Reworks and ther hell from which they come.

andy

Every sculptor who makes his/her living as quot;hands for hirequot; faces reworks.  Its part of the job and there's no getting around it, although any sculptor with an ounce of sense will try to find a way. They can be minor or major.  No matter what, they require time you don't have and are money out of your pocket.  Lots of prep work, tons of reference, an open communicative relationship with your art director/product manager and CLEAR direction can minimize the need for them.

The time an art director spends reviewing a piece pales in comparision to the time the sculptor has invested in the work. Often, a review of a piece is given a few minutes, an email fired off with corrections, without really taking the time to look at what the sculptor has done and evaluate whether the choices the sclputor has made were vaild based on compromises needed to accomodate the art.

With Photoshop, an art director can make the adjustemtns he/she wants clear, comparing the quot;beforequot; image and the modifed quot;afterquot; image. In the hands of a talented director, this method really does make life and reworks easier.  With a ham handed director, often you end up taking several steps back only to find yourself nearly at the place you began.

There are dierctors who are convinced their job is to put themselves and their egos on the work, to stamp the work with their influence, whether it needs it or not. There are directors who's main focus and intent is to make the product as good as it can be given the practicality of the job, and will keep an open mind in reviewing the work and become a collaborator.

I, as have most of us, have worked with both kinds and endles varieties in between.  

What most directors fail to realize is that changing a piece of sculpture is quite a bit different than changing an illustration. Change telescopes down the piece. Alter the shoulder and you end up reworking some of the back, the arm, some chest, etc. Altering the mouth changes its relationship to the nose, the chin, etc.

There are times when a change is asked for to correct something the directors sees as wrong but the change asked for won't solve the problem.  Is the nose too long or the mouth too small? Are the eyes too close together or the bridge of the nose too wide. Trying to get the director to explain the change from a couple of different angles can help clarify what the actual problem is.

Communication is the single best way to minimize rewoks. Listening and taking the time to evaluate what's being asked as opposed to reacting is crucial.

Its impossible to take the ego out of the work but its worth the effort. Try and get feedback from fellow sculptors and if, after consideration, a change seems misguided, bring a constructive alternative to the director's attention.

Then, count to ten...

Then realize its ****tail hour somewhere on the planet...


Originally Posted by Art FarmerEvery sculptor who makes his/her living as quot;hands for hirequot; faces reworks. Its part of the job and there's no getting around it, although any sculptor with an ounce of sense will try to find a way. They can be minor or major. No matter what, they require time you don't have and are money out of your pocket. Lots of prep work, tons of reference, an open communicative relationship with your art director/product manager and CLEAR direction can minimize the need for them.
The time an art director spends reviewing a piece pales in comparision to the time the sculptor has invested in the work. Often, a review of a piece is given a few minutes, an email fired off with corrections, without really taking the time to look at what the sculptor has done and evaluate whether the choices the sclputor has made were vaild based on compromises needed to accomodate the art.
With Photoshop, an art director can make the adjustemtns he/she wants clear, comparing the quot;beforequot; image and the modifed quot;afterquot; image. In the hands of a talented director, this method really does make life and reworks easier. With a ham handed director, often you end up taking several steps back only to find yourself nearly at the place you began.
There are dierctors who are convinced their job is to put themselves and their egos on the work, to stamp the work with their influence, whether it needs it or not. There are directors who's main focus and intent is to make the product as good as it can be given the practicality of the job, and will keep an open mind in reviewing the work and become a collaborator.
I, as have most of us, have worked with both kinds and endles varieties in between.
What most directors fail to realize is that changing a piece of sculpture is quite a bit different than changing an illustration. Change telescopes down the piece. Alter the shoulder and you end up reworking some of the back, the arm, some chest, etc. Altering the mouth changes its relationship to the nose, the chin, etc.
There are times when a change is asked for to correct something the directors sees as wrong but the change asked for won't solve the problem. Is the nose too long or the mouth too small? Are the eyes too close together or the bridge of the nose too wide. Trying to get the director to explain the change from a couple of different angles can help clarify what the actual problem is.
Communication is the single best way to minimize rewoks. Listening and taking the time to evaluate what's being asked as opposed to reacting is crucial.
Its impossible to take the ego out of the work but its worth the effort. Try and get feedback from fellow sculptors and if, after consideration, a change seems misguided, bring a constructive alternative to the director's attention.
Then, count to ten...
Then realize its ****tail hour somewhere on the planet...

DITTO!!! which is way I love working with Jim Fletcher...he's one of the coolest Art Directors  ever!!

Some art directors are delusional, egomaniacal, lunatics...

