Issue link: http://digital.copcomm.com/i/1030364
www.postmagazine.com 37 POST SEPTEMBER 2018 EDUCATION million ways to show this," he says. "Show us, and the recruiters, something new, fresh and exciting. Of course, it has to be executed well, too, but imag ination is key, and having unique ideas will make you an incredibly sought-after animator." Gnomon director of educa tion Max Dayan stresses the importance of prob- lem-solving and pushing one's self. "It's hard to generalize all students, but prob- lem-solving skills are extremely crucial to student success. Individuals who can re search solutions, formulate and test different strategies not only see better results in their work, but also build their confidence," he says. "I think in order to stand out, you have to push your work beyond 'done.' The last one percent is the hardest part of any ani mation, but it's the difference between good and amazing." Colin Giles, head of Anima tion and VFX at Vancouver Film School, agrees on the importance of problem-solving. "The most important tool we can prepare our stu- dents with is problem-solving. No matter the rapid changes in technol ogy or com- munication, the greatest value a student can offer a prospective employer is their ability to think critically in the workplace," he says. "This prepares [them] for a career as opposed to simply a job." Just as important, maintains Mauricio Hoffman, animation in structor at Gnomon, is the need for animators to not just "do," but also to "observe." As he ex plains, motion, visual storytelling, and thought processes are hard things to study because of their ephemeral nature, and because of that, there is a need to really study motion before attempting to interpret it through animation. "A common mistake is to think that the animation process hap pens exclusively in the computer, with posing characters or saving keyframes," says Hoffman. To this end, Gnomon places a good deal of emphasis on the pre-planning of scenes, gather ing and observing refer- ence and understanding the scene and its characters, even before a single keyframe is set. "Computers and software will always evolve, and new animation techniques may be developed, but the one thing that will stay relevant is the need for observation and understanding motion, visual storytell- ing and thought pro cesses," he iterates. THE B SIDE Many student artists and animators want to see their craft solely as an art form. And, indeed, it is an art form. But, to overlook the fact that it is also a business is a big mistake. Ronni Rosenberg, dean, Faculty of Animation, Arts, and Design at Sheridan College, stresses that students should understand the structure of the particular branch of the anima tion business they are working in. They can set about doing so by asking questions, such as, 'Who financ- es the production?' 'Why are they asking for specific things to be included in the production?' 'What audience are they try- ing to reach?' 'How does the project earn money' and 'How is that money divvied up among various partners?' Jim McCampbell, Computer Animation education head at Ringling College of Art and Design, agrees with that assess ment. "Many students don't pay close enough attention to the business world. Money drives the animated feature-film industry, and students need to track current events in order to align their skills with current and future industry needs," he says. "This is an important aspect to remaining rele- vant and market able in today's world." Students, especially art stu dents, are definitely challenged on the business considerations of being a professional artist, according to Justin Zurrow, ad junct professor, Computer Art at SVA (School of Visual Arts). "Learning how to network, negoti- ate a contract and manage finances are just a few business skills that can give a newly graduated artist the advantage in the early stages of their career. Nothing replac es experience, but starting a career is difficult, and artists are expected to know more about business than most schools have the time to teach," Zurrow says. "At SVA Computer Art, we require all graduating students to take a class called Business of Being an Artist. Within this curriculum, we discuss as many aspects of working profession ally that we can." THE NEXT STEP Students have their hands full learning the ABC's of their craft. However, there is so much more they need to master be- fore they embark on a career. Employers are looking for craftspeople who can model and animate. But, that is just half of the equation. Artists and animators work as a group. If you lack the proper interpersonal skills, chances are there is an artist with the same skill set who can thrive in a group environ- ment. Guess which person will get the job? Karen Moltenbrey is the chief editor of Post's sister publication, CGW. By Alla Chernova, Gnomon By Camilo Castro, Ringling By Melody Wang, Sheridan By Jeong Min Lee, Academy of Art By Charbel Kamar, Full Sail