Zachary Madere Concept Art & Illustration

25Jun/14Off

In the Trenches, Episode 3: Time Management

Hey guys! DylanGrant, and I had Anthony Benedetto and Jayson Miller in the studio for our second episode of In the Trenches. Starting a career in art is no small feat! How does one restructure their life to balance studying and client work with the demands of everyday life? We delve into Anthony's inspiring background and how he did essentially just that to get into art full time. Enjoy and please feel free to share your thoughts, critiques, comments, and anecdotes on youtube after the jump!

19Apr/14Off

In the Trenches, Episode 1: Networking

Hello everyone! I'm really excited to announce a project Dylan PierpontGrant Griffin, and I have been working on to give back to the amazing art community! We want to share our perspective of what its been like trying to break into the industry and hopefully spare some frustration for those in the same position! Check out the video below and be sure to follow the blog for more interviews and talks, http://arttrenches.blogspot.com/. Thanks for looking!

5Sep/11Off

Robert Henri on Art School

As I near graduation I find this section of advice from Robert Henri's book, The Art Spirit, extremely relevent. I, personally, grow weary of students who complain about how art school is not teaching them enough or that a class was a waste of time. If you rely totally on the school you are going to be disappointed, unsatisfied with your understanding of many things. It is up to you to supplement your own learning beyond school. The way I see it, you pay to be in college but you also pay for a couple of years with no real consequences; time to shed bad practices and focus on the areas where you need improvement. It's time to make really bad paintings, before you have actually try to support yourself with those paintings. Because, people may argue that they should get what they paid for, it is up to you to address the faculty when you have an issue. If you sit idly and claim you weren't taught well enough, it's because you never took it upon yourself to be taught well enough. You were probably also one of those students who did not take advantage of things like scholarships, speakers and visiting artists, seminars, events, or clubs. Back me up, Henri!

Let a student enter the school with this advice; No matter how good the school is, his education is in his own hands. All education must be self education. Let him realize the truth of this, and no school will be a danger to him. The school is a thing of the period. It has the faults and the virtues of the period. It either uses the student for its success or the self-educating student uses it for his success. This is generally true of all schools and students of our time.

It is up to the student whether he becomes a school-made man or whether he uses the school as a place of experience where there are both good and bad advices, where there are strengths and weaknesses, where there are facilities, and much information to be had from the students. He may learn equally from the strong and the weak students. There are models to work from and a place to work in. The self-educator judges his own course, judges advices, judges the evidence about him. He realizes that he is no longer an infant. He is already a man: has his own development in process. No one can lead him. Many can give advices, but the greatest artists in the world cannot point his course for he is a new man. Just what he should know, just how he should proceed only be guessed at.

A school should be an offering of opportunity, not a direction, and the student should know that the school will be good for him only to a degree that he makes it good. It is a field for activity where he will see much, hear much and where he must be a judge, selecting for his special need, and daily discovering his need. When we have bred a line of self-educators there will then be no fear of schools. Those who have done distinguished work in the past, who have opened new roadways of vision and invented techniques specific to such visions have done it in spite of environment. They have learned what the schools had to offer, how much, how little. Strengths and weaknesses have alike been material to their progress.

Different men must learn different things. Each man must put himself as far as possible in the way of knowing what is known and he must make his choices. Everything back of him is his heritage to use or to leave. The school is a place of strengths and weaknesses. There are things insisted upon and there are things omitted. There are all sorts of advices, good, bad, and there are advices that will serve one and not another.

The man who goes into a school to educate himself and not to be educated will get somewhere. He should start out a master, master of such as he has, however little that may be. By being master of such that he has in the beginning it is likely he may later be master, after years of study, of much. He should not enter the school with any preconceived idea of his destiny. In fact he should be open and free. His aim should be to search deeply and work hard and let the outcome be what it may. The best art the world has ever had is but the impress left by men who have thought less of making great art than of living full and completely with all their faculties in the enjoyment of full play. From these the result is inevitable.

Henri, Robert. The Art Spirit. New York: Basic Books, 2007. 119-120.

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1Sep/11Off

I Want to Work in the Video Game Industry

Our teacher shared this video on our first day of Business Ethics and Copyright, it's hilarious and honest. I wish that little robot the best. Video by youtube user WilliamGibbon.

11Aug/11Off

Color Perception, “Horizon: Do You See What I See?”

This is really interesting! Fellow Artists, what does this mean to you? I suppose it's not immediately related to art theory but it's worth some pondering. What really stood out to me, was the observation at the end about the color seen in the eyes of someone you love. I wonder if that person would look more beautiful because of the way you feel? Or when you describe an unpleasant place, what colors would you use? It raises some questions about the individual experience of a painting; does this relationship work both ways, can the colors in a painting affect a feeling in the viewer? Certainly colors are used to this purpose in advertisements and symbols around us everyday.

On a side note, when I think about how the video said a person in control perceived color more accurately, I noticed that after a day of painting, the colors on the drive home seem vivid and fascinating, anything but dull. Am I more sensitive after a day of making art, or does the confidence from a good day of painting change my perception? I can't recall how colors seem after a bad day of painting... Anyway, enough of my rambling. I just wanted to share this, and now I have to go back and watch the rest. But before you go leave a comment, how do you think you would have performed if you took the test given to the tribe in Africa; do you think being an artist would make you more sensitive to color?