In AnimSchool’s Material and Texturing class, Arvin Villapando, the instructor, discusses how material and light interact with each other in the software Substance Designer.
With the rise in popularity of fantasy and sci-fi films comes a huge surge in demand for VFX. AnimSchool instructor Tony Mecca has worked in the forefront of the VFX industry for several years, animating for films like Snow White and the Huntsman, RIPD, and X-Men: Days of Future Past. Tony has a particular workflow for VFX, which centers around a “splocking” method that is designed to produce smooth, realistic animation as quickly as possible in VFX shots, which are typically too heavy to have real-time playback. This workflow starts out in spline/auto tangents right away, and can be used for full-CG shots as well. In this demo, Tony utilizes his “splocking” workflow to animate a shot of a monster running and jumping off of a ledge, using AnimSchool’s Hellhound rig.
Part 1 covers the layout and planning phase, and Part 2 will cover the posing and overlap phase of the demo. (View Part 2 here)
Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com
Welcome Eva Bruschi, Storyboard Artist for Sony Pictures Animation! Could you tell us about yourself, your career and how you became a Story Artist at Sony ?
Of course 🙂 My name is Eva and I’m Italian, born in Tuscany 34 years ago (almost 35) and about myself and how it all “started”, well, I remember that as a kid I was always ready to solve situations by drawing something, because I loved drawing and liked to help.
One day – probably I was around 4-5 years old – my grandma needed celery and I drew a bunch of celery for her recipe. I though that was the same as having real celery for cooking, it was green and looked like celery so was enough for helping her. My mom was often missing the beach during winter time so one day I drew the sea, the sand, a blue stripe for the sky and the yellow sun, probably a crab walking and a boat floating far on the horizon, there certainly was even a seagull.. and then I gave her the drawing. “You can hear the waves if you get closer, mom, so now the beach is nearer and you shouldn’t miss it so much!”
The rest of the time I used to draw for myself (when everyone was done with my presents).
It’s really common among kids to give drawings as gifts thus I was perfectly acting as everyone, maybe I just kept doing it for a longer time than everyone.
I was actually always drawing, literally everywhere, the walls of my house were also filled with my drawings because my parents made the great mistake one day to say : “okay, you can draw on the walls but don’t go out of your bedroom space”.
Didn’t work and I ended up covering the rest of the house.
C’mon. How can you resist to those big, white and empty walls?? My graffiti remained there for many years and as I grew up was nice to see the crazyness yet the truth that’s in kids drawings.
I remember I loved to draw houses and gardens, well detailed gardens and animals. Cats and cows in particular. I remember while I was spending time with grandparents, my grandma used to tell me about her youth spent among the mountains, since she was Swiss. I often drew something out of those stories.. that’s probably where the many cows came from.. and probably even my first storyboards panels!! 😀
I was also fascinated by bugs, so I used to often draw them. I knew them pretty well because for one birthday I received a microscope as a gift, so I soon became the nightmare for all the small creatures around in the back yard because I wanted to see if bees were wearing underpants. Anyway, looking in there, through the lens, was like looking through the window of another world, another dimension.
I was drawing and drawing and drawing and I never could get enough of that!
I drew until the end of secondary school, then thought I couldn’t survive nor pay for a rent with only drawing, so I followed a technical high school (and discovered photography, still another great passion of mine beside playing a bit on the guitar) and wanted to become a mechanic! But if there’s something in you that you really can’t hold, one time it comes out again, I promise.
So this happened. I was 23 and after I gave engineering a try at university,
I decided to attended an art school here in Italy. A 3-year animation course. School was pretty expensive for me so I was working while attending classes. I remember one day, during a workshop, an external teacher told me something like “hey you can’t do this as a job and still have another job to maintain you.
You should only draw, all day! You’re not gonna make it this way, you probably don’t want it for real, to become an artist and make a living out of it”. That was a terrible day, one of the worst for me, but I knew that from that moment on, I wanted to become good at drawing and a professional even more.
