"Jumping Through Hoops: The Animation Job Coach" by Tony White

At the recent CTN Expo in Burbank (great event , by the way) I was pleased to finally meet animator/author/teacher  Tony White face to face.

Among other interesting projects that Tony has in the works he has recently completed and released yet another book  titled "Jumping Through Hoops: The Animation Job Coach".

The book is a much needed guide for all those who want to get a first job in the animation industry.  It is also a valuable asset for all those who want to stay there once they have that all-important first job.     I read it cover-to- cover on my return flight home , and I highly recommend it to all students.    This is a very practical guide to preparing yourself for the modern animation industry and seeking a job once your animation training is completed.

(*Note: I will say that if I had a small quibble with the book it is to point out that the book needed more careful proofreading before publishing as there are a number of typographical errors,  but these in no way detract from the overall value of the wisdom contained in the covers of this book .  Just something that should be fixed in the second printing of the book.  Get the book. )

Myths of the Animation Industry

from The Illusionist directed by Sylvain Chomet

Excellent article from the folks at Animation Mentor that should be read by all students of animation:

Myths of the Animation Industry

By Mark Garabedian

The animation industry is the business of creating myth and magic. As such, it's not surprising that a myriad of meta-myths have arisen—easy-to-believe falsehoods about the industry itself. In preparing for their future careers, the next generation of animators and artists need not be waylaid by such rumors. Below are five common myths about the world of cartoons and the realities behind them.

Myth: 2D animation is a dying art -

Nothing could be further from the truth. While 3D animation is filling theaters across the globe, 2D art endures. Internationally, films such as Sony Picture's Persepolis ,Paprika , and The Secret of Kells continue to astound audiences with engrossing, hand-drawn cinema. In Scotland director/animator Sylvain Chomet (The Triplets of Belleville) is nearing completion on his next hand-drawn animated feature , The Illusionist. In the U.S. , Walt Disney Animation is hard at work on its new 2D feature, The Princess and the Frog, while shows such as Nickelodeon's Avatar: The Last Airbender and Cartoon Network's Chowder provide bright futures for the traditional style. Beyond television, the Internet has spawned numerous opportunities for vector animation (Flash and Toonboom) 2D projects as well.

Myth: It's essential to be adept at every facet of the animation process -

To quote G.I. Joe, "Knowing is half the battle." The other half is being good at what you do. Familiarity with the entire animation process can only help you, but you are being hired for a specific position. In the words of Knowledge Adventure 3D Artist Chris Marsh, "Fanning your effort and skills out to do everything the process demands only decreases your quality of work and increases production time, and that's never good." The animation process requires the efforts of many specialized individuals. Walt Disney didn't achieve his whimsical empire by being the greatest animator ever. He did so by assembling the greatest animation team ever. Discover what you do best and strive to do it better.

Myth: You want to work for a big studio -

Certainly there's no shame in working for a large studio. Who wouldn't want to have Mickey Mouse on their business card? But smaller studios have their share of perks too. A smaller company gives a great artist more opportunity to shine. Networking becomes easier, and there's more room to expand your personal style.

Myth: You should stick with a single studio for as long as possible -

Ladders: We all have the urge to climb them, especially corporate ones. But in the animation industry, sometimes it's important to spread your artistic wings. Surely no one wants an artist who never sticks around to finish a project, but by changing studios and production companies from time to time, you make yourself better known to the animation community as a whole, networking, and becoming associated with your body of work rather than your company's. "A good stint at a company is one to three years," says Big Bad Tomato digital storyboard artist Sylvia T. Leung, "it shows you are committed enough to stay, but ambitious enough to leave."

Myth: You don't need to know how to draw-

While drawing is not necessarily a key skill in today's world of texture mapping and wire framing, it's still a valuable technique in almost every step of the animation process. Putting pencil to paper, breaking down complex objects into simple shapes, and translating them into graphite blueprints will help artists of all fields better their craft. This ability will also make you more attractive to a wider number of prospective employers. Remember, even Rodin roughly sketched his figures before casting clay.

Just as 24 drawings a second creates the illusion of motion, assumptions and opinions give the illusion of industry facts. Fortunately, the truth is usually quite optimistic and should give any budding artist hope for their creative and professional future.

cover from "Drawn To Life" Vol. 1 , by Walt Stanchfield