WEBVTT

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- Hello, my name is Leoma Lovegrove and I'm a commercial artist from Sarasota, Florida. And you may wonder

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- how I got started with all of this. And I started out with a phone call from Idris Baker, who is in

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- charge of the beautification project sponsored by the PTO of Unionville, Indiana. And when she called,

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- she asked if I'd like to do one mural on a school hall

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- And so I told her I would call her back, and 15 minutes later, I made up my mind. And two weeks, after

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- two weeks, I was in Unionville. So we came, as soon as I got to her house, she drove me to the school

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- so I could take a look at the wall and get an idea of what I had to draw. So when we got into the hallway

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- downstairs, we're now upstairs, I said, well, Idris, what wall is it?

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- She kind of looked at me. She has a real cute grin. And she said, it's the hall. And all the blood kind

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- of rushed to my head. And it was a little bit scary because it just bare walls, not knowing what was

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- going to go on them was a little frightening to me. So I went back. She took me back to her house. And

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- I just wanted to get it off my mind. So two hours later, I came back and just

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- closest wall to me and I sketched a panda. And I just kept sketching and sketching until it was all

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- sketched. And then after it was, and then after everything was sketched in, it was like a thousand pounds

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- was lifted off my shoulders. And then I started the painting procedure. It was until I did start adding

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- the color. And after being here a week all by myself, I asked her for help.

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- and the volunteers kept showing up and coming in with their paint brushes and doing anything they could

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- to help, even if it was making a cup of coffee or just giving them moral support. I think everybody

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- in Unionville took part in this creation. This is a cartoon of me that I sketched in towards the end

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- of the five weeks. It took two weeks to complete the downstairs murals, which, and, uh,

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- All together, there are 39 murals. There are more animals than that, but 39 individual murals.

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- So at the end, I decided that I got one walk to call my own. And so I didn't have it approved by anybody.

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- I just started sketching. And I do a cartoon of me. This represents my helpers with their paintbrush

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- and their paint. And towards the end, the mental frustration

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- working 15 hours a day and on my feet. I just broke down after I put helpers. I couldn't have made it

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- without you. And I really have grown to love the people here in Unionville. Without them, I honestly

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- couldn't have made it. So I look happy. I was happy the whole time, but at times I kind of

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- had a compassion for Michelangelo. I don't know the dripping of wax on your face, but I do know kind

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- of pretty much the mental strain and the physical pain he did go through. So when he did the Sistine

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- Chapel, this is my Sistine Chapel, even though I wasn't on landers. This wall happens to be one of my

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- favorites. These four

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- people who I grew to know and love here at Unionville School and they gave me moral support,

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- a cup of coffee, they painted for me, they everything. They brought my lunch and they just really worked

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- around the clock right with me. And I won't mention any names but Terry and these all reflect their

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- personalities and she's always got her mouth going 24 miles an hour.

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- And this is a teacher who she always has that stunned face. She's always into everything, but she's

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- always, you know, surprised at what's going on. And this is a real dear friend of mine. And she wears

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- her hair up in a knot. So I put the knot up there. And she's always got something burning in the fire.

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- And I have her getting ready to jump out of the nest. She's ready to get everything. And this is another

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- secretary. She's one of the,

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- Those dear people who, when she talks, she expresses herself with her hands. She doesn't even need any

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- words. Her feet and hands are going constantly. And these are my pals. Notice the border that surrounds

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- the murals on the upstairs, murals. I decided to put in,

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- a border around everything so it would make everything tie in. And so it just wouldn't be a picture

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- here and a picture there. I wanted it to all work as one composition. And downstairs I used bamboo,

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- which really turned out nice. And I wanted to use something different up here since it was the Northern

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- Hemisphere animals. And so I just thought of my favorite vine, which happened to be a morning glory.

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- Morning glory vine going all the way around. And it surrounds every picture.

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- Should I go this way? Boy, it seems like just a short distance to walk. These halls got a little bit

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- longer every day. Down at the end of the hall is a jaguar. And in a way, he was the most simplest animal

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- to draw and paint. Everything just, he's one of those paintings, everything just came out smooth. The

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- drawing was right, the paint went on right.

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- And he didn't quite take his long. And I wanted to get a really nice effect with him since he's at the

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- end of the hall. And I wanted to use something with strength. Like to me, he represents strength. And

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- he was in the first animals on the second floor that I completed. And I figured if I just had something

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- to look back at, you know, I was down at the end of the hall painting, to give me a little energy or

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- give me some strength, this would be the thing to look at.

