FOUR: The Art Of “What The Lions Saw” (Justine’s Gainesville Period)

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FOUR: The Art Of “What The Lions Saw” (Justine’s Gainesville Period)
To read in order:
Part ONE: https://barefootjustine.com/2017/08/14/one-the-art-of-what-the-lions-saw-introduction-1-of-2/
Part TWO: https://barefootjustine.com/2017/08/14/two-the-art-of-what-the-lions-saw-introduction-part-2-of-2/
Part THREE: https://barefootjustine.com/2017/08/24/the-art-of-what-the-lions-saw-part-3/

(Barefoot) Justine comics illustration

(Barefoot) Justine comics illustration

Since I’ve been in Gainesville, I’ve taken on a number of projects, some of them very surprising. I’m afraid the gripping narrative of the blog may give way to the act of simply sharing for a page.

Look at this as Justine’s show and tell!

But along the way I will share some insights and stories about each project. Oh… and I don’t think I’ll be talking about any of this in any kind of order. I guess the order will be “whatever Justine feels is groovy enough to talk about now.” I think this will set the stage for how the work of my “Gainesville period” led to the lovely project with the Matheson illustrating “What The Lions Saw.”

OK, so who would have thought that barefoot batshit crazy hippie Hindu Justine would one day work for the Department Of Defense (actually DARPA)? Well, not me, but never one to turn down a chance to pay rent and buy groceries I went at it. Actually, that’s a tad flippant. The project was great, a comics version of the Odyssey. And my ambition was not to pay my rent and eat, but to learn how to render more like Al Williamson. Yeah, I like to set the bar frustratingly high.

The image below was a favorite page, and the detail image of the head to the left was inked with toothpicks while the rest of the page was inked with a brush. Yeah, you heard right, I inked that with toothpicks!

(Barefoot) Justine Mara Andersen - Odysseus 6: final inks

(Barefoot) Justine Mara Andersen – Odysseus 6: final inks

But, one of my favorite jobs was the animation we did for the library at UF. This was one of those amazing jobs where the topic was dry as stale melba toast, but the “committee” in charge trusted me to do my job. OK… RANT WARNING… I hate hobs where my status as a “creative professional” is reduced to that of “plebeian renderer.” They were open to whatever I had in mind, and essentially left me alone, free to write, storyboard, illustrate, animate, direct and color this thing, with a ton of creative and technological help from Tom Hart at SAW. If you have 6 minutes, it’s worth watching. The challenge was… how do I make this dry information so entertaining that people will WANT to watch it rather than watch it because they need to understand the concept. One of the things I try and do with every job, be it an annual report or infographic, is I try and create something that is NOT disposable. I try and make everything I do something the people who encounter it will keep and enjoy. Most graphics, as I’m sure you know by having ignored them, are hot and trendy, but wholly disposable and forgettable no matter how “daring” and “hip” they were with their fonts.

It was really fun to be able to work in that cartoony style, so different from my work on the DARPA project.

Painting Stage Sets

Painting Stage Sets

On Stage

On Stage

As amazing as those projects were to work on, the job I never could have seen coming was when I got a call to design backgrounds for a ballet that would be at the Thomas Center. I had to design elements that would be sculpted, as well as the props and set dressing elements that decorated the pre-existing backdrop of the castle interior (which I did NOT do), the stairway and so forth. Add to this that I had to paint a 10 foot skull, as well as paint the stairway facade, based on how the backdrop was painted. Keep in mind, I am NOT a painter anymore than a set designer. In other words, it was a lot of work recklessly outside my comfort zone.

Here’s a secret, if you, as an artist, are offered a job outside of your comfort zone, take it, do it, and NEVER let on that you are nervous, you know, like the old deodorant commercial… never let them see you sweat. If they see one drop of sweat they will cast you aside and look for someone less sweaty. Clients are like deer… very easy to spook, and they will run for cover.

In the end I painted the giant backdrop with local artist Margaret Tolbert. It’s funny, I always scold my students for how they hold their brushes while inking comics, and that day Margaret scolded me for how I held my brush. I needed to learn to hold the brush like a painter, not a comic artists. I needed to learn to “say something” as she urged as I meekly went about trying to find volume and proportion on a 10 foot canvas. To be honest, when we began painting I had a panic attack, was in tears. I knew I was in over my head, and figuring out how to draw on a 10 foot canvas was very intimidating, but eventually I got it figured out. In fact, after a half hour of panic, all at once I saw the skull on the canvas, and practically shoved Margaret out of the way saying… “Wait! I see it… I can see it now!” and I saw it and painted in the basic form that we then brought to life, mostly thanks to her confident skills as a painter.

To the upper left are the stairs I designed as painted the day a former student and I had done it, and directly below, that same stairway on stage.

