Issue link: https://digital.copcomm.com/i/1011494
68 cgw | e d i t i o n 3 , 2 0 1 8 E D U C A T I O N & R E C R U I T M E N T and new animation techniques may be developed, but the one thing that will stay relevant is the need for observation and understanding motion, visual storytelling, and thought pro- cesses," he iterates. T H E B S I D E Many student artists and animators want to see their cra 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 finances the production? Why are they asking for specific things to be included in the production? What audience are they trying 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 relevant and market- able in today's world." This might not be easy, but it is important. 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, negotiate 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. Topics include freelance vs. staff employment, contracts, labor practices, and investment and healthcare options. We encourage our stu- dents to take an entrepreneurial approach to their careers." T H E N E X T S T E P Students have their hands full learning the A, B, Cs of their cra. However, there is so much more they need to master before they embark on a career. Employers are looking for craspeople 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 environment. Guess which person will get the job? However, as Rosenberg, Mc- Campbell, and Zurrow note, it is important for those new to the industry to truly understand the business behind the art. If they do so, they will find themselves happier and more satisfied with their career choice. Karen Moltenbrey is the chief editor of CGW. BY ZANA FARRAN, VFS BY MATT CERINI, SVA BY JEONG MIN LEE, ACADEMY OF ART