After school – where they destroyed all my confidence in drawing and made me re-mold it – I started collaborating freelance with very talented people, mentors from whom to learn everyday, all the time, for Italian television series and features as story artist, but also as a 2d layout artist or 2d animation assistant. Especially in the beginning I had to take on everything that came by, not only storyboard work, because I needed a job and earn some money to keep living.
So without having the chance to choose the project I liked the most, I did learn much anyway.
At the end of 2014 I was contacted on LinkedIn (holy LinkedIn, get a LinkedIn profile guys and keep it updated!!!) and I was asked to help on a project as a freelance story artist (project was “High In The Clouds”). From that moment on, I have to say that my life has gone through many changes.
After that year and a half I spent boarding on that, I got to know many kind, professional and talented people who trusted me – and I guess that is the main point – and liked my work. So from one project to another, I luckily found myself working for Sony Pictures Animation. Ta-Daa!
What a beautiful story!
Can you tell us what a Storyboard Artist does?
Preproduction is where things get real for the first time and is great, to me, because you can play with a bunch of different aspects together. As a storyboard artist, you work in this phase and basically translate the script into drawings, so from words to images.
To do this, you need to know about acting, figure drawing, perspective, cinematography.. playing with lights in a scene is also really important if, for example, you’re showing a particular moment rich of emotion or a moment that someway has to be underlined. You have to understand what the script really says and have to start imagining what’s going on, then put it down on paper (or PS layers). This also includes other ideas (extra-script) that you came up with and that you will pitch later, like adding gags and reactions, giving it a certain energy that maybe not be described in the script.
You also have to be extremely flexible, giving more (and more, and more, and more…) versions of the same sequence if required without getting crazy or depressed (just joking:). You have to take notes and modify what has to be changed. Be able to listen to directors and their ideas of the show and as said before, you have to be able to pitch your own ideas!
Everything comes with time and experience (I’m talking to myself here!) and it’s not only about drawing, but also about patience and the willingness to do what’s best for the project.
So in the end, a story artist is in charge to give the first visual breath of life to a story, which as a thought to keep in mind, pays you back for all the sequences they cut you.
Can you use your own style of drawing or is there a certain in-house style of story boarding?
I’m quite free to use my own style in terms of drawing but of course you have to stay close to the models, their proportions on the screen and the right amount of energy to give to a scene that has to hook up to what’s before and after in the movie. What has helped me to get to know the style, if there’s any, was watching at other story artists work on the project. Comparing styles and ways of solving scenes is always a good thing that gives you the chance to get inspired and learn something.
Have you done 2D or 3D animations yourself? Or are you planning to make some?
I did 2d animation especially when I was at the art school, but I find animation always fun to experiment.
I need some free-time to animate tho, so it’s often hard to start something and finish it
But from time to time I try.
Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com
Do you have any tips for applying for a job at a main studio, such as Sony Pictures? In respect of demo reel or presentation, where to present your work ( like a website or Social Media)?
You’ve got to prepare a good porfolio/demoreel for sure- first things you show should be your best, so that they want to see more – then distribute the other good things in the middle and at the end to maintain a high level of interest and attention. Then with your super product in your backpack, you should travel a bit around animation exhibitions all over Europe and USA (to mention two of the most relevant, Annecy and CTNExpo), and book an interview (or just wait in line for your turn) with your favorite studios who have a stand there. Even if nothing relevant happens from the first round (in terms of hiring), you surely got to know many incredible artists and you have a crazy experience to share.
I didn’t know anything about all this when I started, but it might be a tip.
I think that having an account, a social platform or a website and keeping it updated, makes a big difference nowadays. Everyone can see your work this way (and maybe even wants to hire you!). This way you can get in touch with the best artists, knowing them for example from what they do and draw or paint in their spare time.
You’re able to show what you’ve worked on. And it’s also a good way to compare your work to other artist’s work.
