3:2 Stretched To 16:9 is The True Golden Ratio

tree-1 Jan21

     Many many talented, smart, and driven individuals will never recieve widespread audience or acclaim.But I hope some day their work will be enjoyed by many eyes or ears. I hope we can have every bit of artwork published to the web archived, for people of the Future to look back on and find beauty, strangeness, wonder, charm,...

     Here is a A little problem to solve For the 21st century artist:
The act of Advertising your work is energy taken from the process of Creation. The effort made to network pulls your brain farther away from its unique, isolated mode of individual operation

     This is the unfortunate truth. Marketing yourself and your work is exhausting, and a full time job on its own, without even considering the massive time and energy it takes to make the thing. This is a hard truth- to me, at least, it became very clear that I was not going to waste my time with it from the beginning. Any time I tried to share on the web, at the start especially, I felt like I was selling myself out. It felt not-right, Like It would be better that no one knows about my work and it exists on its own- than some dummys who wont even care much about it to give it a internet star point or whatever,, From then on, I decided to NOT do it like that, and only care about getting the work uploaded as an archive for me and friends.

     I grew to really enjoy presenting the work to friends and family as I was making it. Reaching an audience is challenging, and is not really a factor for the vids to be successful (i make for me, and anyone who likes them too) . It is exciting to present the work to just my small circle of friends and have a "release" ready for them to watch,,, I want to make them laugh and get excited about the dumb thing
If the work you are making has merit in its quality and purpose, then an audience will form around it. Especially if you are a cool human beingg that knows what is up

     I like most about the work, this way, is its freedom to do what it wants. I make what I want to see and what would be cool. I learn the things necessary to see the vision through. And I don't think about where I will market it or who will watch it while doing so. I don;t care about that. I care about learning and practicing whatever it will take to make interesting visual art that I want to see and that I got to project out from within!

peace- jack

2 Mailbox Questions:

Question 1. How close do you think you are to really polishing your own unique style with your work (how close are you to expressing as accurately as possible what's in your mind through animation or other creations?) I believe we are all artists within our minds, and the measure of a "great" artist is how accurately and seamlessly that artist can externalize the creation within them.

     This has been a quest for many years- and I often wonder if it will ever be fully possible to project it as accurately as I envision in my mind's eye. There comes a point with creating visual where you are mentally exhausted and it becomes difficult to further polish the presentation any more than what has already been done. This "limit" is something I run into quite frequently; Mostly because of the larger scope I like to aim for with my projects. I release a piece of work with complete awareness of its faults and flaws and I have found it most beneficial to output the work, and put the self-criticisms into my pocket for the next piece of work that I will make. I choose to not let works sit and rot on a hard drive or project file for too long. Life is too short for this, I have concluded,,, If this means the work presents itself as less polished for now, that is okay. But I think the message comes across to others that I wish to amend the lack of polish in future endeavor

     I dream of pure expression of my thoughts and mind,, With the bridge between viewer and creator almost invisible (the seamless, fluid qualities of a piece. There are many aspects to this:. An inherent slickness to the work. An unspoken self-awareness. A silent nod between the viewer and creator, that exists as a part of the work itself.) I need to better explain these thoughts even to myself, by writing more on this connection that I know know know is possible/ and know know know is powerful.

     Because I am 1 human, there are limitations on time and scope, absolutely
1 "issue" with 2d animation is that it must be heavily abstracted if you were to do a piece of scale by yourself
1 "issue" with 3d is the raw complexity of the medium that requires massive time and skill to produce works.

     I noticed a comment on videopix, describing the style as "maximalist". This is actually exactly what it is, to me. It is me using the closest abstraction to something real, with a workflow that is possible for 1 man. While allowing the freedom and flexibility to abstract where necessary, and "cement" back to realistic when necessary. I think The style I use grows from limitation, but with meticulous and thoughtful energy placed into its presentation as well.

Question 2.) what sort of mindset helps you more - a no pressure approach of like "whatever i make might suck but that's ok, i'm going to make what i want to make" or a more driven approach of "i'm going to be the best (fill in the blank) there is and defy all norms, etc." or a combination of both?

     I think the combination of both and the balance between them is essential. There is a harmony to be found here. Existing on both ends of the spectrum is possible, because I think that I do exist day to day on both poles. they do not push and pull one another. I don't know how I ended up balancing these mind states. But I have found a sweet spot,,

     Maybe something like this:
Im going to make what I want to see and what makes me excited, with zero thought put towards what others desire, all while being the best at doing it on multiple levels and playing fields, so That it can exist as a work I can be proud of on a universal level (externally as well as internally)

      Ultimately, I desire to be proud of my work. Internally proud, rather from external acceptance or recognition. If I am proud of it, then I have won. Nothing else is necessary. But I set the bar very high for myself, and the standards nearly unattainable... By consequence, I have found that I receive a more natural and appreciative response to the work.

So I want to say thanks to everyone who reads and watches cuz you guys rule and you are essential to this puzzle mystery That I wish to assemble. PEACE - Jack

The boy, the Dream, the Journey


Are you warm and do you feel safe here? ... . this is blog page 2. the old blog page got too big

Like a detective's bulletin board with all the case files- That gets put into a manilla folder once they apprehend that killer, to be filled again with leads and tangents on a separate but equally important focus.

I have gotten my hands on five new books,,,. Three of them are books on animation- Reading an animator's perspective on core concepts is always a treat/ The other 2 books are Rainbow Six strategy guides. I Love the thumbnail screen shot images that paint each page.

When I was a kid I had the strategy guide for Animal Crossing: Wild World. I loved that guide. The small thumbnails of the game were very saturated from the color printing on the magazine style glossy pages.... It was like I was playing the game when looking through the guide some times. Like it made me happy and relaxed, as did the game. I would wake up at 5 AM before school and play for 2 hours;

I don;t play many video games these days but I am interested in creating one. I have a
lot of creations, but a game will require me to make many of the creations from scratch; which is okay, but I understand the large scope involved and I have to clear my calender before serious work begins. In all of my work now, since making the initial demo, I create models as if I had to bring them into a game engine- I am mostly speaking about the texture work; I will create a 1024x1024 "atlas" of all the textures I need for a prop or environment, with modifications for specific use-case-and then use that large image canvas as a single material rather than having 17 different materials, each with their own image texture. This is a best practice workflow, and I have grown to like it more than my old way (which was horribly unorganized, and has led to many blend files with missing texture data)

I have one large animation project at the moment that is occupying my focus,. and I have recently grown to enjoy this 1. And then a smaller project that I am chipping away at/ then I have my personal project too. But everything I make, I have to bring it close to my core or else I will be miserable. External work is good, but I am pretty upfront with the other party like hey,,, if we are going to make something, Im gona go silent for a few weeks while I work and expand the idea in my head and output as I go. Things take on a mind of their own- it is a flow state I am quite fond of, but it requires me to focus on very little besides the task at hand/ It is a quick thinking, shotgun interpretation, solution-churning, leap frog idea interpretive dance as I chip away at the rock face of work.

Planning your attack and strategy guide is critical for this to work though- Because in order for the on-the-fly changes to work, you first need a solid framework to bend and melt. If the concept was not laid out, creating meaningful gear shifts is not as dynamic or easy. without the base, more "random", less cohesive , which is Okay, but not what I aim for. I like to warp transform my existing ideas. cohesion embedded in the warping. And you can;'t really do that if you dont have the idea yet

I look forward to the future; I am thankful for all human brain power. I think it is good that we have brains