Carlson 1

Nick Carlson

Professor Draves

HONR210

5October 2005

Decision Making as an Artist:

Traditional Principles Apply in a Digital Era

Coming from a small school system, I have grown up with an appreciation for the basics of education. Since I took college preparatory courses throughout high school, I could not afford to experience any art classes. Furthermore, the entire art department was compressed into one class when I was a sophomore, and I witnessed the elimination of the whole program during my senior year. Despite the lack of formal training, my interest in art and computers was stimulated by video game design work at Magic Lantern, Incorporated. I have decided to study art at Monmouth College because I feel art, specifically digital art, is functional, purposeful, and more than just the sum of its parts. Society is impacted everyday by the work of modelers(those who specialize in the creation of static, three-dimensional forms) and three-dimensional artists.Films like Toy Story, The Lord of the Rings, andFinding Nemoexhibit immense amounts of digital art—as do marketing campaigns and video games. Without digital art, we would be without one of our world’s most creative forms of expression.

Compared with traditional artist media, computer animation is a relatively new realm. As such, a standard of ethical practices for digital artists is generally loose and understood. According to my research, Graphic Artists Guild Handbook of Pricing and Ethical Guidelines, 10th Edition seems to be the resource for the industry’s written code of ethics. Since I was unable to gain access to this volume, the bulk of my study centers on the application of traditional art ethics to the digital field.

The College Art Association’s (CAA)Professional Practices for Artistsprovides numerous guidelines for the entrance of an artist into contractual agreements with art dealers and with officials in charge of commissioning artists for public works. In addition, this ethical code states, “It shall be considered proper professional practice for an artist to place a copyright notice on any and all works of art he or she shall create” (Tacha et al. ¶ 5). The computer artist, in today’s piracy-laden society, has no choice but to copyright material;in addition to being a professional, ethical practice, it is a crucial safety measure required to claim ownership.From the CAA’s documentation it is easy to see that ethical decision making is considered a high priority in the field of art, regardless of specialization, and that it is taught and enforced from within the art community itself.

According to the CAA, decision makingin the field of art is labeled as ethical if it falls into “those areas where ethical and professional guidance [seem] particularly appropriate” (Tacha et al. ¶ 2). Specifically, ethical discretion is needed in choices concerning the wellbeing, work ownership, and general interests of others. When any of these areas are compromised, the artist has broken the moral code in hopes for personal gain. For example, a computer artist who manipulates another artist’s work and brands it as his or her own has stepped beyond the bounds of sound judgment. This kind of plagiarism is only one of the many reasons that moral guidelines are necessary in the art profession.

An artist who creates with integrity realizes the importance of individual responsibilities in the larger picture of moral code. With every creation, artists must hold themselves accountable for its originality and quality. Regulation is first and foremost a task of the conscience. If an unethical idea gets past the artist’s mind and into the work, then outside bodies may intercede. Creativity is, after all, one of the key components of art. When such a principle is denied, the artist’s product is cheapened and the art world is shortchanged.

Artists generally view themselves as part of a larger community. This communal perspective is seen in the establishment of organizations such as the Graphic Artist Guild and the College Art Association. These organizations model the art community’s ability to make team decisions. For example, the Professional Practices for Artists was created by a special committee formed as “a result of the 1974 Open Forum” and underwent several meetings of the Board of Directors of the CAA before being “unanimously adopted on February 2, 1977” (Tacha et al. ¶ 1). On a local level, artists may find themselves negotiating the terms of a contract offered by a company or organization interested in commissioning art. Group interaction is key in making ethical decisions, and the art field appears to view organizational decisions as well thought-out, secure, and considerate of all involved. In such contract cases, it is hard to pinpoint who holds the key to the final decision. Theoretically, an unethical practice by either party would result in the need for reconciliation with, or withdrawal of, the other. So, a team decision must be ultimately made between the artist and whomever he or she is willing to work for. On a guild level, committees make such decisions, similar to any other field.

Projecting myself into the future position of digital artist, I foresee that my own beliefs will affect how I make ethical decisions regarding my art. For example, I do not believe there to be any merit in adult-themed or overly-gruesome video games. If I were asked to provide my services to these types of projects, I would not hesitate in rejecting them. Although other artists may not share the same convictions, I consider it a necessity to produce art that does not conflict with my personal beliefs. I do not have glorified dreams of changing the world by acting with this attitude, but I do believe that even my judgment is important to the industry. Every member of the art community is significant. If my actions speak loud enough to elicit change from others, so be it. Impact or not, I will stand by ethical principles in my occupation and experience the benefits of a satisfied conscience.

Works Cited

Tacha, Athena, Gilbert Edelson, Albert Elsen, Philip Pearlstein, and Edward Wilson.

“Professional Practices for Artists.” College Art Association. 1977. College Art Association. 22 Sept. 2005 <

prof_pract_artists.html#top>.