Discussion: Obsession in our field?
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Discussion: Obsession in our field?
I recently watched a video of Adam Savage from Mythbusters talking about
obsession in the things he loves.
(Which, by the way, if you haven't seen it I highly recommend it. It's 15 minutes and
really interesting).
I've thought about this for a while now, specifically in our field as
videogame artists. We collect references and we save images to an
inspiration folder, sure, but do you ever find yourself somewhat obsessed
over your current project? Personal or professional?
Over the past 3 years, I've found myself getting personally invested in the
projects I am on. Whether its the work on Wolfenstein or Ghostbusters I've
done over the past 2 years, or the Unearthly Challenge or hell, even the
LPC I did with Shari and the other I did with Paul, I'm constantly finding
that even when I'm not working on them, I am thinking about that world or
its inhabitants.
I can easily lose myself in those words. I try to picture it beyond what it
that I am specifically trying to illustrate and really think about what this
world consists of. And, while I think it absolutely helps, I think it can
overshadow the overall effectiveness of believability in the work I am doing.
Most recently, the work I did with my friend Boyd on our UC entry suffered
from this. We were so wrapped up in the story we presented that to us,
the story is present in the scene, but to most everyone else they had no
idea what it was they were looking at. So, since we can't exactly force
people to read our backstory or expect them to understand that particular
world or our story, it failed. While it looks neat, there's no real substance.
Positively, though, this sort of obsession will help fuel major aspects of
what it takes internally to finish a piece. I especially find that the major
positive contribution from this sort of obsession is motivation. It's
motivating, to me, to think about this world. Especially if I can discuss it
with another person either in person or through chat. I find all i want to do
when I'm done discussing it is get to work on the piece and do the best I
can; to give that world justice. Or to justify this sort of obsession? That
detail I am not certain on.
So, I ask again, is this true for you when you're creating a character or
outlining a new environment? Perhaps it hits in the later stages when you're
texturing or working on the atmosphere?
Or do you sort of... leave that train of thought "at the door", when you're
close your 3D app and call it a day?
As well, is obsession the right word? I'd like to think its 'passion', but in
my opinion that's something entirely different.
I recently watched a video of Adam Savage from Mythbusters talking about
obsession in the things he loves.
(Which, by the way, if you haven't seen it I highly recommend it. It's 15 minutes and
really interesting).
I've thought about this for a while now, specifically in our field as
videogame artists. We collect references and we save images to an
inspiration folder, sure, but do you ever find yourself somewhat obsessed
over your current project? Personal or professional?
Over the past 3 years, I've found myself getting personally invested in the
projects I am on. Whether its the work on Wolfenstein or Ghostbusters I've
done over the past 2 years, or the Unearthly Challenge or hell, even the
LPC I did with Shari and the other I did with Paul, I'm constantly finding
that even when I'm not working on them, I am thinking about that world or
its inhabitants.
I can easily lose myself in those words. I try to picture it beyond what it
that I am specifically trying to illustrate and really think about what this
world consists of. And, while I think it absolutely helps, I think it can
overshadow the overall effectiveness of believability in the work I am doing.
Most recently, the work I did with my friend Boyd on our UC entry suffered
from this. We were so wrapped up in the story we presented that to us,
the story is present in the scene, but to most everyone else they had no
idea what it was they were looking at. So, since we can't exactly force
people to read our backstory or expect them to understand that particular
world or our story, it failed. While it looks neat, there's no real substance.
Positively, though, this sort of obsession will help fuel major aspects of
what it takes internally to finish a piece. I especially find that the major
positive contribution from this sort of obsession is motivation. It's
motivating, to me, to think about this world. Especially if I can discuss it
with another person either in person or through chat. I find all i want to do
when I'm done discussing it is get to work on the piece and do the best I
can; to give that world justice. Or to justify this sort of obsession? That
detail I am not certain on.
So, I ask again, is this true for you when you're creating a character or
outlining a new environment? Perhaps it hits in the later stages when you're
texturing or working on the atmosphere?
Or do you sort of... leave that train of thought "at the door", when you're
close your 3D app and call it a day?
As well, is obsession the right word? I'd like to think its 'passion', but in
my opinion that's something entirely different.
Replies
So, while it helps to have a 'high resolution' preconception of a character or place, it's only part of a larger process. Especially with 3d work, it's easy to get caught up in inessential details- you need to take that photographers eye, and focus on putting your efforts where they'll really count.
