s Pop Shop, a SoHo storefront that sold inexpensive souvenirs stamped with his energetic vocabulary — pins, stickers, posters with smiling penises encouraging safe sex — were rabid. Critics regarded it as a violation of the sanctity of art. He was called a prostitute and a “disco decorator.” The gall of an artist who had appeared in the Whitney’s 1983 Biennial selling his own cheap reproductions was radical enough to shock.

And they were cheap. Posters went for a dollar and Radiant Baby buttons — a Haring calling card, previously offered free — moved at a mere 50-cent markup.

Haring was 27 and disaffected by the gallery-industrial complex that sought to commodify him, so he did the commodifying himself. “I wanted it to be a place where, yes, not only collectors could come, but also kids from the Bronx,” he said at the time. “I assumed, after all, that the point of making art was to communicate and contribute to culture.”

A generous reading could cast Haring’s project as institutional critique; a more cynical view would look something like that of the anonymous critic who sprayed “CAPITALIST” across the Pop Shop’s facade a few hours after its doors opened.

Critics and curators still struggle with Haring’s legacy. MoMA, whose Design Store stocks over four dozen styles of Haring merchandise, owns Haring’s untitled, 50-foot-long ink drawing from 1982 , but rarely puts it on view. The last comprehensive museum exhibition of Haring’s work in New York was at the Whitney in 1997. Commercialism, apparently, still makes people uncomfortable. “Radiant” makes room for a multiplicity of motivations: Haring was an earnest humanist, alive to the liberating capacity of art; or a keen observer of American television and cartoons whose saturated gloss he mirrored in his art; or an early master of self-promotion.

By now, a judgment is beside the point. To be deemed a sellout, as Haring often was called, was once the most wounding slur. Now it is the goal. The modern artist, aside from having to say something true about life, is expected to be an entrepreneur. Seen now against the crush of art licensing and fashion industry mash-ups, the Pop Shop, which closed in 2005, feels quaint. At least you actually had to show up to buy.

Like so many artists of the ’80s, Haring idolized Warhol, “everyone’s cultural parent,” as Rene Ricard wrote in 1981. Where Warhol coolly observed the country’s turn toward mass culture, Haring devoured it. His father, an amateur cartoonist, had him drawing Mickey Mouse before he was 6. Warhol was especially impressed with Haring’s buttons; when he referred to Haring as “an advertising agency unto himself,” it was the biggest endorsement he could think of.

Haring isn’t responsible for art’s hypercapitalist mode; likely it was already headed there, accelerated by the money-flush market of the ’80s and the conflation of an art work’s market with its cultural value. But his career did offer another blueprint, for street art. In ’70s and early ’80s New York, subway writers and graffitists largely functioned in the city’s periphery, outside the gallery system’s gravitational center, until eventually that gravity pulled them in too.

Haring’s style — the boogieing stick-figures and fluorescent palette — is alternatively described as Pop and graffiti. And while his sinuous line evokes some of the graphic, bulbous train art with which Haring became enamored, much of the graffiti label applies because he mixed with artists like Futura, Lee Quiñones, and Haze. But aside from being produced guerrilla style on public property, the simple, early line drawings that Haring plastered on lamp posts and on subway platforms share little with graffiti writers’ propulsive alphabetic inventions.

What Haring took most from graffiti was the goal of maximum exposure, which he recognized as social engagement. (Gooch quotes Tony Shafrazi, Haring’s dealer, who recalled Haring’s habit of giving small drawings away as “a natural part of the way he worked.”) In an essay for Documenta 7, in 1982, in which his work appeared alongside that of contemporaries like Donald Judd, Richard Serra, and Cy Twombly, Haring writes: “My contribution to the world is my ability to draw. I will draw as much as I can for as many people for as long as I can. ”

Haring’s rhythmic humanoids and three-eyed smilers were as recognizable then as they are now. But his genius was to saturate his nervous line in the public consciousness such that artists who may not think about him at all are rendered late-style imitators. (New Yorkers who have witnessed the Sanitation Department collection trucks sheathed in thick black lines might be surprised to learn these are not a Haring license, but the work of Timothy Goodman .)

