Just guessing, but this channel looks like it was put together out of the necessity of teaching during the pandemic. Whatever the case, thank you for making it all available publicly. I haven't seen such a thorough exposition of this technique as this one.
Thank you! And you’re exactly right. This channel was originally created for my students but the positive response from the wider community has inspired me to create additional, slightly more polished content.
Yes, thank you for letting us sneak into your class! I have always wanted to learn to draw but needed tons more practice than the usual, so I guess drawing classes scared me off a little and what I had found online went too fast for me Now I am waiting for my sketchbook and red chalk to arrive :)
@@Themostrelaxedturtle just found your comment. You’re welcome, but you shouldn’t be scared of taking a drawing class. Instructors will differ, of course, but I think you’ll find most of us very patient, encouraging and empathetic to the struggles of the beginning artist. Try taking a class-nothing can replace the experience of learning from a competent instructor.
@@zuheyr1 No particular clues or context led me to that conclusion, like this channel being among 1000s of other channels hastily created at the beginning of a global pandemic by other professional educators to keep their traditionally brick and mortar courses on schedule. I just took a puff and felt it in my bones, man.
I was looking for an explanation on the 3 crayons technique for a long time. This was the first I found which is very complete and understandable for everyone. Thank you Marc!
I used to use white, black, and red terra cotta conte pastel sticks when I was a kid...had no idea this was an actual technique discussed. I just found they worked well together. I think I still have some of those conte sticks somewhere...think I will pull them out. I remember liking that setup because you barely had to bring anything...just a tiny hardshell pencil case and a sketchbook.
I absolutely love the look of value studies done on toned paper. I agree with your take on Reubens being the height of thia technique. I wanna say thanks bc even though ive been interested, i am entirely self-taught and lack any real life associates at all who are artists really, so finding info this specific is usually accidental; as it was that i stumbled upon your channel! I have subscribed now though for future reference.
Thank you for your subscription! I don't know where this channel is going (if anywhere) but it's really nice to know that it's helping people improve their art-making, and I'm looking forward to making many more videos like this one.
Thank you so much for this video? I’ve never been formally introduced to this method and really appreciate the knowledge! I recently acquired some conte and I had no idea that such a technique was based around the three colors! Makes total sense now! Thanks and great video🤘🖤🤘
I’ve noticed that in this technique with feels both rather harsh, as in cold and very bight - I’ve found using a very light cream ie Carbothello 1400/105 to replace white seems to be far more ‘comfortable’ the tone is note as bright and it’s warmer …I feel more in control of my drawing and the whole thing feels more balanced.
Thanks for this note. I should have mentioned that many white chalk pencils actually contain titanium white, a bright, opaque pigment with a cool tint. Natural chalk pencils are more transparent, and therefore softer.
Fantástico!!! Realmente disfruto con tus enseñanzas!! Que gramaje sería adecuado para los calcáreos? El Strathmore toned tan de 118 gramos iría bien para aceitosos. Es el bloc de color verde y cowboy en portada. También el mixed media de 300. Gramos , toned tan de Strathmore..? Gracias
¡Muchas gracias! Sí, el Strathmore 118 g es perfecto para los lápices a base de aceite. Es lo que usé para la demostración. El papel de técnica mixta de 300 g no lo he usado y no podría decírtelo.
On a little side note, I think Holbein jr. was earlier than Clouet in this 3 color technique but anyway, very nicely done and interesting demonstration, thank you for sharing.
@@mkompan Yes, you're absolutely right, my mistake, I did a search and Holbein the younger was effectively influenced by Clouet through a travel in France (also interesting in this regard that the two courts, of France and England, were these artists respectively worked, became enemies, so maybe Holbein instead of Clouet (who did a portrait of Mary, queen of Scots, stepsister of Elisabeth I) , was preferred as a painter to the English court because of this? ).
Thank you 😊 I have the Rembrandt white oil and it’s the brightest, looks like I’m getting the soft pastel too. I don’t work with soft pastels much, but this is a must have for those tiny bright highlights!!! I work with conte and pastel pencils, just not the big soft ones
Thank you for this video.Might the comparatively limited colour palette of the three crayon technique perhaps provide an important transitional stage between graphite/charcoal and coloured pastels?
Do you apply any fix on the drawing when done? Can parts be fixed and then some pencil\chalk added later over that fix? any tips or how-to's would be very nice!
