Being Lost

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The arcade game Pacman makes a perfect symbol for life in constant pursuit. How ironic it is that most people’s lives can be aptly described in this iconic video game of endless chasing and being chased.

“Not until we are lost , do we begin to understand ourselves.” — Henry David Thoreau

In life, it’s all too easy to be caught up chasing things, or being chased by them. This constant quest for success, security, approval, comfort and even happiness, can lead you into a life of continual distraction  away from the present and farther from your path as an artist. We seem to be always running out of time, pressured by the demands of our jobs, the limitations of our bodies, and even the drive to achieve our dreams. We get lured into asking the silliest, most abstract questions: Can we get or achieve it? Will we get enough of it? And can we get it all in time? We divert our attention and energy on the abstract instead of focusing on what’s directly in front of us this very moment. The magnitude of frenzy before us is often so strong that our brains make an incredibly convincing case for its acceptance. We forget that the choice on what to focus on, and hence, how to live, is actually OURS to make.

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In Frank Dabaront’s 1994 masterpiece The Shawshank Redemption (starring Tim Robbins and Morgan Freeman) the characters aren’t just imprisoned by the walls that surround them, but also by their own mental barriers.

Sometimes, in order to find the answers to our questions and problems, we need to be lost, so that we can be found.

“To be lost is to be fully present, and to be fully present, is to be capable of being in uncertainty and mystery.” — Rebecca Solnit

It’s scary being lost, and it’s even harder to consciously “be lost.” Fortunately, as artists, we have no choice but to do so. In fact, it’s absolutely essential for us to dive into the pool of the unknown because the best ideas — those that are unique, true and meaningful —  are the ones that connect and matter to us on a grand and personal scale.

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From the first movable type printing system (top) invented by Pi Sheng in China around 1040, to the industrial printing press (bottom) developed by German Freidrich Koenig in 1814, the invention of published text was an invention that help changed the entire literary and thinking world.

We all know that when we’re trying too hard to find solutions, the universe always seems to do its best to hide them from us. We’ve talked on this blog already about planning, the need for hard work, and the necessity of having good routines and practices — these are all helpful for bettering our creativity, strengthening our skill and giving us confidence, but it’s not enough. Then, “what do we need to do?” you ask.

“Forget yourself.” — Henry Miller.

We need to take the self out of the equation, to forget everything about you, or that which has to do with you. It’s why our devotion to craft gives our lives so much meaning and joy — it’s outside of the ego. It’s an act of service to the art, to other people and to the world at large, both now and in the future. It’s the only way to pure and absolute freedom.

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Obsessed with the living world around them, the ancient renaissance artists captured, explored, and dared to dream about the future. From human anatomy to tanks and flying machines, the great Leonardo Da Vinci, thought big and far. He playfully threw himself into both the present and the future — observing, absorbing and inventing.

What does being lost mean? What does it entail?

“Why do lovely faces haunt us so? Do extraordinary flowers have evil roots?” — Henry Miller

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Follow the yellow brick road! Dorothy gets lost into the colorful, strange and magical world of Oz, all in order to find truth, friendship, and ultimately, herself. From MGM’s musical feature based on L. Frank Baum‘s book, The Wizard of Oz.

Being lost encapsulates the idea of giving in to the world, to accept that often dreaded feeling of vulnerability. Only by letting go and being open to the unknown can we see with “different eyes” and be able do something out of the ordinary and out of “habit.” Only then do we stand a chance of finding that which we can not find but are desperately looking for. If something as tangible as house keys are so difficult to locate when you want or need them, how much more futile is it to search for such abstract things as success, love, creativity,  uniqueness or connection? We can only find them when we don’t pursue them. We need to have our arms and minds open to receive rather than to take.

“The wisest person trusts the process without seeking to control.” — Taoist proverb

The best ideas and solutions always come to us when we’re the most relaxed, like when we’re in bed or when we’re out experiencing the world around us. It’s why I keep notepads with me all the time, and all around my house, so that I capture those magical flashes when my consciousness catches up to their discovery. Our brain is not a muscle, but an organ, like the liver or kidneys. And thus, unlike our muscles, it’s unmoved by will or force — thinking harder doesn’t make it stronger or more effective. Rather, it works best when it’s relaxed and ready. Just like animals that have homing instincts, it’s based on a trusted, instinctive automatic system.

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Laugh at the bird brain all you want but birds travel thousands of miles and back without technology. Where would you be without your paper maps or GPS navigation system? Birds are probably the freest, most mobile creatures on the planet and that really says something. From Sir David Attenborough’s documentary on the evolution of flight, Conquest of the Skies.

