Course Outline
I. Intro. What makes a good artist?
1.
"Good" in the sense of artistically mature, second, in the sense of
technically proficient and savvy, and lastly, "good" in the sense of
relatively stress-free people doing what we love doing.
2. The term "digital artist" was almost nonexistent as few as ten years
ago. There weren't tools to do what we do today in visual effects and animation
ten years ago. The industry has grown large and fast in a very short period of
time.
3. People running
around with no idea what digital artistry is all about. Because the field was
so new, people were being hired with no experience or even worse a varied
experience in a lot of things.
II. Some History
1.
Specific ideas visible in the history of digital artistry important to
understand.
a.
In the 80's, one artist and one programmer made one digital artist having
entirely different minds and backgrounds.
b. In the early
90's, entire scenes in film and television projects began to merge
sophisticated computing knowledge with the basics of visual design and
aesthetic problem solving.
c. The approach to digital art had a new set of
problems that had never been applied to art before. This new relationship between a supervisor and the artist is not similar to the film industry's long-term apprenticeships approach to cultivating production talent. Expectant clientele and fiction is created from pure intellectual problem solving.
d. Enter late
90's, digital artist began to be strongly affected by pure economic forces -
quality and well roundedness is replaced by skill sets gained in 3-4 months of
training. In the early 90's the software skills became more important than the
actual artistic talent and acting skills that takes years to develop.
e. More selective hiring criteria for digital artists begins. The entertainment industry and the general public grows more expectant of first-rate, realistic
digital effects. Full circle. Now the public and the industry are educated on what is good
digital art and the expectations are higher. Understanding of the basics and
fundamentals of the profession are now equally important to the software.
f. Find out what
you need to know and learn it somehow to get the job. Forget hype and
grounding yourself in the arts and computer sciences. Go back to school if
necessary to get the tools, skills and talent you need to land that job.
III. Defining yourself as a
Digital Artist
1.
What Type of Digital Artist Am I?
a.
This term has different meanings and expectations in different segments of
entertainment production.
b. Digital Artists build their careers by moving from one type of digital production to
another.
2. What a Digital
Artists Is and Is Not.
a.
Anything associated with the entertainment industry uses hype to define itself.
Unfortunately this is a fact. Especially in Hollywood, people tend to
concentrate on what software or technology (can anyone say mocap?) they completed the work with instead of what they could do no matter what software they are using. This points reflects on grounding
yourself in the arts and computer sciences.
b. "Core and
Glitz" skills. A core skill is a body of knowledge associated with either
a professional degree and or long term association with a specific body of
knowledge. A glitz skill is a specific set of abilities for a specific software
package on a specific piece of hardware. Core = Basics and Fundamentals. For
example: Full understanding of the "Principles of Animation" and
their use in CGI. Glitz = Software specific Issues. For example: Setting up
skeletons, sliders for expressions, etc. in order to animate in CGI.
c. The hybrid
digital artist - both technically and aesthetically savvy. You have got to have a
balance of both sides of the coin. Work on the part of your core AND/OR glitz
skills that need development.
d. Ability to work
within a rapidly developing profession. "The noodler" - merges art and science on
time and on budget. "Noodler" is an important term. This is someone who is not afraid of
crossing platforms, software and skill sets in order to get the job done. The noodler is a
more valuable person. "A noodler" is NOT to be confused with the guy who tells people on the interview "Yes, I know 'X' software," or "I know how to rig"...and after a week working on a show, it becomes painfully obvious they don't. Don't be that guy! Learn on your own time.
e. Self
Assessment. You have got to be your own worst critic. You have got to be able
to trash something you have worked weeks on because you know you can do better.
IV. How to Get a Job
1.
Know what you want to do, where you want to go. This is simple, but KEY to
getting there.
a.
Finding ways to distinguish your talents with core skills.
- Things to do to
accomplish this:
- Go to Professionally accredited Characters Classes,
- Life
Drawing is a must,
- Traditional Cel Animation studies.
What else do you bring to the company besides your computer skills. have others critique your work so you
can find out what skills you are lacking.
b. Know yourself
and your capabilities. Generalists don't stand out - find out what you need to
know, learn it, try again. Just knowing some software and little about
animation will not cut it in today's market. The expectations are too high.
