To start out our first week of class, Bob emphasized that
being flexible and being open to different career choices lead to success. Be careful to not limit yourself, its better to not have preconceived notions of what you want to do after grad- uation or later in life. Its easy to get into a narrow straight line, which can cripple your vision and your career options in the future. As a comparison, Bob compared it to going to a fine French cooking school and wanting to only learn how to cook a hamburger or hot dog, without having a full appre- ciation and desire to learn cooking. If your skills cannot keep up with the status quo, you are disposable, so he emphasized the importance of being flex- ible. He then proceeded to tell us a story about someone who wanted to be 2D animators at Disney, but then Disney transitioned to 3D and all of the 2D animators were laid off. That person was later working at Trader Joes as a cashier because they couldnt adapt with the times. structurally People look to Art Center for structure. Art Center is the transition from being just a kid that likes to draw to a work- ing creative professional. On either sides of the spectrum are structure and creativity, and its important to find a balance between the two. The market and technology will always constantly in flux, but what will never change is the way you structure your work. Bob told us about when he graduated, and the market was predominantly freelance. It was neces- sary to start your own business and brand yourself, despite going to art school and not business school. He told us that although he was terrified at the time, know- ing nothing about business, fear is your friend, and that fear keeps you honest and on your toes. He also discussed how the transition phase is like the big fish in small pond to small fish in big pond saying, where although you may be tal- ented in high school or school, when you get to Art Center and the real workplace, everybody is at least as good as you or better. Everybody also wants the same jobs. As you try to get jobs after graduation, its important to take rejection as learning experience and get back up again and again, rather than staying down and giving up because of fear of rejection. This industry is full of nonstop rejection and it is not necessarily as a personal attack against your work, but rather because you are not a good fit for the proj- ect or are not adaptable enough (yet). Always remember to learn from your mistakes, which while easy to say, is much harder to do in practice. confidentially Smartphones, while a great feat of innovation and technolo- gy, are terrifying in the workplace. Every phone has a camera and video capturing functionality, and if anything is leaked, companies can lose tens of millions of dollars in the process. Bob told us a story about a girl (not from Art Center) who was working at a studio and posted work on her blog from a project after she was done, and the vice president of the studio was on the phone with her within ten minutes. She was removed from her position and has had a difficult time finding work ever since, as confidentiality and trustworthiness are some of the key things to being able to keep and find work - nobody wants to hire someone they cant trust. On a related note, he mentioned to us that LA models are the best in the country because of our proximity to Hollywood - we get some of the best talent since many people are trying to be singers and models and other similar talents. Because they do modeling for art as a side job, they are very intent on keeping their privacy and controlling the image of themselves, thus the no picture policy. There were stories of models that freaked out as soon as there was a phone being out in their general proximity, regardless of whether the person with the phone was actually using their camera or just playing Tetris. With social media being such a common tool these days, its difficult to deal with the blurry lines of intellectual property, and messy to deal with the consequences if anything is intentionally or even acci- dentally spread. Bob mentioned something similar regard- ing art - only post if if you are aware of the consequences, if youre willing to give away. Have a tight mouth in general and it will be easier to find work. Confidentiality opens doors. structurally (pt 2) Showing up early makes you look better - if youre first to arrive, you look like you care the most. Time management is a priceless skill; with limited hours in a day, its import- ant to learn how to budget your time. Being able to budget your time can also transition into budgeting your money since you can learn how to do more with less. Get the right things out of this school, not just drawing techniques, Bob advised us. Think of Art Center as work, and act like a professional - not a student. Think of it as if youre already a professional but in school to hone your skills. Regarding the absence and tardy policy, he told us to make sure to be here at 8 AM sharp, and ideally half an hour early - tying back to your image, if you show up earliest, you look like you are the most motivated. Its not only about your image, but also to factor in any accidents that may happen along the way. Flat tires, oversleeping by a few minutes, traf- fic - everything can add up and become a tardy or absence, so its better to treat an 8 AM class as a 7:30 AM class. After an excused absence, its important to contact Bob as soon as possible, within three days at most. At the workplace as well, its important to contact whomever is in charge as soon as you know you will be busy with something. Bob then told us about the significance of actively seeking feed- back. If you are stuck and dont know what to do anymore, ask