It makes you improve your skills and motivates you to always do better. You can learn every day from each single artist. That’s what Instagram has given me and still does.
Being part of a major production company, how does that affect your artistic creativity?
As an inspiration. To be at my best, all the time. Honestly, I’ve always tried to give all I’ve got in every work I’ve done. I always give all of my heart and use everything that I have learned to every new production I’ve joined. I think this has helped me a lot, because this way your attention goes to everything and this makes you improve. Doesn’t matter how big and famous the production you’re working for is, if you love what you’re doing you’ll always give all you’ve got.
I’m really passionate about working for Sony Pictures Animation.
It has happened in the past that I had to work with people that didn’t care that much. Nothing is more frustrating, because we all know this is a job that you do out of passion. As time goes by you learn to recognize those situations that require less heart, but it’s always a shame to give less, so if you can choose, choose what gives you good vibes and put all that you have into it!
Who do you work with when you work on a story? Directors, scenario writers, the animators, layout artists etc.?
As a freelance, I collaborate with the directors.
I have meetings with them for assignments, notes and pitches.
Can you talk about the production you are currently working on?
“Spider-man: Into the Spider-verse”
I’m not allowed to show anything yet! You have to sign an NDA so you won’t ruin the surprise 🙂
But you can check the trailer that’s on line, I promise the movie will be fantastic!!
I’ve got pretty used to not being allowed to show my work. That’s probably why I post my doodles on Instagram!
Can you name a few people that have been a big inspiration to you?
Louie Del Carmen, Darren Webb, Normand Lemay..
And I could keep going with names, there’s plenty of awesome different artists around, of course not only story artists! But they’re always a big reference, especially if one day I feel not at my best to draw – and it does happen. But that day you have to keep working anyway, so I often go to their blogs/Instagram or whatever there’s on the internet and I stare a bit at the perfection of their art, I kinda treat my eyes.
I could say they’re my happy place where I recharge!
What inspires me is also an old sketch of a small town square with a fountain and some birds flying over. I remember it was hanging on my grandparents wall, in the hallway. I always asked for it when I was a kid, because I wanted to copy it. Black ink on white paper. So simple yet so strong. Never discovered the name of the artist.
But I also get inspiration from people who are not in the industry of course. I usually get inspiration from everything that surrounds me. Drawing is important, but also what you do in your free time, the people you hang out with, the places you see.. all this have their weight on your work and sometimes it brings you a lot of unexpected cool solutions!
Have you been a teacher/ guest teacher or do you consider teaching one day (passing on your experience) ? And what other goals do you have in the animation business besides story artist ?
Never been a teacher. Who knows, maybe in the future? I’m pretty shy and everything intimidates me at first, especially because I’ve got a strong self criticism and I feel like I still have got a long way to go before I can give advise and speak some wise words!
The again it’s said that teaching gives you a lot, as a person and as an artist and I kinda believe that, so let’s see how things evolve!
No other goals for now in the animation business. I mean, I’m a freelance so it’s a bit different working from home, than being in the studio where you can build your career. I can say I’ve always liked to work for music videos, creating a story out of a music track. You already have the timing and music gives you the inspiration, the path, so yeah, that would be interesting to do, directing and drawing for music videos! Here you have my goal 🙂
Thank you so much for your time and your joyful insights of being a storyboard artist, Eva. Finally, do you have some advise for us, students of Animschool?
Well…Don’t cook paper celery!! The green pastel has a terrible flavor. 😀
But seriously, I’ve learned not to be concerned of what I draw, as well as to throw my drawings away if they weren’t working. I learned the basics of anatomy then forgot them again to make room to learn other things (then luckily re-introduced them :D).
I mean, I discovered that it doesn’t really matter if a character posture is not completely correct while you do storyboards. That will come with time and practice. Problem comes if you only focus on how much you don’t like the drawing and you get stuck there, and I share this because that was one of my main concerns when I started.
