Careers in Visual Arts

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Careers in Visual Arts The career options listed below require varying levels of post-secondary education in the Visual Arts Architecture Journalism and Publishing Theatre, Television and Art Galleries Architect Art editor Dance Gallery director Landscape designer Illustrator Television graphics Curator Interior designer Cartoonist Animation Art resource librarian Model maker Photographer Background artist Art conservator Urban design Photo Editor Set design Art educator Art consultant Commercial artist Costume design Collections manager Card designer Exhibition Guide Lighting director Criminology Art reviewer Registrar Portrait artist Computer design Industry and Business Art dealer Documentary Industrial designer Art agent photographer Fine Arts Design engineer Art Salesperson Legal illustration Display artist Painter Art Director Sculptor Design Consultant Exhibitions coordinator Fashion Printmaker Web design Fashion designer Advertising Photographer Model maker Fashion editor Graphic designer Film-maker Display artist Fabric designer Art director Muralist Jewellery design Fashion photographer Video design and editing Portrait artist Packaging design Fashion commentator Layout design illustrator Video artist Custom wood design Jewellery designer Display artist Digital imaging Art supply consultant Hair design Package design Mould maker Photography Foundry artist Sign painter Cinematography Illustrator Advertising design Retouch artist photographer Animator Portrait photographer Textile design Colour consultant Special effects Commercial photographer Fashion designer Computer graphics Matte maker Cartoonist Fashion photographer Colour consultant Art director Photojournalist Interior designer Sign painter Video Editor Industrial photographer Marketing researcher Director Educational photographer Concept designer Applied Design Set design Medical photographer CD programmer Jeweller Costume design Weaver Digital effects Science and Museum Computer Applications Leather worker Curator Desktop publisher Metal worker Education Field artist Computer animator Cabinet designer Art teacher Display/Diorama artist Video game design Stained glass designer Visual media Photographer Computer graphics artist Furniture designer Art historian Cartographer Multi-media producer Appliance designer Art therapist Medical illustrator Educational software Package design University instructor Technical illustrator Graphics programmer Wood worker Artist-in-residence Marine illustrator Publicity artist Serigrapher Studio technician Web Design Educational materials http://www.tru.ca/arts/vpa.html .

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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
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Roberto Fino
{PROFILE} {PROFILE} {PROFILE{PROFILE}} Roberto Fino Roberto Fino {OUTLINE} ISSUE 1, 2014 9 {PROFILE} Roberto Fino Italian born Roberto has a long background working in illustration and animation in across an international environment. This experienced artist shares his experience, the importance of mentorship and the beauty he finds in creating animation Outline: You have an incredible background with some the best studios in Soho. I was lucky enough to work for varied and great projects behind you. Could you share with Hibbert & Ralph, Passion Pictures, Pizzas Animation, but us some of these key projects over the years, across most of all for Klacto Animation founded by Oscar Grillo. illustration, direction, layout designing etc? Once I moved to Melbourne I started working for the TV series “The Silver Brumby” as Head of Layout Dept. and Roberto: I guess, probably the most important turning eventually I was the Art Director for the TV Animated point in my professional career, has been London. I moved series “Ocean Girl”. It was an important step because as there from Milano in the early 90’s. At the time I was Art Director you become responsible for the work of a working as Advertising Illustrator in Italy, a very soul-less team and not only yourself. In early 2000 I moved back to industry; very good money, but little creativity. London Milano to work on a couple of Animated Feature Films gave me an opening into a different world. I wasn’t trained (Johan Padan and the Discovery of the Americas, as animator so I used my Illustrative skills to work as Opopomoz) as Head of Background Dept, but finally settled Background Artist in Animation.
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Looking Back at the Creative Process
IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains.
