Archive for the ‘Animation’ Category

Women in Animation and Women in Games International

Tuesday, February 17th, 2015

Image from http://www.womeninanimation.org/


Image from http://www.womeningamesinternational.org/

The animation and games industries are two places where you rarely find women working, until recently. Even Cogswell has been a heavily male-dominated school until a few years ago. What’s exciting is the wide-spread growth of organizations that are specifically for women in these industries (although men may join). These groups promote networking, inclusion, exposure, encouragement and opportunities to hear industry leaders. By creating a more diverse workplace, animations and games will be even stronger therefore garner more consumer enjoyment.

Two organizations that I am involved with are Women in Animation and Women in Games International. Thanks to Women in Animation, I’ve had the opportunity to visit Pixar twice as well as network with some of the best known women in the business. Being a newer member to Women in Games (WIG), this week I will visiting Zynga’s campus for the re-opening of the San Francisco WIG chapter. As a primary developer of Facebook games, Zynga is one of the most famous game companies in the Bay Area.

I definitely recommend checking these two groups out, and any groups dedicated to animation and games in general. As well as being fun to join, they can be key to getting crucial contacts in the industry.

http://www.womeningamesinternational.org/
http://www.womeninanimation.org/

Sierra Gaston

Monolith, the future of 3D

Friday, February 13th, 2015

Image sourced from: http://www.3ders.org/images2014/new-voxel-modelling-software-monolith-6.jpg


In an industry where the standard is influenced by the goliath Autodesk, Two Developers hope to impress with their creation. Panagiotis Michalatos and Andrew Payne have coded a modeling engine that offers “A new paradigm where objects are defined as a dense representation of material properties throughout a 3D volume.” They call their creation, Monolith. Most 3D applications are ineffective when handling different spatial variations in material properties. This is because they are mostly built to deal with a surface modeling template which represents a solid object that is enclosed by a set of edges.

However, this software was created with the new type of 3D printers in mind, which are capable of multiple print heads that can deposit different types of resin within a single build. What makes Monolith truly remarkable is the way it handles voxel channels (3D Pixels). Through this program, voxel channels act as controls for lines, points, curves or even filters like gaussian blur. Overall, this will allow for an easier and more intuitive time creating 3D models as well as 3D Printing. This is definitely a program to keep an eye on in the upcoming months!

Check out videos of the software in action at: http://vimeo.com/113743660

Peter Gazallo

PDI Dreamworks Shutting Down

Sunday, February 1st, 2015

From sfgate.com at: http://ww3.hdnux.com/photos/33/17/00/7139330/9/rawImage.jpg


January the 22nd marked a bleak day for the animation industry, as it was officially announced that Dreamworks would be closing its PDI studio in Redwood City.

I think it was pretty apparent that some layoffs would be happening—judging by the disappointments of recent box office sales, it seemed inevitable… however, this was an announcement that really knocked me for a loop.

There will be 500 employees laid off as a result of PDI shutting down. These are incredibly talented artists who have pushed the boundaries of what’s possible in animation. Some of them will be offered positions at the Dreamworks studio in Glendale, but there are still many who will be facing unemployment—creating an even larger pool of extremely talented artists looking for work.
This will no doubt cause soon-to-be graduating students concern, especially those living in close proximity to the now shut-down PDI studio. After all, it’ll be difficult enough to find a job without having to compete against some of the best animators and artists out there.

The industry has been responding with hope, however—already there have been job offerings from Blizzard Entertainment, Pixar, Rockstar Games, and other companies for those being laid off from Dreamworks. Another positive result with all these supremely talented artists suddenly being unemployed is they may be encouraged to team up together to being their own start-ups and companies. With all their experience working for a wonderful company like Dreamworks, they could easily take that knowledge and apply it to creating very successful independent businesses, which may in turn create more jobs in the industry.

So, after sulking for a good half of the day about how one of my favorite studios is downsizing and thus delaying the release of their future films, I decided to remain hopeful that there may be some benefits from this whole fiasco. As ever, the animation industry is shifting and changing and this is just one of the bumps in the road we’re going to encounter.

