Whenever I talk about computer graphics software, my obvious love of Bryce invariably comes up. Having been hired by MetaCreations to create Bryce imagery for their use (see the Seven Wonders Gallery), one might suspect that my enthusiasm for Bryce was related to being in their employ. It isn't. My enthusiasm for Bryce started on day one of my using it, continued while I worked for MetaCreations, and continues now that I'm once again a freelance artist. Everything I say about Bryce I say from the heart, and will continue to say regardless of where my career goes or what other software I learn to use.

And please do not think anything I say is an opinion of MetaCreations. These opinions are mine alone, so if I say anything you disagree with or are offended by, please blame me alone.

Being an artist is about making decisions, lots of them. Most are decisions about your art, decisions about composition and subject matter. None of them will ever be as difficult as the one you make when you are trying to make a business decision that is less than the ideal you want and probably the best you can get.

The reason this decision is so difficult is that you can easily justify either course of action, to say yes or say no. 

To give you an example, imagine yourself in this situation. You have an idea for a project, something you want to create. You can't afford to finance it yourself, so you go looking for a sponsor or partner. You find one and there is a clear and seemingly honest enthusiasm for making a deal.

But if you make a deal with this person, company, or sponsor, the deal will be less than everything you want, and the circumstances will not allow you to accomplish the full degree of excellence you hope to attain.

So, do you say Yes or say No?

The idealist says "No" and rationalizes the choice by saying that an artist must not compromise, and instead should hold out for a better deal. We always admire the artist who does this and does indeed get a better deal down the road. But for every artist who holds out for more and wins, I'd guess the road is littered with artists who held out for more and got nothing, who gave up their unfulfilled career.

The pragmatist says "Yes" and rationalizes the choice by saying that some deal is better than no deal and it's a step up, from which the artist can hopefully continue stepping higher. And indeed that may be so and the deal not so great does in fact lead to a better opportunity. But often the acceptance of a compromise deal leads to nothing more, and once the artist has demonstrated a willingness to compromise, the only thing offered is more compromised deals. 

Regardless of which you choose, there are a few winners you can look to who took the same path and succeeded, and there are many who took the path and got nowhere. And that's why this is the hardest decision you'll ever make. Both choices are potentially right, but probably wrong. And sooner or later, you'll probably have to make this decision. 

The reason this topic came to mind was that I'm facing this exact decision now, with something I am determined to do, but cannot do without the support of people who will probably put severe limits on my ambitious visions. Should I wait until I have the resources or support to do it in my ideal way (a situation that may never occur) or should I compromise on my ideals to make the deal and get something produced, even if it's far less that what I visualize it could be.

As I write this, I don't have a clue which way I'll go. Obviously I'll keep thinking it through, and keep trying to negotiate an arrangement closer to my ideal, but how it will end I honestly don't know.

So sooner or later, as you go out into the world as a working artist, when you are faced with this kind of decision and feel utterly lost, confused, alone and fearful that whichever way you decide, it's the wrong choice, I hope you'll at least be comforted by the thought that I've been there too, and you're not as alone as you may feel.