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From YouTube: The Making of a Mural (March 1990)
Description
This special 1990 documentary, produced by the Cupertino City Channel, follows the progress of artist T. Scott Sayre from his studio in Clayton, California to Cupertino City Hall as he creates a historical mural depicting the past, present, and future of Cupertino.
This video is one in a series of programs presented as part of the Cupertino City Channel's digital video archive project.
A
A
A
A
That
stretches
me
a
long
ways
and
then,
and
then
Mark
Twain
talking
about
the
last
frontier
was
the
mind
you
know
and
then
different
things
like
that.
So
it's
the
those
are
like
challenges
to
me.
Those
are
those
different
aspects
and
then
there's
the
personal
reasons
and
the
feelings
that
I
get
of
creating
things
sometimes
bring
up
in
a
just
an
abundance
of
joy.
A
Been
working
in
the
arts
for
a
long
time,
although
I
will
at
one
time
I
was
a
railroad
conductor.
I
was
23
years
old
and
I
was,
and
I
got
promoted
to
conductor
on
the
railroad
for
the
Santa
Fe
and
that
lasted
a
little
while
and
at
the
same
time
I
was
doing.
Murals
I
was
under
an
apprenticeship
with
William
Radley
and
I
was
auditing
some
classes
at
college,
taking
figure
drawing
and
things
like
that
and
still
working
on
the
railroad,
and
we
were
doing
these
huge
paintings.
I
was
his
apprentice.
A
I
think
kept
telling
me
we're.
Gonna
have
to
make
a
decision
sooner
or
later,
you're
gonna
have
to
paint.
Are
you
gonna
have
to
work
on
the
railroad?
What's
it
gonna
be
you
know,
and
so
I
believe
I
made
the
right
decision.
I'm
pretty
happy
with
that
I
know:
you'd
be
real
excited
about
a
lot
of
things.
That's
been
going
on
the
last
few
years,
I'm
sure
of
it
I
mean
I'm,
taking
right
off
on
everything
that
that
he
showed
me
and
taught
me
that's
for.
A
This
is
a
titanium
base,
paint
error,
ground
and
also
with
lead
white
and
turpentine
and
linseed
oil,
and
that
works
real,
well,
it'll
drive
flat
and
chalky
and
then,
after
the
final
coat
there
is
applied.
White
I'll
have
to
put
a
thin
wash
of
turpentine
and
linseed
oil
across
the
mural,
so
that
it'll
it
will
absorb
that
and
then
it'll
take
the
paint
in
the
glazes
much
better
when
it's
all
when
the
colors
start
going
in
there's
gonna
be
almost
a
total
of
six
to
eight
coats
of
different
paint
in
different
areas.
A
A
That's
one
of
the
problems
with
oil
painting
is
you
have
to
watch
what
processes
you're
using
then
what
and
then
the
colors
too
or
some
colors
fade
that
are
out
today
too.
So
you
have
to
watch
what
chemicals
are
made
with
to
make
sure
that
they're
gonna
last
this
is
that
Lenin,
it's
just
my
service.
It's
one
of
the
finest
surfaces
that
I've
ever
used.
A
That's
really
going
to
help
once
all
the
details
start
coming
together.
Actually,
all
this
painting
very
little
of
it
will
even
show,
through
probably
I'd,
say
less
than
5%
of
us.
It
will
just
be
touches
of
it
poking
through
when
it
says
when
we
have
a
completed
painting,
but
this
will
be
so
helpful
and.
A
So
we
all
have
come
through
a
lot
of
changes
in
the
past
years
and,
of
course,
Cupertino
being
in
sort
of
the
best
of
two
worlds
of
at
the
same
time
held
on
to
some
of
its
heritage
and
still
been
a
for
front-runner
in
the
contemporary
world.
In
the
beginning,
there
was
a
god
there
must
have
been
about
10
or
20
thumbnail
sketches
as
soon
as
I
heard
about
it.
A
I
mean
I,
sat
down
and
I
did
some
real,
like
just
quick
line
sketches,
you
know,
like
almost
kids
would
draw
and
in
two
or
three
minutes
you
know
if
I
was
going
to
do
this
project,
what
would
I
do
then
I?
What
that
does?
Is
that
of
simulates
a
shape
and
a
form
in
my
head
and
then
I
go
out
into
the
world
which
happen
to
Cupertino
and
look
around
for
that
shape
and
form.
That's
already
germinating
in
a
creative
way
to
take
place
and
in
a
photograph
it.
A
And
I
like
to
work
on
black
and
white
because
it
takes
the
contrast
in
nice
shades
of
gray
and
then
that
helps
me
to
determine
what
colors
I'm
going
to
use,
because
the
colors
are
all
spontaneous
and
and
when
I
work
from
a
negative
photograph.
What
what
that
does
is
that
separates
the
lights
and
the
darks
immediately,
so,
in
other
words,
I'm,
not
concentrating
on
the
pitcher
per
se,
I'm
concentrating
more
on
just
what
is
light
and
dark.
And
then
that
gives
me
maybe
a
little
truer
view
of
the
scene.
A
Yeah
I
made
the
stage
of
putting
the
main
body
of
color
on
and
it's
basically,
where
the
whole
strength
of
all
the
all
the
little
details
are
going
to
ride
once
once.
That's
done,
and
it's
important
to
try
to
get
that
on
as
even
as
possible.
So
all
the
parts
are
are,
as
are
as
a
whole.
I
just
used
the
two
Reds,
the
three
blues
and
the
two
yellows,
but
out
of
all
those
combinations
there
there
are
just
hundreds
and
hundreds
of
different
tones
that
are
possible.
It
is
pretty
exciting,
really.
C
A
A
It
it
starts
to
go
on
the
color
seemed
to
talk,
and
you
see
this
blue
is
toning
down
already.
I've
got
a
little
green
in
the
brush
too,
at
the
same
time,
and
and
I'm
loading
the
brush
up
with
different
colors
as
I
go
along.
So
you
know
I'm
almost
using
the
brush
like
a
pallet
in
some
instances
where
it's
mixing
color
as
as
I
move
along
it
just
sort
of
happens.
Naturally,.
A
C
D
A
A
This
project
maybe
shows
a
progression
of
a
positive
community,
not
so
much
more
that
it's
trying
to
make
a
statement
of
what
not
to
do
I
think
it's
more
of
what
to
do.
You
know,
and
it
just
shows
some
of
the
probably
got
the
happier
moments
in
the
history
of
Cupertino,
which
I
think
positive
reactions
were
really
where
the
solutions
would
lie.
Anyway.