Sierra Gaston

John Duhring, What Art Offers: How to unlock talent through hands on courses

Thursday, January 22nd, 2015

John Duhring, Cogswell Polytechnical College Submitted to the VentureWell Open 2015 Conference

Abstract
Fleshed-out characters, roles and narratives lie at the heart of both art and innovation. Recent revelations that Apple and others are looking for an appreciation of design in their workforce calls for innovation programs to strengthen this approach. This paper will expose the importance of art and design in the entrepreneurial/innovation process. By harnessing the imagination of collaborative teams, crossing boundaries of practice and function, students in college can establish their pathway to innovative and successful careers.

Image at http://www.fastcodesign.com/3034240/how-apple-uses-picasso-to-teach-employees-about-product-design

Playing with the world in new ways as part of a team, of imagining together what could be and then creating products and services for that world, sets in motion tools for learning that will be revisited and refined over a lifetime. Ultimately, the practice of artwork as described here offers visceral, quantum level expression to and understanding of the characters and scenarios that play out in any venture.

Introduction
In the heart of Silicon Valley, Cogswell College encourages engineers and artists to work together in collaborative teams to produce mobile apps, animated films and video games. Students enter the college with an interest in becoming a coder, a musician or an artist and with a portfolio of work already accomplished. Then, they are challenged to both refine their skills and to cross borders to engage in projects that draw from the entire gamut of potential across the student body.

The art program starts with hands-on skill building then evolves to figure drawing to deepen understanding of anatomy, movement and emotion as the basis for “character development”. Students then use digital tools to bring collaborative projects to life. This approach goes far beyond programs that “teach the tool” by addressing the foundational elements that make the tool valuable in the first place.

To establish art’s role in entrepreneurial education, talking about it isn’t good enough. Entrepreneurs can feel good with some exposure to art, but they will forget it in an instant if they haven’t been involved in art projects themselves. Working as part of a team, boiling down a project to its essence, switching perspectives and picking up new skills on the fly help entrepreneurs stay on course. By integrating hands-on art and design projects into entrepreneurship education, faculty can provide a rich set of experiences that mirror real-world practice in an academic environment.

Most importantly, art in this approach scales from the earliest doodle to the most complex app, video game or interactive film. The following table provides dimensions to consider when developing courses that bring art into educational experiences. Each assignment takes on deeper significance as the scope moves from intimate to social. Along the way, students develop their perspective, voice and value to teams. Art, when practiced in this context, is not an isolated act. Nor is the refinement of imagination. As part of their college experience, students enter an evolving play-learn- make cycle that will repeat itself throughout their lives. They explore their skillset and aptitude as they relate to the professional options they can pursue. Their college experience, then, becomes a safely scaffolded environment surrounded by guiding faculty and surprisingly gifted peers. It’s an environment designed to help students step into being extraordinary.

Art For Entrepreneurs And Engineers
Requiring hands-on art projects for those who do not self-identify as artists is similar to teaching science to students who don’t expect to become scientists. Practical art skills and the development of a healthy respect for what is learned leads to a deepened awareness of options to bring to bear on future endeavors. In college courses, almost any assignment can be turned into an art project that challenges students to imagine the world in a new way and to create pathways through it by exercising the skills and technologies
at their disposal. The context of these experiences can be adjusted to address issues that will come up in a student’s chosen profession.

In an approach that is becoming increasingly significant in startups and innovative projects within larger organizations, well-developed usage scenarios and well-articulated personas combine to inform engineers and entrepreneurs of the core values they are bringing forward through the intended use of their products. Artistic renderings enable quick evaluation of many options prior to “hard coding” a final product. Simple sketching, storyboarding and prototyping methods become tools for developing walk- throughs and quality assurance throughout even complex projects. Simply put, they force the organization to consider the world in a multitude of dimensions and to evaluate options that go unnoticed otherwise.

