These freakishly hot ladies have unfortunately lost their clothes.

http://www.jamesart.com/kits.html

File this under “Artistic reference.” These are some amazingly beautiful stylized resin model kits of the most breath-stealingly beautiful cartoon women in the world.

Definitely NOT SAFE FOR WORK.

But I use these as form reference for whenever I make a female model at work. They’re stylized to the brink of being absurd, but there’s an underlying understanding of anatomy and beauty that’s communicated extremely well through these. Most of the female models I tend to make are about 50% the style of these.

I really wish Mike James updated the site with new models, and I also wish he delivered them painted. πŸ™

I heard that he’s a talented programmer that made a KILLING off a deal with Hewlett-Packard and retired on the ridiculous amount of money he made and developed this site as a side hobby of his. Good for him. I hope that someday I can make an obscene enough amount of money to be able to do the same.

In any case, hey, enjoy!

With each rejection, you’re closer to ‘yes.’

I read this blurb this morning in Business 2.0 and thought it was cool. It’s like what I talk about… how persistence through failure and rejection increases the odds for success. The article was about making cold calls for sales (calling someone unsolicited to try to sell them something) but it applies 100% to trying to get a job, or really any type of goal-reaching.

In baseball, even the best hitters make outs 70 percent of the time. Likewise, cold calls usually end in a “no,” no matter how skilled you are at making them. The key, therefore, is to remember that with each rejection, you’re one call closer to a “yes.”

“People get discouraged because they don’t understand how many ‘nos’ they need in order to be successful,” says Stephan Schiffman, author of five books on cold-calling.

Schiffman estimates he’s made more than 100,000 cold calls in the past 30 years and still makes 15 a day to CEOs and sales VPs to expand a client list for his training seminars that includes companies like Nextel and CompUSA. He claims his own batting average is pretty good: getting 150 people live on the phone for every 293 numbers he dials. On average those calls lead to 9 physical appointments, from which he closes 10 sales.

“People have a fear of cold-calling only because they don’t anticipate those kinds of numbers,” Schiffman says. “My motivation increases with each ‘no’ I get.”

That last part is powerful. Look PAST the failure, the ‘no,’ and look forward to the success, the ‘yes,’ you will ultimately reach if you keep trying. Most people won’t even do this.

Crazy? No, just art up the yin-yang!

I was checking out the blog of someone I know and he made a post talking about the pain of having your art beaten all to hell by criticism.

It got me to thinking. Something that’s helped me over the last few months is realizing there’s sort of a duality of self involved in this, two opposing natures, in creating game art.

There’s the touchy-feely artistic side, where you get in your groove and intuitively build something up with care and coax the beauty out of it. The nice side.

And then there’s the other side, the critical, gritty, unrelenting pound-it-with-a-hammer-until-it’s-right perfectionist side. The mean side.

You can’t have too much of one or the other. Too much art, not enough criticism, can produce soft, weak, mushy output, and you’ll never improve. Too much criticism, and you can simply strangle the art right out of anything you touch, and you’ll hate making art altogether.

Therein lies the interest, and the challenge. How much is too much of one or the other?

For fear of sounding like a hippie, it’s like the yin-yang concept. Opposing natures, but interwoven. Finding the balance between the two can be tricky, but understanding the two different halves is the first step to figuring out what that balance is.

Thinking about creating game art in those two distinct phases has helped me weather criticism pretty well. “Okay, I made this. Time to beat the hell out of it until it’s the best it can be.”

It helps mentally brace me, and the more I understand that that’s how it works and that I’m NOT crazy for bouncing between those two extremes, the less dread I have going into it.

Happiness is a CHOICE.

Short update, practically stream-of-consciousness, but something I felt worthy of sharing.

I was just heading home from work, wrapping up a nearly 15-hour day. I was exhausted, in a terrible mood, frustrated with something I was working on, and felt like I was half dead from the sleep deprivation, extremely high stress and horrible eating habits that are a normal part of my daily routine.

Note the use of the past tense.

I was thinking back to one time when I was particularly happy and telling one of my friends how happy I was, and that everyone had the capacity to be happy inside them, and that it was simply a choice they had to make.

