The World is Flat - Friedman Thomas - Страница 62
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But in the last few years “that started to change,” Bill told me, as publications and ad agencies moved to digital preparation, relying on the new software-namely, Quark, Photoshop, and Illustrator, which graphic artists refer to as “the trinity”-which made digital computer design so much easier. Everyone who went through art school got trained on these programs. Indeed, Bill explained, graphic design got so much easier that it became a commodity. It got turned into vanilla ice cream. “In terms of design,” he said, “the technology gave everyone the same tools, so everyone could do straight lines and everyone could do work that was halfway decent. You used to need an eye to see if something was in balance and had the right typeface, but all of a sudden anyone could hammer out something that was acceptable.”
So Greer pushed himself up the knowledge ladder. As publications demanded that all final products be presented as digital files that could be uploaded, and there was no longer any more demand for that precious flap art, he transformed himself into an ideas consultant. “Ideation” was what his clients, including McDonald's and Unilever, wanted. He stopped using pens and ink and would just do pencil sketches, scan them into his computer, color them by using the computer's mouse, and then e-mail them to the client, which would have some less skilled artists finish them.
“It was unconscious,” said Greer. “I had to look for work that not everyone else could do, and that young artists couldn't do with technology for a fraction of what I was being paid. So I started getting offers where people would say to me, 'Can you do this and just give us the big idea?' They would give me a concept, and they would just want sketches, ideas, and not a finished piece of art. I still use the basic skill of drawing, but just to convey an idea-quick sketches, not finished artwork. And for these ideas they will still pay pretty good money. It has actually taken me to a different level. It is more like being a consultant rather than a JAFA (Just Another Fucking Artist). There are a lot of JAFAs out there. So now I am an idea man, and I have played off that. My clients just buy concepts.” The JAFAs then do the art in-house or it gets outsourced. “They can take my raw sketches and finish them and illustrate them using computer programs, and it is not like I would do it, but it is good enough,” Greer said.
But then another thing happened. While the evolving technology turned the lower end of Greer's business into a commodity, it opened up a whole new market at the upper end: Greer's magazine clients. One day, one of his regular clients approached him and asked if he could do morphs. Morphs are cartoon strips in which one character evolves into another. So Martha Stewart is in the opening frame and morphs into Courtney Love by the closing frame. Drew Barrymore morphs into Drew Carey. Mariah Carey morphs into Jim Carrey. Cher morphs into Britney Spears. When he was first approached to do these, Greer had no idea where to begin. So he went onto Amazon.com and located some specialized software, bought it, tried it out for a few days, and produced his first morph. Since then he has developed a specialty in the process, and the market for them has expanded to include Maxim magazine, More, and Nickelodeon-one a men's magazine, one a middle-aged women's magazine, and one a kids' magazine.
In other words, someone invented a whole new kind of sauce to go on the vanilla, and Greer jumped on it. This is exactly what happens in the global economy as a whole. “I was experienced enough to pick these [morphs] up pretty quickly,” said Greer. “Now I do them on my Mac laptop, anywhere I am, from Santa Barbara to Minneapolis to my apartment in New York. Sometimes clients give me a subject, and sometimes I just come up with them. Morphing used to be one of those really high-end things you saw on TV, and then they came out with this consumer [software] program and people could do it themselves, and I shaped them so magazines could use them. I just upload them as a series of JPEG files... Morphs have been a good business for different magazines. I even get fan mail from kids!”
Greer had never done morphs until the technology evolved and created a new, specialized niche, just when a changing market for his work made him eager to learn new skills. “I wish I could say it was all intentional,” he confessed. “I was just available for work and just lucky they gave me a chance to do these things. I know so many artists who got washed out. One guy who was an illustrator has become a package designer, some have gotten out of the field altogether; one of the best designers I know became a landscape architect. She is still a designer but changed her medium altogether. Visual people can adapt, but I am still nervous about the future.”
I told Greer his story fit well into some of the terms I was using in this book. He began as a chocolate sauce (a classic illustrator), was turned into a vanilla commodity (a classic illustrator in the computer age), upgraded his skills to become a special chocolate sauce again (a design consultant), then learned how to become a cherry on top (a morphs artist) by fulfilling a new demand created by an increasingly specialized market.
Greer contemplated my compliment for a moment and then said, “And here all I was trying to do was survive-and I still am.” As he got up to leave, though, he told me that he was going out to meet a friend “to juggle together.” They have been juggling partners for years, just a little side business they sometimes do on a street corner or for private parties. Greer has very good hand-eye coordination. “But even juggling is being commoditized,” he complained. “It used to be if you could juggle five balls, you were really special. Now juggling five balls is like just anteing up. My partner and I used to perform together, and he was the seven-ball champ when I met him. Now fourteen-year-old kids can juggle seven balls, no problem. Now they have these books, like Juggling for Dummies, and kits that will teach you how to juggle. So they've just upped the standard.”
As goes juggling, so goes the world.
These are our real choices: to try to put up walls of protection or to keep marching forward with the confidence that American society still has the right stuff, even in a flatter world. I say march forward. As long as we keep tending to the secrets of our sauce, we will do fine. There are so many things about the American system that are ideally suited for nurturing individuals who can compete and thrive in a flat world.
How so? It starts with America's research universities, which spin off a steady stream of competitive experiments, innovations, and scientific breakthroughs—from mathematics to biology to physics to chemistry. It is a truism, but the more educated you are, the more options you will have in a flat world. “Our university system is the best,” said Bill Gates. “We fund our universities to do a lot of research and that is an amazing thing. High-IQ people come here, and we allow them to innovate and turn [their innovations] into products. We reward risk taking. Our university system is competitive and experimental. They can try out different approaches. There are one hundred universities making contributions to robotics. And each one is saying that the other is doing it all wrong, or my piece actually fits together with theirs. It is a chaotic system, but it is a great engine of innovation in the world, and with federal tax money, with some philanthropy on top of that, [it will continue to flourish]... We will really haVe to screw things up for our absolute wealth not to increase. If we are smart, we can increase it faster by embracing this stuff.”
The Web browser, magnetic resonance imaging (MRI), superfast computers, global position technology, space exploration devices, and fiber optics are just a few of the many inventions that got started through basic university research projects. The BankBoston Economics Department did a study titled “MIT: The Impact of Innovation.” Among its conclusions was that MIT graduates have founded 4,000 companies, creating at least 1.1 million jobs worldwide and generating sales of $232 billion.
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