great artist can come from anywhere

3

get to know me ☰ (2/10) animations —  ratatouille

In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto, “Anyone can cook.” But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau’s, who is, in this critic’s opinion, nothing less than the finest chef in France. I will be returning to Gusteau’s soon, hungry for more.

8

… But there are times when a critic truly risks something, and that is in the discovery and defence of the new. The world is often unkind to new talent, new creations. The new needs friends. … In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto, “Anyone can cook.” But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau’s, who is, in this critic’s opinion, nothing less than the finest chef in France. 

Ratatouille (2005) dir. Brad Bird

2
In many ways, the work of a critic is easy. We risk
very little yet enjoy a position over those who
offer up their work and their selves to our judgment.
We thrive on negative criticism, which is fun to write
and to read. But the bitter truth we critics must face
is that, in the grand scheme of things, the average
piece of junk is more meaningful than our criticism
designating it so.
But there are times when a critic truly risks something,
and that is in the discovery and defense of the new.
Last night, I experienced something new, an
extraordinary meal from a singularly
unexpected source.
To say that both the meal and its maker have
challenged my preconceptions is a gross
understatement. They have rocked me to
my core. In the past, I have made no secret
of my disdain for Chef Gusteau’s famous motto:
Anyone can cook.
But I realize that only now do I truly understand
what he meant. Not everyone can become
a great artist, but a great artist
can come from anywhere.

It is difficult to imagine more humble origins than
those of the genius now cooking at Gusteau’s,
who is, in this critic’s opinion, nothing less than
the finest chef in France. I will be returning
to Gusteau’s soon, hungry for more

— Anton Ego

Ratatouille  {Sentence Starters}

  • “It isn’t stealing if no one wants it.”
  • “I killed a man… with THIS thumb.”
  • “I was just trying to stay out of trouble!”
  • “Did you nod? Have you been nodding?”
  • “You must be imaginative, strong-hearted.”
  • “Can I interest you in a dessert this evening?”
  • “Should I be concerned about this? About you?”
  • “When all is said and done, we’re all we’ve got.”
  • “Keep your station clear… or I WILL KILL YOU!”
  • “This is the way things are. You can’t change nature.”
  • “The world is often unkind to new talent, new creations.”
  • “We thrive on negative criticism, which is fun to write and to read.”
  • “Okay, I’m gonna let you out now. But we’re together on this, right?”
  • “The world we live in belongs to the enemy. We must live carefully.”
  • “It’s like you’re involving me in crime, and I let you. Why do I let you?”
  • “No one know for sure. He changes the story every time you ask him.”
  • “If you focus on what you left behind you will never see what lies ahead!”
  • “If you’re gonna name a food, you should give it a name that sounds delicious.”
  • “I will return tomorrow night with high expectations. Pray you don’t disappoint me.”
  • “Not everyone can become a great artist; but a great artist can come from anywhere.”
  • “You know what I’m craving? A little perspective. That’s it. I’d like some fresh, clear, well seasoned perspective.”
  • “Ratatouille doesn’t sound delicious. It sounds like “rat” and “patootie”. Rat patootie! Which does not sound delicious.”
  • “You must try things that may not work, and you must not let anyone define your limits because of where you come from.”
Hiring Freelance Artists

Howdy! :D The company I’m working for, Mind Candy, is looking to hire freelance artists to work on one of their new projects. 

They need 2D illustrators who can adapt to a new style and are familiar with Photoshop. Artists can be from anywhere around the world. So it’s… pretty straightforward and pretty much covers most of you guys here XD Aaaaand yes, you get paid with money XD

I can’t go into specific details here about the project I think, but if you’re interested, or know somebody who might be, please email me at katja.hammond@mindcandy.com with:

  1. Your full name
  2. Email address
  3. Portfolio/website

Yip yip, send me that, and I’ll pass your name on and see how it goes from there :> I’ve got some friends working on the project already, so it would be great to see who else comes on board!

***IMPORTANT*** Please make sure it’s an email and NOT a tumblr message (it’s a really faulty system for me and your message might never arrive in my inbox)

If you could share this with anybody who’d be interested, I’d be very grateful :> And I look forward to hearing from you guys! :D

anonymous asked:

What kind of things did you study to develop the excellent depictions of bulk and mass in your characters? It seems most people stick to either rippling muscles or rail-thin skelepeople but your works have a great quality of mass to them.

Its not the first thing that most cartoonists want to hear but seriously, draw from life!!

When you understand the form of the body it makes it all that much easier to exaggerate it and stylize it.

If you want to avoid using just skinny or bodybuilder type bodies then look up other body types! For example if you are tired of seeing the rippling muscle trope then try looking up weight lifters or other athletes who build up their body in different ways.

Even if you’re not looking for athletic body types and just want to see a girl or guy who is a bit on the chubbier side, there are references for that too!!

Seriously, I did not start drawing bulkier body types until I drew one from life. I had a life drawing class and one of our models was a very round guy named big mike. It was tricky to draw him but it was a good start to understanding where those masses are and how gravity effects them.

And feel free to look at other artists too!! Everyone draws differently even if you’re drawing from the same thing. There will be people who stylize weight and mass differently than I do and thats whats great.
Inspiration for this kind of thing can come from anywhere too. It could be a chubby pokemon or it could be someone else’s OC or a character from an anime. Just look around, research and explore, look at many different art styles to see what you like.

I personally really like using simplified shapes but that is going into another discussion entirely and I think I’ve gone on long enough.