I started thinking about that and I realized, dammit, I was really onto something. Happiness IS a choice. It’s a decision. One that’s too important to be left to other people or the events that shape our lives. Happiness is the most important thing you’ve got, so why in the world would you cede control of something so important to anything outside yourself?

I closed my eyes, sighed, flexed all the muscles in my body, took in a deep breath, sat up a little straighter and smiled. That was all it took to shake the horrors of the day away. I decided that I’d rather be happy than brood over what a shitty day I had.

Brooding isn’t productive. Brooding is consciously rubbing your nose in what you don’t like feeling. I’ve *never* come out better after brooding over something negative. In fact, it only prolongs what I wanted to forget. In light of that… good god, why am I doing that to myself? So I stopped, and I’m happy now.

Happiness is a choice. Make it.

Dolls are COOL!

I usually don’t post quick things like this, but I just found something too beautiful not to post.

I was doing some random browsing while waiting on something extremely CPU-intensive and ran across a website selling extraordinarily beautiful dolls.

www.dreamofdoll.com – hit the English link in the lower right.

I’ve never seen anything like this before. The craftsmanship is amazing. I’ve never seen hair and eyes that good on anything that wasn’t actually a person. Here are some of my favorite images:

Take a look around the rest of the site… BIG images, and everything they have is absolutely amazing. I can’t believe something this good exists. Beautiful, just beautiful.

NanoLegends art released!

NanoLegends art released!

I know a lot of you have asked to see my art and that I haven’t had anything recent to show off. Well, that’s no longer the case!

Here’s a sampling of the art I created for a government-funded kids’ cancer awareness 3rd-person action platformer called NanoLegends, right before I came to work at Ready At Dawn.

This stuff’s been done for almost two years, I think, and only now am I able to show it off! It feels great. πŸ™‚ ItÒ€ℒs one of the things IÒ€ℒm proudest of having worked on, and I wanted to share it with you guys. I’m swelling with pride right now.

Once the game is released, I’ll post more info here.

Advertising is the game industry, and boot-strapping rocks!

I finished reading Then We Set His Hair on Fire: Insights and Accidents from a Hall of Fame Career in Advertising, which I talked about in my last post. Ultimately it didn’t teach me so much as it entertained me, but it did help me generate one interesting realization: Advertising is the game industry.

I’ve long looked for parallels between other industries and the game industry. The entertainment industry is close, but to me, advertising has a little more relevance in terms of the development process. Mainly, highly compressed but purposeful creativity. I’d imagine that the human toll on advertisers and game developers is eerily similar.

I’m thinking of digging into some advertising books soon to see what kind of problems the advertising industry has solved that the game industry thinks are unique. πŸ™‚

That’s one of the only thoughts I’ve had lately, though. Apologies for the rambling, disconnected nature of this post because that’s the only way my brain works anymore. πŸ™‚ … ;(

I got married on November 5, and I’m still crunching to finish Daxter. Sadly, I’ve been doing a shitty job of maintaining work-life balance. Been trying this last week to focus on doing things outside of work that actually make me happy, because I’ve been letting a lot of things fall by the wayside that I shouldn’t. All my own fault, really, but it’s only natural to let yourself get this intense the more you focus on it.

I’ve gotten three or four new books from 800-CEO-READ. I don’t have them all with me right now, but the one I’ve started reading that I’m excited about is:

Let My People Go Surfing: The Education of a Reluctant Businessman

It’s written by the founder and owner of Patagonia, the world-famous outdoor clothing company. I’m still just digging into it, but he has a fascinating initial description of how he actually built the company and all the amazingly small steps he took to create what amounted to an unintentional empire.

He started as a mountain climbing enthusiast that wandered around, homeless, living wherever he could find. The more he climbed, the more he wanted to make better gear for himself, so he learned how to blacksmith and bought his own forge. From there, he started making more and better equipment for himself, starting out very crude but eventually getting more and more sophisticated. As he got better at making them, he realized he could sell some of the equipment, just enough to stay alive and keep climbing. And it all snowballed from there, with small steps, using the crudest level of bootstrapping to grow.

