Tim Beckhardt 

男的，艺术家、动画师

家住纽约

毕业于罗德岛艺术学院

凶手证件照，罪行：太酷。

“做动画的原始冲动是____？”

从我记事开始，艺术就是我唯一可以想象的未来发展方向，于是我纵身走上了这条不归路。从事动画工作的念头，则在中学开始，尤其明确起来。

我开始玩一些软件，当时玩的好像是Macromedia Flash。我发现，随着时间流逝不知不觉地投入动画工作，是一件自然而然的事情，也会激发出很多创作想法。

Art was the only path that I was ever seriously interested in, so just prompted by a natural love for it & stubbornness I suppose. I specifically started teaching myself animation with software (Macromedia Flash at the time) when I was in middle school and working with time in that way felt natural to me and just stared sparking ideas which was really exciting.

“刺激你发展的关键时刻是____？”

很难说是哪个时刻塑造了我。有一门丝网印刷/凸版印刷的课程，对我产生了巨大的影响。在此之前，我从来没有体验过印刷制作，但之后它成了我的用色及构图方式的一个核心因素。还有就是，在论文教授Amy Kravitz和Bryan Papciak指导下创作并完善我的论文的每一步，都对于我学会展现我的优势、以及避免我的劣势，起到了极重要的作用。

It's hard to isolate one moment - the first printmaking class I took (silkscreen/ letterpress) was pretty huge for me, it really influenced my color and compositional approach. Not coming from a very artistic environment the structure for approaching processes/projects I got in my thesis classes (from my profs. Amy Kravitz & Bryan Papciak) was very important as well.

《超级巴氏杀菌》，有在自化连载过哦，戳这里观看此虐心の作品。

“你的灵感大部分来源自____？”

我的大多数作品的创作内核，都与某些“突变”的自我经验有关。比如《超级巴氏杀菌》的创作概念，就源自我曾经做过的循环牛奶的兼职工作。很大比例的作品都来源于我所真实体验过的环境和物体，我常常以一个世界/地点作为搭建故事的基础。

A lot of my ideas are some sort of mutated personal experience. For example a comic I did "Ultra-Pasteurized" was based on a job I had recycling milk - it was pretty similar to how it was depicted.  I draw a lot of inspiration from objects and environments as well - I often start with a world/ location I'd like to build.

“作为自由职业者，最苦最难的是____？”

时间，或者说作为一名个体户独立完成动画作品的耗时命运，特别是在商业与个人作品之间的平衡。我很容易被复杂的故事和概念吸进去。渐渐地，我发现了个好办法，就是在工作时创作一些短小的GIF片段——一方面它们让我尝试到新的动画技巧和风格，另一方面注意力的转移也能避免长期创作所带来的困顿。我也希望在未来可以和更多别的艺术家合作，来搅一搅这份独自创作的寂寞啊。

Time is my main struggle currently as an animator, balancing commercial concerns with personal work. It's easy for me to get bogged down in a complicated story/ concept. My main strategy to deal with it has been to do thematic series of GIFs to keep things simple and experiment with the actual animation. Collaboration is also great for that, so I hope to do more of that coming up.

这么干净的手稿，看着也真是暖心。

“____是你最锋利的精神武器。”

虽说我自己没有掌握某种了不起的精神或是态度，但是我个人是不相信单一风格的纯粹主义的。如果一定要给点什么建议，我会说，创作艺术和动画的时候，使用你觉得最有效、最适合你的艺术与技术吧，然后再用基本原理来强化它。

I don't feel like I've necessarily masted any mindset yet - I do believe in letting the resources at hand for a challenge shape an inventive visual solution that is unique and not being a purist to any one style.

“在工作室干，和自己出来单干的最大区别是____？”

我之前在一家以制作电视剧为主的2D动画工作室工作过。在那里，我体验到了一系列不同的创作角色，从设计师，到动画师，再到分镜艺术家；但是动画风格和制作程序是很稳定的。现在作为自由职业者，虽然主要的工作是动画制作，但是我得到的工作机会、合作过的人们，却更加丰富。这一点我还挺喜欢的。

I worked for a studio that mainly made TV shows and it was a great to get experience in a bunch of different production roles - getting to do storyboarding, design and animation as a project progressed - but the animation process/ style itself was pretty consistent. By contrast, mainly doing animation as a freelancer as of yet the techniques have varied widely over a large range of short-term projects - I've enjoyed the people and technical challenges I wouldn't have otherwise run into.

“你喜欢的工作形式是____。”

在动画的世界里，我特别喜欢在实体纸张上先创作，然后再用电子图像技术进行处理。我的插画则在很大程度上源于前文所提到的对丝网印刷的热爱——因此每一次通过自己双手的物理运动，创作出印刷作品，都让我感觉棒棒的。

In animation I specifically really like any chance to combine hand-drawn elements on paper with explicitly digital techniques. For illustrations I really enjoy making printed projects where the physical form of the work informs the concept in some way.

“未来工作中，____让你激动？”

目前，我想做一个漫画/印刷作品，这将会是一个在我所创造的变异的乡土环境中采蘑菇的故事。下面的这幅《松露》就是这个故事里面的一页。我计划再做一个与采蘑菇有关的小动画片。再有就是我还想做一个更长一点的动画作品，这会是一个多段式的短篇集子。

Currently I'm working on a comic/ print project about mushroom hunting in an weird rural landscape ("Truffle" is a page from this). I'm planning to do a short animation that also ties into that. I'd really like to do a longer-form animation project in an anthology/ episodic format.

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