Discussions/Essays – Page 94

A young Picasso sitting among what was a tiny portion of his huge collection of African Art. It’s quite clear now, that a lot of his “inventiveness” surrounding cubism and abstraction, came about from the influence of ancient tribal art, of which Picasso was a huge collector and appropriator. (photo credit: Réunion des Musées Nationaux)

In Robert McKean’s wonderful little book, Steal like an artist, he explores the issue of taking ideas and techniques from others. Is it disrespectful? Theft? Or just a plain lack of originality? It’s been a debate for artists throughout history this issue of authenticity and ownership. The reality is, everyone’s ideas come from somewhere else. It’s the nature of the word inspiration.

Here is the Webster dictionary definition of what inspiration is:

: something that makes someone want to do something or that gives someone an idea about what to do or create : a force or influence that inspires someone

: a person, place, experience, etc., that makes someone want to do or create something

: a good idea

Now, given that definition, how can anyone claim ‘complete’ ownership of an idea? It brings up the issue of companies today patenting every single thing out there, both in science and the arts. What is the fair and proper arrangement between investors of creative art, the creators themselves, and the consuming public? It makes one ask, what is art? What is science? And more (or less) importantly, who does it belong to?

This famous portrait, of Adele Bloch-Bauer I by Gustav Klimt, was previously stolen and most recently returned. It’s ‘valued’ at $135,000,000.

The sporadic and unplanned nature of creative and inspirational work is such that it needs to come from something from which to be born, bounce off of or leap forward from. Therefore, claiming “ownership” is a strange concept, much like us humans claiming ownership over nature and the world around us – it’s not ours to claim. We are, at best, stewards of what’s been given to us. Ideas are no different.

“… things of greatest merit are public property. ” – Seneca

It’s a fine line that separates science and art. A good example lies in the works and studies of Leonardo Da Vinci. One thing is clear however, and that is, his works should be available for everyone to see and experience.

What about originality? Here’s what Robert Henri has to say:

“Don’t worry about your originality. You couldn’t get rid of it even if you wanted to. It will stick with you and show up for better or worse in spite of all you or anyone else can do.”

I used to worry about originality far too much, and by doing so, it made me even less original. As artists, it’s all too easy to try so hard for uniqueness that you end up closing your eyes to what’s already there – thereby reducing your visual vocabulary and shutting off things that could inspire you and influence you in a positive, even impactful way. A limited exposure creates less originality not more. The truth is, your path will naturally take you to where you need to go, as long as you don’t fight it too hard. Be at ease to let your influences show because it doesn’t mean that you’re a flake or a hack. Find what you love, and let it be a part of you – it’s kind of like knowing that you have little choice but to be influenced also by your family and friends – so why not let your heroes influence you? Work hard, but allow “yourself” to become what it will. This is harder advice to take than you’d think.

Keith Haring’s remarkably simple, yet magical art, doesn’t try to be anything special – it just is. Great art doesn’t have to be complex or intellectual – it has to be personal.

I’ve always liked the idea that artists and scientists are merely agents for change and discovery. Proprietorship is not the goal. Our role is to develop attentiveness to innovation and creativity, raising our abilities to make something from our discoveries, and then share it with the world. It is only in that way, by doing our jobs as deliverers of some good, do we have any hope of parlaying some insight, beauty and further inspiration for others to follow in the future.

Toulouse lautrec’s artistry has left a huge imprint on graphic designers, painters and artists world over including the author of this blog.

How do we know when inspiration arrives? Like life, creative discoveries and growth seldom arrive on schedule – so you’ve got to be ready and open with a notepad nearby. My best ideas can come during the grind of work or sometimes while just lying in bed reading, looking at pictures, or listening to music – a state opposite of a frenzied search for answers. Be open to that. Be open to anything.

“Finished persons are very common – people who are closed up, quite satisfied that there is little more to learn.” – Robert Henri

Be open, also, to copying. I spent years studying and copying the drawings and timing of animators like Milt Kahl, Frank Thomas, Glen Keane and James Baxter. There is nothing wrong with direct copying, if you’re doing it to learn. But if you’re deriving from the works of others, acknowledge the source, and show your appreciation. That is, remember to give thanks.

Captain Hook by Frank Thomas, from Walt Disney’s 1953 classic, Peter Pan. I loved the design and animation of Captain Hook so much that I made piles of sketches copying his work, analyzing deeply the lines, shapes, timing, and acting choices.

By studying the works of others, you get to be more original not less. And it’s sometimes nice to let your influences show. It’s inevitable, that you become a bit like your heroes. Don’t be afraid of that. There’s no such thing as pure originality. There’s only things that work.

“Don’t try to be original, just try to be good.” – Paul Rand

A short but inspiring video, by Imaginary Forces, on the work and words of Paul Rand, legendary graphic designer and logo creator extraordinaire.

“The art is not something you apply to your work
The art is the way you do your work, a result of your attitude toward it.” – Charles Eames

The famous (and incredibly comfortable!) Eames Chair and Ottoman, designed by Charles and Ray Eames in 1956.

Some people think art is something you add. It’s why many organizations can’t seem to understand their creative staff or be able to get the most out of them. Catch phrases like it’s “all about the team” or “all about the family/company” may gain compliance in the short run but will tire quickly when not backed up by real support (which includes the reward of recognition as well as fair compensation and sufficient rest). There must be real accountability.

Extreme quota demands. Monotonous repetition. Continuously harsh and inflexible deadlines place incredible strain on the animation artist. Turning creative people into widget makers simply doesn’t work.