Two of my favorite examples from the book so far. The first one was describing his company’s first general manager:


Roger showed his business acumen at an early age. One day in the early seventies, he took ten boxes of brand-new pitons behind the shop. They were a combination of Lost Arrows, Bugaboos, and Angles, all chrome-moly steel models. Roger took a large handful of pitons from one of the boxes, connected them all to a rope, and proceeded to drag them aroud and around on the concrete. I asked him what in the world he was doing.

He explained that this was an export shipment to Graham Tiso in Edinburgh, Scotland, our distributor for the UK at the time. Roger explained that after roughing up the pitons, he would soak them in a barrel of vinegar and water for a few days, then remove them to dry and rust in the open air. They could then be exported to the UK as scrap metal, without being subject to customs duties. Upon receipt of the pitons, Tiso would polish and oil them until they were like new and sell them at a price that was affordable even for dirtbag British climbers.

And now my favorite, describing how he created a massively successful new type of jacket for mountaineering:


At a time when the entire mountaineering community relied on the traditional, moisture-absorbing layers of cotton, wool, and down, we looked elsewhere for inspiration–and protection. We decided that a staple of North Atlantic fishermen, the synthetic pile sweater, would make an ideal mountain sweater because it insulated well without absorbing moisture.

We needed to find some fabric to test out our idea, and it wasn’t easy to find. Finally, in 1976, Malinda, acting on a hunch, drove to the California Merchandise Mart in Los Angeles. She found what she was looking for at Malden Mills, freshly emerged from bankruptcy after the collapse of the fake fur coat market and selling off its stock of fabrics. We sewed a few sweaters and field-tested them in alpine conditions. The polyester fabric was astonishingly warm, particularly when used with a shell. It insulated when wet but also dried in minutes, and it reduced the number of layers a climber has to wear. Our first pile garments, stiff with their sizing treatment, were made from fabric intended for toilet seat covers.

We couldn’t muster an order large enough to have the fabric customized, so we had to use Malden’s existing stock, which came in an ugly tan and equally hideous powder blue. When we exhibited the jackets at a trade show in Chicago, one buyer, fingering a jacket, asked our salesman, Tex Bossier, what kind of fur it was made of. “It’s rare Siberian blue poodle fur, ma’am,” Tex deadpanned. Ugly as they were, and they pilled like crazy once in use, the pile jacket soon became an outdoor staple.

The whole book so far is a really fascinating example of seeing a man that had no interest in business or running a company creating a large and immensely succesful worldwide corporation, solely from moment-to-moment improvisation, bootstrapping and the desire to do well at whatever he set his hand to.

It’s tremendously inspiring so far, and reiterates to me my belief that any large, successful endeavor is merely a series of very small, often simple steps that add up to something amazing.

More to come soon. Writing here makes me happy, and that’s a priority of mine again. πŸ™‚

Brain… come ALIVE, brain!

Time for a little heave of self-indulgence and jabbering on about what’s on my mind.

Well, I’m reading again, for the first time since earlier this year. My day job keeps me fantastically busy most of the time. Daxter is shaping up faster than I can even imagine and we’re looking good for the spring release we’ve been planning. Things will be very crunchy for me until then. Crunch usually beats the thoughts out of my head but I’m getting better every day at dealing with that.

So, as I said, I’ve been reading again. The inimitable 800 CEO READ keeps sending me free books which I’ve been greedily devouring.

The first of these is Rules of the Red Rubber Ball : Find and Sustain Your Life’s Work.

It’s a small, hardcover, beautifully put together book of inspiration, passion and encouragement to follow your dreams and never stop chasing them. The book is full of pages that fold out, words that stream across and all over the page, and all sorts of other interesting effects and styles of type that make every page unique and exciting. Every page is as visually invigorating as the words printed on them. This would be a fantastic book to send to a high school or college graduate.

The next is Then We Set His Hair on Fire: Insights and Accidents from a Hall of Fame Career in Advertising.

This is a fantastic book written by the former chairman of BBDO North America, reputedly one of the largest and most famous advertising agencies in the world, servicing clients such as GE, Pepsi, FedEx and Pizza Hut. Straight away he defines the difference between an idea and an insight, which I found particularly interesting. I’ll excerpt his brief explanation, since he’s written copy his entire life and can sum it up better than I can:

This is a book about insights in business–how we get them, how we recognize them, how we keep them coming.

