If This, Then That

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To mankind, gears and machinery represent both progress and automation. Their function is decisively simple — it goes one way or the other.

We all deal with problems, large and small, from time to time. More often than not, there just seems to be too many of them. It’s all very overwhelming and yet we know that it’s all connected — failure in one area of work or life is bound to affect another. We know that multi-tasking doesn’t work. A simpler way to approach this dilemma is to have a bit of a strategy in how to approach all these challenges, especially those that force us to act with immediacy.

“IF THIS, THEN THAT” is a tactic to eliminate the hassle from the entire decision-making process. It helps with both the mundane repetitive chores that hound us and sometimes the tougher, more meaningful challenges as well. It ensures that we get things done and that we keep moving forward.  We don’t want to use up all our time and energy for every single task we face. That’s not a wise usage of those rather limited resources.

There is one profound rule to apply however, and that is, we must stop and look before proceeding. We must always gauge the situation first because gaining perspective is paramount to any kind of progress.

“Nature is pleased with simplicity. And nature is no dummy” ― Isaac Newton

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The 13-part scientific documentary series Cosmos: A Spacetime Odyssey is a follow-up to Carl Sagan’s marvelous 1980 television series Cosmos: A Personal Voyage, which was the milestone documentary that gave us a newfound perspective of our universe and our significance in it.

Here are some basic examples of applying “IF THIS, THEN THAT” to make our lives easier.

ISSUES OF COMPLEXITY

a) IF your work is looking messy, too confusing or hard to read, THEN it’s time to simplify. Take an overall view of the whole shebang. Ask yourself, what it is you’re trying to do? Have you strayed off the main path? If so, what can you remove or reduce to get back to your original vision? How can you simplify your artistic choices so that the essence of it reads while still attaining the levels of depth that you want? Are you listening to the track or the internal direction your body is leaning towards? Did you get external feedback throughout the various phases of work?

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This wonderful scene by Supervising Animator Michal Makarewicz disregards complex movement for simplicity. The effort perfectly captures the state of the character’s dilemma. From Pixar’s Inside Out.

b) IF the work is looking bland or flat, THEN perhaps it’s time give it something extra. Here’s an opportunity to step up and do something special and original — the time to dig in for a bit more research and get more feedback. Can a new element be introduced? Or is there a way of adding some texture to your work to make it really sing? How about a change in rhythm or boosting the level of caricature either in shape, timing or attitude? What more can you give of yourself so that you can rest assure knowing that you’ve fulfilled your call of duty? As long as you’re careful not to deviate too much and let the icing ruin the cake so to speak, giving more of yourself is the only way to achieve something spectacular.

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Done with careful thought and planning, this Frank Thomas scene is a perfect presentation of contrast, texture and simplicity. From Walt Disney’s Sword In The Stone.

ISSUES OF DIFFICULTY

a) IF the task looks too overwhelming, THEN you must look to reduce either the quantity or quality of what you’re doing. Too many people try to do too much with too little resources. If your deadline is in two weeks, but the work you want to do requires four — and you can’t get that extension — you must redesign you work so that it can be accomplished. Professionals always finish their work. It might be time to take out that extra move or idea you had or reduce the complexity of certain parts that are probably extraneous anyways. Sometimes doing less is more. Doing one thing at a time assures progress. Using the simpler, less original option might actually be the better option. Simplification is a very powerful and underrated concept.

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In this marvelous scene by Glen Keane, an incredibly rich and meaningful moment of the story takes place — the deep inner connection of what it means to be human. A lessor animator would’ve tried to do too much. From Walt Disney’s Tarzan, released in 1999.

b) IF the work you’ve done seemed easy or lacking in challenge, THEN you must go back and look for what’s missing. Chances are you saw something you liked and lowered the critical bar in your analysis. You’ve either attained an excessive feeling of accomplishment or you’ve fallen back on you laurels and got formulaic. We’ve all done it from time to time. Rarely is great work accomplished without some sort of serious challenge being met. If you have time and energy here make better use of it otherwise you’ll regret it. If something looks too easy, it’s a glaring sign that you’ve missed something.

“I have never in my life envied a human being who led an easy life. I have envied a great many people who led difficult lives and led them well.” ― Theodore Roosevelt

ISSUES OF FOCUS

a) IF you can’t see straight, THEN you must step away. If you’re tired, dazed or confused, you can be assured your work reflects the same. You can’t do serious work without serious focus. Too many of us today are easily distracted. We’ve losing our ability to focus and mindfully attend to the tasks in front of us, and by default, we’ve become more fatigued, lowering both our stamina and potential at the same time. It’s good to take a time out. Taking a break away from work isn’t laziness, it’s wisdom. How often have you put in tons of overtime in the evening only to realize the next morning that you did absolutely nothing of positive consequence in those extra hours? People max out in terms of performance. Sacrificing endless hours to battle your inability to see or act effectively is never the solution regardless if you’re being paid overtime or not. Doing more bad work ensures only a bigger mess to deal with the next day. Only by gaining perspective can you see the sum of all moving parts.

