{"version":1,"type":"rich","provider_name":"Libsyn","provider_url":"https:\/\/www.libsyn.com","height":300,"width":600,"title":"Is Drawing Or Painting From Reference "Cheating"?","description":" Pixar Animation Studios was always known for quality storytelling, but in the early years of CG feature animation, they also set the standard for design. CG feature animation was considered by many (even mainstream audiences) inherently inferior until the turn of the 21st century.  The fur and lighting effects in Monsters, Inc. were remarkable in 2001 (and they still hold up) but in 2003, Finding Nemo\u2019s visual art finally and fully transcended the technological limitations of the new medium. When interviewed about how they created such stunning imagery, the Pixar artists often cited their meticulous research. Whether it was sketching professional ballet dancers in preparation for Fantasia\u2019s dancing hippo sequence, living in Latin America for months at a time during development for Saludos Amigos and The Three Caballeros or hiring legitimate apex predators as models for The Lion King, Disney artists were willing to do whatever it took to achieve their characteristic verisimilitude.  \u2026so why wouldn\u2019t Pixar? They got the Nemo art team certified for scuba diving. The Up artists flew to Venezuela to paint the world\u2019s tallest waterfall. The Cars team went on an epic road trip across the legendary US Route 66, the Ratatouille team wined and dined at fancy restaurants in Paris\u2026 \u2026and the Toy Story 3 team toured\u2026  \u2026landfills. That\u2019s right\u2026 The Nemo people swam around a coral reef. \u2026and the Toy Story 3 people swam around in literal human garbage.  \u2026but the movie probably wouldn\u2019t have created a cultural phenomenon it did if the artists hadn\u2019t been so committed to authenticity. This is the second in a three-part lesson for artists who are ready to develop effective professional practices upon which they can depend for efficiency, consistency and quality in their work.  Today we\u2019ll talk about the importance of working from reference - even when it stinks.  We\u2019ll bust five common myths about reference. \u2026myths that if left un-busted put your portfolio at risk of landing in the trash. This is \u201cYou\u2019re A Better Artist Than You Think.\u201d I\u2019m your instructor Chris Oatley and this is part two in my series titled \u201cWhy Artists Need To Slow The Hell Down.\u201d Get clear, relevant feedback on your work and personalized career guidance through my mentorship at HowToBecomeAProfessionalArtist.com There you can also subscribe to this free course via email and get every new lesson delivered directly to your inbox as soon as they become available. Next, In Part Three: We\u2019ll explore the relationship between practice and projects by applying a product design concept to the process for developing our visual stories. ","author_name":"You're A Better Artist Than You Think","author_url":"https:\/\/howtobecomeaprofessionalartist.com\/","html":"