The important thing is to be simple, focusing on the acting, expression and attitude of your character, putting it in a clear scene with an interesting point of view and a nice light.
You’re already telling something if all these things are present in a panel, no matter if it’s a sphere on the ground smiling at a beautiful spring day.
Thank you Eva, for an inspirational interview and good luck with working on your current project!
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| All drawings by Eva Bruschi |
Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at www.animschool.com
Since its release in April last year, Here’s the Plan has received acclaim for its realistic portrayal of the hardships of relationships, as well as its bright and pleasing art style. This 18-minute “short” was animated by a hard-working team of 5 animators, many of whom are or were students here at AnimSchool. I had the great pleasure of interviewing them on their work on Here’s the Plan, and I’m excited to share what they had to say. Last, but not least, we have an interview with Francisco Anabalón, who is a current student at AnimSchool.
Please tell us a little bit about yourself.
Hi! I´m Francisco Anabalón, I´m a Digital Animator currently finishing the Animation Program at AnimSchool, from Santiago de Chile. Before enrolling in AnimSchool, I studied drawing at an art program of a local University and then Digital Animation, after that I worked 2 years as a freelance character animator and then I decided to study here at AnimSchool. Besides animation, I really like life drawing ( https://www.facebook.com/FranciscoAnabalonArt/) and play guitar!
How did you find out about “Here’s the Plan”, and what drove you to work on it?
Fernanda Frick and I were classmates during the first year of my studies in Digital Animation. She left the school, but we were still meeting at animation events. When she won funding for her film on the Chile´s National Council of Culture and Arts, I was working on commercials and tv series, but I wanted to work on something more challenging in artistic terms. I met her at an animation festival and likely she was looking for character animators at the time, so she agreed to work with me when I asked her.
What is your favorite aspect of the film?
I think the art direction and all the CG aesthetic achieved is really cool and original. I also like the camera work, the cinematography. In terms of animation, there are really good shots, I wish we had more time to do stronger character animation on the whole movie – I think that was the most difficult part to achieve with the funds and the time Fernanda had.
What were some of the hardships of working on a short film?
The most difficult part for me was the time we had to finish the shots. I really wanted to do the best animation I could, so at the beginning I did it as well as I could even knowing that, by taking longer, it meant I would have a lower wage at the end of the month (the Council of Culture and Arts pays by “animated second” – that isn’t much) but in the end, taking too long wasn´t possible because of the deadline. It was stressful for me on that aspect, probably because I hadn’t had a similar experience before.
Were there things you learned during your classes at AnimSchool that you applied to your animation?
It’s easy to fall into the trap of making your animation look too stiff, especially when using poses directly from a video reference. One way to counter this is to exaggerate the drag and overlap of the main body controls – the hips, the chest, and the head. In a scene where the hips lead, the chest would follow the hips, and the head would follow the chest, and you can play around with the overlaps to achieve a more organic look. In this clip, instructor Luke Randall does a live Maya demonstration in student Saul Latorre’s shot, helping him get a more organic and springy feel in a portion of his animation by working with the translations of the main body control, the chest, and the head. Luke is an animator at Dreamworks, and is an instructor for Body Acting, our fourth course in 3D character animation.
For more information about AnimSchool and our online animation programs, visit us at www.animschool.com
Hi Charles, it’s great to have you here for this interview. Thank
you!
Could you tell us a little bit about yourself?
First off, I just wanted to say thank you to you for conducting this interview and to Animschool for hosting. I hope the readers find some words of wisdom somewhere in here.