Insights as opposed to ideas. There’s a difference. Ideas, valuable as though they may be, are a dime-a-dozen in business. That’s certainly the case at ad agencies where ideas (not all of them good, mind you) are the currency of the realm and even the mailroom people spit out ideas as if they were candy from a PEZ dispenser.

Insight is much rarer–and therefore more precious. In the advertising business, a good idea can inspire a great commercial. But a good insight can fuel a thousand ideas, a thousand commercials. More than anything else, an insight states a truth that alters how you see the world.

And he goes on to explain, as he says, how you get insights, how to recognize them, and how to keep them coming. He regales us with tales of meeting with Jack Welch, then-CEO of General Electric, and the frantic rush to win their advertising account with their famous “We bring good things to life” slogan, to his direct involvement in Ronald Reagan’s 1984 reelection campaign, to how he nearly botched a multi-million dollar account with Pizza Hut.

The author tells the kind of stories that people gather together in groups to talk about, and then extracts important lessons from them. It’s so engaging that I breezed through over 150 pages seemingly in an instant. Even if you’re not terribly interested in advertising, the stories he tells are fun and interesting as a simple memoir. The high-profile nature of his work makes it even more interesting as you flip through and think “I remember that ad! So that’s how it happened? Unbelievable!”

Fantastic read so far, can’t wait to finish it. Couldn’t recommend it more. Moving onto other books!

Today I started listening to an audio book called Good to Great. This book is the result of a five-year-long study of a sample group of companies that started out as merely good companies and then skyrocketed into fifteen-plus years of sustained success. His explanation of the research process is absolutely staggering.

The author and a research team of over 20 people spent years of painstaking research finding out what it was about these companies that made them so great and collecting reams of data on these companies, their biggest competitors, and other companies in a similar category at a similar time, and attempts to derive a series of common principles between these great companies that we can learn from. There’s much more to it than that, but frankly, I can’t fit all that into my head at once. πŸ™‚

I’ve barely scratched the surface of the book, but the first observation he made was that all the chief executives of all the companies that made this mysterious transition from a good company to a great one were modest, unassuming, even moderately self-effacing people. That’s not to say that they didn’t burn with passion, but they’re quite the opposite of the maverick, self-aggrandizing egocentric warrior CEOs brought in to effect change that make headlines.

In fact, the author’s research indicates that CEOs like that can often be a death knell for a company, which I found fairly amusing.

My point in bringing this up is that it’s starting to give a little credence to something I’ve long suspected but never been able to prove: Modest but driven people win.

I’ve thought about this a lot. This is a bit of a continuation of my thoughts in my Smart People are Dumb, Failure is Awesome post.

You can come into a company or a country as a ruler and violently coerce people to follow you, through physical violence or sheer force of will. Anyone with the right amount of moxy can pull it off, and many do. Were I a thornier sort, I’m sure I could pull off the same maneuver somewhere or another, and more quickly achieve the success I strive for.

But the problem I have with that is that it seems to take so much moment-to-moment effort to shove people around to achieve the results that you want, that you can’t let your guard down for a moment lest you be betrayed. Witness the fall of infamous rulers of all sorts throughout history. They put themselves in a position where they can’t trust anyone around them. What kind of life is that?

I’ve come to feel that the real trick is to act in such a way that you inspire trust and confidence and self-esteem in those around you, and they follow you out of respect and allegiance rather than through fear. Create a system, a machine, that can run itself by harnessing the power and passion of the best that exists inside people.

It seems like that’d be almost more work than pointing a gun at someone and demanding what you want. And, initially, it sure is. But think of the future. Think of sustainability. In the long term, wouldn’t you want to be able to lie back and relax and let the machine run itself because you’ve been good to it and respect it? Rather than because you’re pointing a gun at it?

I’ve always believed that it’s an entirely achievable goal. But I’ll be damned if I know where to start doing it. πŸ™‚ The only core belief I have in that vein is that the key to being a good person is to make other people feel better about themselves. As I see it, the more I learn and live, the closer I’ll come to figuring out how to achieve something like that.