As far as obsession goes, yeah it definitely helps. Once you start doing the stuff, it's hard not to walk around and be all, 'I know exactly how i'd do that surface', or 'damn, look at the specular hilight where that new paint is'. It's probably called being a dork.
and the amount of information i've gathered on tanks is.. pretty considerable.
some tanks i've made 2 versions of, and on the latest edition of the tanks i've been obsessing about weld seams, and pixel-perfect positioning of little nuts and bolts that contribute almost nothing to the overall look of the vehicle and such.
and i've also started modeling a space ship.
i've gone so far as to detail how the guns actually work..
as I improve my artwork and creativity in general I can see it happening much more often.
almost reminds me of guitar, I hated it when I first started learning it but now that I can play good it's more and more fun and I do it more often. I think that's one of the biggest hurdles in any art, at least for me.
/loves art.
Very true,
but its good to get involved as it helps to sell your piece better, right now im making my UT3 map and every night before i goto sleep i think about what i can add or remove to help sell the setting.
When i was making a block out of my level i put more emphasis on story than game play and it kinda bit me in the ass when i was testing gameplay.
Personally i think when im enjoying something and i obsess over every little detail, those are the times when im enjoying my work the most!
why make something you dislike when oyu can make it into something your obsessed with.
but when making art/levels you want to be able to tell a story in the image itself and not print a wall of text to explain what the image is.
@adam: the last statement kinda refers to what you were saying about your UC entry.
Although it came out great i was wondering WTF it was supposed to be and kinda discarded it because it was too confusing to understand without reading the backstory of the image itself.
you want to be carefull about confusing the viewer when making game art in general.
But in reality I'm just pissed because I just watch the Adam Savage video and wanted to get the eCred for posting it.
I find my obsessiveness to only surface when I'm in a comfortable situation or facing some other responsibility. If I have no one and no work, no school involved in my life - that is, no immediate responsibility other than stressing over survival and seeking out those things (people, work, survival) - then I am hardly motivated to create something beautiful. If I'm going to be homeless in the streets, I'd be more likely to dwell on words and music (hobo with a harmonica), or wisdom and life philosophy, even if I've already unearthed a shit ton of that (and it does amount to mostly useless shit of solely personal utility).
When I'm going to a job every day though, the art obsessiveness rarely leaves my mind. There becomes something to want to go home to. So, in a way, for myself personally, a willingness to obsess (or a tendency to), is connected in some way to feelings of self-worth; this explains, possibly, and I really hope nobody is reading this post, because it's utter nonsense, the previously mentioned desire to find meaning or spirit in life when occupying a non-standard position within modern society: in the absence of having something that is, by modern standards, representative of responsible and worthwhile nature, one seeks self-worth within the world, perhaps drawn (this is a new conclusion I am having?) by the desire to feel comfortable and obsess, as before, over one's artwork, whatever the intended creation or favored medium may be.
I find a lot of the art made by someone who has gone through the search for wisdom and introspective process, maturation in their life, is more compelling, and they pull something unique from that, creating something that is personally theirs. And everyone's, in each person's own way, if it's good enough that people can identify with it. Bob Dylan comes to mind, but that's just something I personally identify with, eh. I would love to create artwork of that caliber, but have been stuck in a rut of not finding stability within the 'real world'. The path is, all in all, an... odd one.
Going back to inspiration being my motivation for obsessive creation behavior, there have been several sources of this feeling. Other works of great beauty are, of course, inspiring, movies usually having the greatest effect (will games catch up?); nature is a hugely inspiring thing for me as well, especially when perceived from a non-language, non-thinking, Buddhism-esque perspective (I can see this internal feeling being emulated in an open game environment); and the feeling of reciprocated love, huge adoration and love, including the non-sexual: perhaps most powerful feeling I have ever felt by which to be inspired, so fleeting (listen to me; it's no wonder) and yet the most warming, motivating thing.
To obtain this feeling one (that is, myself, who places great value in such a thing) must follow several short steps - financial security in the world, some amount of reputability, and then to find the inspiring people themselves; these are the things, the search for which that is, that seem to distract from one's motivation. It would seem then that I've either to absolve desire for these things in order to acquire an equally desirable level of focus, or to discover some other source within myself. The mention of which, naturally, feels... nostalgic, and... like something I must be off to do right now. Pardon.