for help. If you think youre doing alright but are in a rut of doing the same thing, ask for help. Often the people who stay until the very end of workshops are the people at the top, the people with the most desire to improve and ambition - this is why they have the positions that they do. Some production designers that Bob knows referred to the people who dont work as hard to improve transitional, as in they have the skills to be employable but not longevity, so they end up floating around between studios and working under people rather than being at the top. When Bob was in his 8th term, he sat next down to the department head during lunch and attempted to have an awkward conversation - when he timidly asked if there were any jobs out there for him when he graduated, the depart- ment chair brusquely replied that theres no jobs out there, the market is oversaturated. Then he paused and continued, Unless youre outstanding, then its a different story. There is always work for outstanding people. Remember that re- gardless of how good you are, if everyone else is just as good then you wont stand out. Think to yourself that if this isnt better than who youre showing against, then whats the point? critically Are you critical enough? The most important question nec- essary for self improvement, it is also critical to getting work done in the workplace. When you open your mouth, if im- portant things are said and improvements are made, you will make money. Bob compared improvement to like being in a race: if you are in last place, 50 meters behind the others, the only way you will be able to win is if you speed up. If you maintain the same pace you will still be at the same distance behind everyone else, but if you speed up, you can catch up and even pass them. Its important to be able to develop things and work on your own time. Rather than pure skill, effort and improvement are the things that count. Treat [school] as your job, Bob told us. Its like if someone asks you what your job is, and you answer that your job is to get good. Like, what the heck, thats the best job ever! Your value as a designer is defined by your ability to problem solve. You must be aware of your audience and your clients, and when you apply for jobs you should tailor your portfolio to what is more likely to get you hired in that particular place - they all have different problems to be solved. A common problem is dealing with people that you dont like, or people that are just difficult to work with. In school, rather than fighting to do what youve always done, do it the way the class asks to expand your point of view and experience. There is always time to do what you want the way you when you are out of the class, but you can only get the experience that the class will give you while you are in the class. Get what the teacher knows and ask plenty of questions. If you are able to learn different points of views, you will be flexible and better. Be able to take constructive criticism gracefully. presentably Homework should be taken a step further than classwork. Be focused! Presentation is a representation of you and your respect for your client or your viewer, so take it seriously. When it comes to people who dont know anything about your work or even art at all, they will not focus on your work, but rather the presentation. They will criticize your craft and everything but your work - whether it be warping foam core, a loose tape, or a peeling edge. Its important to not wait until the last second to complete work. Be prepared! diligently Some things may be more difficult for you, but it doesnt mean that youre unable to do them. The important thing is to try harder and learn how to do it anyway. This is part of the importance of organization and structure in your learn- ing and daily practice. The same second you get a job is the second that somebody else wants your job. If you dont stay on top of things, you will lose your job. The key to prevent- ing this is to take initiative - do more work! Go beyond what was asked, and people will think better of you. Its always a good idea to do extra, since the extra mileage adds up and can only benefit you if you do it healthily. Fill up a sketch- book, go to workshops... whatever gets you to the goal. Dont be afraid to use lots of paper, after all, with the tuition that we pay, its like buying a Ferrari and not being willing to pay for gas. Remember that Art Center is not a guarantee of a job, but rather an opportunity. Because of this mentality, Bob allows us to do redos for a better grade. If you do two for every one that other people do, you will get that much better, that much faster - hard work does not lie. He told us a story of a former student that was miles behind everybody else, but in one term went from awful to Art Center average. This same student took a head painting class and started out as the worst painter but then became the best in the class after doing double the work and going to workshops. Even if he never picks up a paintbrush again, the important thing that he learned was self confidence. Your duty is your choice, Bob proclaimed. He also told us about another student who was a very good painter but never im- proved at all, and proceeded to get a C+ despite being the best in the class. When that student asked why they received that grade despite having strong work, he replied that the student simply coasted through the class without displaying any improvement, which did not warrant a high grade be- cause not enough hard work was put in. He told us a story of when he got into the Society of Illustrators show in New York, and found himself and his other Art Center peers as veritable idols. He also found himself in shock when discovering that some