The learning outcomes offered by the experience of creating art involve not just the skills of producing artwork, but also the disposition to factor complex problems as well as the deep knowledge of the problems that are solved through critical thinking and methodical execution. Students emerge from such programs with an ability to commit themselves wholeheartedly to projects, to understand their role and to adapt to critiques of their work. They learn to play with new ideas in a fluid way, to toy with a variety of approaches to a given problem. From such free play, the imagination to try new things, to model imaginary worlds, radically shifts perspectives and opens opportunities for everyone involved. The adaptability required in such art serves to produce articulate and considerate members of entrepreneurial teams.

Skills
Just as coding serves as a starting point for software engineering, basic handwork forms the foundation of art education. Sketching starts for many as a fun way to doodle, to play with line, stroke and shadow, as a basis for increasingly complex structures. Once a student learns to draw lines of varying widths and to shadow, they can combine these elements to program objects and scenes, rendered in real time. They are challenged to consider the properties of light and perspective that shape a two dimensional image. They toy with various approaches until what emerges mirrors for others what the artist sought to convey. A skilled non-artist can develop their craft to such an extent as to inspire their collaborators to think differently, to imagine new possibilities, by forming a simple image for them to consider. Even a single picture can form the basis of decisions, which underscores their value to an entrepreneurial effort.

Basic sculpting skills bring such images into 3D space. Once again, beginning students learn by playing, in this case with clay. They feel the plasticity and toy with their sense of structure, texture and balance. They learn the language of addition and taking away, smoothing and adding texture in real-time. They create and destroy their work until they find admiration from mentors and peers. What emerges can be surprising, as by simply rolling clay into a log or straw or wire, they can create a leg or finger or wisp of hair. With a simple gesture, an eyebrow is lifted, a nostril flared or a muscle flexed to express emotion or vitality. They examine symmetry and perspective to craft works that literally stand on their own. Just as a startup needs basic underpinnings, so does each piece of
sculpture- it is obviously ill formed otherwise. With a basic level of sculpting skill, non- artists can render product ideas, make characters of customers (or partners) and render reference works that can be examined at all angles to show the effects of point of view, lighting, handling and usage.

Similar evaluation methods can be applied to painting, dance, music and acting. Each art has its own language to express, elaborate and accentuate. Traditionally, colleges have focused on writing skills and the results are unquestionably valuable. But, when we are talking about creating enterprises and making industry-ready graduates who can commit themselves to making startups successful, a broad exposure to creative methods can only help students become increasingly aware of their own unique perspectives, limitations and realistic expectations within fiercely collaborative environments. At the very least, traditional hands-on art classes offer engineering and business students the opportunity to stand up to critiques and to develop their voice in ways that can be applied to their chosen specialty.

However, what is strongly suggested in this paper: art skills should be applied towards telling a story to an audience. In many Fine Arts programs, the concept of coherence is not always considered an important ingredient. Unfortunately, graduates from such programs are not always well suited to startup ecosystems. Associate professor Reid Winfrey says, “Cogswell is a design school. Telling a coherent story, whether in a drawing, an animation, a 3D model or a game, is the most important thing.” As students advance, they engage in collaborative projects in which they take on roles in telling a story that is bigger than they themselves. These collaborations develop the “soft skills” that are a trademark of Cogswell students: the ability to imagine alternative scenarios and to harness their creativity across the boundaries of traditional disciplines to create new products, services and experiences through the resources of those involved.

Disposition
Creating artworks yield significant value beyond the expression possible via written words alone. Whether in class, club or studio environments, students form teams to produce sophisticated, collaborative works, to develop workflows and to define roles for themselves within dynamic project environments. Describing these with words alone does not do them justice, just as simply describing a business plan does not a startup make. At the heart of Cogswell’s approach are project teams that coalesce around bringing characters to life and bringing meaning to the stories they produce together. By way of example, here are two kinds of team approaches: the studio and the agency.

