“I merely told stories at a temperature from experience.” — Kim Ki Duk, Filmmaker
It’s all too easy to confuse knowledge — as it is commonly used today — with understanding. Often times, when I have lectured in schools or studios, or even to my private clientele, I’ll ask if the techniques shared with them have been understood. They often nod yes. But more often than not, they’ve not grasped the concepts. It is common, out of pride and fear, for people to lie in order to not look stupid. When something is understood, the lights goes off in the head; we suddenly “see” the truth of the matter, but this seeing can’t quite happen except in the midst of action, i.e. in performance. You see, the word “grasped” carries both weight and metaphorical significance; to understand something means more than the mere accumulation or recollection of information, it implies having mentally and physically untangled the concepts in question. For example, you can’t understand what animating weight means unless you begin to consistently animate with weight!
We always have to remember that knowledge, which is useful, is primarily a storehouse of information gathered by reading, hearing and general first hand experience. When the artist accumulates knowledge, he’s exposed to data and techniques that he must carry or store in memory. He has not achieved “know-how” yet, which is, ironically, the original definition of knowledge. Understanding, on the otherhand, is taking one’s level of perception of such knowledge to greater heights. Understanding is not memory but can use memory The artist who has understanding carries the ability to switch perspectives when looking at his craft and access appropriately the tools he needs. In otherwords, with understanding he needs not to remember how to use his tools or techniques. He is already intimate with them, have taken the knowledge and thoroughly explored every aspect of it. It’s much like someone who understands how to drive a car well — he doesn’t need to remember the many steps or activities involved with driving, he just drives to where he needs to go. The artists who truly comprehends anatomy, will not struggle with the construction or proportion. And someone who has studied design well, will naturally see his work interms of composition, shape, line and colour. Knowledge, often times, must be forced but understanding operates more naturally and more effectively. Hence, the time and effort to understand something is always worth it.
So, with this in mind, let’s look at these quotes and ask ourselves what we do know and don’t.
“Failure to prepare is to prepare for failure. ” — John wooden, NCAA Coach
If we’re still skipping this crucial step in our work, we don’t truly understand the seriousness of the consequences.
“Drawing is the probity of art.” — Ingres, Artist
If we don’t yet realize that drawing is NOT optional, we’ve not only lost access to the tremendous power that drawing brings (espcially to our capacity to see) but we’ve lost what it means to be a visual artist.
“If you can’t tell what’s happening by the way the character moves then you’re not animating.” — Chuck Jones, Animator
Neither technology nor the attempt to look real, should alter the fact that animators express ideas with the craft through movement.
“Low Art is just telling things; as, there is the night. High art is the feeling of the night. The latter is near a reality although the former is a copy.” — Robert Henri, Artist
If all we’re doing is copying reality, we’re not making art of any signifance. Reality is created, not duplicated. A visit to any art museum of significance will make this fact crystal clear.
“A work of art is the unique result of a temperament. It’s beauty comes from the fact that the author is what he is.” — Oscar Wilde, Writer
All true art is personal. If we’re just going through the motions because it’s “just a job” being done for someone else, then we haven’t really thought this through. If we don’t make our art uniquely ours, not only will it not be any good, we won’t have much fun doing it.