Issue link: http://digital.copcomm.com/i/929567
24 P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 8 education A A. Senior Illustrator Marty Kline teaching a digital class. B. Visual effects artist Scott Clause teaching an After Effects software program class. C. Artist Will Weston chatting with members during a drapery and folds class. Everything I know about storyboarding and illustration, I learned from directors and Illustrators who were among the best in the business. I learned to develop perspective views from plans by working across from Joe Musso, who taught me to project so well that we could create three- point perspectives in stairwells quickly enough to use for storyboards, and those need to go mighty fast. I was taught more about composition, design, color and light from artists like Dan Gouzee, Syd Mead, Jack Johnson and Mentor Huebner, than I learned in all my years in art school. Working for designers like Phil Jeffries, Jim Bissel, Rick Carter and Mike Riva gave me invaluable insights into the essence of design for film and motion. Working with directors like George Cukor, Steven Spielberg, Bob Zemeckis, Bill Dear and Mel Brooks showed me the core values of cinematic composition, editing, timing and shot design. Today, the only constant in our working environment is constant change. The demands of production, the ever-rising expectations of our audiences and the accelerating pace of technology forces us to find more expedient and creative ways to be productive. More and more, the Art Department of today regards the use of a particular software platform as the specialization that is most critical to staffing the production. And so, to facilitate our opportunities for employment, there is more focus on learning software than on learning design criteria. When most Art Departments are fragmented and work may be done remotely and delivered electronically, how will we find ways to keep up with the demands and skills needed to keep our professional contribution relevant? In order to continue being a valuable and versatile artist, it is our responsibility to continually keep our skills sharp, develop new skills that are required to do the job efficiently and at the same time, network to further expand our career opportunities. For busy professionals, the need to find flexible and convenient training and development options is crucial. Increased versatility leads to more employment opportunities and permits us to produce a better result for our team. Free Weekend Training I've been lucky to help in the development of Eido. Eido administers and facilitates multiple training programs for specific local unions within IATSE through grants for local-provided training from Contract Services Administration Training Trust Fund (CSATTF). The support of the Guild in partnership with CSATTF has opened up free training opportunities for all eligible members to get the training they desire to bring competitive skills to the workplace and advance their careers. A B C