Taking into consideration the amount of sites on the internet which sell artwork, the number of artists on those sites, the number of customers browsing those sites (those willing to spend on art during the recession) and mixed into that the number of people trying to make a quick buck off of anything they can sell (craft or other). If you're an artist, you're probably at this moment drowning in this electronic ocean. So the question is how does one sell their work in hopes to make a living or just anything at all.
I don't have that answer and I don't think anyone really does. But don't sweat it, artists aren't the only one with this particular conundrum. Large studios and corporations are looking for their money on the internet as well, and discovering that there is no particular equation. The internet is in a position of flux, which is why it's so popular. Internet allows the people to control the culture, they no longer receive it but adapt it and make it their own. So there really is no silver bullet, magic equation and if someone tells you other wise they are selling you snake oil, you probably know more than they do.
So why am I telling you all of this. To sell you something of course. The internet with it's multiple solutions and it's infinite wisdom has taught me to be thrifty and to sell out at any chance you get. So when I recently heard of Razzle, with it's no money in, turn a profit off of your designs I was sold.
Without further explanation here is my first Razzle attempt (tell your friends):
So I went out of my comfort zone and created a performance piece to show this disconnect and separation of generations, through visual and audial support. Here are some pictures from my one and only performance for the class.
I'd hate to say it but I'm really benefiting from returning to undergrad at IUP and learning the basics. It's the studios in which I can see what I've really missed out on. Fundamentals of Drawing has really taught me lessons that extend beyond drawing and has found it's way into my digital art work.
Working in film and video you really take for granted being able to set up lights, tear them down and reset them within minutes. Within that time you can create several different pictures without having to finalize anything. In drawing,more or less your final drawing is your final drawing. You can visualize and play with your lighting set up before you begin but I feel it's real easy to ignore that step and just draw better or for worse what you see.
This concept of light and values has really made me step back and look at the work I've recently produced. It's made me realize how flat my images really were. And so I've come to value the use of value in my work, being able to create depth and volume. Making me consider setting and composition in my image.
Initially I wanted to go back and add value to an older image to show my point, but all my work is located on my external HD in my apartment. So I created an image used a lot by professors teaching values. If anyone ever tells you to go back and learn the basics, don't laugh or take offense because it really can benefit you. I've learned this the hard way but I've still learned it.
Finnaly a chance to use my photoshop skills in printmaking. The last two assignments dealt primarily with hand drawn images and thats something I'm still working on.
So I'm currently working on lithography which inovles printing my images onto special paper rather than transferring hand drawn images onto plates. The image you see above is my first test image, I'll receive some feedback Tuesday and then make changes before the print onto the plate.
Hopefully tomorrow I can post some notes on my latest sculpture assignment, if I make it through the day tomorrow. I'm trying to open a computer monitor without shocking myself, I only need the plastic frame.
If you don't know what it is, it's the blog for Spike Jonze's Where the Wild Things Are film, describing all of his inspirations for the film.
One of the most recent things is a contest in which you show a picture of where you think the wild things ought to be. Here's mine.
The thing about education is that as an Undergrad at Juniata College I found it to be unrewarding and boring. It was like stepping through the hoops for steppings sake. There were the required courses for my major and even my major, at this point in time, doesn't seem to be doing much for me. I would always say that the educational system is flawed and that I would never attend Grad School, it would be a waste of money and time.
What I'm discovering as a Continuing Education major at Indiana University of Pennsylvania is that now that I've stepped through the previous "hoop" I'm much more comfortable and excited to learn and to be constantly learning. There are so many things, techniques, styles, critique, discussion, writing, presentation, history, artists, and research that would have previously seemed boring. But now I have this passion to learn and absorb everything my professors are saying, to follow what they teach and treat every single class as being taught something substantial (no matters it's size).
If everyone viewed art with the same intensity and curiousity as Da Vinci, people wouldn't simply brush aside the arts. When art is done right it involves all the things I mentioned above and it becomes a much deeper subject. To really want to learn art you have to have a curiousity and passion for what youre doing and youre subject, which in turn will greatly enhance your voice in your work.
It's difficult to be an artist and not question yourself, your talent, or whether or not you will be recognized. And as I sit on unemployment and am about to throw myself back into the collegiate world and even further into the art world, I can't help but question myself.
The first time I watched Wes Anderson's Life Aquatic I enjoyed the film primarily for it's visual style (the wonderful blend of colors, cinemotography, animation, and full ship cut away). But everytime since in the end when Zissou finally tracks down the Jaguar Shark he says "I wonder if it remembers me." I can't help but tear up. The film is about a man trying to find his place in the world and leaving something behind to be remembered for.