Haring’s most visible heir is Brian Donnelly, who, as KAWS, creates highly finished paintings and sculptures featuring a stable of morose characters, as far removed from Haring’s gestural, upbeat pitch as can be imagined. Yet Donnelly, a former tagger, has clearly thought about Haring very much. “Untitled (Haring),” from 1997, a black-and-white photograph of Haring drawing on a subway ad, overpainted with a neon amoeba peering over his shoulder, as if taking notes, functions like a manifesto. There are some stylistic overlaps: Donnelly’s figures, derived from famous cartoons, are similarly, instantly recognizable. But it’s in the wide-view, in which his fine art production is supplemented with constant releases of collectible toys and luxury fashion collaborations, that Donnelly’s practice can be seen as Haring’s adjusted for inflation.

In terms of market crossover, Donnelly is the most successful post-graffiti artist, though others come close. Futura, for example, has collaborated with Comme des Garçons, Dr. Martens and both the Yankees and the Mets. In his afterlife, Haring repaid his debt to the style writers, having, as he noted, “replaced the network of information in the subways with an international network of distribution.” In their eyes at least, he’s achieved sainthood: a slightly confusing mural by the street artist Kobra installs Haring, along with Warhol and Basquiat into a Mount Rushmore peering over the Chelsea galleries.

Haring’s art was reflective of the period’s turbulence — the threat of nuclear war and Reagan-era conservatism translated into anxious lines and people irradiated by flying saucers — but also the era’s sexual liberation, indulgences and club-scene ebullience, transmitted via boomboxes and swelling hearts.

Toward the end of his life, as he contended with AIDS, his free-floating glyphs turned toward activism: political posters advocating nuclear disarmament and anti-apartheid and humanizing the AIDS epidemic through education and appeals on behalf of ACT UP, all rendered in the same unflagging positivity. For most viewers, those signifiers have fallen away. What persists is a simple universality. Like religious art or cave paintings, they dealt in elemental ideas: birth, life, fear, death, sex. Haring’s art could be understood because it spoke in the big, broad strokes of human life.

More than anything else, it’s the licensing that extends Haring’s concept of public art. Gooch quotes David Stark , the founder of Artestar, the agency responsible for the mountain of consumer products licensed with Haring’s work, along with Basquiat’s and other artists of the period. Stark worked for Shafrazi and then for the Haring estate, and views his purpose with missionary clarity. “I based it on Keith’s model,” he says flatly. “Keith Haring feels to be on the right side of history.” That of course is the one with the gift shop.

The art world’s relationship with its commercial realities can be a funnily uneasy one, eager to muffle the sound of business humming softly in the background (what is a gallery if not a store?). Haring’s absence in museums suggests that the commercial bent to his populist vision makes that vision less profound. In fact its total triumph bears out the opposite. It’s impossible to know if Haring saw the modern expression of the art market coming, but he understood the appeal of an alternative, and the desire to be able to hold onto a piece of art, however small.

Art and Museums in New York City

A guide to the shows, exhibitions and artists shaping the city’s cultural landscape..

Uzodinma Iweala, chief executive of The Africa Center , will leave at the end of 2024 after guiding it through the pandemic and securing funds.

Renaissance portraits go undercover in the new Metropolitan Museum show  “Hidden Faces,” about the practice of concealing artworks behind sliding panels and reverse-side paintings.

Donna Dennis is a trailblazer of the architectural sculpture movement, and her diaries rival Frida Kahlo’s. Are we ready for the unsettling clarity of the godmother  of installation art?

The Rubin will be “reimagined” as a global museum , but our critic says its charismatic presence will be only a troubling memory.

How do you make an artwork sing? Let your unconscious mind do it . That’s the message of an alluring show at the Japan Society.

Looking for more art in the city? Here are the gallery shows not to miss in April .