Studio projects involve a mix of engineers and artists who come together over multiple semesters to build an animated film, mobile app or video game. Since these projects evolve from concept to story and character development, through pre-production and production processes, students must wear many hats. They become co-creators, imagining scenarios and bringing them into being with sketches, clay models and written scripts. Each scene is storyboarded for evaluation and to inform the team as to the articulation needed for character models, environmental assets and audio soundscapes. Clay reference models are put under lights to identify how they can be presented with realistic integrity. Character sketches are elaborated to show emotion and emphasis, bringing to light the students’ deep understanding of anatomy and movement as they have learned through figure drawing.

interactive ebook emotional timeline from https://www.youtube.com/watch?v=UTv8U7n_cIg


Going through multiple large projects, a student becomes a senior team member. These students are given responsibilities that mirror real world practices, to show “newbies” the ropes and to work collaboratively to solve the very real problems that inevitably crop up. For instance, once all the characters have been digitally modeled and rigged (their anatomy has been programmed to move appropriately when animated), the lighting and textures for scenes require unique skills in which a master rigger might become a junior lighting artist or a novice animator might supervise a group producing texture art to finalize the project. Veterans of such projects take to honing a breadth of skills in order to make themselves indispensable to the team and with an eye towards roles they might choose to take on after graduation.

Another kind of project is that of serving as an agency for external clients, often startups themselves. Typically, startups must focus their scarce resources on building a product that customers love. They don’t have the bandwidth to articulate their corporate message or the means to present their brand with sound and animation. While the outcome of such projects might be a one-minute video that exudes the client’s brand, the path to achieving an acceptable outcome provides students with opportunities to toy with a variety of possibilities and to respond to real-world feedback. In these projects, the students’ artistry must take a back seat to the story they will tell on the client’s behalf. They must imagine with the client to describe a world that will unfold with time.

Client meetings include all students on the project team. Students ask the questions and develop a variety of treatments for the client to consider. They learn to decode expressed views, develop briefs and receive critiques. In but one aspect of such a project, audio students provide soundscapes to evoke the emotions and energies that often go unexamined in traditional engineering and business disciplines. Mixing audio with characters and animations affords powerful story options. The students must listen carefully to both what is said and unsaid by clients who are often unaccustomed to working so closely with elements such as these that can unlock their narrative and bring their story to life in the world.

As the process continues, alternatives take on a resonance with the client and students can hone in on true needs. Typically, clients are surprised by the options and the freedom they have to choose or discard as they see fit. The team then executes a series of options based on earlier feedback. At the end of a six to eight-week process, a client makes their final choice, such as what is now on display at Hacker Dojo. In this piece, students imagined a world where everybody and everything is connected. They worked with the client to develop scenarios where the Hacker Dojo could be seen as an enabling platform for networked learning. They then created video animations and audio sculptures to express that world via the visual element of a puzzle piece that is carried from one project to another.

Video at http://www.hackerdojo.com/


These design and engineering exercises are not unlike that of a startup (where a problem is identified and a solution developed that provides such a benefit to a target population as to underwrite the costs of production and distribution): They are more easily said than done!

Knowledge
Students working on studio and agency projects exhibit a fascinating ability to access knowledge as needed to become experts quickly. In one film project, the class decided to
make the central character an animated goat. In order to model that goat so that the team might realistically articulate its movements, the lead modeler was prompted to research the bone structure and anatomical behavior of goats. Little did he know that a goat has no top teeth at the front of the mouth. As he designed his goat, what he learned propagated naturally across the team.

This describes what John Seely Brown calls “pull” learning: spreading knowledge throughout teams to radically improve overall performance. In this case, no one started the project as a science lesson. After all, the group played around with many ideas before deciding a goat would be their central character. Now the entire team can tell you more about goats than you might ever wish to know!

In an interactive ebook project that features a seven-year-old boy as its central character, students immersed themselves in the psychology and physical processes involved with discovering the world outside the family, particularly for boys of that age. They naturally re-imagined their own childhood experiences and integrated surprising features that enable readers to use their fingers to nudge illustrations, to shine a flashlight into the woods, to combine stars into their own constellations, even to add their own doodles to the boy’s sketchpad.