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TAG21 Mag Q1 Web2.Pdf
IATSE LOCAL 839 MAGAZINE SPRING 2021 ISSUE NO. 13 THE ANIMATION GUILD QUARTERLY GIMMIE SHELTER: CREATING CAPTIVATING SPACES IN ANIMATION GIMME SHELTER SPRING 2021 CREATING CAPTIVATING SPACES IN ANIMATION FOR YOUR CONSIDERATION BEST ANIMATED FEATURE GLEN KEANE, GENNIE RIM, p.g.a., PEILIN CHOU, p.g.a. GOLDEN GLOBE ® NOMINEE BEST ANIMATED FEATURE “ONE OF THE MOST GORGEOUS ANIMATED FILMS EVER MADE.” “UNLIKE ANYTHING AUDIENCES HAVE SEEN BEFORE.” “★★★★ VIBRANT AND HEARTFELT.” FROM OSCAR®WINNING FILMMAKER AND ANIMATOR GLEN KEANE FILM.NETFLIXAWARDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 NETFLIX: OVER THE MOON PUB DATE: 02/25/21 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 13 CONTENTS 46 11 AFTER HOURS 18 THE LOCAL FRAME X FRAME Jeremy Spears’ passion TAG committees’ FEATURES for woodworking collective power 22 GIMME SHELTER 4 FROM THE 14 THE CLIMB 20 DIALOGUE After a year of sheltering at home, we’re PRESIDENT Elizabeth Ito’s Looking back on persistent journey the Annie Awards all eager to spend time elsewhere. Why not use your imagination to escape into 7 EDITOR’S an animation home? From Kim Possible’s NOTE 16 FRAME X FRAME 44 TRIBUTE midcentury ambience to Kung Fu Panda’s Bob Scott’s pursuit of Honoring those regal mood, these abodes show that some the perfect comic strip who have passed of animation’s finest are also talented 9 ART & CRAFT architects and interior designers too. The quiet painting of Grace “Grey” Chen 46 SHORT STORY Taylor Meacham’s 30 RAYA OF LIGHT To: Gerard As production on Raya and the Last Dragon evolved, so did the movie’s themes of trust and distrust.
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Ad Litteram Film Folklore and Urban Legends
FILM • FOLKLORE KOVEN rom Alien to When a Stranger Calls, many fi lms are based on folklore or employ an element of urban legend to propel the narrative. But once folklore aspects within such F fi lms have been identifi ed, do they warrant further scrutiny? In Film, Folklore, and Urban Legends, Mikel J. Koven explores the convergence of folklore with popular cinema FILM, studies, bringing attention to the signifi cance of these intertwined modes of storytelling. Going well beyond the identifi cation of traditional motifs in popular cinema, Koven reveals FILM, FOLKLORE, FILM, FOLKLORE, new paradigms of fi lm analysis that expand through the lens of folklore. In particular, this book focuses on the study of urban legends and how they inspired numerous fi lms. FOLKLORE, This book begins with a general survey of existing literature on folklore and fi lm, predominantly from the perspective of folklore studies. Subsequent chapters address discourses of belief, how urban legends provide the organizing principle of some fi lms, and how certain fi lms “act out” or perform a legend. Movies discussed include Alligator, Candyman, The Curve, URBAN Dead Man on Campus, I Know What You Did Last Summer, Urban Legend, Weekend at AND Bernie’s, and The Wicker Man, as well as zombie fi lms, killer-bee movies, and slasher fi lms, including Black Christmas, The Burning, Halloween, and Terror Train. Koven also devotes attention to such key television shows as The X-Files and Most Haunted. LEGENDS AND In his analysis, Koven explains not only how fi lm and television narratives are built upon preexisting popular culture beliefs but also how those beliefs are recycled back into popular culture.
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October 18, 2019 Animation & Disneyana Auction 116
Animation & Disneyana Auction OCTOBER 18, 2019 Animation & Disneyana Auction 116 FRIDAY, OCTOBER 18, 2019 AT 11:00 AM PDT LIVE • MAIL • PHONE • FAX • INTERNET Place your bid over the Internet! PROFILES IN HISTORY will be providing Internet-based bidding to qualified bidders in real-time on the day of the auction. For more information visit us @ www.profilesinhistory.com AUCTION LOCATION (PREVIEWS BY APPOINTMENT ONLY) PROFILES IN HISTORY, 26662 AGOURA ROAD, CALABASAS, CA 91302 caLL: 310-859-7701 FAX: 310-859-3842 “CONDITIONS OF SALE” credit to Buyer’s credit or debit card account will be issued under any sole expense not later than seven (7) calendar days from the invoice circumstances. The last sentence constitutes Profiles’ “official policy” date. If all or any property has not been so removed within that time, AGREEMENT BETWEEN PROFILES IN HISTORY AND regarding returns, refunds, and exchanges where credit or debit cards in addition to any other remedies available to Profiles all of which are BIDDER. BY EITHER REGISTERING TO BID OR PLACING A are used. For payment other than by cash, delivery will not be made reserved, a handling charge of one percent (1%) of the Purchase Price BID, THE BIDDER ACCEPTS THESE CONDITIONS OF SALE unless and until full payment has been actually received by Profiles, per month will be assessed and payable to Profiles by Buyer, with AND ENTERS INTO A LEGALLY, BINDING, ENFORCEABLE i.e., check has fully cleared or credit or debit card funds fully obtained. a minimum of five percent (5%) assessed and payable to Profiles by AGREEMENT WITH PROFILES IN HISTORY.