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- So I put the jaguar there and everybody loves them. They used to call him a cougar because before his

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- spots were in, he looked exactly like a cougar or a mountain lion without the spots. I've learned so

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- much about the anatomy of animals. I completed a wildlife endangered species series before I came up

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- here to do the murals. And so my knowledge of the anatomy on the animals was

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- That was fairly good, but I can't believe how much more I've learned just being up here and doing these.

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- This is a picture of the snake, which was requested by all the boys here at the school.

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- They always would come up to me, where's the snake? Where's the snake? And so I put it up above the

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- drinking fountain so they would be sure to miss it. And in the beginning, I've never really been around

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- children. And during the painting of the second floor, schools and sessions, so all at once I found

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- myself surrounded by a million kids all asking the same question at once, which was, how long have you

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- been painting? How long have you been painting?

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- Sometimes I ask them what time was it. Or I'd say, you know, like I've been painting as long as I can

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- remember, which I have. I remember his first drawing even before I got in the first grade. And my biggest

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- influence as a teacher was Richard Weil, my grade school teacher. And he always seemed to really work

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- with me. And I learned perspective when I was in the third grade. And I just learned so much about drawing then.

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- And I've always, I can't think of anything else I've wanted to do but paint. So when I graduated high

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- school, I went to Ringling School of Arts in Sarasota, Florida. And it was a three-year program, and

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- I went into the commercial art field. I might add about the school, I started out with about 250 in

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- my class, and they ask you back each term, and I graduated with 40 people. They only allow 40 to graduate per year.

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- And I've studied under, I've had private lessons from many different people and my mother also was a

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- big influence on me. She's an artist and she paints maybe 20 pictures a day literally and she just paints

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- all the time. So being around that and plus my love for it, I've always wanted to be an artist and I

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- guess that's what I am. This is a walrus. I was going to dedicate this to my father but

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- I didn't want to be too mean. But he was another one I did when I first got up here on the second floor.

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- And there was something I was going to say, but I can't remember right now. You had a dream? Oh,

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- the dream, yeah.

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- Every night, I would go home after work. And while I was up here, the janitors were here till midnight,

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- so I stayed till midnight. And when I'd get home, I would just be so worked up, I couldn't stop drawing

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- to myself. And I painted paintings. I just couldn't put it down. That's all I thought about it. I had

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- a one-track mind. And I think I was even a nuisance to people. That's all I could talk about. Hey, you

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- see the tiger over there? He goes, come over here. Come over here. But anyway, so I was dreaming. And

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- I had a dream about this walrus.

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- And he turned around. He came literally off the wall. I was down here painting. And he literally turned

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- his head off the wall and looked at me and said, a little highlight on my tail, please. And I woke up.

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- I go, this is it. So I got up and had a cup of coffee. And I finished him later. In fact, the last thing,

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- he was the last touch I practically did. I finished his eye. And I didn't give him any highlights on

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- his tail either.

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- The eagle, I feel, is one of my favorite murals here. To me, he represents power and the freedom.

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- even though he is our nation bird. I really like him a lot. As I put the border around all the other

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- murals, I didn't put them around him because I just really wanted him to stand out and I wanted to keep

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- the wall simple, fairly simple, so all you saw was him and nothing would detract from him.

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- it was important that all the animals had nice faces. Because the kids, I didn't realize how small kids

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- were. And when they got up here and I saw them next to the animals, they were just so overpowering that

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- I realized how important the faces were, you know, important how, I realized how important it was to

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- have nice faces and kind faces on all the animals. But in this case, I put him more realistic.

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- And I don't feel that this really scares them. They know how powerful it is. This is a baby mountain

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- gorilla. And it is on the endangered species list. And there's only a few family groups. And when I

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- did my endangered species series before I came here and did the murals, this was one of the first ones I

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- I did, so, and it really made me learn and really get interested in the endangered species. And this

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- is my favorite, one of my favorites, the first floor, because he's, the fur, the fur is painted in a

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- lot nicer. By the time I got here, I had had a little bit more experience with the walls, the texture

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- of the walls. It's not like painting on paper, and you don't use a, a real brush, I do.

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- Here I'm starting to get the feeling of the walls and the animals are just now starting to go a little

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- bit smoother. And if you can see the bamboo which surrounds, surrounds the bulletin boards, the doors

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- and each picture. This is to make everything tie in once again and make the composition work. I like

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- the bamboo. Okay, over here. Okay. Here we have a,

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- a zebra and there's four zebras together. And if I'd have to have it, if I could do it over again, I

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- would just do one mainly because of the lines. Uh, it was very hard to keep a straight line on the walls

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- and there were so many lines in the zebras and they had to be in there to make it, make them effective.

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- And, uh, this one proportionally is a little off cause I was trying to get more of a perspective look

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- on it when you like look back.