At a quantum level, the knowledge gained by observing teammates while co-developing illustrated and animated stories based on direct feedback through critique and reassessments provides an education that cannot be matched. The knowledge is tangible, timely and appropriate to the project at hand. The lessons learned have proven to last and evolve throughout the careers that lie ahead.

Art To Venture
Want to get to know your customers? Identify them in practice, develop characters that stand out and create a story around them. Animate your story with scenarios in which they experience problems getting to where they are going. Share your story and get feedback on your perceptions and descriptions. If what you share rings true, your potential customers will see themselves in your story and offer up their own accounts along with their appetite to change things if they could. Your customer stories need to be refined continually to provide your venture with perfect knowledge of every aspect of who they are and where they are going.

This is what many call “customer development”. It’s the lynchpin for validating a business idea and is second nature for experienced entrepreneurs. In its execution, there are no short cuts. Each new venture must start with a blank canvas and develop a true picture in order to build the right product. The stakes are high and failure must be accompanied by learning in order to pivot into a successful next chapter.

Unfortunately, most ventures develop these stories with mere words and numbers on paper. As should be clear by now, the language of words and numbers lack the movement, expression and emotion that surface through pictures, timelines and animations. Simple slide decks typically illustrate what was written, not what is true at a quantum level. Art, even as illustrated here, reveals what can otherwise only be described as a “gut feeling”. When “customer development” is executed in a straight- jacketed way, with a goal generating hoped-for data and optics limiting field of view, then a venture is doomed out of the starting gate.

But, when customers emerge in sound and motion, fleshed out in 3D, moving through scenarios that reflect the world as it will be, employees and investors “get it”. Creating such new worlds, to make a “dent in the universe” requires more than applying technology to a problem, it also involves articulating possibilities that do not yet exist and behavioral responses that have not been imagined before. Without bringing forth the skills we have described here to harness a collective imagination and to document using the technologies now at our disposal, ventures are limiting their chances for success.

Conclusion
On a recent tour of the Cogswell campus, a visitor abruptly stopped in a hallway and exclaimed, “This is what makes this place unique”! He pointed to the open door to his left, which led to a clay-modeling studio filled with students rendering figures poised to leap. Then, he pointed through the glass window to his right, which revealed a class of students at keyboards working their way through a Python class. “You force these people together”! It’s true. Engineers don’t have to go to another building to find an artist. Video game designers can find engineers without looking too far. For colleges to do what is described here might only require such close proximity, as is now available at USC.

Increasingly, employers from startups to studios to enterprises are not looking for what a student did in college. Rather, they are looking for what an individual might contribute as part of their team. A recent graduate who learns by “pull”, who commits enthusiastically based on the experience of previous projects, who toys with ideas and who mentors collaborators, stacks up well against more seasoned alternatives. Being comfortable crossing boundaries, mixing coders, designers and technicians, requires an imagination for what is outside a given skillset. It requires an appreciation for the perspectives of others and for the endless possibilities that can be brought into play.

And, just maybe, as artists become part of engineering teams and as non-artists learn what is to be gained through practice, the problems that are identified and products that are built can more fully benefit the population that uses them. Through the practices described here- sketching behaviors, employing storyboards to describe processes, developing personas to gain insights, painting scenarios and articulating the narratives that unfold in any business- loosely coupled teams can more effectively execute their plans, engage customers and persuade investors. What art offers might ultimately be a more refined imagination that opens new worlds of possibility to ventures of all kinds.

Star Thief Studio Animation & Interactive Book Teaser

Wednesday, January 14th, 2015

Star Thief Studio is one of several on-campus Project-Based Learning studios at Cogswell College. These studios mirror professional production studios and allow students to collaborate with their peers – whether they be artists, animators, technical artists, engineers and sound designers – to create outstanding large scale projects.

= ABOUT STAR THIEF STUDIO =

Star Thief Studio is guided by faculty with industry experience and student work is regularly critiqued by industry professionals. We are focused on creating engaging story-driven content in the form of animated shorts and interactive stories. Currently Star Thief Studio is working on an unannounced project which will feature a stand-alone animated short and an interactive version of the story, bundled together as an app for the iPad.