With the first approach, you can apply spray fixative in stages, and then continue working without problems. It's not really necessary with the second approach, because oil based pencils don't really smudge, though you could still do it. I would avoid fixative with the third approach, unless you're doing it in the very early stages, because once the pigment is built up, the fixative is no longer effective unless applied very heavily, and then it will change the colors in your drawing. I'll have to make a video on fixatives and other ways of protecting your drawings.
Graphite is very slick and will resist the chalk pencils you place on top. It might work with some of the waxier pencils however. If you need something very light to start with, I recommend using vine charcoal, or just a very hard charcoal pencil.
So I did a drawing based on the last example you provided ( Rubens' style right?) And from my conte a Paris set, I used what looks like a gray stick, #2457 and I rubbed it all over my white paper. After this I rubbed the hb 2460. Then, I used the white #2456. I sketched the face with the stabillo 1400/750. And after I had also added the shades, I went all over the face with the conte white 630, following by the conte sanguine. I had made the mistake of going too hard while shading with the stabillo as well as the sanguine. So I had to add several layers with the white chalk. But I was lucky my model has a pale complexion and an even white tone, based on that given light on her picture, throughout her face. I also had the dilemma of whether to add sanguine or black to certain shadows, like those on the chin, near the eyes. And when I'll add the shadows with the black pencil, they'll look too dark.. However, compared to my graphite/ charcoal sketches, this one looks more alive, realistic. Your drawing and its tones look more subtle, though. I'm more familiar with the sanguine method. Howeve I do draw the hair and its details, as I did with the Rubens ' method with the black pastel.
I'm glad you're trying these techniques, Sergio! The key is not to always draw what you see. I think it's good practice to make the shadows touch redder than they are, and to avoid going too dark. Copy a lot of Rubens drawings--it's the best way to understand how he drew.
These techniques work with any dry media. You’ll probably have the greatest difficulty with watercolor pencils, since they tend to be very transparent. However, it will work with soft and oil pastels brilliantly.
@@mkompan thanks for the response, oh, today I experimented with soft pastels the technique and it worked very well, it gets very expressive. But I don’t do much the deal with conte pencils, or even with watercolor, pastel pencils like what suits best, can you give some orientations ?
@@cassidavinci7714 not sure what you mean by orientations. Are you asking which materials to use? One material is not better than the other. It depends on what you want out of your artwork. I wouldn’t use watercolor pencils for this, since they’re not really designed for working on toned paper.
@@mkompan no, I’m not asking which material is best, I saying more about the materials itself, like which occasions suits best for material and not talking more about the technique of tree crayon
@@cassidavinci7714 I see. You’re asking a question that only you can answer. Think about what style you wish to work in, find artists working in that style, research their working methods/ materials and experiment with them to see if they work for you. An experienced instructor can help you with this, but they have to know your work, and understand where you want to take it.
You're welcome! Sorry, I don't know of any pencil extender that fits Conte pencils. II use an X-acto knife to narrow the back of the pencils so they fit into standard extenders.
I’m sorry, but I don’t understand your question. Are you asking about the first technique? The color of the background should be similar to skin tone, a light brown, grey or slightly pink.
@@mkompansorry from my launguage Yes sir you are right I was asking about the first tequnique if I am Drawing it with pink colour then I have to shade the background with pink soft pastel??
@@artistrywepons1973 No worries! Yes, that’s correct: you should start by covering the paper with a light brown or grey-pink. Since a lot of the paper color will be show through, it helps for it to be similar to skin tone.
Thanks again for this. But a silly question: how do you tell between oil or wax crayon?? Ah yes, canson mi-tinte are horribly expensive even in Belgium. Kraft is the paper we go for here. Do you not have it in the states? Thanks Ps: do you put your hand on the paper?
Are you asking how to tell whether the pencil is oil based or wax based? From what I understand this is a false dichotomy. These things are closely guarded industry secrets, but all waxy/oily pencils contain a complex combination of waxes and oils. As for paper, Canson is probably just as expensive here in the US. We do have Kraft paper, and it has a very nice color for this technique. Art materials are remarkably standardized across the world, with the market dominated by just a few brands. I go to Europe frequently and am always disappointed that I can’t find local, unique supplies in the art shops.
@@antoniocc6853 true. But I’m stunned at the amount knowledge needed by professional conservators: chemistry, art history, technical skill, command of various mediums, and a working knowledge of several languages, since many works on restoration are not translated.
Is conte just chalk? Or do they differ? It seems with all the talking people do about conte crayons no one simply says it is or isn't simply chalk pastel.
