Issue link: https://digital.copcomm.com/i/1144162
s u m m e r 2 0 1 9 c g w 7 1 adapting and overcoming technical and artistic hurdles and empower our students to do the same," Dayan says. Also, students generally struggle to find their role or voice in this complex indus- try, says Colin Giles, head of animation at Vancouver Film School. "Our mission is to provide a home for students to train their artistic voice, support learning through experimentation, while continually train- ing for the skills needed to begin a career in their chosen field. They will be prepared for the long term by being adaptable problem solvers who can navigate a con- stantly shiing and evolving entertainment industry," he adds. THE A RT OF THE CRITIQUE Time is always going to be a hurdle, as well, especially in an accelerated program, says Bandstra. However, at Full Sail, the students are in class roughly 40 contact hours per week, which gives them time with the instructors to help develop their work. There are a variety of critique sessions in each course, with feedback from both the instructors and peers. The instruction is designed to create a positive growth environment, strengthen their ability to take criticism constructively, provide construc- tive criticism, and build strong assets to show the skills developed. At Full Sail, graduating students as well as later portfolio students participate in the school's Student Showcase event. These showcase events allow students to answer questions about their work, with more feed- back from the instructors and peers. "The more opportunities the students have to show and talk about their work will increase their confidence levels and build stronger portfolios," Bandstra says. Jimmy Calhoun, chair of computer art, computer animation, and visual effects at the School of Visual Arts (SVA), agrees, pointing out that the first hurdle students must overcome to gain the skills they need is learning how to give and take critique of their work. "Students need to learn that the purpose of a critique is to better their work and themselves as artists, and that criticism of their work is not an attack on them as people or creators," he says. At SVA, they engage in group critiques on the first day of class and review the responsibilities they have as both givers and receivers of feedback. Students prepare questions they have about the work they're presenting to classmates, so they may better understand how their work is being received, he adds. "The person giving the critique should not just say nice things, nor should they tear apart the work," advises Calhoun. "The critic should be able to express what they see and feel, and offer ideas of how to improve the work to evoke the intended message better. As students learn to receive critiques and to implement the notes to make their work stronger, they mature as people and artists." CURRICULUM IS KEY SVA's Calhoun also believes in the impor- tance of technical skills. People are oen quick to point to the rapid change in so- ware, hardware, and professional practices when discussing the obstacles in teaching the skills needed for a career in animation and VFX. However, the roadblocks students face can be very specific to the individual, he notes. "Some students already have a talent for technical skills, allowing them to pick up new soware quickly, while others have a natural artistic eye for composition, lighting, and design. Other students are experienced story tellers, and still others are great at working in teams. It's a marriage of these hard and so skill sets that make a great professional artist in the industry," says Cal- houn. "At SVA, we guide students to assess their own strengths and work on the skills that need improvement, based on feedback they receive about their work." RSP's Hodge also sees curriculum as an important factor, pointing out that course titles and qualifications can sometimes be misleading, and degrees and diplomas can promise the world but not deliver the skills required to make someone employable. "Any good curriculum should be industry-driven, and this can be done in many ways with industry-driven advisory boards, guest lectures, and promotion of key industry events to allow students to engage and gain exposure, not only to the skills required for working, but also the networking that will help them get a job," she says. Also, the curriculum needs to be respon- sive and adaptable. According to Hodge, greater focus needs to be put on industry skills and collaborative projects that emulate workplace practices. Moreover, students' time spent training should prepare them for the real world, which in the case of visual effects is fast-paced and deadline-driven. And this needs to be reflected in the type of projects designed by schools, Hodge adds. Tutorials are a great way to learn, but these skills applied to a team project A STUDENT AT FULL SAIL UNIVERSITY. STUDENT ARTISTS AT RISING SUN PICTURES.