By getting lost, you get to wonder about things aloud and smile regardless of whatever happens next. As writer Rebecca Solnit so wistfully described, there are four kinds of “knowns” in this world: There are “known knowns” (things we know that we know), “known unknowns” (things that we know we don’t know), unknown unknowns (things we don’t know that we don’t know) and finally, “unknown knowns” (things we don’t know that we know — this last one is quite a doozy when you think about it.)

Given that revelation, do we dare to assume that our limited views and interpretation of the world around us are correct? Should we continue to commit so fully to our current path of abstract busyness and mindless pursuit, knowing that so much of what is “out there” is still a mystery, still to be discovered and understood? I believe we need more humility. We need to show more respect for the grand intelligence of the universe.

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Jim Henson’s marvelous invention, The Muppets, is a quick reminder of the kind of fun and silliness the can happen if we let it.

When the questions get too deep and hard, whether artistic or personal, we know not where to go or how to proceed. The more we search or battle sometimes, the worst it gets. We fall prey to our surroundings, the noise that emanates from our insecurity or worse, the external pressures that get blanketed on top of us such as advertising and social media — distractions based on abstractions that take us away from ourselves and our joys in witnessing the world around us. We’ve become without a compass; moving constantly, fearful of what’s in front of us and disappointed with what’s already behind us.

The deluded mind is the mind affectively burdened by intellect. Thus, it cannot move without stopping and reflecting upon itself. This obstructs its native fluidity.” — Bruce Lee (likely adapted from the Tao Te Ching)

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Bruce Lee was one of the most brilliantly creative, charismatic and dynamic human beings that ever lived. Unfortunately, when he reached his dreams of Hollywood stardom, those mental “abstractions” of fame, fortune and image promptly ended his freedom, happiness and ultimately, his life.

This is why it’s essential to take the moment to escape, to dive into the unknown, not just so we might find solutions to our problems, artistic or otherwise, but that we forget all of society’s noise and pettiness, if even for a short while. The treasures you find in such a journey are the bonus — a surprise that can sometimes turn out to be life changing. At the very least, you find reprieve from a life fully distracted and occupied. It’s refreshing to rediscover the world, and even better to rediscover ourselves, every now and again.

“The practice of awareness says don’t grasp it too tightly, don’t be too convinced. And in that simpler way of being… it’s okay to sometimes experience not knowing what to do next, to run into a barrier… that life has a mysterious quality to it.” — Rebecca Solnit

What is most important (and most interesting) in our lives and thus, in our art, is often the unpredictable; beautiful surprises, revelations and connections that enlighten us and bring us joy. How can we not give in to those possibilities? Why should we continue to strive at striving all the time? Goals aren’t everything. This can take a long, long time to recognize and even longer to absorb.

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The Langlois Bridge at Arles with Women Washing by Vincent Van Gogh. This impressionist’s artistry always reminds me of the moment and to give in to it.

“I experience a period of frightening clarity in those moments when nature is so beautiful. I am no longer sure of myself, and the paintings appear as in a dream.” — Vincent Van Gogh

Until you are willing to be lost, you will never discover the “why’s” to your life. Getting lost is so imperatively important because only then do you have the opportunity to permit yourself to get off the path, to take an outside view of it, switching perspectives so that can see whether it’s one that might not be written by you but for you. It’s all too easy to be caught in the wheel from birth and keep at a life of busyness until death. This is a VERY hard thing to realize, and sometimes even when you do, it takes a Herculean amount of courage to get off. But it’s only when you get off the path, can you see where you are and where you’re going, and more importantly, whether you should continue the same or change course. Getting comfortable with getting lost now and then, opens up the chance for you to experience the world anew – to see, hear, touch and feel things for the first time all over again. And it just might help you find what you really need on your creative path.

“… I had observed that the men who were most in life, who were molding life, who were life itself, ate little, slept little, owned little or nothing. They had no illusions about duty, or the perpetuation of their kith and kin, or the preservation of the State. They were interested in truth and in truth alone. They recognized only one kind of activity — creation. Nobody could command their services because they had of their own pledged themselves to give all. They gave gratuitously, because that is the only way to give.” — Henry Miller.

Special Guest Interview: Patrick Awa

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Visual Development/Concept Artist Patrick Awa is one of the most talented artists working in the animation field.