Conte sticks are a type of chalk pastel, but have a unique formulation that makes them somewhat harder, denser and “stickier” than regular pastel pencils, probably because they contain some amount of wax. The confusion is that Conte also makes chalk pastels.
Prismacolor pencils are wax-based, not oil-based. This is why it resists the conté pencil. Instead, try the Faber-Castell Polychromos pencils, which are oil-based.
From my limited understanding, this is a false dichotomy. All color pencils contain a combination of waxes and oils. What I do know is that neither Prismacolor or Polychromos mix well with chalk based pencils. Here’s just one article on the subject. www.theartgearguide.com/home/wax-or-oil-colored-pencils-myth-or-fact-
+1 good stuff, but you don't have to talk unnaturally quickly to fit UA-cam, it's just a platform. I think those specifically looking for art videos are not as impatient as those who think this should be a 10 minute video, and of those, those who think the 10 minutes should have been 100 seconds. You've gone to lengths to shorten the video, but the reading from prepared text loses the transfer of knowledge, i.e. a human explaining and another human adapting the explanation to his current knowledge. In pedagogy, there is no talk-over-prerecorded. That's showing, not teaching. I appreciate the showing, and the mentioning of details such as not destroying the paper fibers!
Did you misread me? Don't feel pressured by the platform, and don't please those who are impatient, but those who want to learn. I explain how talking over showing isn't teaching, and that anyone watching will need to pause the video because there is no pause in speech, and in fact you pile it on and talk very fast. The only reason I can see is that you are appealing to the platform and the impatient. By liking and interacting, I have pleased YT and increased your presence on the platform. I comment on the content, which YT is completely oblivious to. How to make videos teach something, only you can care about. You use YT as a repository for videos, and there is no presence of humans on YT, only bots. Which leaves other humans. Appreciate them more than bots, and perhaps especially if they bother to interact.
@@BaldingEagle51 I’m sorry you feel that I speak too quickly, but that is my natural pace, and many people are not bothered by it. I’m also sorry that you think that narrating over a recording is not an effective teaching tool, but I find it to be the best way to demonstrate certain long form techniques, one that many people (not just the impatient, or bots, or impatient bots) appreciate. I do have quite a few videos where I teach in real-time, including one on the three crayon technique, but recognize that there are many ways of teaching, as there are many ways of learning. You seem to be one of those unfortunate people who demand to be taught in a specific way. This is a recipe for frustration, since no instructor can teach exactly what you want, in the way that you want it.
@@mkompan I will leave it to other humans like me to say whether they had to pause the video at any point to catch a word. There are more videos on YT that show things that are worth learning than videos that teach things that are worth learning, by a factor of much more than 100 to 1.
Just guessing, but this channel looks like it was put together out of the necessity of teaching during the pandemic. Whatever the case, thank you for making it all available publicly. I haven't seen such a thorough exposition of this technique as this one.
Thank you! And you’re exactly right. This channel was originally created for my students but the positive response from the wider community has inspired me to create additional, slightly more polished content.
Yes, thank you for letting us sneak into your class!
I have always wanted to learn to draw but needed tons more practice than the usual, so I guess drawing classes scared me off a little and what I had found online went too fast for me
Now I am waiting for my sketchbook and red chalk to arrive :)
@@Themostrelaxedturtle just found your comment. You’re welcome, but you shouldn’t be scared of taking a drawing class. Instructors will differ, of course, but I think you’ll find most of us very patient, encouraging and empathetic to the struggles of the beginning artist. Try taking a class-nothing can replace the experience of learning from a competent instructor.
Interesting, what made you think that this site is put together in tge pandemic to replace live class? Aren't all youtube classes like that?
@@zuheyr1 No particular clues or context led me to that conclusion, like this channel being among 1000s of other channels hastily created at the beginning of a global pandemic by other professional educators to keep their traditionally brick and mortar courses on schedule. I just took a puff and felt it in my bones, man.
I was looking for an explanation on the 3 crayons technique for a long time. This was the first I found which is very complete and understandable for everyone. Thank you Marc!
Thanks Linda! I was surprised that there’s so little info on this online. I have a number tutorials like this in the works, so stay tuned!
i think i finally managed to do it. i found the most underrated channel on youtube.
That’s very kind of you! Hopefully my channel is not underrated, but just underviewed .
Marc at his best: illuminating theory and plenty of practical advice.
Thanks Jay! I like doing these kinds of videos. Much more interesting than reviewing pens!
I used to use white, black, and red terra cotta conte pastel sticks when I was a kid...had no idea this was an actual technique discussed. I just found they worked well together. I think I still have some of those conte sticks somewhere...think I will pull them out. I remember liking that setup because you barely had to bring anything...just a tiny hardshell pencil case and a sketchbook.