[/stream of consciousness]
I'm sure many of you have been at 3d long enough that you don't really consider it often; but the level of specific knowledge you need in this field is really insane. Just try to explain what you do specifically to someone who is not involved in 3d art is the perfect example. Almost always, no matter how well you break it down or explain; the listener becomes incredibly confused (due to how complicated the process is).
Anyways, my point is that most people would never put the kind of work needed into 3d art unless they had a obsessive personality. It's such an involved process, that the non-obsessive would simply look for something easier to do with there time.
My personal example: I often find myself not listening to what people are saying in a face to face conversation because I start studying the specific curves of there face. I try to commit those specific shapes to memory for sculpting at a later time.
Vrav: I read your post, ha ha.
It feels good to create something beautyful, it feels like the world is crashing down when you fail.
Not only the end product drives me, the fact that you work on self control is something amazing aswell. Learn how to work with your body and mind. How to translate thoughts into perfect fluid motions.
Im obsessed with observing,
I always keep studying things, even while it should not be studied.
I sometimes go people watching with a friend, get a huge cup of coffee and find a bench in the citystreets. Entertaining as hell, and you might learn a thing or two.
Im obsessed with thinking, and its killing me.
My level of obsession is moderate, and i focus all my efforts in the subdiv models and characters. I love to have a cool and polygonal character i previously designed on the paper. I love to give volume to my ideas
Obsession is not a problem for me, the real one is that i'm collapsed with ideas, too much creativity...
This is especially apparant when I voluntarily debug software I've written for hours on end just to solve a specific problem. (which may or may not even be significant) The same thing happens when I assemble new computers. I can spend entire days figuring out how to make everything run perfectly.
How human.
Adam- I run into this
ALL
THE
TIME
i think that understanding the realities that other people live in.. in terms of the word they see, but also how they take in and process information, is important and the solution to this... but that statement is a good example of a bad way of doing that:
i think this subject is specifically about the pre-supposition that your audience understands the things that our points are predicated on. in other words, you make an environment based on a story, and you think that just because you understand it, your audience will too...
ultimately, you can't not communicate this way. i used to get high and write, and break down my definitions mid-writing. so in this thread, i'd write something like..
"... understanding the realities that other people live in.. (and by realities i mean blah blah blah)".. but you can't do that all the time... you'd just end up continually breaking things down into infinite granularity.
and i think the only way around it is to get a respectful sense for where someone IS before you open your mouth.. which you probably won't find online. most people online are more interested in scanning what you say as it's seen from THEIR perspective. In my opinion, if you've made an effort to communicate to someone, and they aren't willing to try and meet you, fuck them, seriously. you can't come more than 50%.... but yeah.. i think you can come more in their direction..
understand your audience.... or express yourself and hope there are others who get you.
My passion on this has died over the years for various reasons.
I often think that I should get in to environmental art to restimulate my interest, but after a
while the same technical contraints/frustrations would crop up again.
I still enjoy making 3d art , but at times it becomes a chore which is a bit of shame.
Recently I started playing games a lot more and have found the obsession side of it has come back a little.
Perhaps its a case of remembering that ultimately its not just making pretty art for its own
sake, but that it has a function and slots in to the game world as an object.
This to me is the goal. To say, I love what I do.
The same motions, but different. Comparing to what a hobby artist does to a professional artist, the difference can be huge depending on the individual and scenario they've signed themselves up for. It's pretty interesting to see how your happiness can be effected by what you're working on. In time, you mind will try to rewire itself from its previous wiring. A lot of the avenues I took to gain rewards were closed when moving into the professional world. When working within those confines, you have to find ways of those some rewards by different means. Maybe there is no need for it, and you are getting all you need with your job. That's an ideal situation. Maybe its aiming for a pat on the back for doing good? ... Or going back to feed that old addition and run home to do personal work?
Vrav, I read your post.
But hey, Merry Christmas!
killingpeople, your post reminds me of this article I read recently; it's mostly about courage and I'm not sure how much it pertains to art jobs, but still: http://www.stevepavlina.com/blog/2006/07/10-reasons-you-should-never-get-a-job/
Adam, I have had the same problem with many of my projects. I've always been of the mind that you have know a character's history to create a character that looks like they've lived through that history. I guess in some sense, that might be true, but probably all of us have had a point where we had to back off and say "enough of the backstory," and get back to the important parts.
I've always enjoyed writing when I'm not required to write, so that probably helps some as well.
/re-lurk