Creators must expect rejection. The only way to avoid rejection is avoid making anything new. Rejection is not a ticket to quit. It does not mean the work is bad. It does not mean we are bad. Rejection is about as personal as gravity.
At its best, rejection is information It shows us what to do next....Rejection is not persecution. Drain it of its poison and what remains may be useful.
Great creators know that the best step forward is often a step back -- to scrutinize, analyze, and assess, to find faults and flaws, to challenge and to change. You cannot escape a maze if you only move forward. Sometimes, the path ahead is behind.
Rejection educates. Failure teaches. Both hurt. Only distraction comforts. And of these, only distraction can lead to destruction. Rejection and failure can nourish us, but wasted time is a tiny death. What determines whether we will succeed as creators is not how intelligent we are, how talented we are, or how hard we work, but how we respond to the adversity of creation.
Why is changing the world so hard? Because the world does not want to change.
Nothing begins good, but everything good begins. Everything can be revised, erased, or rearranged later. The courage of creation is making bad beginnings.
Sunday, November 15, 2015
I've recently read How to Fly a Horse: The Secret History of Creation, Invention and Discovery by Kevin Ashton. It contains many insights on creation, more than I could do justice to in a review, but I do want to share a few quotes from the book.
Friday, November 06, 2015
Above is an early section of 101 Dalmatians that I regularly show my students when talking about walks. The three women are great contrasts in design and movement and we analyze how the visuals form our impressions of these characters.
There are variations in timing. The first woman walks at 15 frames per step, which is a relaxed gait. The second at 10 frames per step, showing more urgency and the third woman walks at 8 frames per step and is clearly in a hurry. There are variations in body shape. The first woman is gangly, the second stout and the third svelte. There are variations in dress which imply what class the women belong to. The first woman wears an ill-fitting coat and is bohemian, the second woman wears a smartly tailored outfit and is middle class and the third woman wears fur and is upper class.
While I've seen the film many times and I've shown this clip easily dozens of times to students, there was something I didn't notice until this week: the way each woman holds her leash.
Then there's Anita, the woman who Roger will eventually marry.
At this point in the film, the women, including Anita, are just vignettes. The audience is only given brief glimpses of them. Yet it's clear that the artists have worked hard to visually differentiate the women and to give the audience clues as to who these women are. Even something as potentially trivial as how someone holds a leash has been thought out to be consistent with what the artists want to communicate.
The credited animators for the walks are Frank Thomas and Blaine Gibson. It's impossible to know what came from the designs and what was added in animation, but these walks are a testament to how much information can be compressed into a short amount of time. That's the power of good design and expressive movement.