Our development artists work in a dedicated studio space and use everything from pencil, paint and clay to Maya, Zbrush, Mudbox, Photoshop, Renderman and Fusion. Much of our digital painting and sculpting is done on Cintiqs. Our engineers use tools like X Code, Flash Professional, and Maya, writing code in Objective C, C++ Maya API, Action Script, Mel Script and Python.

Star Thief Studio offers students the opportunity to be an important part of a major project that will deliver a great experience, film credit and professional quality content for their demo reel. The large group, project-based environment of Star Thief Studio gives students the opportunity to develop and exercise the skills needed to work effectively with a team over an extended period of time. Skills like communicating professionally, being a team player, taking initiative and learning to lead, as well as managing time-sensitive tasks and completing work within deadlines. In the end, students will have work for their portfolios which has been refined to an extremely high standard and used in a major animated and interactive project.

See more at: http://www.cogswell.edu/student-work/studioe.php
Andhttps://www.youtube.com/watch?v=UTv8U7n_cIg&list=PL9DCF83E90D3F20A7&index=1
Video created by Cogswell alumni and Cogswell students:
Rachael Sass
Andrew Long
Jose Hernandez

Visiting Pixar Studios in Emeryville California

Tuesday, December 23rd, 2014

Inside the Pixar Animation StudioA couple of weeks ago, I had the amazing opportunity to visit Pixar with the manager of post-production, Robert Tachoires. Besides just being a nice and all-around awesome person, Robert took the time out of his busy schedule to show me around Pixar for nearly two hours. I’ll be honest—it was slightly surreal. I casually passed by people like the director of Brave, Mark Andrews, Pete Docter, and other famous names.

He gave me the general tour of what you’d expect at Pixar—the cafeteria, Oscar awards case, cereal bar, post room, studio store—but he also got clearance to show me the animation and tech departments!

Pixar has two main buildings where the artists are located. There’s the Steve Jobs building, which has animators on one side and the tech/post production side on the other, and the Brooklyn building which houses the pre-production artists. Naturally, I didn’t get to see much of pre-production since that’s all top secret. Going through the animation department however blew my mind—there is literally a mini-village inside of Pixar!

Each animator is given the chance to decorate their own space however they want—and some have literally imported Tuff sheds to live in while they do their work. One was decorated to look exactly like a miniature everyday-house you’d see on a street, white picket fence included. Another looked just like a Tiki hut, and a particular ‘street’ in the animation department resembled Chinatown. One room seemed to overflow with Ninja Turtles toys and posters.

I got a close-up look at their Oscar trophy case—which actually included drawings by children! That earned a couple of bonus points in my book. Also, they had a huge Render Farm—processing machines lined every wall of a see-through room – which had a water-circulating system designed specifically for keeping everything cool.

The saddest part was definitely leaving Pixar. It was thrilling being around so many people who made the Pixar name legendary. It’s pretty obvious why everyone wants to work there! (Not just because of the Pixar store, though that was amazing. I loaded up on some major Pixar swag).

Sierra Gaston
Digital Art & Animation student

Star Thief Studio Teaser – Animated Film and Interactive Book

Friday, December 19th, 2014

We’re excited to announce the teaser for the project that Star Thief Studio – one of our newer studio classes – coming in Spring 2015!

Star Thief Studios - Animated Film and Interactive Book

Star Thief Studio is one of several on-campus Project-Based Learning studios at Cogswell College. These studios mirror professional production studios and allow students to collaborate with their peers – whether they be artists, animators, technical artists, engineers and sound designers – to create outstanding large scale projects.

= ABOUT STAR THIEF STUDIO =
Star Thief Studio is guided by faculty with industry experience and student work is regularly critiqued by industry professionals. We are focused on creating engaging story-driven content in the form of animated shorts and interactive stories. Currently Star Thief Studio is working on an unannounced project which will feature a stand-alone animated short and an interactive version of the story, bundled together as an app for the iPad.