Oh, those TPS reports! From Mike Judge’s 1999 comedy classic, Office Space. (It’s hard to believe now, but I once had a job like this!)

When art becomes something that is applied like icing on a cake, the end product looks and feels like something from a production line. Don’t expect creativity or innovation if what you mainly demand of your staff is productivity and/or compliance. If you treat them like widget makers and provide the kinds of conditions conducive to generating that kind of work, you shouldn’t be surprised with the kind of results you’re seeing. Nor should you expect loyalty (i.e. it won’t be the weakest members that will jump ship but your very best and most reliable because real talent, that which is truly indispensable, is rare and always in demand). If that doesn’t scare you, realize this; don’t expect loyalty (or a great reception) from the paying customer either.

The “tramp” loses his mind in this comical critique of the industrialization of the work place, in Charlie Chaplin‘s 1936 Classic, Modern times.

If you expect predictable and easily measurable outcomes (numbers) you certainly can’t expect artistic or financial breakthroughs. Your organization risks becoming, as the marvelous Seth Godin points out, a follower, one that can only sell its brand by doing it cheaper and faster – a road ultimately doomed to failure in a world of expanding global competition and technology that’s become more available to more and more organizations world wide. It’s like making common running shoes and your only choice will be to spend the most in marketing your product to make up for a lack of distinction in quality or impact. Any and all financial benefits gained from cost cutting in the first place will be completely eliminated, especially considering that marketing costs these days can be as high as 100% the cost of actual animation production.

Walt Disney Studio’s box office hit, Frozen, cost approximately $150 million to produce, but at least as much or more to market and distribute. Fortunately, its artistry and its ability to connect to audiences world-wide helped it reach over $1.2 Billion in gross revenues .

So it’s not surprising to commonly see disharmony and disenchantment within the production environment. Animation as a product requires the input of so many people that it multiplies the complexity of product and people management. It’s also a product whereby the consumer has come to expect greater and greater quality. How can you whip and chain so many to comply? What possible gimmick, motivational speech or rule change could be used to streamline the creative process and get exciting yet regularly productive results? The answer is none – the only solution is trust, freedom and respect between a company’s leaders and it’s creative members. People have to become self-accountable and self-guiding for a company to be strong and manageable.

Respect and cooperation is usually the best solution. Harvey Keitel’s Mr. Wolf from Quentin Tarantino’s Pulp Fiction, is one of the coolest characters in modern film history.

Artists need respect. They are fragile beings sure, but it isn’t because they are weak but precisely because they are courageous. Artists bravely throw their heart and soul into their work – a risk few others take on a regular basis – exposing themselves to constant rejection and failure, being vulnerable to judgement by others and even more harshly, themselves. (Hear how Milt Kahl would torture himself while animating here).

After all, what artist strives to disappoint? It’s a very humbling process.

“There’s no amount of external validation that can undo the constant drone of internal criticism. And negative self talk is hungry for external corroboration. One little voice in the ether that agrees with your internal critic is enough to put you in a tailspin.” – Seth Godin

But provide the right atmosphere, one that honors people and allows for freedom and risk of the unknown, and you’ll be rewarded with the kind unexpected ingenuity and loyalty that is unmatched. Artists who feel respected and happily engaged in their work regularly, put in countless unpaid hours building and solving problems for their organizations (after work, during their sleep, and even on their vacations!) This is an attribute usually applied exclusively to entrepreneurs, who you’d correctly expect to worry day and night about their investment.

Brad Pitt plays Floyd, the ultimate slacker, in Tony Scott’s 1993 film, True Romance.

On the flip side, artists who themselves disrespect the work and craft, and only do hack work, shouldn’t expect accolades or the respect from their employers or even their fellow artists. Somewhere along the way they’ve stopped being artists (and just because you’re animating or holding a brush doesn’t mean you are one.) Being an artist is about a soulful, personal commitment to the craft. It’s being part of a unique membership – it has to be earned, much like the professional athlete on his team or musician in an orchestra.

Burgess Meredith tells Rocky the hard truth, in Sylvestor Stallone’s 1976 Best Picture-winning movie, Rocky. Screenplay by Stallone himself, the film changed his career (and grossed over $225 million worldwide while sporting a nifty production cost of less than $1 million).

Work that’s done like a job, and done only because you’re getting paid, is not art. Artists should know better. If an environment is set up for you to learn, with flexibility and resources to be collaborative and creative, then they should reward that support system, by respecting the work itself. The old saying applies – any job worth doing, is worth doing well. That said, even if things aren’t perfect, you still must respect yourself, by respecting the craft. As the wonderful Neil Gaimen noted:

“Life is sometimes hard. Things go wrong, in life and in love and in business and in friendship and in health and in all other ways that life can go wrong. And when things get tough, this is what you should do. Make good art.”

But for the most part, the slacker animation artist is rare. This incredibly difficult and risky field is one that invites the dreams and labors of creative, emotionally dedicated and diligent investors of passion and energy, not the free-loader.

So, to you supervisors, directors, producers, executives and owners out there, know your artists (which includes your programmers, technicians, production assistants etc.) Provide and care for your teams and they will reward you in such unpredictable and intangible ways that you’ll marvel at the results – results that will help your product, your team and organization standout and prosper globally, and thus, financially.

Good work done by good people in good work environments. That’s a win-win-win.

Category: Discussions/Essays

Stealing or Borrowing?

Respect