A very intel­li­gent man once said,

The secret to cre­ativ­ity is know­ing how to hide your sources.

That per­son was Albert Einstein.

Recently, I received a email from a col­league who very kindly, com­pli­mented my work. He then went on to write:

I don’t know the sta­tus quo between fel­low ren­der­ers, but if it is any­thing like the archi­tec­tural com­mu­nity then there is a free flow of infor­ma­tion and knowl­edge tem­pered by the fact that our peers and friends are our com­peti­tors.  If you wouldn’t mind talk­ing to some­one who is a few years your junior, then please feel free to email me.

First, let me add by say­ing that “a free flow of infor­ma­tion” and it being “tem­pered” are two, totally dif­fer­ent con­cepts. You can­not have a “free flow” of infor­ma­tion if it’s being lim­ited in the first place.

When I started out as a graph­ics artist, I read all the books, online tuto­ri­als, and forums that I could find. I taught myself every­thing because I couldn’t afford sev­eral thou­sands of dol­lars in classes at the time. The infor­ma­tion that existed out on the web was fairly lim­ited. As I joined forums, I would start ask­ing ques­tions of other artists whose work I admired — hop­ing that they would part with a morsel of their tech­niques so that I could learn from them.

More often than not, I was met with a flat-out refusal. Artists sim­ply didn’t reply. A step up from that were the peo­ple who replied, but for one rea­son or another didn’t fully explain how or what they did to achieve an image. A good por­tion of their lack of expla­na­tion I blame on them not being able to clearly com­mu­ni­cate to another per­son. These artists that I’d admire could go through the process, but in order to dis­cuss their meth­ods, I found that they often lacked the “social­iza­tion tools” to break an idea or tech­nique down into sim­pler terms.

This brings me to my sec­ond Albert Ein­stein quote (which has often been mis­quoted and paraphrased):

It can scarcely be denied that the supreme goal of all the­ory is to make the irre­ducible basic ele­ments as sim­ple and as few as pos­si­ble with­out hav­ing to sur­ren­der the ade­quate rep­re­sen­ta­tion of a sin­gle datum of experience.

In other words, try to keep things as sim­ple as pos­si­ble. The major­ity of peo­ple in this world strug­gle with break­ing down com­plex ideas into their step-by-step components.

I’d like to add another point to some artists’ per­ceived “lack of assis­tance” in tutor­ing oth­ers. Some peo­ple are sim­ply busy, or they might even be lazy. How­ever, time  and expe­ri­ence has taught me that if someone’s work is really good, then there’s prob­a­bly a good chance that they are sim­ply very busy.

Another point worth men­tion­ing is that other artists may not want to get involved with your prob­lems. On many occa­sions, I’ve encoun­tered sit­u­a­tions in which you start help­ing some­one out, and you’ll find your­self spend­ing weeks try­ing to solve some­body else’s prob­lem that wasn’t even your own to begin with. Could you blame some­one for not want­ing to help you out? I’m sure that most peo­ple have much bet­ter things to do with their free time.

Last but not least is com­pe­ti­tion. Some view com­pe­ti­tion as healthy, and oth­ers view it neg­a­tively. The fact is that most of us strug­gle in this world. Not every­one is out to become rich, or if they are — they’re often strug­gling to even get to that level in the first place. Greed aside, there are those of us whom sim­ply want to put food on our tables and even­tu­ally retire some day. All that we ask for is that we try to enjoy our jobs, and that we try to live com­fort­ably within our means.

If I told you that “I knew the secret to becom­ing rich overnight”, would you want to know? Of course you would.

If I said, “I know of a method to press a but­ton and out pops a remark­able piece of art instantly”, would you want to know that too? Yes.

How about, “my restau­rant has a sig­na­ture dish that peo­ple come to try from all around the world.” Would you want to know that recipe? The bet­ter ques­tion is, “would I be will­ing to share my recipe to you?” If I give you the recipe, than oth­ers will be able to quickly repro­duce that dish, and I will prob­a­bly harm my own liveli­hood. I’m not try­ing to be a “greedy” by not shar­ing, but rather I’m try­ing to pro­tect myself and busi­ness from falling apart. Every­thing I worked towards revolves around this one dish, and to give it away would be suicide.

There’s a con­cept that dates back to the time of early man, in which a per­son learns over a period of time the tech­niques used to get to a cer­tain point of exper­tise. It’s called an appren­tice­ship. A per­son sim­ply doesn’t pick up a ham­mer one day and declares them­selves a black­smith the next. Does a mas­ter black­smith know some secret tech­niques to achieve cer­tain results? Yes, a mas­ter prob­a­bly does.

The same con­cept of appren­tice­ship applies to almost every cre­ative field. A per­son start­ing out should prob­a­bly learn the under­ly­ing tech­niques to get from Point A to Point B. This in turn gives them a bet­ter under­stand­ing of the entire process, and will help them appre­ci­ate the beauty and sim­plic­ity of these short­cuts later on. It also gives the appren­tice the tools needed to help solve other issues instead of just rely­ing on this “one trick pony.”

In today’s world, a lot of peo­ple think they are enti­tled to a hand­out. In part, I blame this on impa­tience and shorter atten­tion spans. Some peo­ple sim­ply don’t want to go through all of the hard work to get to the end result. How­ever, I had to strug­gle all of these years through hav­ing to teach myself to get to where I’m cur­rently at,  so why shouldn’t you? Isn’t that only fair?

There is no such thing as a com­plete “free flow of infor­ma­tion.” As long as there are peo­ple in this world, this philo­soph­i­cal con­cept will never truly exist. The shar­ing of ideas and tech­niques are more rep­re­sen­ta­tive of a faucet that has been inten­tion­ally left par­tially open to drain.