of the other schools had entire semesters, sometimes entire years to complete one painting - at Art Center, the require- ment was to finish things by the deadline, often within a couple weeks or less. This led into a discussion about the differences between fine art and illustration; although the final product may share stylistic similarities, the process to fi- nal, or prompting and process, is completely different, with different motivations. Fine art is internally motivated by the self, while illustration originates from problem solving to get a solution for a certain problem. maturely Even if youve never tried something before, say you can do it, and you will have to do it. Fake it until you make it. If you cant use InDesign during week 1 (like me), youll have to do it anyway, because its the requirement of the class. With any task, analyze and take it apart for a week, and then you should be able to do it to a certain extent. Even if youve never tried something before, say you can do it, and you will have to do it. Fake it until you make it. If you cant use InDe- sign during week 1 (like me), youll have to do it anyway, be- cause its the requirement of the class. With any task, analyze and take it apart for a week, and then you should be able to do it to a certain extent. Take everything seriously, and most importantly, take yourself seriously. To do well, make sure to not fall behind. If you do happen to fall behind, catch up as soon as you can. Sometimes throwing yourself into some- thing is the only way to improve. If theres any work at the end of the term, it will result in a failing grade. Save all work for final critique. gesturely In drawing figures, try to feel the pose and feel the antici- pation and action. When doing homework, put your notes next to you to remind yourself to try new things and push yourself beyond what youre used to doing on a regular ba- sis. Allow yourself to do bad drawings - you wont get good unless you get bad first! In short two minute poses, break the drawing down into two steps: first capture the gesture, movement, and scale with fast, loose, long lines, and then second, draw through the form and visualize the form with contour lines to add more sense of volume. Drawing is communication with marks on a surface, and has nothing to do with style. Style is imposed onto a draw- ing. Try to feel the marks, and leave some things up to the viewers imagination. Look for lines through the form that are the most descriptive of the form and try to avoid un- necessary lines - dont overdraw. Think of drawing through the form as the inner contour, and the outline as the outer contour. When we finally transition into painting, outer contour does not help much. Using too much outer contour flattens the form, which while is not a bad thing, it is not conducive to showing dimension and shape. Fashion illustra- tors often make good use of inside contours to efficiently de- scribe the form. Overlaps can help indicate form and depth, especially if the overlaps have dark accents. During five minute poses, first use fast, loose, long, light lines - save darks for dark accents - then draw through the form. Use dark accents to pull something closer. You can also accent overlaps to add depth and accent form change. Another method is to put the dark accent on the shadow side of the form to imply light and shadow. Your eye looks at the speed of the mark. Where there is a fast mark, the eye stays for a shorter period of time; where there is a slow, deci- sive mark, the eye stays for a longer period. Drawing is about the marks you leave out - after all, its important to stay within budget on projects. Rather than drawing out every detail, imply it instead. Hinting at detail is a common meth- od used in painting to reduce the time spent. Loose paint- ing with only a few tight marks in an area saves time and you dont have to render as much. Also try to use contour as accent. Emphasize without adding too much by slowing the eye, and de-emphasize other areas that are less import- ant. The importance of the contour exercise is not about the appearance but rather about the sequence and the process. Think about contrast as dark vs light and fast vs loose, creat- ing a focal point in a picture. Things that require 0 talent - Being on time - Work ethic - Effort - Body language - Energy - Attitude - Passion - Being coachable - Doing extra - Being prepared homework...ly Obtain materials: - drawing board and paper - soft or extra soft charcoal pencils (sharpen them before class so you are ready to draw) - Staedtler erasers - conte 3B charcoal (crushed) - flat edge razor blade - drywall sanding screen (to grind charcoal) - container to hold charcoal dust - newspaper Practice the gesture exercises from class - draw a pair of shoes, with no background, no shading, just lines and ac- cent. Draw one pair on 18x24 paper. Practice and choose the best one. Put it on foamcore and shrink wrap it, and clip the other practice ones behind the foamcore. Shrink wrap can be obtained at the student store. To use the shrink wrap, find a clean table or surface and lay out the plastic. Get the foamcore, slightly larger than the drawing (around 1/16 to 1/8 inch), and use doublestick tape so that the shrink wrap doesnt move, with around two inches leftover around the edges. Use a hair dryer to heat the back, then the edges, then the front. Test it out first! Get a binder with your name clearly printed on a cover page, and sheet protectors. You can insert pictures into your notes. For tips on how to use InDesign, watch videos on lynda.com.
Be ready to answer the following questions (by week 4):
- Why did you pick Art Center?
- What do you want to do when you leave school? - Who are your favorite alumni?