Comfort Zone

A couple of years ago I taught an advanced rigging course at a local University. When I received an evaluation from the students after the course, their feedback didn’t surprise me. About 20% of the class really got what I was trying to do, pushing the students out of their comfort zone and making them think for themselves, it wasn’t easy but they stepped up and went for it. About 80% of the class hated it and just wanted to be spoon-fed information and told what to think.

Guess which 20% will be the most successful and will grow to become future leaders in the industry…

Fred

 

Playtime

 

“The most creative people have this childlike facility to play.” John Cleese.

 

Kids learn at an amazing rate, mostly through playing and experimentation, because they’re not afraid of what anyone else thinks. If they screw up, no biggie. Tomorrow’s another day with a whole world of new things to learn and try.

 

It’s only when we become self aware and start wanting to “fit in” that we stop taking risks and consequently stop opening ourselves up to the opportunity to learn at such a high speed.

 

As artists we should never be afraid to take time to play.

 

Fred

 

Results vs Process

Results are what really matters, but there can be so many unknown factors on the road to achieving results that we invent processes to take some of the unknowns out of the equation and improve efficiency.

Then we get tied in to the process and eventually how we do it becomes more important than why we’re doing it. The process has become more important than the result.

Keep questioning the process. If anyone tells you it can’t be changed that’s probably a good indication that it needs to.

Fred

 

Effective Carrots

WTF!!! Effective carrots??? Fred’s really lost it this time!

True, but there is method to my madness. I’m thinking of the carrot and stick analogy for motivating creative employees and from everything I’ve thought about this subject I can boil it down to 3 key motivators.

Money

Money works of course, but only for a short time. A pay rise is appreciated at first, but soon becomes the new norm and can even be resented if too much time passes before another one is given. If there’s any hint that someone else is earning more then money as a primary motivator can actually have the opposite effect.

I’m not suggesting for a second that employers shouldn’t pay their employees a very competitive wage, they absolutely should if they respect their employees. Salary on its own though is an ineffective motivator for loyalty and effective working practices.

Validation

Validation can be so much more effective, and is a renewable resource. For artists, feeling like our work is seen and appreciated is priceless, and costs a company or supervisor nothing except a little humility. A cost that is sadly too great for many to bear.

If a creative employee goes home each night with a feeling that their contribution to the team and the project was of value, and was valued by their superiors, then it is so much easier for them to keep putting in more and more effort.

Growth

Growth is another human need that has a double benefit. To be supported in progressing towards our career aspirations not only benefits the employee but also the employer who gains a more skilled and appreciative worker. If we work in roles that have no progression, where we know we’ll be fighting the same battles over and over for years to come, passion for the work can quickly fade. Some people like the stability of this, but often they’re not the passionate ones who want to work their butts off and make a difference. To really inspire continuous energy, most people need a sense of growth and accomplishment.

This can be very challenging for leaders and employers, as it can mean taking risks in moving people out of roles in which they are proven and trusted and into roles where they don’t yet have a track record. I would argue that it’s a bigger risk to keep them in the same role, as you risk either losing their drive or losing them altogether.

To be fully content and work with sustained passion and productivity in our creative jobs, the right combination of all three of these is essential.

Fred

 

The Vunerability to Learn

 

The key to most successful learning, whether in a formal educational context or in day-to-day life, is vulnerability.

 

It’s very difficult to take on new information and new ideas when we cling to the certainty of the old ideas. Especially as professionals, the more time we have spent doing similar work, the more of a comfort blanket we have wrapped around ourselves in the form of habits and ways of doing things. Comforting though it is, it can also blind us to the potential to do things better.

 

Being open to new ideas takes balls. Seriously big cojones. Because it requires letting go of the certainty that what you’ve been doing and the way you’ve been doing it was the best way.

 

Not everyone is capable of that level of vulnerability, but the ones who are have the best potential to stay ahead of the curve and achieve much better results in the long run.

 

Fred

 

The Herd

 

“Almost everything important is at first opposed by stakeholders in the status quo.” Steve Blank.

 

Human beings are tribal. We may have cars and iPhones, but evolutionarily we’re barely evolved from cavemen. We’re herd animals. We like to fit in and know our place, it gives us a feeling of security and safety.

 

We also have a strong sense of individuality. Especially for those with strong creative instincts. That creates quite an internal contradiction.

 

Doing things differently can appeal to our creativity but also trigger fear and insecurity. Innovation comes from leaving the herd, feeling that fear, and pushing ahead anyway. If you’re on your own, that’s individuality. If the herd likes what you’re doing and chooses to follow you, that’s leadership.

 

There will always be critics and trolls, who shout whenever they see any violation of accepted norms. Because they fear change, they fear being left behind if the herd moves on without them.

 

Dynamic Anatomy is here to be different. To challenge artificial boundaries that hold artists back from achieving their true potential, and to encourage those brave enough to do the same. That doesn’t happen by staying with the herd.

 

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.” John Cage.

 

Fred

 

Specialist vs Generalist

When I was a computer graphics student about 18 years ago (boy does writing that make me feel old!) one of the most useful things I learned was from an informal chat with one of the animation lecturers in a car park one afternoon. I enjoyed everything on the course, from math and programming to animation and design, but was required to pick an area to specialize in for the second half of the course. My lecturer told me I had to specialize because that’s how you get jobs.

When an employer hires they do so to fill a need they have, so they’re looking for the best fit for that specific need. BUT, once you land the job, the more of a generalist you are then the more useful you’ll be because you can be adaptable and you can communicate with all of the other specialists in different roles.

The most successful specialists also have a considerable amount of generalist experience.

Fred

 

Teachers

What your teachers know is what got them where they are, not necessarily what will get you where you want to go.

They can often talk a good talk, that’s their job, but it doesn’t necessarily mean they’re correct. Learn from them. Ingest and digest all the ideas and information you can from them. Then make it your own. Use that knowledge, let it be the foundations on which you build your career. But don’t ever let it limit you. Learn to recognise and discard all of the crap that may have limited them but don’t let them push it on to you.

Oh, and make sure you learn from folks who actually know what they’re talking about 😉

Fred