The compactness and versatility of this technique is one of the best things about it. I’m glad this video spurred you to give it another try.
this is so great. I can watch this every day.
Thank you!
Beautiful demo! Very helpful to understand materials, you have created lovely drawings with nice mark making.
Thank you Barbara!
informative historical account of the medium as well as enjoyable art.
Thank you!
I absolutely love the look of value studies done on toned paper. I agree with your take on Reubens being the height of thia technique. I wanna say thanks bc even though ive been interested, i am entirely self-taught and lack any real life associates at all who are artists really, so finding info this specific is usually accidental; as it was that i stumbled upon your channel! I have subscribed now though for future reference.
Thank you for your subscription! I don't know where this channel is going (if anywhere) but it's really nice to know that it's helping people improve their art-making, and I'm looking forward to making many more videos like this one.
Fantastic information and demo. Beautiful technique. :-)
Thank you! 😀
Thank you so much for this video? I’ve never been formally introduced to this method and really appreciate the knowledge! I recently acquired some conte and I had no idea that such a technique was based around the three colors! Makes total sense now! Thanks and great video🤘🖤🤘
You're welcome, and thank you for the kind note! I'm glad I could introduce you to this wonderful way of drawing.
@@mkompan it’s amazing!! I can’t believe I missed it somehow!? Been doing practically nothing but since I saw your video, thanks again!🤘🧛🏻♂️🤘
Thank you for the amazing demonstration.
You’re welcome!
Nossa...incrível.
Obrigado!
The 6 colors can have sub-media : wash, Pan-P,,stick pastel., white paint,etc,etc
You can use these three colors in any media, really.
Loved this. I slowed it down to 75% speed so I could enjoy it more. 🙏☮️❤️🖖
Thank you! Glad the speed adjustment worked for you.
This is an excellent video and great breakdown of technique. Me personally I hate paper stumps. I would honestly recommend a bristle brush better.
Thank you. Stumps have their place. I
Like to gently roughen them with sandpaper. That gives them a softer surface that is better for blending.
Thank you for the comprehensive informations. Great tips and examples, really help with understanding the differences!
You’re welcome!
Fascinating. Wonderfully presented. Thanks.
Thank you!
I’ve noticed that in this technique with feels both rather harsh, as in cold and very bight - I’ve found using a very light cream ie Carbothello 1400/105 to replace white seems to be far more ‘comfortable’ the tone is note as bright and it’s warmer …I feel more in control of my drawing and the whole thing feels more balanced.
Thanks for this note. I should have mentioned that many white chalk pencils actually contain titanium white, a bright, opaque pigment with a cool tint. Natural chalk pencils are more transparent, and therefore softer.
merci, c'est parfait.
Pas de quoi!
Fantástico!!! Realmente disfruto con tus enseñanzas!! Que gramaje sería adecuado para los calcáreos? El Strathmore toned tan de 118 gramos iría bien para aceitosos. Es el bloc de color verde y cowboy en portada. También el mixed media de 300. Gramos , toned tan de Strathmore..? Gracias
¡Muchas gracias! Sí, el Strathmore 118 g es perfecto para los lápices a base de aceite. Es lo que usé para la demostración. El papel de técnica mixta de 300 g no lo he usado y no podría decírtelo.
Muchas gracias !!!! .
On a little side note, I think Holbein jr. was earlier than Clouet in this 3 color technique but anyway, very nicely done and interesting demonstration, thank you for sharing.
My pleasure! You may be right, though Holbein is the younger man.
@@mkompan Yes, you're absolutely right, my mistake, I did a search and Holbein the younger was effectively influenced by Clouet through a travel in France (also interesting in this regard that the two courts, of France and England, were these artists respectively worked, became enemies, so maybe Holbein instead of Clouet (who did a portrait of Mary, queen of Scots, stepsister of Elisabeth I) , was preferred as a painter to the English court because of this? ).
Was that white pastel by Rembrandt oil or soft pastel? Thank you 😊
That was a Rembrandt soft pastel.
Thank you 😊 I have the Rembrandt white oil and it’s the brightest, looks like I’m getting the soft pastel too. I don’t work with soft pastels much, but this is a must have for those tiny bright highlights!!! I work with conte and pastel pencils, just not the big soft ones
Thank you for this video.Might the comparatively limited colour palette of the three crayon technique perhaps provide an important transitional stage between graphite/charcoal and coloured pastels?
