1. Managing Your Ego

This was the number one topic in my original e-mail, and I still feel this should hold the highest priority in any discussion of professional practices for artists. Ego is a complex topic and truly functions as a double-edged sword when it comes to an individual's career -- regardless of profession. I feel that artists are uniquely susceptible to its effects.

First, I should clarify what I mean by "ego". In a professional sense, ego represents the identification with one's work, the care an artist has for his or her craft and, for some, the motivation to continue to grow one's skill and aptitude. In this way, ego can function as a positive force for both motivation and inspiration -- impacting both yourself and others.

However, ego does need to be managed. Left unchecked, ego can have an equally poisonous influence on yourself and your work environment.

Pride in one's work can migrate over time into personal pride or a sense of entitlement. This personal pride really has the most destructive impact on an individual's working relationships.

Personal pride is the slippery slope that can lead an artist to view their peers as less valuable and/or less talented. As such, they stop considering constructive feedback (crucial for any growing artist) from any person deemed to be of less worth.

In over ten years of working in this industry, the most talented and most successful artists I have known did not allow ego or entitlement to jeopardize their talent and artistic growth in any way. They took great care in their artistic craft.

However, they never allowed their considerable talent to get in the way of openness to input from others, regardless of experience. When their artwork had to be altered (or cut), they accepted the changes that needed to be made -- even if they didn't always agree.

This observation suggests two possible outcomes of failing to manage one's ego as a professional artist. One, artists who are unable or unwilling to manage their ego will rarely achieve their highest creative potential. As their attitude runs the risk of alienating others, they close off avenues of creative input which limits their potential and growth.

Alternately, the gaming industry may slowly weed these people out over time. As large as our industry is, it is well-connected and always communicating. An artist who doesn't manage their ego also runs the risk of damaging their own reputation and, ultimately, their own career. Although this is the more disturbing conclusion to draw, it does bear consideration.

2. Professional Communication

The relative importance of professional communication should be easy to understand. As the products we create increase in scope and complexity, so do the size of our production teams. Proactive communication has a direct and immediate impact on the effectiveness of these teams.

By comparison, failure to communicate effectivelycan be the most expensive. The effectiveness of your interaction is the key point, as many are quick to point out that the style of your communication should change depending on your target audience. These next few sections address ways in which these audiences can differ.

Communication with Peers. By "peers," I specifically mean other artists. The simplest examples of artist-to-artist communication are learning and teaching. They are also often the most difficult to maintain, as they require constant interaction and prodding.

Most of the time, the weight of deadlines and scheduling get in the way of these productive exchanges. They do not, however, wane in importance.

The first step in maintaining these channels of communication is through sharing. Most artists know there is more than one way to achieve the same goal. Different tools. Different techniques.

Even simple things such as hotkeys are often overlooked, but can have an immediate impact on the artists around you. Strong art cultures are built around this level of engagement.

The reality, however, is that the impetus is on the individual artists themselves. Managers or leads cannot create this environment if the artists themselves are not committed to it as well.

Realize also that you only have a limited time in which to learn from someone you work with today, whether you're a student or professional. Your colleagues know things that you don't, and the reverse is also true.

Be mindful of this. Share what you know and learn from others. This exchange is vital to your growth as an artist. Much of this will come through the natural process of artistic review or constructive criticism. More of it simply requires dedication on your part.