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| Charles Ellison, Head of Modeling at DreamWorks |
My name is Charles, although family and friends call me Charlie. I am a proud father of two little girls, whom I am raising with my wonderful wife in which I’ve been with for just about 20 years now – 9 married. I was born in Venezuela, and migrated to this country at a young age, finally establishing roots in the San Francisco Bay Area. I am one of the Heads of Modeling for DreamWorks Animation, as well as an Instructor here at Animschool for about the past 4 years or so, and I call Los Angeles home now. I’ve been at DreamWorks for 10 years now and have loved every day of it. I’ve had the privilege to work on many wonderful animated movies, including the How to Train Your Dragon series, Kung Fu Panda series and have most recently supervised Trolls and am currently supervising Trolls 2, just to name a few.
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| Snoutlot, modeling by Charles Ellison |
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| Berk Docks, modeling by Charles Ellison |
The path wasn’t always clear and it wasn’t found quickly either. I didn’t discover this path in fact until I was 24 and living just across the Bay from San Francisco, where my future awaited. I recall waking up one morning, turning on the TV, and watching a commercial for the Academy of Art University. People used to always tell me that I was creative and could draw and I should do something with that, so I literally got dressed, hopped on a bus and headed into the city where I took a tour of the school. After being dazzled by the campus buildings which are nested throughout the city and the tour guide giving their best sales pitch, I was pretty wow’d by what I was seeing. Yet it wasn’t until walking through the Computer Animation department (which they save for last), that I was completely in awe. I remember walking through the computer labs with the tour saying to myself, “Wow. Look at them. They are doing it. They are really doing it.”. I was referring to the students hard at work of course, working on these massive computers that I’ve never seen before, but you have to understand, after I saw Jurassic Park in ’93 I was pretty much convinced that the people that made these movies were geniuses – an unattainable goal.
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| Bunnymund, modeling by Charles Ellison |
So upon the conclusion of the tour, I found myself taking a huge leap of faith and signing my name on the dotted line of an enrollment contract. I had no idea how I was going to pay for it all, but I was going to make it happen. Behind the support of my family, my girlfriend (and future wife) and her family, but most importantly a belief in myself, I took that huge leap of faith. I was intimidated, unsure and anxious, but along the way I discovered that I not only had talent and raw skill, but that I was in a prime environment to nurture this talent and develop it. I took full advantage of the resources the school offered. I was the first one in class, the last one out. I surrounded myself with peers whom inspired me and therefor elevated myself. I spent two years in fine art where I painted, drew, sculpted, and then finally the last two years were spent mostly on the computer where I focused on 3D Modeling. I graduated in the Fall of 2004 – the first in my family in fact so it was a very proud day.
After graduation, I relocated to Los Angeles with my girlfriend (soon to be wife) where we set out to begin our lives away from family and discover our careers. I quickly landed my first job at an Animation Studio here in LA, called Sprite Animation. Sprite is a Japanese animation studio and I was the first American artist that they hired. It was a tremendous learning experience and to this day I tribute them as some of the most skilled, talented and humble artist that I have ever worked with. It was such a great place for me to begin my career because they pushed me to learn more and become a full fledged character artist. I not only modeled, but I also textured and rigged my characters and from time to time I even animated them.
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| Blacksmith shop, modeling by Charles Ellison |
When it was time to leave Sprite to spread my wings, I spent a little time in the live-action VFX world and then I was at a cross roads. I had a tough choice to make as I had a very good problem in front of me. I had an offer from Digital Domain to be a Character TD on Benjamin Buttons or join DreamWorks as a Modeler. It was two very different roads I could take, but my heart told me that DreamWorks was the right path. So I chose DreamWorks. Fast forward 10 years from that point, and I am now one of the Department Heads and have worked on amazing projects – I have no doubt in my mind that I made the best decision for myself.
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| Fashionistas, modeling by Charles Ellison |
That’s an inspiring story! How involved are you in the hiring process of new talent for DreamWorks?