You’re welcome! This is indeed a great training method for full color drawing.
Thank you for a great video. It's very helpful to learn about different medium before buying.
You’re welcome!
Très intéressant. Technique tombée dans les oubliettes... Je m'abonne bien sûr.
Merci! Je fais de mon mieux pour sauver ce qui a été enterré.
¡Fantástico!👏👏👏👏👏
Thank you!
Do you apply any fix on the drawing when done? Can parts be fixed and then some pencil\chalk added later over that fix? any tips or how-to's would be very nice!
With the first approach, you can apply spray fixative in stages, and then continue working without problems. It's not really necessary with the second approach, because oil based pencils don't really smudge, though you could still do it. I would avoid fixative with the third approach, unless you're doing it in the very early stages, because once the pigment is built up, the fixative is no longer effective unless applied very heavily, and then it will change the colors in your drawing. I'll have to make a video on fixatives and other ways of protecting your drawings.
Can I use dry sepia instead of sanguine for this technique?
It would work to some extent, but really it’s the way red chalk contrasts with black that makes this technique effective.
Would you recommend doing a block-in with graphite pencil, first? Or does graphite not jive well with laying down the dry chalky medium?
Graphite is very slick and will resist the chalk pencils you place on top. It might work with some of the waxier pencils however. If you need something very light to start with, I recommend using vine charcoal, or just a very hard charcoal pencil.
So I did a drawing based on the last example you provided ( Rubens' style right?) And from my conte a Paris set, I used what looks like a gray stick, #2457 and I rubbed it all over my white paper. After this I rubbed the hb 2460. Then, I used the white #2456. I sketched the face with the stabillo 1400/750. And after I had also added the shades, I went all over the face with the conte white 630, following by the conte sanguine. I had made the mistake of going too hard while shading with the stabillo as well as the sanguine. So I had to add several layers with the white chalk. But I was lucky my model has a pale complexion and an even white tone, based on that given light on her picture, throughout her face. I also had the dilemma of whether to add sanguine or black to certain shadows, like those on the chin, near the eyes. And when I'll add the shadows with the black pencil, they'll look too dark..
However, compared to my graphite/ charcoal sketches, this one looks more alive, realistic. Your drawing and its tones look more subtle, though. I'm more familiar with the sanguine method. Howeve I do draw the hair and its details, as I did with the Rubens ' method with the black pastel.
I'm glad you're trying these techniques, Sergio! The key is not to always draw what you see. I think it's good practice to make the shadows touch redder than they are, and to avoid going too dark. Copy a lot of Rubens drawings--it's the best way to understand how he drew.
Thanks great video
Thank you David!
Can I use watercolor pencils or pastel pencils for this or is better soft pastels, oil pastels or even that conte ones?
These techniques work with any dry media. You’ll probably have the greatest difficulty with watercolor pencils, since they tend to be very transparent. However, it will work with soft and oil pastels brilliantly.
@@mkompan thanks for the response, oh, today I experimented with soft pastels the technique and it worked very well, it gets very expressive. But I don’t do much the deal with conte pencils, or even with watercolor, pastel pencils like what suits best, can you give some orientations ?
@@cassidavinci7714 not sure what you mean by orientations. Are you asking which materials to use? One material is not better than the other. It depends on what you want out of your artwork. I wouldn’t use watercolor pencils for this, since they’re not really designed for working on toned paper.
@@mkompan no, I’m not asking which material is best, I saying more about the materials itself, like which occasions suits best for material and not talking more about the technique of tree crayon
@@cassidavinci7714 I see. You’re asking a question that only you can answer. Think about what style you wish to work in, find artists working in that style, research their working methods/ materials and experiment with them to see if they work for you. An experienced instructor can help you with this, but they have to know your work, and understand where you want to take it.
Excellent video, thank you!
You're welcome!
Thank you for this wonderful video. Is there a pencil extender meant for conte pencils that you can recommend?
You're welcome! Sorry, I don't know of any pencil extender that fits Conte pencils. II use an X-acto knife to narrow the back of the pencils so they fit into standard extenders.
@@mkompan great idea, thank you!
If i am making the sketch with pink then i have to shade the whole paper with pink or i have to shade with brow as you did???
I’m sorry, but I don’t understand your question. Are you asking about the first technique? The color of the background should be similar to skin tone, a light brown, grey or slightly pink.
@@mkompansorry from my launguage
Yes sir you are right I was asking about the first tequnique if I am Drawing it with pink colour then I have to shade the background with pink soft pastel??