Just like Shamus Culhane said in his book "Animation, From Script to
Screen", "...over 90 percent of any group of workers are unwilling to
further their abilities by study -- unless it happens during working hours and
the boss supplies the means. ...So, for the ambitious neophyte, these figures
should be reassuring: The competition consists of less than 10 percent of the
animation profession."
c. Digital artists
- getting more technical all the time. Continually raising your personal
threshold of understanding of aesthetic or technical issues. Raise your
technical skills. Got back to school and/or buy books at college bookstores.
Special classes specific to the work you want to do. If they want UNIX, learn
UNIX...If they want you to use a LINUX machine, use it...period.
d. If you want to
do something specific in this industry, you must find a way to visually prove
it first. If the companies want to see 2D cel, you must show it in some form.
If they want to see Lighting and or T-Maps, you must show it. This does not
mean you have to be an expert on 2D cel animation for instance, (unless that is
what you specifically want to do) just that you need to show visually that you
can do it. Use the tools you have such as paint or 3D programs to create a 2D
styled animation.
2. Attacking your
weaknesses, based on your background.
a.
Transferring from another career? Your largest obstacle will be convincing
others that you have enough skill to sit in front of a three to 8 thousand
dollar work station/software and help keep the company afloat. People in this particular
situation should promote their work ethic and maturity as additional skills to
sell themselves.
b. Getting through
the door with support positions. Tape operators, network support, computer
support and render support. Get access to a computer like describes in a. and
then use it during off hours to get the experience.
c. Already
enrolled and focused in digital artistry? If you do intern, take it seriously,
and you'll have a very good chance of getting a real job there. Interns: be
reliable, respectful, professional, DO NOT give off sense of entitlement. Many
times a company will be in the position to hire a new person and have the
choice between an intern who already knows the set-up, software and structure
of the company, or an outsider. If you were an intern they looked upon as
reliable, they will call you back.
d. While you are
submerged in all the great tools, learn to ask yourself "how?" and "why?" - all the
time. Forgetting to continually expand your knowledge of computer graphics will
work against you. Actively pursue and appreciate all forms of time saving and
experimental pursuits. Buy trade magazines and go to conferences that are
technically driven so you understand why a new dynamics plug--in works and not
just how to make the software run for your purposes and your purposes only. Ask
questions about different software and what makes one better than the other,
then try to find a creative way to emulate that function in the software you
are using.
e. Got a computer
science degree? Get your nose out of the shader you're hacking and learn to
paint a texture map. Those with programming experience have the capability to
leap frog their competition simply because they a creating a tool, not just
using it. You determine how far and for what purpose you use your talents. Push
yourself and let the good digital artists push you as well. The new digital
artist of the 90's must have both great programming skills as well as an
understanding of motion and the arts.
3. Finding Work
and Getting Hired.
a.
When starting out, saturate yourself with information about the industry.
Magazines, books, animation festivals, trade shows, and conferences.
b. Networking. Go to user groups like 3D Pro, Siggraph, Women in Animation, ASIFA, The animation Guild Events, etc. Meet everyone you can. the briefest encounter could have the most profound effect on your career.
c. Collect and
maintain contacts. Reach out to these people, show them your work, and really
listen to their comments and criticisms. Ask to see their work, their work
environment, their work habits. Send new work to your contacts all the time. Jamie and myself respond very favorably to you AFTER you've quit talking and actually done something to talk about. Continue a
dialogue with HR people, mentors, supervisors etc. to show that you are improving and taking their
criticism seriously. Through these activities you will gain much needed skill and reel material, earn the respect
of those in a position to recommend you for jobs and critique your work.
d. When a human
resource director tells you something specific they are looking for, go out an
learn it, polish your reel, then try again. Listen to what they ask for and DO
IT! If you don't enjoy doing that part of the job then maybe you are trying to
get a job at the wrong studios.
e. Do not get
frustrated, simply WORK to get your job. When you put in the hours and act on
the criticism your reel and resume receives, people will know it. The absolute
worst thing you can do is nothing except talk. The digital artist may spend
much time writing and using code, but all that's important is the image you
produce, because that's what companies get paid for.
4. The Resume.
a. Keep it simple, one page. Find several entertainment related resumes and use these to format
yours. Call head hunters and HR people and ask for
them to forward the resumes they found to be the best with the name of the
individual blacked out for you to reference.
b. The cover
letter should be professional, yet also give a sense of what kind of person you
are. Keep in mind your distinguishable core talents. Attention to detail is
important! Remind them of your core skills.
c. Remember, part
of the reason they're hiring you is for your visual skills and attention to the
finest details. Please no grammar or spelling errors!
5. The Portfolio.
a.