We are honored to feature one of my favorite concept artists working out there in the animation industry today. Patrick is someone whom I met during a charity art exhibit (where we were both contributing artists) many years ago. His art, and his person, are of the highest quality. He has designed for both film and television, and participates in numerous art exhibits and charity auctions, where his work often fetches record prices. I’ve been a big fan of his for many years.

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A beautiful Art Exhibit piece by Patrick Awa done for the themed show, Hansel and Gretal.

It’s a rare opportunity to showcase the work of a visual development artist. Due to NDA’s, delayed releases and project cancellations, a lot of the “early” work done by a concept artist is rarely shown even years after a final product has launched (or never seen at all). So it’s a wonderful treat to be able to share some of Patrick’s work here and his thoughts.  Now let’s get right to it!

Welcome Patrick! Thanks for joining us!

“Pleasure is mine, James! True honor to be featured at AnimatedSpirit.”

Can you share a little about yourself, as to where you’re from and what your early interests were before becoming an concept artist in animation ?

“Born in Santa Monica, California, I grew up in Tokyo in late 70’s through mid 90’s. Which means serious exposure to rows of giant robots and masked super heroes in crazy costumes on TV. I was one of those kids so completely captivated with those 70’s and 80’s cheesy sci-fi shows and anime, that my sketchbooks and my mom’s kitchen walls ended up being filled with lousy Crayola drawings dedicated to many characters from this genre.”

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“Count Dracula in Anubis Armor” is a sensational digital piece by Patrick Awa, done as part of a 2013 “Oscar Legends” themed art show.

“When I grew up a little bit more, slapping my face and wondering what to be in my own future, after recognizing the fact that there were unlikely any mad scientists in my relatives who could give me a secret robot to defend the universe, I thought about being a professional designer. I always liked to draw, but never considered myself as a gifted, fine artist/painter able to make my own living. So I went to university in Japan to study industrial design at its tech dept to be a car designer first. The idea seemed fair to me, drawing something economically practical where you get paid. Things were different back then, there was no entertainment design major and I did not know where to start.”

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Concept Designs for Walt Disney’s award-winning, dynamically designed CG Animated TV show, Tron Uprising. Drawings by Patrick Awa.

What inspired you to be part of the animation industry, and ultimately, move to and settle in Los Angeles, California?

“At the university, I came across the  founder of the Japanese CG production house called Polygon Pictures while he was teaching graphic design at the school. Although my major was product design I was curious about this new media which was still fresh around mid 90’s, when “Toy Story” was not even released yet. He showed me what his team was trying to do and I was totally fascinated because it looked like the new turf where I could possibly contribute more conceptual/story-driven design work, yet still technically dealing with ‘3 dimensional’ forms that I had been trained for.”

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Patrick Awa’s Character Designs for the Shane Acker-directed Animated Feature Film, “9.

“I was pretty much clueless about CG at that point but I started as an intern there, and then eventually became an art director by the time I decided to leave. I moved to San Fransisco in 2000 as a free-lancer which sounds cool but was equivalent to a hungry job-seeker with a feeble portfolio. The first couple of years did not quite work out for me career-wise, but I was fortunate to meet a group of local talents in the industry while I lived there. I then moved to LA around 2002 for the opportunity to work on a humble CG feature “Valiant”(distributed by Disney) as a character designer and have been lucky enough to survive in the industry  ever since.”

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Character Designs by Patrick Awa, for the 2005 animated feature film, Valiant, produced by Vanguard Animation.

Establishing yourself as a concept artist in animation is one of the most difficult things to do in the art world. What were the first steps you took to make it all happen, and what/who gave you the confidence to persevere through the challenges?

“I actually think I got lucky to get to know so many of the top-notch talents in San Fransciso in those early days despite the fact that it was a difficult period for me at the time. Many of them were already established senior artists and I learned a lot from them in terms of how to be a good production artist.

So in a way it was accidental, and I have to mention that the industry was a little bit more laid-back and less crowded 15 years ago. But quitting a previous, full-time job in Japan and change of scenery turned out to be a good move for me. Also previously studying industrial design definitely has helped me to approach design tasks a bit differently. I never thought that I was a genius so I wouldn’t jump on my own ‘artistic’ conclusions too easily, and tried instead to resolve the design problems as logical as possible. I was already comfortable designing characters toward 3D execution and was able to build more confidence in this aspect as I proceeded to more gigs. Nowadays, I totally see more and more of young talent with 3D tools under the belt even before they start their professional career.”
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Elegant and articulate prop designs by Patrick done for “9,” produced by Focus Features.