But back to the book… seeing the author discover that scientifically, without a single deviation, all the managers of all these fantastic companies have this in common is tremendously encouraging to me. It shows that I may really be on the right track in thinking of these things. Like driving blind in one direction so long you think you’re lost, but then you see a sign on the side of the road showing you that your destination is just a few miles further down the road.

Good stuff.

Your portfolio repels jobs

I look at game artists’ portfolios on a regular basis. These websites are usually designed so poorly that I close my browser out of disgust. They’re even bad enough to turn away potential employers, regardless of the quality of the artwork. Tragic!

Most artists make mistakes like these, but fortunately, they’re very simple to understand and correct. I’ve come up with a quick and easy way to help artists think about how to improve their chances of employment by building a better website.

The core truth here is this:

Usability is just as important as content.

A portfolio website should be a simple, effective, uncluttered experience from start to finish that leaves a lasting impression on the visitor. An incredible number of websites fail to do this. And it’s always for silly, completely avoidable reasons.

Your website should be focused on one purpose, be easy to use, and offer a clear line of action. Here are three simple questions to ask yourself:

1) What’s my website’s focus?

Your website exists to get you a job. Its only purpose is to showcase your art and present your contact information for potential employers. You should make your art and contact information so fantastically easy to see that someone find it accidentally. If someone wants to talk to you about a job, don’t be hard to find.

Include your name and contact information at the top of every page of your site.

For example, any visitor should understand clearly that you are an environment artist and you intend to get a job as an environment artist. Anything else is confusing. Silly MS Paint drawings, photos from trips you’ve taken or a blog about your daily life have nothing to do with that, and should be removed. These things are not added value. A portfolio is not a personality test! That’s what an interview is for.

The second common mistake is making a website that’s difficult to navigate. So ask yourself this:

2) Is my website easy to use?

You might be thinking “but I’m an artist, not a web designer!” This is a poor but common excuse for making a bad website. On the other side of the coin, many artists that are web designers make their website so flamboyantly artsy that it’s practically impossible to use.

The first thing a visitor should see on your website is your art. First impressions are formed in an instant. Attention spans can be shut off in an instant. Your top priority should be to make that first instant be compelling enough to keep the viewer looking and to give them what they’re looking for. Don’t tease… satisfy.

After all, did I go to your website to look at a splash page, or art? The faster I can see your content, the better.

Forget splash pages and news pages or any other starting page that isn’t putting art directly in my face.

Your portfolio’s highest purpose is to show off your art quickly, easily, and with the minimum of hassle. A good portfolio should be so easy to navigate that someone could view your work accidentally.

Anything that doesn’t support that basic goal breaks your focus and should be removed or relocated. Make another website for your personal stuff if you have to, but keep your portfolio clean and relevant. More isn’t better.

If it doesn’t help show your art faster or sell you as an artist, it shouldn’t be there.

Here’s a quick list of aggravating features that are common in portfolio websites:

  • No image branding – Every image on the entire website should have your name, email address and website URL on it. People save images off of portfolios and forget where they got them. If one of your pieces of art finds its way to a studio, how will they find you? Make each image stand on its own, removed from context.
  • Vague thumbnails – A thumbnail exists to offer a relevant preview of a larger image. Yet I see thumbnails of random parts of a model that give me no indication of what I’m about to see. If I’m looking for medieval characters, how does a grainy thumbnail of the bottom of his foot help me find it?
  • Multiple layers – It’s as if bad portfolios follow a common navigation pattern:Splash page -> News page -> Portfolio page -> 3D Art -> Characters -> Man with Axe thumbnail -> Man with Axe enlarged.

    Do you expect me not to hate clicking through seven pages just to see your art? Flatten your site. Put the art in my face and show me the quickest, simplest possible way of navigating. One page full of art is better than any of the multiple layers shown above.