A fear I have is not being remembered. I couldn't think of anything worse then one day not being remembered after I'm gone. It's not because I crave the attention I just want to do something truly unique and memorable.
What have I learned?
Flash is no longer the program I should be using to animate. It has an incredible amount of limitations, too many to even count. I'm ready to move to a new program, even a 3D program, but only to use with 2D animation (think puppet theater). So if anyone knows of any good programs worth investing my limited money into please let me know.
Another thing I've learned is that when your'e not good at something, admit it. I'm not a composer among many other things I'm not. But this is something I definitely have learned the hard way.
Since I haven't blogged in such a long time (20 days from yesterday) I figured I'd go two days in a row.
I've been working my little fingers off to get my etsy animation finished. I'm nearing completion of the animation (a mere 3 scenes from the end... out of 11) and not quite sure if I'm happy with it. Happy with what I've learned, yes, with the final product not as much but their is definitely pride in doing so much with it.
I've also been traveling a smidgeon visiting Johnstown, PA's film festival and speaking with the film makers as well as attending a Juniata College Networking event in NYC, NY. Both were great learning experiences. I got out there and asked questions until my lips fell off, don't think thats possible. Oh well, glad to have those experiences under my belt and glad to have shown Over the Rainbow to another crowd of people.
And if that wasn't enough to have completed within 20 days (it's actually not that much, I'm exaggerating) I've also decided, and have received confirmation that I will be continuing my education at Indiana University of Pennsylvania for some Post BAC work and hopefully my MFA next year.
You've probably missed me while I've been gone, but not enough to read this whole darn blog post I'll leave you with a present. Enjoy!
The human body I've discovered is also a time machine, albeit a limited one. Close your eyes for 3 seconds and open them. You've just traveled 3 seconds into the future. When you go to sleep time passes by and you aren't even aware of it. It is limited though, only being able to move forward and not backwards. And it's only limited to it's one speed.
I've finished a new piece of art work that will be available for purchase within a month. Take a sneak peek here.
Also I've begun animation on my etsy video which you can see a sneak peek of as well.
Don't forget my "Dead Animal Parade" animation. Heres a bit of updated concept art for you.
Currently I'm reading two books. The first is one I've owned since my birthday and I'm very happy to finally get to read it. It's "The Pixar Touch" by David Price and it doesn't read like your average informative book. It plays out Pixar's story in at times what could seem like a fictional tale. But what I'm the most interested in getting out of it is more detailed knowledge of the history of Pixar's animation as well as a more detailed explanation of how they run their studio.
The second book which is less of a book and more of a resource right now is "Children's Writer's & Illustrator's Market". If you couldn't tell by my fascination with Maurice Sendak and Eric Carle that I'm interested in Children's Literature and especially illustration then I guess this book is a dead give away. Hopefully this book will lead me into a proper direction to see if my artwork can be put to good use.
Now beyond the books I'm currently I have several others stacked at the end of my desk, reminding me they have yet to be read. They are "The League of Extraordinary Gentlemen" the graphic novel vol. 1, "Paper Puppet Palooza" by Norma V. Toraya, "The Art of Disney Pixar's UP", "Beware of Dug!" a children's book based off of UP that uses some very neat paper cut out illustration technique, and the last book at the very bottom of the stack is "Authentic Decor The Domestic Interior: 1620-1920" (if that one confuses you see my other blog here).
What's in your Book Stack?
Ever since I learned of Warhol's desktop boxes I've always been fascinated at the desk space people keep. It's great insight into how they work and how they think. Just today I read on twitter:
"RT @jggube: I liked this quote via @CJCUK: "Creative clutter is better than idle neatness". INDEED."
I've always kept a messy desk full of books I intend to read, have finished projects, toys and tools scattered all about. What about those more well known than myself, what kind of desk do they keep.
Roald Dahl's sleeping bag
Eric Carle's work space
And then there are those who almost make an art of documenting there work space. The photos give you information about the current projects but the pictures were taken with careful framing.
One of Megan Auman's workspaces
What's your desk/work space look like?
Sometimes I get too excited and deviate from what I'm working on, even if it was a previous deviation from what I was working on (you still following). I've doubled back and threw in some textures on my Dead Animal Party moose concept art. You can view the progression from sketch to textured in the image above.
As I continue to work on my new animation, which you will see a lot of in my blogs due to my unemployment, I may get slightly deviated by projects that have a possibility of winning any kind of money. Today is one of those days where I have stumbled across a possible project for me to animate and win some money, and so I deviate.
In the mean time enjoy some more concept art for Dead Animal Party (thats its temporary project name).