Should convey a sense of professionalism through the quality of the printed or
sketched image.
b. Copies Only. Do Not send Originals. 8.5" by
11"
c. If hand drawn,
the images chosen should be the best of your best. Eight to Ten images is
usually enough to inform the viewer with the level of your visual skills. Ask
the HR dept. if they want a portfolio or a reel and
resume...different companies want different things.
d. A simple black
book centers the viewer's attention on your work.
6. The Demo Reel
a.
Very simple. Again, only your best work here please. If you feel you need to explain something about your reel at the interview - dump that piece. Nothing is worse than hearing, "We only had 3 weeks to finish that spot, so it doesn't look as good as it should."
b. When finished,
give to mentor, get criticism, rerender until blue in the face.
*Be extremely
hard on your self here*.
c. Most reels have
similar ceilings of creativity and technicality.
Find a way around this fact.
Less & Better Quality is a great ruler to measure your work against making it on the reel or not.
d. The reel should
make very limited use of filtered effects. No Page Curls, Lens Flares or 1 minute sweeps of your name in big extruded chrome fonts...please!!!.
e. The reel
doesn't require fancy editing, but should exhibit a high degree of
professionalism in how you choose to represent yourself. Finished product
centers around your work and your work only! Basic structure...plain title card
and then the animation, title card and animation, and so on. Another solution to clean and easy to read credits is using the letter box overlay. Place the information about the shot outside of the plate on top of the black letter box explaining what you did, the studio that owns it and what show it is from.
f. Only use Metallica if your animation is a strong and bold as Metallica is. Music? keyword: tasteful.
g. Make sure the
reel centers around your sequences and not someone else's audio tracks and
cheesy filtered effects.
h. Label
everything, send no masters, most recent work first, and include credit list of
what you did using what tools.
7. Keeping the
Job - The Issue of Time.
a.
Acknowledge the difference between your time and your employer's time. Always
guesstimate it taking 4 times as long as predicted for the "wat-ifs" and "downtime."
b. Make internal
deadlines. AM and PM expectations.
c. ALWAYS look for
ways to streamline your work.
Learn to savor the task of "time-related" problems.
d. Learn to respect your employer's needs first - using your personal time for personal discovery and self advancement. Do not confuse
your employer's time with the time we mentioned earlier concerning your endless
personal development. Realize that
sometimes home life is just non-existent after working 60 hours for your
regular job you must make time to work on your own self development, especially when you are first starting out, trying to break into a new sector of the industry or trying to move up the ladder.
V. Some Things We've Learned
Over the Years.
1. Be solution oriented!
a. Never assume you are "above" a
particular job description or category. Your ability to solve problems is based
on the skill sets you build over years of investigative problem solving in many
different job positions. Your success as a digital artist is based on your
understanding of problems based on previous experience and your knowledge of
the tools you use, or can create.
b.
Complaining about doing jobs artists think are "below" their
abilities? Stop, these are job opportunities to learn more.
2.
"Pigeon-holing".
a. Pigeon-holing is a condition which many employees
feel themselves because of their lack of willingness to be aggressive in an
aggressive industry. If you want to animate and you are stuck in the tracking department, on your own time make an animation that will convince your supervisors its worth investing in you as an animator.
b.
Being a digital artist is about keeping pace with the endless developments
around which the career is based.
c.
Natural selection. It's that simple. The people who get the jobs will be the
ones with the most core AND glitz skills together with a sense of reliability
and maturity as well as the added skills they have to push them past those
"who can animate on a computer."
d.
Advancement in this industry - about putting yourself in a position to advance.
Earning the respect of your boss and your peers technically and artistically.
More specifically, enhancing the breadth of your knowledge outside the scope of
your current job title. Again, what skills can you offer above and beyond the
average Joe animator.
VI. Platform - Making Some
Sense of It .
1. Talking about it emotionally, statistically how we look at the industry compared to ourselves.
a.
Computer makers essentially trying to figure out what WE like, in all
platforms.
b.
The industry is less about platform distinction, more about computer graphics knowledge in general.
c.
Learning to sell yourself outside of the platform that puts you on the edge,
helping you to stand out.
d.
Focus on producing noteworthy work on anything you can. Spend your time beefing
up on concepts about WHAT you do, not what you are doing it on.
VII. Conclusion.
When you think a project is finished, you've only
just begun. Successful digital artists demand more from themselves technically
and artistically with each successive project. "Front Loading." Learn
to live comfortably with these aspirations by planning for the extra time
required. Stick to your guns on what you want to do...and make it happen.