@@artistrywepons1973 No worries! Yes, that’s correct: you should start by covering the paper with a light brown or grey-pink. Since a lot of the paper color will be show through, it helps for it to be similar to skin tone.
Thanks again for this. But a silly question: how do you tell between oil or wax crayon??
Ah yes, canson mi-tinte are horribly expensive even in Belgium. Kraft is the paper we go for here. Do you not have it in the states? Thanks
Ps: do you put your hand on the paper?
Are you asking how to tell whether the pencil is oil based or wax based? From what I understand this is a false dichotomy. These things are closely guarded industry secrets, but all waxy/oily pencils contain a complex combination of waxes and oils.
As for paper, Canson is probably just as expensive here in the US. We do have Kraft paper, and it has a very nice color for this technique. Art materials are remarkably standardized across the world, with the market dominated by just a few brands. I go to Europe frequently and am always disappointed that I can’t find local, unique supplies in the art shops.
both an artist and a restorer must be technicians in an area of art
@@antoniocc6853 true. But I’m stunned at the amount knowledge needed by professional conservators: chemistry, art history, technical skill, command of various mediums, and a working knowledge of several languages, since many works on restoration are not translated.
Is conte just chalk? Or do they differ? It seems with all the talking people do about conte crayons no one simply says it is or isn't simply chalk pastel.
Conte sticks are a type of chalk pastel, but have a unique formulation that makes them somewhat harder, denser and “stickier” than regular pastel pencils, probably because they contain some amount of wax. The confusion is that Conte also makes chalk pastels.
Prismacolor pencils are wax-based, not oil-based. This is why it resists the conté pencil. Instead, try the Faber-Castell Polychromos pencils, which are oil-based.
From my limited understanding, this is a false dichotomy. All color pencils contain a combination of waxes and oils. What I do know is that neither Prismacolor or Polychromos mix well with chalk based pencils. Here’s just one article on the subject. www.theartgearguide.com/home/wax-or-oil-colored-pencils-myth-or-fact-
Thank´s for this tricks. 🙏 hug👌
You're welcome!
@@mkompan 🙏
Easy to copy these in colored pencil
This will work in color pencil, but the technique is not quite the same, since the colors tend to be much more transparent.
❤
😀
Why are you talking so quickly? Slow down!
Speed up your hearing! :)
This is fascinating, just a pity that you spoke so fast.
@@wendytitterton5004thank you!I’ve been trying to slow down in my newer videos.
+1 good stuff, but you don't have to talk unnaturally quickly to fit UA-cam, it's just a platform. I think those specifically looking for art videos are not as impatient as those who think this should be a 10 minute video, and of those, those who think the 10 minutes should have been 100 seconds. You've gone to lengths to shorten the video, but the reading from prepared text loses the transfer of knowledge, i.e. a human explaining and another human adapting the explanation to his current knowledge. In pedagogy, there is no talk-over-prerecorded. That's showing, not teaching.
I appreciate the showing, and the mentioning of details such as not destroying the paper fibers!
Goodness, you just can't please everyone.
Did you misread me? Don't feel pressured by the platform, and don't please those who are impatient, but those who want to learn.
I explain how talking over showing isn't teaching, and that anyone watching will need to pause the video because there is no pause in speech, and in fact you pile it on and talk very fast. The only reason I can see is that you are appealing to the platform and the impatient.
By liking and interacting, I have pleased YT and increased your presence on the platform. I comment on the content, which YT is completely oblivious to. How to make videos teach something, only you can care about. You use YT as a repository for videos, and there is no presence of humans on YT, only bots. Which leaves other humans. Appreciate them more than bots, and perhaps especially if they bother to interact.
@@BaldingEagle51 I’m sorry you feel that I speak too quickly, but that is my natural pace, and many people are not bothered by it. I’m also sorry that you think that narrating over a recording is not an effective teaching tool, but I find it to be the best way to demonstrate certain long form techniques, one that many people (not just the impatient, or
bots, or impatient bots) appreciate. I do have quite a few videos where I teach in real-time, including one on the three crayon technique, but recognize that there are many ways of teaching, as there are many ways of learning. You seem to be one of those unfortunate people who demand to be taught in a specific way. This is a recipe for frustration, since no instructor can teach exactly what you want, in the way that you want it.
@@mkompan I will leave it to other humans like me to say whether they had to pause the video at any point to catch a word.
There are more videos on YT that show things that are worth learning than videos that teach things that are worth learning, by a factor of much more than 100 to 1.