Below, the final stage in my design for the stage set itself. I hand intended for this to be a rough only, but the client looked at it and said, “What’s wrong with this?” Nothing… so it became the final sketch. Below all that… well, that was what I saw when the curtain opened… awesome! I mean seeing it on stage, then the music and the ballet, I felt like a part of something grand. I was… “The Ballet.”

Stage Design

Stage Design

On Stage

On Stage

Yeah, it gets interesting, doesn’t it? Mythology, Cartoon Modern animation, and ballet set designs. And this ain’t the half of it. I’ve done tons of stuff in Gainesville, not all of it for local clients, but it’s more fun when it is. A few years back we did a great project in Gainesville for the CRA, it even won 2 awards, but I think of all the things I’ve done in Gainesville, the animation below is my favorite.

Nothing I have done has come as much from the heart, and there is nothing I’m more proud of than this animation. There are jobs I’m equally proud of, but none I am more proud of. This project pushed all my buttons, as a seeker (see “Hindu”) the thought of doing animation to preserve wild India, it’s elephants and indigenous people from being raped and destroyed by corporate crimelords… appealed to me. Jai Sri Ganesh!

Note that many of the images (as Ganesh at the beginning) were not drawn by me, but were taken from books and processed the same way as my drawings through Adobe Illustrator. It’s obvious which ones I drew… they share a similar line quality. The landscapes and stuff I inked with a brush, the elephants I inked with toothpicks. Why a brush and toothpicks? Because I despise most Flash animation, so cold, those horrid paper doll-like “bone” people that move like lousy shadow puppets. I want my animation to look hand drawn even though it’s all processed through “live trace” in Illustrator, and Flash. The limitations of a tool should never inhibit an artists vision, but should challenge them to shine through the limitations.

I hope you enjoy this as much as I did!

I guess with all this work (award winning work, at that) under my belt here in town, I’ve become rather cocky. Ever since I’ve moved to Gainesville I’ve been the bold brash woman I’ve always wanted to be. I’ve come to realize something at this stage in my life, and that is that people really do not respect or understand artists. They expect us to go into the studio and be innovative, brilliant, unconventional and sensational in our work, but expect us to act like middle-management bankers at meetings.

NOPE! Not me. I go to all my meetings (whether they be with university librarians, city officials or museum administrators) barefoot and in cut-off denim shorts. I travel at one speed without regard to the circle in which I’m flying. The raw passion, rhythmic heart, and vivid imagination it takes to produce great work is the same imagination that makes us envision other ways of being, of living, of acting. I didn’t become an artist to play by the rules everyone else has to play by. I am the same passionate imaginative person in meetings as I am in the studio. I speak in the same way, and the emotion and passion it takes to make cool art is the same high emotion I bring into the boardroom. A lot of clients can’t handle it, but I’m not playing their game, I can’t, I never knew how to, and I do not want to. Oh… and I will not! You want me and my unique take on the possibilities of your project, that comes with me and my unique take on how to travel through life. Deal with it or hire someone mediocre.

Well, that makes keeping clients a challenge sometimes. But, as I said, if I wanted to be a banker I would have been a banker. I’m not worried about winning any popularity contests (which is good… ’cause I ne’er e’er won one in my life), I’m interested in making work that engages me, and often what engages me frightens committees. Well, sod the committee. And what has all this rant brought us to? It has brought us to the brass tacks statement I made during the very first meeting with the Matheson crew. I said very directly, “Nothing kills creativity like a committee. I want creative control. Give me creative control and you will get my best work.” As soon as a committee starts to micromanage or get too involved, I lose interest and hack through the project to cash the check and pay my rent, but if a client has come to me and hired me to be a creative professional, and is willing to trust their own judgment, then the work I do will not disappoint them. And that’s just it, my ONE message to anyone hiring an artist, and it goes simply like this, if you do not trust the artist you chose to do creative work with the creative work, what that reveals is that you do not trust your own judgment. I can’t stand working with micromanagers, for I can see that they simply do not trust their own judgment.

Well, I am pleased to say that the folks at the Matheson Museum (Peggy MacDonald in particular) have had the courage to trust their judgment. They have given me creative control, and they have gotten me at my very best… and you will see all that very soon.

Next time, at long last, I’m going to get down to really talking about the new project, “What The Lion’s Saw,” and give you all a nice behind the scenes look into the process. Stay tuned… same batshit time, same batshit channel…

NEXT: FIVE, in walk the lions! Behind the scenes preproduction art!

3 responses »

  1. Wow, Justine- I’ve just read 1-4. Your honesty and determination are incredibly endearing. I am so taken with your persistence, and the variety of your experiences. Thank you for being so open regarding both your challenges and successes. I feel extraordinarily lucky to be one of your students. Namaste.

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