Tell us a bit about your work day. How do you get started and what’s your routine?

“It depends on what project I am on since sometimes I go to their office/studio to work on site for a few months, then the next couple of months I work from home remotely. I drink a lot of coffee regardless.

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Character designs for Disney’s Toon Studio’s TinkerBell Academy. By Patrick Awa.

I don’t do much ‘start-up drawing’ in the morning, I spend my before-noon time more for gathering refs, reading/re-reading the latest script or character descriptions to measure and reconsider my results from the previous night’s work. I occasionally deal with multiple projects at the same period of time, so every Monday I usually plan out how to invest my time for the rest of the week to catch up on the individual deadlines or dues to report.”

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Amazing digital concept work for the Imagi Studios CG feature film project “Gatchaman” based on the 1970’s TV series “Battle of the Planets.” Patrick was the lead concept designer of the show.

What parts of the job as a concept artist are the funnest and what are the hardest?

“Concept artists usually start working at a pretty early stage of the project, which means it is always a wild and untouched frontier in front of you. That’s kind of cool thing, nothing has been determined and it is up to you.

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Concept art by Patrick Awa for the feature film, Legends of the Guardian, produced by Warner Bros.

On the other side of the same coin, it’s pretty big responsibility, over 100 artists and animators might end up working on your design to complete the movie and it could be scary if you look at it in that way. It would be terrible to know if animators hate the characters I designed so badly yet have to animate them for the next couple of years.”

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Deadly Poppy Field” by Patrick Awa. Showcased in an exhibit featuring the theme “The Wizard of Oz.”

Besides being an established industry artist, you’re also a prolific gallery artist. What inspires you to create outside of production work?

“It’s based on different kind of desire and satisfaction. I try to work more logically and collaboratively as a production artist and despite the beauty of film production work, it makes me wonder how it would be like if I play solo. I had 2 exhibits in 2015 just to come up for the air.”
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Another incredibly gorgeous watercolor painting by Patrick Awa. Draken Flicka (and other amazing works by Patrick) was exhibited at the Gallery Nucleus, one of the greatest supporters/exhibitors of the artist community in Los Angeles.

Being an artist is challenging. What do you do to balance yourself in the face of all the external, as well as personal demands?

“My gallery work effort is partially connected with this factor. I try to find a balance when one of them gets too heavy-handed over the other but the weight shifts all the time. I’m still trying to find the right balance.”
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A beautiful piece in acrylic and watercolor by Patrick Awa. Done for the Artists Help Japan Charity Art Auction, created in response to the 2011 Fukushima nuclear disaster.

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Patrick is a prolific artist, both in and outside of production or gallery work. Take a look at these sketchbook drawings!

A hypothetical; if you were to choose anyone in history that you could apprentice under, who would it be?

“I would at least love to apply to be a protégé of Klimt and watch how Egon Schiele draw in the class!”

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We all owe artists that came before us. “Solitary Confinement” is a fantastic mixed media using Watercolor, Acrylic and Gel medium on Rives paper. This was Patrick’s contribution to the Mike Magnolia HellBoy 20th Anniversary Official Tribute Art Show.

Thank you so much for your time Patrick! We look forward to seeing more of your awesome work!

“Hey, thank you very much for the opportunity, James!

And to you young talents reading this, I wish my answers would’ve been more like “I aimed it and I obtained it” kind of triumph story but it wasn’t. It’s after struggling for years in those early days, that I started appreciating the opportunity to collaborate more and try new things with different directors/producers and artists. It’s been a bit of jam session. This production artist career can be creatively rewarding – to land in unexpected locations when the codes get harmonized and that’s something great about working in the industry. I hope our paths cross at some point in the near future!”

"Coffee Bear"
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Check out these cool sculpts!!! Patrick Awa’s Coffee Bear Project is a project of making a series of bear sculptures out of paper cups from local coffee stands in different cities. Patrick re-purposes the original logo designs as if they were meant to be. He hopes to publish a nice “Coffee Bear Table Book” compiling hundred’s of paper bears.

This interview only gives you a small taste of Patrick’s elegant and diverse artistry. To see more, visit his Blog here, or his Instagram site here. You can also purchase collections of his beautiful gallery work, at this link at Gallery Nucleus.

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Sitting on my art book shelf is my signed copy (lucky me!) of Acoustic Brush 2, where Patrick’s artwork is exquisitely compiled in a beautiful hardcover book. Check out his website and get yourself a copy!