Our development artists work in a dedicated studio space and use everything from pencil, paint and clay to Maya, Zbrush, Mudbox, Photoshop, Renderman and Fusion. Much of our digital painting and sculpting is done on Cintiqs. Our engineers use tools like X Code, Flash Professional, and Maya, writing code in Objective C, C++ Maya API, Action Script, Mel Script and Python.

Star Thief Studio offers students the opportunity to be an important part of a major project that will deliver a great experience, film credit and professional quality content for their demo reel. The large group, project-based environment of Star Thief Studio gives students the opportunity to develop and exercise the skills needed to work effectively with a team over an extended period of time. Skills like communicating professionally, being a team player, taking initiative and learning to lead, as well as managing time-sensitive tasks and completing work within deadlines. In the end, students will have work for their portfolios which has been refined to an extremely high standard and used in a major animated and interactive project.

See more at: http://www.cogswell.edu/student-work/studioe.php

http://www.cogswell.edu/student-work/star-thief-studio.php

Finding Dory

Monday, December 15th, 2014

Hold your breath and hold the press—new details are swimming the internet right now about Finding Dory, the long-awaited sequel to Finding Nemo from Pixar Animation Studios. Guess what—much of the film is going to be set in California! At the Marine Biology Institute of California, to be precise. (Sounds a lot like Santa Cruz to me.) As stated by comicbookmovie.com, “the story of the movie will follow Dory, Merlin and Nemo as they set off on a journey to find about Dory’s past and parents.” In addition, we also learn that Dory had, in fact, been born at the Institute and was released into the ocean when she was young. We’re going to see the return of many of our favorite characters, but there’s also going to be plenty of new ones—including Dory’s parents! (Do they also suffer from short term memory loss? Are they natural blues as well?)

Apparently there’s been software developed specifically for handling crowd simulations for this movie (the many schools of fish) which isn’t surprising at all. Studios are constantly upgrading to newer and better ways of showing us complex animation and rendering – the likes of which we’ve never before. With their newest release Big Hero 6, Disney has set a new bar in terms of the level of sophistication in rendering.

Speaking of fabulous rendering—be sure to keep an eye on Project X here at Cogswell. I was able to get a glimpse of a few of their first renders of the new and upcoming animation short and I was blown away. I feel that this new one is going to be an amazing addition to what Cogswell has accomplished so far.

Happy Holidays!
Sierra

Finals Week at Cogswell College

Wednesday, December 10th, 2014

Sketch by Daniela Panigada Cook found at: dpc-design.com/2012/05/04/sad-pencil-is-it-over-yet/

The last week of school is upon us and as such, many students find themselves with work piling on top of work and increasing levels of stress. With five classes this semester and a job to stay on top of, I have no shortage of tasks to complete and deadlines to meet. Luckily, I’ve already completed one class for the semester… no class next week for Drawing For Animation! For me, this means one last project in Perspective and Rendering (Daytime/Night time building), a last essay in Ethics class, a group performance in Acting for Animation, and one last project in Video Editing, the Experimental.

To say it was an easy semester would be a lie; this semester was, by far, the most challenging for me so far. With 2 project classes – both with heavy workloads – I had my work cut out for me. But I’ve managed to stay afloat! That’s not to say I didn’t enjoy this semester however. It’s been one of the most gratifying few months of my scholarly career yet.

Walking through the halls of the school I see evidence of finals taking their tolls on the students. People scrambling to finish last projects, a spike in coffee intake, and more than a handful of people napping all around the campus. I’ve already pulled one or two all-nighters, but I’m sure I’m not the only one. Finals week is almost here, and while I had a great semester overall, I can’t wait for Winter Break!

Juan Rubio
DAA 3D Animation Student

CTN Animation eXpo 2014

Monday, December 8th, 2014

Creative Talent Network Animation Expo

If I were to describe an experience as life-changing, this would be one those experiences. Talent from all over the world was concentrated into a single, weekend-long conference at the Marriott Hotel in Burbank, California. Thousands of artists and animation enthusiasts gathered to participate in workshops, visit artist booths, have their portfolio reviews by industry professionals and make connections. Animation legends like Glen Keane and Eric Goldberg were there. More than once, I walked by a short, older man in a Hawaiian shirt and realized I’d just passed by one of the greatest names in animation. While I never got the chance to talk with Eric Goldberg, it was thrilling just having seen him in real life.