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- at it. Some people like it and some people don't. I like it. This one here. This zebra here has to be

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- one of the most comical animals here in the school. When I first did it I didn't realize how awkward

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- it did look and one day a woman walked by and she came up

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- to it like this and measured. She says, I'm on a diet and the nerve of that thing to turn around and

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- wink at me, you know. And I just died. So I enlarged it just a little bit more so everybody could get

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- the same feeling because it seems like everybody's on diets. And so everybody comes by and measures

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- to see if they're really that big. And the reason I really did put him winking

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- is because I tried five or ten times to match the eye up over here. And so one day I was just running

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- down the hall and I stopped and looked at it and I just made it winking and I took off down the hall

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- to finish something else. But that's why he's winking. We have two more over here who, the one's drinking

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- out of the water and the other one's trying to get a leaf off the tree. They were a little complicated

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- to do but after they were finished I guess it was worth it.

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- One of my helpers put in the grass and she was so careful to make sure all the lines were in because

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- I sketched them in. And I asked her if she thought I needed grass and she said yes, there should be

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- grass in there. And so after I sketched them in, I handed her the paintbrush and it took her four hours

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- to paint them in. And she did such a good job, I didn't even outline them, I just kept them as they were.

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- Tigers that you see here kind of have a special meaning to me. It represents family. And in a way, I've

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- dedicated this to the Baker family, who is whom I stayed with during my five weeks here. They welcomed

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- me into their home and accepted me as part of their family. And without them, I would never have been

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- able to make it. Coming in at midnight and everybody put up with a lot.

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- And this is just, as I said, it represents family and the love and the unity. And it's something which

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- I shared with her while I was staying with them. And they were all really great. Over here we have a

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- few monkeys, chimpanzees. This was the first one I did. I did the panda murals in the beginning. And

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- they were the first things I sketched.

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- I sketched it in the monkeys. And this one is on a tree, and he's fumbling around with the leaves. And

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- the other one up here is kind of looking out and kind of wondering what's going on. And this is the

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- baby monkey, one of the teachers here. Every time she walks by it, she has to scratch his tummy. She

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- just loves him. And the expressions, I was really pleased the way the expressions turned out.

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- With most of the animals, they have almost a humanistic quality about them. And as I said before, it

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- is important to have faces on the animals pleasant and gentle, you know, for the kids so they won't

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- scare them. But I really enjoy doing this one. Now, this is the first fur I really attempted to put

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- on the lines. It took a long time to get the fur the way I wanted it to work. As I progressed down the hall,

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- And as I did five, six more murals, I realized add a little water to the paint. Don't use so much paint.

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- Simplify it. It doesn't have to be that great of detail. But in another sense, it does have to be a

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- lot of detail. Painting, you always have to stand fairly far back to look at it. And when these murals,

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- you know, they should, the hall should be three times as wide. And so you could really stand back and

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- really get a good

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- could have a good view of them. But since you are right on top of them, they did have to be more or

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- less pretty detailed. And then we have the birds. And I would have loved to just take the time to just

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- put like ants and bees and birds and all kinds of things all over the trees. But the time didn't permit

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- and also simplicity was important as far as the design.

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- These are my friendly giraffes which stand at the end of the hall. Since I couldn't get them life size,

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- I figured this would be the best place to place them since they look bigger standing back. And they

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- all have the eyelashes and they're all very feminine. Giraffes are one of my favorite animals. I just

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- really like them. It took two weeks to complete the down, the first floor of Union Mill School and three

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- weeks to complete the upstairs.

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- With all the help, there must have been at least 75 people come out and offer their time. The employers

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- here at the school were great. They'd come in at night and wax the floors and the secretaries were great.

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- Everybody just really had a big part in everything in it. And without them, these wouldn't have even

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- been possible. Even though I've painted 39 murals for the Unionville School, it just,

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- can never compare to what they've given me. In the process of doing these, I've gained patience, which

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- I've always worked for, worked at. I never really had it, but I think I have acquired a little bit more

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- patience, tolerance, a world of knowledge of art, a further knowledge of the world of art, and the animals,

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- the anatomy, just everything. And one thing I gained were the friendships of all the people here in

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- Unionville.

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- and a better understanding of people. And if I had to do it all over again, I'd do it the same way.

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- There's nothing I'd leave out or put in. And it was all, it just really meant a lot to me. Down here,

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- after I finished the five weeks here at Unionville School,

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- I want to do something for myself that I would remember, that I would remember everything. And so here

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- we have a composite of a cartoon of me with a bird sitting on my shoulder and all the animals looking

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- at me and I'm smiling and I got the paintbrush in my hand and most of these animals are in their original

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- poses that are on the wall.

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- I'm just really glad that I could be a part of their beautification project. And I'm really glad I received

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- that phone call from Edis Baker that day. And thank you very much.
