To be able to develop a career and making the most of the different aspects of the animation course, not every piece is a portfolio piece and not all have the explicit purpose of adding to a checklist. In a career that requires practice and practice, drawing should come second nature and for this reason balancing the heavy projects with learning new skills and practicing was also a priority. This is what I called during the length of the MA as “personal practice” (opposed to professional practice)
Another way to learn interconnective skills like storytelling or character design and a software or style, is to have side projects that allowed me to experiment and get to know my own narrative voice and let me make mistakes without much pressure and change to a different approach at the middle of the project if I found it more fitting. Versatility is also a key point in the industry job since it increases the employment rate and a necessity for a job where each project requires different approaches narratively and technically.
These same side projects where the ones that more often sparked my own curiosity to start a discussion with professionals, because having more ground on the subject was a big improvement considering the beginning of the MA, when the lack of experience made the talks more superficial with a lack of real purpose.
Since every aspect that interest me in the profession is deeply rooted in drawing sometimes this gets forgotten in the perks of editing and learning softwares. Through the pages of An Illustrated Life: Drawing Inspiration From the Private Sketchbooks of Artists (2008), Danny Gregory gathers the experience of people working on several types of visual media, illustrators, animators, comic artists, and painters, about keeping a sketchbook. The most common point is that their principal purpose is to organize and visualize ideas. Some notes in the sketchbooks are life drawing details and some are fast paced situations. And they agree that is often the same material that feeds other part of their professional work, be it personal pieces or commercial. I did my best to keep a productive sketchbook,
When I watch an animated series, the first thing that I ask myself is if it makes sense to it be an animation. Not everything does. And some stories are just animated for no reason.
This is one of those series in which the animation is one of the main story components. it would be nearly impossible to make such bold contrasting scenarios, and touch the humor on it so smoothly with scenes full on drama.
The design, the scenery, this entire world makes sense visually and is not that easy to achieve.
When I was little I didn't liked Samurai Jack. mainly because it was impossible to me to follow the story and even more the way cartoon network transmited the episodes.
Now they have a new season and so far I can tell that it wont be disappointing.
This is a series based in composition and strong sense of action. Atmospheric with this glimpses of humor even in darkness treating serious moments as heavy and full of emotion. A series that also has the main character wear heels without being degrading.
This one is in my top 10 series of all time. And I am going to keep studying it for its humor, storytelling, composition and design.
.Passing a weight between characters.
Even tho I like the subtle things in this one, overall I am not happy with the movement itself. It has too many inconsistencies.
But I want to name what Chris calls housekeeping.
For working with two characters it is necessary and make things easier. Having two timings make thing messy, but the moment I know what I am doing I can worry about inbetweening.
Also timing the small actions such as the grabby hands or the gentle push of the object to child; has a lot of acting by itself and acting is something I really like to do (that is why i am still stubbornly wanting to be an animator, even tho I am slow animating).
There are two main aspects to consider while researching the career prospects of storyboard artists: the storyboard making itself, and the application of the skills in the context of industrial production.
looking for professionals currently working in the industry has been very enlightening and useful for my research
The main lesson was an obvious one: storyboard artists work in all of the fields of visual media. Adaptability is necessary to work on the field, because the size of the crew, the production needs and the resources vary wildly among short films, tv shows, feature films and advertising for different media. Even if my main goal is to be able to work in a studio based job, I know I must learn about the characteristics of freelance jobs, since they make up for a lot of the offer
Knowing the possibilities of an active storyboard artist career is one of my principal goals.
Deeper in my research on how to start in the animation industry lead me to ask myself how it works around the world. One of the paths on starting as a storyboard artist is to start on television since often, the position in studios requires less experience than working on feature animated films.