As I have reflected in this very thoughtful video, I see the need for a disciplined process in all of my creative endeavors. Thank you, I am very grateful for your wisdom. The process you laid out not only ensures that works are finished, they require more energy at each stage, knowing you won't go back.
Thank you, Marc. I watched this with interest a couple of days ago, and thought that it was a good description of competent production planning in any field, not necessarily artistic. Then, quite by coincidence but as if to drive the point home, I happened to watch the documentary about the making of Apocalypse Now, which has to be the ultimate cautionary tale for creatives who are inclined to second-guess themselves and don't stick to the plan. I heartily recommend it!
My pleasure! The film-making process must be much more complex, in its collaborative nature and financial pressures, but one thing I find helpful is to think of each step as if done by a different person. The concepts are done by the concept artist, then handed to the composer, who hands them to the sketch person, and so on. Each person has full trust that the previous task was done expertly, and doesn’t second-guess those decisions. This sort of personal collaboration is crucial to an efficient work flow.
The problem of the sketch being more lively than the final piece is a common one, and you even find it in the work of such masters as Rubens. His oil sketches are better than the finished canvases (in part because of the difficulty of dealing with large scales, and in part because much of the work was done by studio assistants.) Having an ordered process often comes at the expense of the energy of spontaneous creativity, but in complicated, conceptual work this is a necessary sacrifice. However, one thing to consider is that something that works in a small scale will not necessarily work in a larger scale, and the process of going from sketch to the final piece should not just be a question enlargement, but also one of refinement. A color might work in a small patch, but when enlarged becomes too simple, requiring color/value shifts to keep it interesting. A detail that might be work in a small might require the addition of detail when scaled up to be impactful. While it's important to stay faithful to the sketch, there should always be some wiggle room to keep your mind active, allowing you to stay engaged and creative during the final execution. That will keep the final result surprising, and the make the process exciting.
@@mkompan I've pondered the scale issue too. Also the difference in media, as I thumbnail in color pencil for a final work in pen. Frankly I can control pencils better than pens.
@@ichirofakename Doing the sketch in the same media is good practice. But you can also try leaving yourself more to do. Many artists will do their final sketches in black and white, then do rough color studies to decide on the color scheme before combining these two things together in the final piece.
Brilliant! Thank you for sharing your hard earned wisdom! We are all enriched!
My pleasure! Glad you found this helpful.
As I have reflected in this very thoughtful video, I see the need for a disciplined process in all of my creative endeavors. Thank you, I am very grateful for your wisdom. The process you laid out not only ensures that works are finished, they require more energy at each stage, knowing you won't go back.
My pleasure! Im glad you found this useful, since this video is different from my usual content. It encourages me to make more like it.
Thanks Marc, great advice. Would love to see more of these on creativity and how to work as an artist
You’re welcome!
Thank you, Marc. I watched this with interest a couple of days ago, and thought that it was a good description of competent production planning in any field, not necessarily artistic. Then, quite by coincidence but as if to drive the point home, I happened to watch the documentary about the making of Apocalypse Now, which has to be the ultimate cautionary tale for creatives who are inclined to second-guess themselves and don't stick to the plan. I heartily recommend it!
My pleasure! The film-making process must be much more complex, in its collaborative nature and financial pressures, but one thing I find helpful is to think of each step as if done by a different person. The concepts are done by the concept artist, then handed to the composer, who hands them to the sketch person, and so on. Each person has full trust that the previous task was done expertly, and doesn’t second-guess those decisions. This sort of personal collaboration is crucial to an efficient work flow.
That’s really helpful. Thank you!
My pleasure! Glad you found this useful.
Great tutorial and also very good advice for the non professional artist.
Thank you!
Thank you so much for your advice
You’re welcome!
My problem is that too often my sketch (
The problem of the sketch being more lively than the final piece is a common one, and you even find it in the work of such masters as Rubens. His oil sketches are better than the finished canvases (in part because of the difficulty of dealing with large scales, and in part because much of the work was done by studio assistants.)
Having an ordered process often comes at the expense of the energy of spontaneous creativity, but in complicated, conceptual work this is a necessary sacrifice. However, one thing to consider is that something that works in a small scale will not necessarily work in a larger scale, and the process of going from sketch to the final piece should not just be a question enlargement, but also one of refinement. A color might work in a small patch, but when enlarged becomes too simple, requiring color/value shifts to keep it interesting. A detail that might be work in a small might require the addition of detail when scaled up to be impactful.
While it's important to stay faithful to the sketch, there should always be some wiggle room to keep your mind active, allowing you to stay engaged and creative during the final execution. That will keep the final result surprising, and the make the process exciting.
@@mkompan I've pondered the scale issue too. Also the difference in media, as I thumbnail in color pencil for a final work in pen. Frankly I can control pencils better than pens.
@@ichirofakename Doing the sketch in the same media is good practice. But you can also try leaving yourself more to do. Many artists will do their final sketches in black and white, then do rough color studies to decide on the color scheme before combining these two things together in the final piece.