3 Responses to The Secret to Creativity

  1. Hi Charles.

    I try to help when I can, sim­ply because i got so much help myself. But at some point, it really isn’t any­thing that can be reduced to a step-by-step pro­ce­dure any­way. Steve Oles wrote a lit­eral book, and has taught classes for decades, and still, there’s only one dude that can pull off a Steve Oles look, and that’s Steve Oles.

    I was asked one time how I did my work, and would I care to share some meth­ods. I explained as far as I could that first I mod­eled and lit a project, then ren­dered it out, and would then over­paint in pho­to­shop. “No, no, no, I mean, how do you DO it. Like, do you use fil­ters and brushes or what?” …so I went fur­ther, and said, “sure, yeah, I make my own brushes in pho­to­shop, sim­ple ones, and then paint over a glo­ri­fied wire­frame that was ren­dered in 3d… maybe some tex­tures or fil­ters, to break down unwanted detail, while adding detail in other areas like the cen­ter of interest”

    the caller per­sisted… “That’s great, but actu­ally, can you tell me step by step how you actu­ally do a ren­der­ing? I have a ren­der­ing to do for a client and they liked yours and would like me to repli­cate it, because they don’t have the money to get a real ren­der­ing done, so I mean, just can you tell me how do I do a ren­der­ing that looks like yours?” and I said “Sure, first, go to archi­tec­ture school for ten years…”

  2. cleo says:

    @ jeff stike­man lol Jeff. For some rea­son I did think about you after writ­ing this arti­cle. It was more of a, “what would Jeff think about this?” thought.

    Don’t get me wrong — I’m not a com­pletely shrewd per­son that will sit back and watch some­one suf­fer. If they ask, gen­er­ally I respond. There’s plenty of help­ful infor­ma­tion on this blog if some­one is will­ing to take the time to read. I have plenty of tech­niques that I employ but I wouldn’t go so far as to say that I’m a com­pletely open book either. A large part of it is that there’s only so many hours in any given day to have some of these more tech­ni­cal dis­cus­sions. The other part is that teach­ing can be a full-time occupation.

    As for myself, I did get some help but as a whole, I strug­gled for years to teach myself from scratch. I’d ask some mem­bers, “how did you achieve that day­light scene? What ren­der set­tings did you use? Would you mind shar­ing” Not even a response from 98% of them. And the few that did respond, they def­i­nitely didn’t tell you the whole story or the most impor­tant parts.

    I’d def­i­nitely con­sider you cre­ative. Per­haps in your sit­u­a­tion, Ein­stein is par­tially wrong.

    There’s a slight sep­a­ra­tion between an artis­tic eye and look­ing at how things could be, and the actual tech­nique. Bob Ross for exam­ple would show you the tech­niques he would use and explain how it works, but at the end of the day, it would be impos­si­ble to pre­dict his lay­outs (maybe he was ref­er­enc­ing a pho­to­graph off screen? I don’t know…) There’s a mys­tery there that I don’t think any­one could ever pre­dict unless you’ve ordered their DVDs and watched them religiously.

    A long time ago, I broke down Lin­ear Work­flow step-by-step on the Chaos forum for the masses — pick­ing up the con­ver­sa­tion from Rob Neder­host (throb.) While I wasn’t the orig­i­na­tor of the tech­nique, I demys­ti­fied it for non-Hollywood com­pos­i­tors and lighters. I obtained the “Holy Grail” of real­ism at the time in my hands, but also had a few ques­tions that needed answer­ing. So I made the deci­sion to talk about it pub­licly and show peo­ple how to repro­duce those steps.

    Now, a major­ity of Vray artists are using the LWF method­ol­ogy. They can fol­low it step-by-step. They real­ize that it pro­duces a more real­is­tic look. How­ever, the major­ity of them also don’t know why it works the way it does. It’s to their detriment.

    I really could have had a big advan­tage in the indus­try if I didn’t talk about it. On the other hand, I’ve seen the com­mu­nity raise its col­lec­tive bar. Sup­port for some mate­ri­als are there that wouldn’t have been oth­er­wise. I even dis­cussed it with some of the Vray pro­gram­mers and had some of my requests imple­mented within the soft­ware. Blow­ing the prover­bial lid on this tech­nique had both pos­i­tive and neg­a­tive consequences.

    As for you, you have a very dis­tinc­tive sig­na­ture that’s com­pletely your own artis­tic style. When it comes to real­ism how­ever, some of us do have a “sig­na­ture” (fram­ing, cam­era angles, tone, etc.), but pho­to­re­al­ism is almost some­thing we can all agree upon. It sim­ply boils down to: “wow, that looks like a pho­to­graph.” And due to that finite direc­tion, pho­to­re­al­ism has become a fairly com­pet­i­tive art and busi­ness. It’s unfor­tu­nate because it’s not an easy thing to do and not every­one sees it as an art form — mostly due to lack of knowl­edge regard­ing the topic.

  3. Diana says:

    I’m a pho­tog­ra­pher who found your blog from the NPR arti­cle, but thought I’d com­ment on this topic. In gen­eral, I’m will­ing to share a lot of knowl­edge with bud­ding pho­tog­ra­phers. The same knowl­edge that was shared with me FREELY. How­ever, as I hone my craft things that I strug­gled and finally mas­tered I don’t share in detail. I’ll give a gen­eral idea, but not a light­ing diagram.

    Instead, my ulti­mate goal is to even­tu­ally do an appren­tice­ship pro­gram through a local high school. Find some­one who loves pho­tog­ra­phy and bring them in as an intern. Train them, teach them, one-to-one. I’d rather be a men­tor to one, then spend all my time help­ing an anony­mous per­son online who prob­a­bly won’t even bother to thank me.

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