Of course practice makes perfect so do not get discouraged if your first few tries do not produce the results you want. Heaven knows a lot of these bulky babies I’ve been drawing has just been the result of the past few months.
Keep drawing and have fun!!

I hope this helps.

So a number of you have asked me questions lately about how I got my job at Walt Disney Imagineering and if I could offer any advice on how to break into this industry.  Honestly, I don’t feel I’m the best person to ask since I never actually sought out this job (I was head-hunted), but I have learned a lot over the last few years about this industry and the people in it that some of you may find helpful.

First of all, a few of you expressed some anxieties or concerns about your own skill levels or the difficulty of getting “the dream job.”  So let me just start off by saying that we ALL have those anxieties! You are not alone!  Everyone I have ever known in the animation world has experienced those feelings, including me. When I was finishing up college, I was stressing and worrying all the time, thinking I was never gonna get a real studio job, up until the very day I got my internship at Disney Interactive. We never think we are good enough until all of a sudden we have that job.  And even then, you continue to feel like maybe you’re not quite up to the task!  But it turns out, everyone feels that way!  So don’t worry so much! And know that you are your own harshest critic. You are doing much better than you think you are doing. 

Several of you have also asked about what you can do now to help you get a job in the future.  I think one of the most valuable things you can do is to connect with people. Every job I have gotten so far has been the result of some connection I had, whether it was a professor, classmate, friend, or even friend of a friend. I got contacted about the job at Imagineering because one of the artists there went to the same school I did and our old professors referred her to me.  Of course, you also have to have the skills and talent to do the job, but if no one knows you, they’ll never know to consider you in the first place! Those connections were definitely some of the most valuable things I took away from my college experience. And if you don’t have the opportunity to make those connections through school, you can always use the internet!  Every cool artist you admire is actually just a totally normal, nerdy person. And most of them are super nice. So don’t hesitate to reach out to them if you need advice or help or just want to connect.

Also, I think every aspiring artist should watch this:

https://www.youtube.com/watch?v=plWexCID-kA

It’s a speech given by Neil Gaiman about being an artist, and he addresses a lot of the anxieties we all face in our careers. I can honestly say that this speech changed my life. I know people say that all the time to be dramatic, but I’m serious. It changed the way I think about my art and my decisions and my goals for the future, and I’ve experienced significantly less anxiety since then. 

Also, while I’m pulling from the wisdom of others, I want to share a passage from a book appropriately titled “Art and Fear” which also had a significant impact on me. It reads:

‘Often fears rise in those entirely appropriate (and frequently recurring) moments when vision races ahead of execution. Consider the story of the young student - well, David Bayles, to be exact - who began piano studies with a Master. After a few months’ practice, David lamented to his teacher, “But I can hear the music so much better in my head than I can get out of my fingers." 
To which the Master replied, "What makes you think that ever changes?”
That’s why they’re called Masters. When he raised David’s discovery from an expression of self-doubt to a simple observation of reality, uncertainty became an asset. Lesson for the day: vision is always ahead of execution - and it should be. Vision, Uncertainty, and Knowledge of Materials are inevitabilities that all artists must acknowledge and learn from: vision is always ahead of execution, knowledge of materials is your contact with reality, and uncertainty is a virtue.’

In simple terms, things will always look better in your head than you can get them to look on paper. And that’s good! That’s what pushes you to work harder and improve and that’s how it should be! Your skills of execution will never catch up with your vision, because the better and better you get, the more awesome your vision will become! Once you understand that and really accept it, it stops being frustrating and becomes a powerful motivator! Seriously, ever since I learned that, I have felt so much better about my work. Because now I know that when things don’t turn out quite as I had imagined them, that’s okay! And that’s normal! And ironically, I feel like I have improved a lot faster since I accepted that fact and stopped being so hard on myself. Like I said, you are your own harshest critic. And you’re doing much better than you think.

Just don’t give up, and don’t get discouraged. I know it can seem impossible at times, but also remember that there are no time limits! Some people get the dream job when they’re 20, some people get it when they’re 50.  There is no deadline! The important thing is, as Neil Gaiman put it, that you’re always making progress towards “the mountain”, even if your steps are small. And also remember that the dream job, that “mountain” doesn’t always come with a super-well-known name attached to it. You may end up getting a job doing character design or animation (or both!) for some tiny app game studio no one has ever heard of. And that job could be just as fun and exciting and satisfying as working for Disney. (Some people even prefer the small studio scene!) So don’t be so focused on getting into one of the big-name studios that you fail to recognize other potentially awesome opportunities. If you end up working for Pixar or Dreamworks, great! But if you don’t, you can still be deliriously happy working somewhere less well-known. That’s what I always thought would happen to me. (Seems ironic now…) But my goal was never “I want to work for Disney.” It was always “I want to get paid to draw.” And with a goal that open, it was pretty easy to feel happy and satisfied with whatever work I was doing. 

So keep practicing, keep studying, and always be nice to people.  Work hard, but don’t stress too much. And be diligent, but don’t drive yourself crazy. There’s a lot more to life than just making art, so don’t forget to live the other parts too.  

Most importantly, just remember that there is no secret ingredient (just like in Kung Fu Panda) that magically makes someone a successful artist.  Anyone can do this.  It’s like they say in Ratatouille.  "Not everyone can become a great artist; but a great artist can come from anywhere.“

“I’m dreaming to be a movie directer in America someday but I think it is really challenging because I’m an asian girl. Whenever I fill hopeless, I watch Ratatouille and when Ego says, "A great artist can come from anywhere,” I feel a lot better.“