When we are in search of growing our Modeling team, I am very much a part of the process. The way it works is myself, along with the other Department Heads, will review candidates which our fantastic Recruiting Department will filter through and offer up the best candidates that they discover either via visits to different schools, or submissions which we receive from applicants all over the world – typically comprised of students and experienced artists. And sometimes, one of us may already have a candidate in mind whom we can propose to the group for consideration. This is an occurrence that happens quite often if one of us knows of a great artist that is available. I often have candid conversations with students where I explain what a unique perspective I have from my vantage point. What I mean is, I get to be a part of the students as they are just paving the way for their growth as artist, and one day, they could find themselves interviewing with me as well. It is a very special vantage point if you ask me, one which I don’t take for granted. I’m always on the look out for good talent, so even if students don’t realize it, they could be already being noticed even if from a single class – so always put forth your best effort ;). And when I am actively supervising a modeling team for a show, I do get to ask for specific members of the team so long as they are available and not already casted to another production. We do our best to cast everybody to their strengths and formulate nicely balanced teams for each show.
Besides the required technical skills, what do you think are main qualities a 3D artist should have to increase the chances to get hired by a large company? And do you have any tips on how to develop those skills?
Besides the clear necessities as demonstrating clear technical skills as software knowledge and being able to craft nice geometry and understanding good topology practices, I can’t emphasize enough the need to demonstrate a strong artistic eye. Perhaps the best thing anyone can do on their demo reel, is provide the artwork that you started from so that I can gauge how you see shapes and how you can interpret a design. It’s an opportunity for me to see how you understand the fundamentals. Often, I see demo reels which don’t include the artwork they modeled from. And of course be sure that when including the artwork you credit the original artist. Another good tip is have a good variety of models – don’t just be character heavy without demonstrating you can take on an environment or a nice, intricate prop. Characters are great and doing them well is even better, but show range. As far as developing those skills, I always suggest to be as active as you can in practicing your craft. Don’t just rely on the assignments you receive in class. Manage your time so that you reserve as much of it as you can to go through the paces of challenging yourself and finding barriers that you can break past. But be sure to maintain a balance with studies, work and all other things in life so that you don’t burn out.
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| Orange quarter, modeling by Charles Ellison |
And one last bit of advice which is one of those intangible things, when you land the interview, be yourself, and show us that you are the kind of person that we want to work with. After all, I spend more time with my colleagues at work then I do with my family sadly, so I want candidates that are genuine people. I would rather work with the person who has talent that can be nurtured – albeit needs growth but is a nice person, versus someone whom has a super impressive portfolio but during an interview doesn’t show the best attitude.
Know what I mean?
Absolutely!
“Don’t be afraid to show your work. Failure is always part of the road to success.”
What do you think about these statements and how does that apply to your own job in a professional environment?
I mean, are you allowed to improve by failure or do you have to get it right every first time?
As artist, we are always subject to opinion, and this is no different in a professional or an educational environment. The difference is I would switch the word failure with that of process. The process to striking the vision of many different people can be a very organic and sometimes tedious process, but process non the same. Sometimes we nail it and please everyone upon first showing, sometimes it requires many iterations, but it’s never a failure so long as we end up with a great final product, within the time-frame we are given. In a school environment, it’s very similar in that you have a goal, a deadline and a client – your instructor. I always stress the need for students to never be shy to show their work, as the goal in sharing is to find ways to improve by way of constructive feedback – very much the same way it would be in production.
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| Dragon Lair, modeling by Charles Ellison |
Can you name a few people that have inspired you, in life and as a 3D professional?
Naturally I have garnered inspiration from the people whom raised me, non more so than my Grandmother. The work ethic she modeled for me was just remarkable. My wife is a huge reason I am even where I am today, but my children are my strongest inspiration. Trust me when I say nothing inspires you to be your best than your children. As for artists? My goodness, where do I begin? There is just so much amazing talent out there, both known and unknown. The unknown’s are just as amazing it’s just they haven’t made an effort to have an online presence. My very first supervisor, Tetsuya Ishii, is such an amazing artists and is equally skilled artistically and technically. Plus I have a soft spot that I learned so much from him. Some other artist whom have had direct influence on me are Danny Williams (aka Point Pusher) for the years we worked together and for the knowledge he was so willing to share and who is also a good friend. Another good friend and former colleague whom has inspired me is Shannon Thomas, whom is now over at Blizzard as a Character Supervisor.