“We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.” — Constantin Stanislavski (Author of An Actor Prepares)

b) IF you’re feeling sharp and energetic, THEN your job is to dive right in. Take advantage of that wonderful feeling or deep inspiration and activate yourself! A visit from the creative muses must not be wasted.  It’s time to grab the brush, move the pen or start animating. If you’re in bed, and great ideas pop into your head, write it down somewhere. Be ready to receive, be ready to perform. A failure to act here — usually caused by inertia or even the sudden onslaught of fear (our left brains like to do this) — will result in not only the loss of the idea or inspiration, but will ingrain in you the habit of laziness or worse, paralysis by analysis.

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Henri Matisse, in his old age, was very much incapacitated by his physical troubles but that didn’t stop him from creating at any time.

In summary, we can’t and shouldn’t always make our decisions in this sort of automatic or binary way — many things require the dedicated time and contemplation to make the right choices. That said, “IF THIS THEN THAT” is a useful tactic in our arsenal to achieving success and happiness. We’ve all been trained to brush our teeth when we wake up — there’s little debate or thinking about the consequences —  we simply do it because the benefits of doing so far out weigh the costs of not doing so. Automating certain processes saves us the strain on the mental and physical resources that our craft demands. Sometimes, the simplest way is the best way.

“Possessions, outward success, publicity, luxury – to me these have always been contemptible. I believe that a simple and unassuming manner of life is best for everyone, best for both the body and the mind.” ― Albert Einstein

Special Guest Interview: Mark Behm

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“Theft” by Animation/Illustration Artist Mark Behm. Personal work done using himself as reference — a common practice among artists in every era.

Today we are privileged to have the multi-talented Mark Behm join us at the Animated Spirit. I’ve known Mark for over 15 years, and he’s one of the most diverse, talented and humble artists in the industry. He can draw, paint, animate, design, model, rigg and program. Seriously, I don’t know what Mark can’t do. He’s animated at the highest levels for feature films at Blue Sky Studios and Dreamworks Animation, and created gorgeous designs as a visual development artist at Valve and Epic Games (where he now serves as a Senior Concept Artist). His work has been showcased in art galleries, “Art Of” books as well as in highly acclaimed collections like Spectrum, which showcases the absolute best in science-fiction illustration. He’s a prolific artist whose spirit and creativity is highly valued in the art community. You’re in for a visual treat!

Watch Mark demo his work live, on his Twitch Stream!


1. Welcome Mark! Thanks for joining us!

Thanks for the opportunity, James!

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“Riddle of Steel.” Personal art by Mark Behm.

2. Can you share a little about yourself, as to where you’re originally from and what your early interests were before becoming an animation artist?

I’m from New Jersey — in the pine barrens east of Philadelphia. My early interests were about the same as what I do during the day.

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Mark Behm artwork for Paizo Publishing’s Pathfinder Role Playing Game.

3. What inspired you to be part of the animation industry, and what were those first steps like breaking in?

Toy Story! I was working doing multimedia stuff and freelance illustration. A few artists and I went to see it and I was blown away. It set in motion a plan to make a change. I’d spent my childhood around animation art and defaced all the corners of my notebooks and schoolbooks as little flip-books. I got the Illusion of Life for Christmas when I was 9. I wanted to be in special effects when I grew up. I invested a ton of money in an old SGI workstation and a copy of Maya 1.0 and set to making a reel.

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More Pathfinder Art done for Paizo Publishing by Mark Behm.

Through a friend, I met Chris Gilligan, a stop-motion animator who was starting a NYC animation shop and wanted to mentor some guys in a more traditional way. He asked if I would be interested and I jumped at the chance. I took off work (multimedia artist at the time) twice a week to take a 3 hour bus and subway ride to the studio” to work on mentoring and projects. It didn’t last very long but it solidified my childhood foundation, wet my appetite and focused me on what was important. From there I worked on a series of short physical and dialog clips for my reel. That is what got me working. First in NYC commercial work, then direct-to-video work in Chicago, then my first feature job back in New York at Blue Sky where we met.

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Concept Art for Valve’s DOTA 2 by Mark Behm.

4. You’re one of the rare artists that excel in multiple aspects of this art form; character animation, rigging, modeling, and visual development (concept art). How did that happen?

When I started animating, rigging and modeling was a requirement. If you wanted to animate a character there was only one way: go make one. I don’t enjoy rigging or the technical aspects of modeling but I do enjoy modeling and sculpting in 3D. I like to make stuff and that’s just another creative outlet. I use that skill all the time in vis-dev work.