They expect you to read their mind, decipher what's inside it, and make them feel whole, fulfilled...satisfied.

Luckily, other art directors, give clear direction, concise commentary, and leave the bullsh!t ego behind, keeping in mind the best for the product, and for the artist.

Just recently I had to resculpt a head for a figure because it was too small. I spent almost two full days doing the first head, and did not at all wish to do it again. But, the fact is the head was indeed too small. So I resculpted the head, without complaint, and actually it turned out better than the first attempt. It helps that my art director on the project is always completely candid with his comments, and always truly appreciative of my efforts.

There are some ADs that care not about how much work is required in instituting changes in the work, but some do fully grasp our(the scultpors) situation and our valuable time. Those ADs will always get what they want, because I know their not just f-ing with my time.


Originally Posted by William PaquetSome art directors are delusional, egomaniacal, lunatics...
They expect you to read their mind, decipher what's inside it, and make them feel whole, fulfilled...satisfied.
Luckily, other art directors, give clear direction, concise commentary, and leave the bullsh!t ego behind, keeping in mind the best for the product, and for the artist.
Just recently I had to resculpt a head for a figure because it was too small. I spent almost two full days doing the first head, and did not at all wish to do it again. But, the fact is the head was indeed too small. So I resculpted the head, without complaint, and actually it turned out better than the first attempt. It helps that my art director on the project is always completely candid with his comments, and always truly appreciative of my efforts.
There are some ADs that care not about how much work is required in instituting changes in the work, but some do fully grasp our(the scultpors) situation and our valuable time. Those ADs will always get what they want, because I know their not just f-ing with my time.

Which is why I love you Jim Fletcher!!!!!!!!!!!!!!!!!!!!!
Now can I get a contract for at least 20 years?

Excellent analysis of a common dilema Tim! Your description of quot;telescopingquot; changes is soooo true and equally frustrating. Great post.

...although not a sculptor, I feel the pain you guys speak of. ADs in the design business are truly from the dark side!
-D

I just made changes based on this comment-

quot;I like where the legs are... but the figure needs a little more heroic stance, you know, drawn up chest, tummy pulled in, back arched, butt clenched, but leave the legs alone, they look good.quot;

HAHAHAHAHAHA, quot;leave the legs alonequot;   

quot;Heroic stancequot;, hasn't he seen the movie?

my gawd man... she's wearing a CORSET... how am I supposed to draw up her chest?!!  (doesn't he know ANYTHING about anatomy?)  

her butt?... its covered by the D#M#ED COAT!  

okay... I CAN trim a little off her tummy.
Chuck

I remember something regarding Alfred Hitch**** being asked to change one of his films. He took their advice.... and simply ignored it, not changing anything at all....and they didn't even notice.

I think in almost every instance in my short career, the changes that have been asked, are completely valid. Most of the time they ask to change the wrong area, but I know what to do to bring things around. I only had one 'nightmare' of a project, and in retrospect it wasn't all that bad.... but it was frustrating changing something, polishing it up, only to change is back. and it was castiline....uuuugggghhhh

thanks for the advice Tim! oh and Chuck, how do you clench a butt and leave the legs as they are? hahah. the pulled in tummy reminds me of a similar change I did on a piece for Erick....it was anatomically impossible....so I just trimmed the stomach down...

Trev

Some of my faves.  Actual direction.

quot;Can you pretty her up some.  Like that actress.  You know, the pretty one.quot;

quot;I'd like the breasts to be fuller but not any bigger.quot;

quot;Make it the same but different.quot;

quot;I don't know, something's off. How tall is it?quot;

quot;Does the wax have to be that color? I can't tell what I'm looking at.quot;

quot;I think her butt's too low,  lower the knees.quot;


Originally Posted by TrevolverI remember something regarding Alfred Hitch**** being asked to change one of his films. He took their advice.... and simply ignored it, not changing anything at all....and they didn't even notice.
I think in almost every instance in my short career, the changes that have been asked, are completely valid. Most of the time they ask to change the wrong area, but I know what to do to bring things around. I only had one 'nightmare' of a project, and in retrospect it wasn't all that bad.... but it was frustrating changing something, polishing it up, only to change is back. and it was castiline....uuuugggghhhh
thanks for the advice Tim! oh and Chuck, how do you clench a butt and leave the legs as they are? hahah. the pulled in tummy reminds me of a similar change I did on a piece for Erick....it was anatomically impossible....so I just trimmed the stomach down...
Trev

Just so you know that piece is the new Age of Apocalypse Psylocke bust..and no I wasn't art directing  hehehe