It is great when successful people do share some common truths, when it comes to advice about efficient, profitable, or else commercially meaningful artistic practice.
Jocelyne Beaudoin is one of them, generously ready to explain some critical aspects in the creative process in the fields of set design, prop styling, visual merchandising etc., in her interview in atelierdore.com. We separated some basic but still important points in her answers. First when she openly speaks about
- the need of being physically involved in the creative process. Being asked about her advice to people who are interested in working set design or prop styling Jocelyne thinks there is no other way to get the requisite skills, especially at the very beginning of a career, when someone has to learn hands-on his tools and their limitations. Its like that magic happens only after some doses of reality check…That is an aspect none should ignore, especially young professionals.
“I think you need to know how to do many things, and you need to know them hands-on. I feel nowadays that a lot of young people, they don’t want to go through the process. They think that they can just instantaneously be whatever and that it shows in the work. […]”
- But still, artistic knowledge for commercial purposes can’t be gained effortlessly, or only hands-on. Possessing a wide visual vocabulary is in all ways mandatory. It is just another eternal truth that someone has to constantly look at images, at art in all its forms. Being aware of art history, makes planing in visual communication an easier but longer and planted path. George Lois, The Greek American Master Communicator says for example that, for that purpose, he is used to restlessly visit great Museums every single Sunday of his life.
“So I think the important thing is to learn the physicality’s of what you do and also, obviously look into the history of what’s done because you can learn a lot from that. And it’s very important I think to have a wide visual vocabulary. So to look at images, to look at art in all its forms.”
- Another critical point, especially when being hired, has to do with human beings’ ego. It’s about rejection and bad communication in terms of collaboration. Sometimes is really exhausting trying to persuade your clients, your bosses, your colleagues for things you think you see so obviously, but still have to be proved to the people around you. How far would you go for a disagreement? A sacrifice for the greater good, the willingness to “take one for the team” sometimes is the right thing to do, but maybe some other times it is not.
“Sometimes I have to do things that I don’t agree with but you know that’s part of the job, I’m hired. I’m not doing my own personal work I’m hired to do a job and get the job done. And if I don’t like it I might say this is maybe not the best solution here but if that’s what they want, that’s what they want, they are the clients.”
- But how about these exceptional times, how about rewarding experiences? Real magic happens:
“When you’re working with someone where you can contribute to their vision or
- (…most importantly we would say) when your two visions together can blend into something much greater than your individual visions is the most rewarding. And it doesn’t matter what the format is or the medium.”
We really think none, who is in a creative field for the right reasons, would disagree with such a point of view.
In any case you can visit Jocelyne Beaudoin’s extra long portfolio here.