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Concept work for Valve’s DOTA 2 by Mark Behm.

5. You primarily do concept work now, what made you ultimately decide on this path? and do you miss the other aspects of animation pipeline?

Like I said, I like to make stuff. I’ve been inventing things and drawing heroes and monsters since I was a kid. I went to school for illustration. The whole time I worked in animation I was doing concept art and illustration in a freelance capacity. It’s more like I detoured to work as an animator. An Intentional detour to be sure, but what I do now is more where I belong. When I was animating full time in features, I spend too much of my free time drawing, painting, designing monsters. It was a sign. When you are painting on your tablet PC as you wait for a playblast… you need to start asking why.

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Concept work for Valve’s DOTA 2 by Mark Behm.

I don’t miss animation from a large scale production standpoint. I’d rather reserve it for personal work. I also enjoy the creative and advantageous scheduling aspects of the early part of the pipeline. Everyone is less rushed and stressed. They tend to be more free and creative. A little pressure and touch of fear can be a good motivator but the sharp teeth of a deadline and the ‘suits’ tapping their watches rarely makes for good work.

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Concept Art for Valve’s DOTA 2 by Mark Behm.

Someday I’d like to work on an independent short with a friend. We’ve been talking about it for a decade but we both still have bills to pay. He somehow finds time to do his but I’m too ADD to focus on one big project at the moment.

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Hammershot Concept Art done for Epic Games’ Fortnite by Mark Behm.

6. Tell us a bit about your work day. How do you get started each day? What’s your routine?

At Epic Games we have Dailies with our art director just like we do in film. I get in early, work on whatever is on my plate and maybe go to Dailies if I have something to show or want to keep up on what’s going on. After that I spend the rest of the day drawing and painting — and sometime modeling if I have some hard-surface thing to work out and 3d might be faster. Go out to lunch w the guys. 2pm is workout time. After that the AD comes around to desks if you have something else to show. Work on changes and new stuff till I go home. I have anywhere from a single task to a half dozen to work on at any given time. It might be a character, creature, costume, environment, or hard-surface design. That kind of variety is something I love about this part of production. I have been lucky enough to work on both Paragon and Fortnite, so I get to play with two stylistically divergent worlds.

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Epic Games’ Paragon Khaimera character designed by Mark Behm.

7. You’ve produced a book and continue to creative work outside of production. What inspires you to keep creating?

When I produced the images for the book I was in a particularly un-creative point in my career. At the time I felt my directors were getting more and more conservative in their decision-making processes.The focus seemed to shift from idea and performance to polish and finish. Watching great work from all my peers get neutralized in Dailies was hard. As a creative person — that energy had to go somewhere. So I spent all my down-time on 2D art. I didn’t even realize it was happening for a long time. I noticed this trend in my behavior at some point and have since found it’s been a reliable indicator that something is off with my day job.

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Concept Art for Wizards of the Coast’s Dundgeons and Dragons by Mark Behm.

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Concept Art for Wizards of the Coast’s Dundgeons and Dragons by Mark Behm.

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Concept Art for Wizards of the Coast Dundgeons and Dragons by Mark Behm.

8. Being an artist is challenging. As a family man, how do you balance yourself in the face of all the external, as well as personal demands?

Yes – something has to give! I made sure it wasn’t my family or my relationship with my wife, or my art. So it was sleep. I tend to need less sleep than most people and I often take even less than I need. Even when I’m not working I don’t like to put the day away! It’s not good or healthy, but it’s what I do. I think I inherit it from my uncle. I’d go to bed — him reading in the living room at 2am. I get up at 7 — he’s up reading in the same chair. Wait — did he change clothes? Can’t remember. Does he sleep? I never found out.

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A beautiful environment piece done for “Sketch A Day” by Mark Behm.

9. A hypothetical; if you were to choose anyone in history that you could apprentice under, who would it be?

Oh there’s a new one every couple months and many are still alive and younger than I am! I’m a big fan of the apprentice/mentor relationship model when done right. As it implies the critical element of skill-development rather than just knowledge acquisition and accumulation.

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Creature” by Mark Behm. Another personal piece displaying Mark’s lovely sense of color and light.

Can I have a few?! I’d love to sit in and watch Norman Rockwell’s work in the 30’s. And J.C. Leyendecker. And Mucha. And Sargent. Wait – Frazetta!! How much juice does this time machine have?

Another live video demo of Mark’s marvelous working process. Absolutely amazing!

10. Thank you so much for your time Mark! We look forward to seeing more of your awesome work!

To see more of Mark’s artistry, visit his Website or his various accounts at:

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