Disney Storyboard Artist and Director Natalie Nourigat describes her book I Moved To Los Angeles To Work In Animation as “part Autobio Comic and part ‘How-To’ guide.’” It’s hilarious, emotional, beautifully illustrated and I now consider it required reading for every aspiring Animation professional. Today, Natalie joins me for a lesson inspired by her book: 4 […] The post 4 Ways Animation Artists Can Mentally Prepare For The Move To Los Angeles: With Natalie Nourigat :: VSP #3 appeared first on ChrisOatley.com.

4 Ways Animation Artists Can Mentally Prepare For The Move To Los Angeles: With Natalie Nourigat :: VSP #3

In this free artists’ mindset course from The Magic Box Academy, you’ll learn how to become a better artist without ever picking up a pencil.

Rethinking everything from mentorship to motivation, you’ll create a clearer, more actionable plan for your creative career and develop a deeper appreciation for the artists, musicians and literary figures who came before us.

Arts

Literature

Performing Arts

Design

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Fashion & Beauty

Visual Arts

http://HowToBecomeAProfessionalArtist.com *At the time of this recording, Chris' mentorship The Clockwork Heart is accepting applications. Email Support@ChrisOatley.com to schedule an interest meeting and apply. *IN THIS EPISODE:* In this episode of “You’re A Better Artist Than You Think,” Chris Oatley, founder of The Magic Box Academy and Visual Development Artist for Disney, DreamWorks, and Sony Pictures Animation, helps artists identify what to look for in a creative mentor. ...and he shares a personal story about the time one of his music mentors helped him overcome a fear he didn't even know he had. This is part one in a series. 0:01 - Introduction 0:21 - A Potential Mentorship Gone Wrong  2:20 - Collaborative Mentorship 4:08 - Defining "Mentorship" 6:08 - Our Definition 6:52 - Great Mentors Help You Help Yourself 13:10 - Homework 14:44 - "Autonomy" by The Bright Sigh

What Artists Should Look For In A Mentor

In this episode of “You’re A Better Artist Than You Think,” Chris Oatley, founder of The Magic Box Academy and Visual Development Artist for Disney, DreamWorks, and Sony Pictures Animation, helps digital artists and visual storytellers de-stress their creative process through the revival of classical workflows. You’ll find guidance in the timeless methods of legendary illustrator J.C. Leyendecker and modern examples like The Legend Of Zelda: Breath Of The Wild, Aliens, Up, and Cuphead that will reduce overwhelm and frustration in your workflow while also boosting your efficiency and confidence. Get clear, relevant feedback on your work and personalized career guidance through Chris' mentorship at HowToBecomeAProfessionalArtist.com

De-Stress Your Creative Process (With This Classical Practice)

 Pixar Animation Studios was always known for quality storytelling, but in the early years of CG feature animation, they also set the standard for design. CG feature animation was considered by many (even mainstream audiences) inherently inferior until the turn of the 21st century.  The fur and lighting effects in Monsters, Inc. were remarkable in 2001 (and they still hold up) but in 2003, Finding Nemo’s visual art finally and fully transcended the technological limitations of the new medium. When interviewed about how they created such stunning imagery, the Pixar artists often cited their meticulous research. Whether it was sketching professional ballet dancers in preparation for Fantasia’s dancing hippo sequence, living in Latin America for months at a time during development for Saludos Amigos and The Three Caballeros or hiring legitimate apex predators as models for The Lion King, Disney artists were willing to do whatever it took to achieve their characteristic verisimilitude.  …so why wouldn’t Pixar? They got the Nemo art team certified for scuba diving. The Up artists flew to Venezuela to paint the world’s tallest waterfall. The Cars team went on an epic road trip across the legendary US Route 66, the Ratatouille team wined and dined at fancy restaurants in Paris… …and the Toy Story 3 team toured…  …landfills. That’s right… The Nemo people swam around a coral reef. …and the Toy Story 3 people swam around in literal human garbage.  …but the movie probably wouldn’t have created a cultural phenomenon it did if the artists hadn’t been so committed to authenticity. This is the second in a three-part lesson for artists who are ready to develop effective professional practices upon which they can depend for efficiency, consistency and quality in their work.  Today we’ll talk about the importance of working from reference - even when it stinks.  We’ll bust five common myths about reference. …myths that if left un-busted put your portfolio at risk of landing in the trash. This is “You’re A Better Artist Than You Think.” I’m your instructor Chris Oatley and this is part two in my series titled “Why Artists Need To Slow The Hell Down.” Get clear, relevant feedback on your work and personalized career guidance through my mentorship at HowToBecomeAProfessionalArtist.com There you can also subscribe to this free course via email and get every new lesson delivered directly to your inbox as soon as they become available. Next, In Part Three: We’ll explore the relationship between practice and projects by applying a product design concept to the process for developing our visual stories.

Is Drawing Or Painting From Reference "Cheating"?

One of the most important mindset shifts in the career of any professional artist is a shift in focus from performance to practice. Our culture has a very bad habit of promoting performance while obfuscating the practice behind it. This habit skews expectations, scatters attention and stifles patience. So this is the first of a three-part lesson for artists who are ready to develop effective professional practices upon which they can depend for efficiency, consistency and quality in their work. Today, we’ll begin by busting six common myths about practice. …myths that, if left UNbusted, can lead to physical injury, damage to our mental health, wasted time and energy, burnout or rage quitting.   NEXT, IN PART TWO :: We’ll rethink a classical practice for improving your art and, in part three, we’ll explore the relationship between practice and projects.

Why Artists Need To Slow The Hell Down [YAB 2.1]

In parts one and two of this series, I emphasized that most artists will never find a financially sustainable career until they develop a complete, professionally viable skill set. …but why invest the time and energy necessary to develop a financially sustainable art career if you don’t love the work? …or at least like it? We saw how Mary Blair struggled to pay the bills with her passion for fine art, then settled for a steady paycheck in animation. …but got bored with the work just a few years later. If she hadn’t given animation one last chance, by joining Walt Disney’s visual development research trip to Latin America, she might never have discovered the skill set from which she derived creative fulfillment, a steady paycheck and her legendary career. Today, in part three, I’ll share how and why I wasted a lot of time pursuing a career I never loved and three steps you can take to avoid the same mistake…

4 Ways Animation Artists Can Mentally Prepare For The Move To Los Angeles: With Natalie Nourigat :: VSP #3

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