Sierra Gaston with Dice Tsutsumi

Sierra Gaston with Dice Tsutsumi

I participated in seven workshops, many of them concentrating on character design. A particularly useful one by Ty Carter, a visual development artist at Blue Sky Studios, focused on how to get a dream job right after college. Ty Carter made it very clear that a lot of hard work was required—and that if any of the workshop attendees were as good as the artists currently exhibiting at CTN, we would definitely get into the industry.

I had around four portfolio reviews; two by Nickelodeon from their Artist Program and Interactive Content Development departments, one by a professional (and very exhausted) character designer, and the last by an extremely talented character and design artist who actually volunteered to look at my portfolio and gave me feedback. Portfolio review is so extremely important—while getting invaluable critiques on how to make your art work better, you are also making connections and getting a really good look at what the industry standard is. There’s a certain degree of fear in what others will say about your work, but I was mostly eager to see in which areas I was succeeding and which ones I needed to work harder at. The reviews were very positive, and I left with a clear vision of what I needed to work on before application dates rolled around.  I also gained a possible lead working with Nickelodeon.

Sierra Gaston with Tom Moore

Sierra Gaston with Tom Moore

In addition to workshops, book signings, and meeting artists, I got to see a screening of Song of the Sea, the newest animated feature by Cartoon Saloon in Ireland. A story about selkies, humans that are part seal in nature and can transform when they put on their coats, Song of the Sea is breathtaking in its 2D traditional intricacy. It’s wonderful seeing a traditional animation studio from Ireland making waves in such a 3D animation-focused industry.

CTN is an absolute must for any serious student in any area of animation. The connections are invaluable, and it is a privilege to be in the same room as some of the artists that attended this year. It’s a dose of reality to be around industry professionals of that caliber—while in school you’re in a completely different environment, but once you’re actually talking and interacting with people you’ve only heard about your entire life, it makes it that much more real. A weekend in Burbank among people in love with what they do is the perfect tool for inspiration and personal growth.

Sierra Gaston, Digital Art & Animation Student, Cogswell College

Cogswell student group ready to go to CTN Animation Expo 2014

Cogswell student group ready to go to CTN Animation Expo 2014

About CTN

The CTN animation eXpo
Nov 21-23, 2014
Burbank Convention Center
800 604 2238 | 818 827-7138
www.ctnanimationexpo.com

The only event of its kind presents a unique opportunity that brings together the top professionals from both the traditional and digital worlds of animation. Hosted by the Creative Talent Network, this six year event has captured both the industry and local community’s attention as a resource for education, employment, inspiration, business opportunities and most of all FUN!

While the Expo has a very broad appeal, it is focused specifically on “THE TALENT” from the animation and surrounding communities. In an intimate setting at the Burbank Marriott Hotel and Convention Center thousands of attendees meet the faces behind the fantasy from yesterday, today and tomorrow over the course of 3 days. The event presenters include contributors from some of the highest grossing animated films of all time and are targeted to empower professionals, educate students and entertain the general public.

Of particular interest to attendees are the Live Demonstrations, Networking Receptions, Master Workshops, Panel Discussions, Business Symposiums, Recruiting and the Professional Exhibits offered throughout the Expo as well as the signature One-On-One Personal Consultations with creative professionals from top studios and educational institutions both local and international all happening during the first city wide proclamation of “Animation Week” just for this event.

With a demographic that includes both students and professionals it is our pleasure to work closely with each of our sponsors to ensure that every agreement is tailored to address your specific marketing objectives. Together we can make this event a memorable and successful one that will bring the community together as well as raise awareness for the animation medium each and every year.

“…AMAZING … ONE OF A KIND … BETTER THAN EVER … SO NEEDED IN OUR INDUSTRY…”

- See more at: http://www.ctnanimationexpo.com/axAboutUs.php#sthash.4zihYqnp.dpuf