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| Bob Ross |
But there is so many others over the course of my career whom I’ve had the pleasure to either work with directly, converse with, or just admire from a far. I know I will miss some names, but here is a short list: Nico Marlet, Tim Lamb, Pierre Olivier Vincent, Alena Tottle, Mike Defeo, Kendal Chronkite, Raymond Zibach, Simon Otto, Mel Milton, Kent Melton, Glen Keane, Matt Thorup, Dylan Ekren, Bear Williams, Brian Jefcoat and of course Bob Ross – no really, watched him religiously as a kid.
“Happy little trees.”
Are there any public tours at DreamWorks ?
There are no public tours, but it is possible to have a tour through someone on the inside. I have personally had many guests come to visit the campus, including many Animschool students. I extend this invitation to every class I teach. You just have to give me a heads up when you are going to be around LA and I’m happy to set it up – so long as I’m available to do so of course.
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| Little Dragon composite, modeling by Charles Ellison |
Can you give any tips to the students for their demo reel when they want to apply for a job at DreamWorks or another large studio?
Besides the information I gave earlier in the interview, I would say, know your client. If you are applying to DreamWorks, Disney, Pixar, demonstrate models that fit the style of work that they do. Similarly I would say the same for a game company or VFX studio. And the last thing I would suggest, always place your best model first – wow us with that first look. Keep your reel short. It doesn’t need to be bloated. I would rather see 3 great models over the course of a 2 minute reel, versus a 5 minute reel of stuff you threw in there thinking it needed to be there because you were worried you didn’t have enough. Quality over quantity always. And remember, always show the art your started from. And lastly, these days, it’s not just about a demo reel, have on online platform such as a personal website, ArtStation, or something similar which showcases your many different works. This can be a place where potential employers can see works that are maybe unfinished, but still offer insight to your process as an artist.
Those are great tips, thank you! Why did you become an Animschool teacher ?
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| Charles Ellison, Head of Modeling at DreamWorks |
When I first made the choice to begin teaching, much of my decision was based on the idea of maximizing the time that I have to provide for my family and I wanted to do so in a manner that felt rewarding beyond just compensation. Teaching was a natural fit that I could balance nicely with my full-time roll at DreamWorks and also was an opportunity for me to give back to the community. Originally, I did not know if teaching was going to be a short or long term commitment or even if I would be any good at it. I also did not foresee how invested I would get in the students. I didn’t foresee the relationships that I would build and how rewarding it would feel to see my students improving before my eyes. It is such a great feeling to see your students applying what they are learning, improving upon their skills and most importantly, having fun during the process. I make it a point to make sure the students know from day one that they are in an environment that will be fun, organic and nurturing. I really do try to give them all I have to offer and be someone who will offer them as much insight as I can into the industry as well.
And why Animschool?
I have had many former colleagues of mine whom had ventured into the world of teaching speak very highly of Animschool and a good friend had introduced me to Dave Gallagher to speak about the prospect of teaching. Fast forward to now, and I am very happy to be a part of the Animschool community and proud of the students that I have had the pleasure to teach. What I feel makes Animschool a unique and special place to learn this wonderful craft, is the global aspect of it’s students (nothing excites me more than to see a roster of students from all corners of the globe) and how diverse the they are. I find Animschool students to be some of the most dedicated and focused I’ve come across. And lastly, I find the talent that the school brings in to instruct their classes to be world class and whom really want to provide the best instruction they can.
Put all that together and it truly is an amazing community to be a part of.
Animschool is the premiere online animation school for learning 3D animation, modeling and rigging.
For more information about AnimSchool and its courses in animation, visit www.animschool.com
