Smoking Avengers

Don't ask.

Straight from the Moleskin

I'm trying to get back in the habit of drawing all the time again, to the point where I'm almost completely oblivious to whether or not people are looking over my shoulder or not. These are the most recent entries in my sketchbook.

I went to Vancouver, Canada a few weeks ago and sketched some of the nice people I met there. The lady in the middle was trying to give a lecture, but the cute little baby on the left couldn't resist being the center of attention, as many babies do.

I try to make it obvious to everyone that I will be sketching from the get-go, so everyone will get use to the idea early on and be able to relax. When they eventually do relax, sometimes I catch nice little earnest moments, like someone leaning on his girlfriend's head.

I went home over Thanksgiving break and my parents prepared a room for me with a big mirror slide-door - the kind that's used for closets. This was a cue for me to do some self-portraits. I always look pissed off because my eyebrows are so dark and point inward. But people tell me I otherwise smile a lot. Maybe I'm secretly trying to offset my natural pissed-off look.


The following drawings were from a recent meditation course I attended. I tried to capture the vibe and ambiance I was feeling at the time.

Balancing Creativity and Draftsmanship

Lack of balance leads to turmoil, as depicted by this Artist Rendition of Turmoil.

Too much attention to draftsmanship leads to stiffness. Too much attention to creativity leads to lack of professionalism. To work in animation, we need both.

Many examples of creativity can be found literally in front of your nose, with homegrown YouTube videos, lo-fi music, student films, etc. On the other hand, we see plenty of slick Hollywood films and big record label music that lack uniqueness and care.

Lack of sound technical skills leaves more to be desired, amusing the consumer for a second, but when he asks himself "But would I pay to see this?" the answer is usually no. Lack of creativity leaves one uninspired, and often times bored, even insulted. The response then, is "that wasn't worth my ten dollars" or "that wasn't worth two hours of my time."

To be appealing to employers as 'animation artists' (as CalArts teachers like to say), we need to demonstrate both. Professionalism usually suggests one is operating at a high level on a consistent basis - the confidence that he or she can meet expectations.

They say the difference between a professional and an amateur is that a professional gets paid to do what he does.

We must observe what this means.

We must ask ourselves "would I pay someone like me for my services?" There are athletes, cooks, and artists all around us, but what makes a professional basketball player, a professional chef, a professional photographer? They are the ones that show both inspiration and technical skills at a high level, regularly. For animation artists, this translates to creativity and draftsmanship.

I mention this now because I often see the imbalance with many students trying to get their foot in the door for a paid position. Some demonstrate great creativity, but their portfolios show little-to-no evidence of fundamental drawing skills, storytelling skills, etc. On the other hand, there are the ones who draw fine, but their drawings and stories are uninspired and bland. This is a shame because these are the ones who have the means to say something but have nothing to say - like a vehicle with no driver.

For the animation student, figure out which side of the coin is lacking and work on it. Creativity? Or drafstmanship? Then demonstrate it, through shorts, reels, and portfolios. If both sides suck, then expect the bumps ahead in this path we call Our Career to be the size of mountains.

R.I.P. Mike Mitchell

Mike did the first edition cover for his friend's famous novel.

I got a text this afternoon informing me of Mike Mitchell's passing, and I forwarded the news to some of you, because I've always felt like CalArts is a second family and everyone should be in the loop with these things.

I was just talking to Nate and we both agreed that he led an amazing life - very full. I'm not sure what the memorial arrangements will be like, but I would guess that it would feel like a celebration of his life, rather than something more somber. I mean, let's face it, he lived a very long life!

I learned a lot from Mike. Even though he could be polarizing with his views (who isn't though, right?), he helped me creatively in ways no one could ever measure. He and Corny together railed on mainstream animation and rejected the medium as mere 'cartoon.' He berated 'the industry,' but I, for one, think it was only in the same way Bill Cosby berated the black community for using the n word - he berated mainstream animation only because he loved the medium so much and thought it could be even better.

What can I say, this man was amazing. He barely slept because he was always working, he led four or five-hour life drawing sessions at CalArts. "That's the stuff" he'd say, when you do something he likes. He'll hang that up on the wall and encourage a flurry of first and second year competition. Shadows, shape, form, color...at times it wasn't even about looking at the model anymore as it is using him/her as a launchpad for your own individual interpretation.

Mike hung out with the likes of J.D. Salinger and Ray Bradbury. I can't even begin to imagine filling in the rest of his story before I met him as an old man. There's so much to the guy. He had both his followers and detractors. And he made it personal with his students. I recall a time when he learned I was taking Corny's class my second year instead of his (which was against the curriculum) and chewed me out for it. He cared that much. (Or was that insulted - either way, he was passionate.)

I have to admit, he was sometimes 'cliquey.' Mike at times played the favoritism card and his followers (often referred to as Mitchellites) were often accused of being arrogant (I can personally say, yes, sometimes they can be, but they're also very sweet people. And, let's not forget we're all on the same team guys). Despite this, no one can deny his brain was on fire. It was white hot. He encouraged being 'loose' and 'open' in the artistic sense like no other instructor I've encountered.

Mike's influence opened the flood gates for the new talent that's in the animation industry today, and we have yet to feel the full effects of it. On top of that, he was a lovely man and someone who I am thankful I got to spend some time with and soak up his wisdom.

Long live Mike Mitchell.

-v

Baby-Snatching Goblins Sailing the Seven Seas Filming a Documentary

My Designs are Worn by the Children of America...

...Or at least these child models for the LAIKA store.
In case some of you were wondering what my 'Buffalo Spaceman' and 'Moths' designs were for back in the June 4th entry, LAIKA's media department had asked me to submit some designs for their store. These are the results. Apparently, my whimsical sensibilities fit best with the 'little'nes.' I dig it.

Random Page of Thumbnails...

Austin's giving me a hard time about too many words on my blog. Click to enlarge...you will see things you wouldn't see with the naked eye! (only because I don't draw clear enough - I'm a bad story artist :(