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Thread: Artistic Integrity

  1. #14
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    I think Dpaint meant more as a go-to-art-style artist rather then an evolving artist, or a inspired or influenced by an artist. Don't quote me on that.
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  4. #15
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    Yeah, don't mind me. Just a knee-jerk reaction to reading the Fountainhead as "a book about what it means to have artistic integrity", I guess.

    Carry on!
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  6. #16
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    Quote Originally Posted by dpaint View Post
    'I want this piece of art or a series of paintings but I want you to copy someone else’s style.' Do you do it or pass it up?
    To me it would depend on exactly how they want me to copy someone's style. If they mean that they want my work to be as indistinguishable from artist X as possible, no, it's not something I'd likely do (and even more because I probably couldn't pull it off properly nor would I enjoy it one bit), but if they wanted me to loosely emulate someone's look while still keeping my own style to it and I felt that it fit the project (like say, going for that sort of Ben Templesmith scratchy, pencil lineart, gray PS effect look for a creepy illustration), then mayyybe (though that too would depend on whether I felt confident I could actually pull off the look so that it looks good and not just a cheap copy and also on exactly what they wanted me to do).

    Mainly because I do like trying new things like that and I like to work on different styles (which is in its own way bit problematic for me because occasionally I'm not sure exactly what style of art people might be expecting from me).
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  8. #17
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    "It seems as the economy has deteriorated people are willing to do anything artistically to make money."

    "What if they were only paying you enough for 1 months rent? You could end up doing things like that for your whole life."


    Err, yeah?
    I get the impression its decades at least since you had to work on any old crap job to live, but even in todays futuristic technoparadise stuff still isnt free..
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  9. #18
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    Quote Originally Posted by dpaint View Post
    I’m talking about when a client comes to you and says 'I want this piece of art or a series of paintings but I want you to copy someone else’s style.' Do you do it or pass it up?
    Do I do it?

    Yes.

    Do I pass it up?

    No.

    I'm not an artist. It has nothing to do with my integrity. I am a commercial Illustrator/designer (in-training) and have no personal stake in what someone commisions me to do.

    It's like someone turning down a job creating a site for someone that does porn.

    I knew a kid in highschool that could draw really well. I asked him could he draw Ghost Rider.

    He said no.

    I asked him why.

    Went against his religious beliefs to portray a demonic figure.

    Me, I would have drawn it. Subject matter nor style offends my "sensibilities" in the least.

    My personal philosophy is not narrow when it comes to such things.
    "Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."
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  11. #19
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    Eh. I've done it a thousand times. "Bring me an example of the sort of thing you're looking for..." I'm a darned good mimic, too.

    *Some*body's got to do the scut-work.
    I was once on the receiving end of a critique so savagely nasty, I marched straight out of class to the office and changed my major (sketchbook).
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  13. #20
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    And maybe we have found that illusive difference between an artist and an illustrator/designer/concept artist. As artist must have integrity or she/he is not an artist?
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  15. #21
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    Giorgetto Giugiaro, Raymond Leowy, Craig Mullins, Syd Mead, Michelangelo or anyone else who's taken corporate money and worked to a narrow brief, sorry guys, you sold out
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  17. #22
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    There was certainly a hierarchy in the way I viewed work. At the one end were the appallingly bad ideas I was asked to illustrate and the purely derivative work; somewhere in the middle was technical illustration; and up at the tippy top, the occasional plum job, like a magazine cover or portrait. I only signed a fraction of the work I did.
    I was once on the receiving end of a critique so savagely nasty, I marched straight out of class to the office and changed my major (sketchbook).
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  19. #23
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    Quote Originally Posted by squidmonk3j View Post
    A tangent:

    Look at Frazetta's early E.R.B illustrations. Then look at James Allen St. John's preceding work. Tell me there's no stylistic mimicry involved.
    He learned how to mimic a style when he started out. He was a ghost artist for Al Capp for seven years.
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  21. #24
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    Quote Originally Posted by squidmonk3j View Post
    Yeah, don't mind me. Just a knee-jerk reaction to reading the Fountainhead as "a book about what it means to have artistic integrity", I guess.

    Carry on!
    I should clarify that the book was one writers opinion about artistic integrity.
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  22. #25
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    Quote Originally Posted by bcarman View Post
    And maybe we have found that illusive difference between an artist and an illustrator/designer/concept artist. As artist must have integrity or she/he is not an artist?
    Bll, I don't think so and I would never draw such a distinction. Are you saying you don't believe in such an idea as artistic integrity?

    I started as an illustrator and I hope to do more in the future. What I find interesting is the guys I looked up to coming up and got to know on a personal level influenced my ideas on this. Frank Kelly Freas, Don Davis, Rick Sternbach, Iain McCaig, Gearge Barr. They were adamant not only how you paint (your style ) but also what you do difines you as an artist/illustrator.

    So if we drop the I'd do it for a million dollar idea; because lets face it most likely that is never the case; its always just your regular fee. You are all up for drawing furry porn or child porn or Skinhead posters as long as you get your rate because you are professional illustrators?
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  23. #26
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    Quote Originally Posted by Velocity Kendall View Post
    Giorgetto Giugiaro, Raymond Leowy, Craig Mullins, Syd Mead, Michelangelo or anyone else who's taken corporate money and worked to a narrow brief, sorry guys, you sold out
    Hw do you figure? I laid out my premise clearly; its about control, artistic input, and the type of work you accept. It has nothing to do with corporations.
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