  • Multiple popups – A splash page shouldn’t even exist, much less stay open when you click on it to enter the website. Neither should a thumbnail opening an image in a new window that I have to manually close. I’ve been to websites that open as many as FIVE WINDOWS. That’s inconvenient, wasteful, and downright hostile toward the visitor. Be a courteous host.
  • Poor navigation – Every page should offer buttons to go to the next image, to the previous image, and to return to the main page. They don’t pop up new windows unless it’s for an enlarged image, which should be extremely easy to close to return to the thumbnails. It’s convenient, it’s considerate, and it’s easy to implement. It also encourages them to keep looking forward at more art instead of accidentally closing your site altogether. Keep guiding them along a path.
  • Small images – Small images convey nothing. Keep it large enough to be easily seen and understood. Also keep in mind that the average screen resolution is usually around 1024×768, so make it reasonable from that standpoint. Also, remove as much dead space as possible. Nothing irritates me more than loading an enormous image that you only used ten percent of.
  • Bad lighting – Why would I hire you if your work is so badly lit for me that I can’t even see it?
  • Obscure web plugins – Don’t make someone download a plugin to view your website. This will ruffle some feathers but I find Flash websites to be obnoxious and unnecessary, and most aren’t worth the time to navigate. There are a lot of people that don’t even have Flash. Do you want to risk losing a great job opportunity over that? Just keep it as simple as possible, but no simpler.Hiring managers look through dozens of portfolios every day. All the portfolios they see blend together. It’s just a job. You are either on the “Portfolios To Review” list, or you’re not. A poorly designed website makes this poor hiring manager’s job a little more annoying. Accordingly, he is less likely to invest the time into looking at your entire portfolio. And he certainly won’t read your blog. Is he hiring a Metallica fan or a level designer?

    Imagine that your target visitor is a tired, indifferent hiring manager whose only desire is to find the shortest path possible to looking at your art. Nothing else matters. So design your website for him. Give him what he wants. Remove what he doesn’t care about. The clearer your message, the better.

    For example: “I am Phineas Fogbottom, environment artist. This is my art. Email me at mastapimp420@yahoo.com”

    That’s all he needs to know. Keep it simple.

    3) Do I provide a clear line of action?

    This is also important. Sadly, good art doesn’t sell itself. It’s one thing to present art, and it’s quite another to funnel them toward offering you a job. First you serve up the art, and then you show them that they should offer you a job, and here’s how to contact you. The easier this is, the better.

    Here are two huge mistakes people often make along these lines:

  • No stated desired position – The desired position usually isn’t obvious. Most artists feel the need to put all their 2D art, 3D art, animation, illustration, paintings and even poetry on their website. That makes it impossible to divine what kind of position you’re looking for! Be specific. Companies do not set out to hire generalists, they hire specialists. (Whether or not they ultimately USE them as specialists is another matter entirely.)If they’re hiring a character artist, seeing you say “I do everything!” isn’t going to make them think of you for the job. It’s easy: Be the guy they’re looking for by being specific. If they’re looking for a character artist, the more ways you can match the pattern they’re looking for, the better. A good place to start is by saying “Hey, I’m a character artist.” πŸ™‚
  • No contact information – If I like your work, how am I supposed to contact you? Keep it visible at all times and don’t make them hunt for it. If you’re concerned about spambots farming your favorite email address to add to spam lists, make a new email address solely for job solicitations and just deal with the spam.That’s all there is to it, really. It’s simple enough if you think about it, but that’s the problem: Most people don’t. If you start thinking about it, you’re already ahead of the game!

You’ll never have time.

I had an interesting realization at work yesterday, one that applies to a lot of things.

At Ready At Dawn we’re all kept very, very busy and we’re all given a flattering amount of responsibility. We’re constructing an all-new game with a new team with a new engine on a new platform from the ground up. It’s extremely intense, challenging, and fun.

There’s a running joke about having enough time to do something. When someone comes to me asking me to do something for them, they ask me if I have enough time to do it. And that’s the joke. Technically, none of us have “time” to do anything because of the enormous implications of what we’re accomplishing. But if I always accepted tasks on the basis of what I did and didn’t have time for, nothing but the bare minimum would get done, and I’d have a hard time being proud of what I’ve done.

My glowing little insight was this:

It’s not a matter of having time, it’s making time. Making time to do something you know is right is what separates the good from the great.

Anytime something new comes to me, instead of stressing, I simply keep that in mind, and do it. Everything feels so much better now, and I can’t get the smile off my face.

Art outsourcing and production for the game industry