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School Catalog
School Catalog 2019 (January 1, 2019 to December 31, 2019) This institution is a private institution approved to operate by the California Bureau for Private Postsecondary Education. Approval to operate means the institution is compliant with the minimum standards contained in the California Private Postsecondary Education Act of 2009 (as amended) and Division 7.5 of Title 5 of the California Code of Regulations. A printed copy of this catalog shall be made available upon request Studio Arts – 570 West Avenue 26 – Suite 425 – Los Angeles, California 90065 TABLE OF CONTENTS GENERAL INFORMATION About Studio Arts ................................................................................................................................... 4 History ...................................................................................................................................................... 4 Mission Statement ................................................................................................................................ 4, 5 Location, Facilities, Licenses and Approvals ............................................................................................. 5 License & Approvals .............................................................................................................................. 6 Registration Requirements......................................................................................................................... 6 Registration, Tuition and Fees, Fee Payment Schedules ............................................................................
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THE WORLD of IMAGIMATION: a Hundred Years of Animation Art from Around the World
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Animation 60 Bidder Number:______Please Print All Information Business Phone:______Mr./Mrs./Ms.______Fax: ______
Animation Auction 60 December 20, 2013 Animation Auction 60 AUCTION FRIDAY DECEMBER 20, 2013 11:00 AM PST LIVE • MAIL • PHONE • FAX • INTERNET PLACE YOUR BID OVER THE INTERNET! PROFILES IN HISTORY WILL BE PROVIDING INTERNET-BASED BIDDING TO QUALIFIED BIDDERS IN REAL-TIME ON THE DAY OF THE AUCTION. FOR MORE INFORMATION, PLEASE VISIT US @ WWW.PROFILESINHISTORY.COM CATALOG PRICE PRESIDENT/CHIEF EXECUTIVE OFFICER $35.00 Joseph M. Maddalena AUCTION LOCATION ACQUISITIONS/CONSIGNMENT RELATIONS PROFILES IN HISTORY Brian R. Chanes 26901 AGOURA ROAD, SUITE 150 CALABASAS, CA 91301 CREATIVE DIRECTOR Lou Bustamante AUCTION PREVIEW AT VAN EATON GALLERIES OFFICE MANagER AppOINTMENT ONLY Suzanne Sues VAN EATON GALLERIES 13613 VENTURA BOULEVARD EDITOR SHERMAN OAKS, CA 91423 Joe Moe TELEphONE AUCTION ASSOCIATE 1-310-859-7701 Rick Grande FAX ARCHIVE SPECIALIST 1-310-859-3842 Raymond Janis E-MAIL ADDRESS AUCTION ASSOCIATE [email protected] Kayla Sues WEBSITE PHOTOGRAPHY ASSOCIATE WWW.PROFILESINHISTORY.COM Charlie Nunn SOCIAL MEDIA SPECIALIST Julie Gauvin LAYOUT EDITOR Edward Urrutia Find us on @ www.facebook.com/ProfilesInHistory Find us on @ twitter.com/pihauctions Dear Collector: Welcome to our Winter 2013 Animation Auction! We are pleased to present this offering of over 500 unique lots of amazing art. Working in partnership with Van Eaton Galleries, we have assembled some of the most impor- tant animation artwork ever created by Walt Disney, Walter Lantz, Hanna-Barbera, Warner Bros., Charles Schulz, and many others. You will undoubtedly find your favorite characters among this collection. Here are a few of the highlights: • Original production cels and matching background from Famous Studios’ Boo Moon.
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2014 HOLIDAY PARTY the Annual Guild Holiday Party Took Place Friday, January 3Rd at the Autry National Center
ANIMATION GUILD AND AFFILIATED ELECTRONIC AND GRAPHIC ARTS Los Angeles, California, January 2014 Vol. 43, No. 01 2014 HOLIDAY PARTY The annual guild Holiday Party took place Friday, January 3rd at the Autry National Center. This was the fourth year the Autry was home for the event, and the reasons remain evident. The museum off ers abundant space for the party goers, as well as plenty of free parking in lots shared with the Los Angeles Zoo. By 8:00 pm, the foyer and both fl oors of the venue were fi lled with this year’s attendees. Without selling tickets, its diffi cult to say exactly how many people attended. However, these few pictures show there were enough to fi ll the halls and both fl oors. Arriving guests were greeted at the front by Executive Board members handing out the 2014 Animation Guild calendars, and fl iers annoucing the upcoming Craft Meetings (see Craft Meetings - Coming Soon on page 11). Milling about found guests chatting among themselves or enjoying the art installations. Many thanks again to Sergeant-At-Arms KAREN CARNEGIE JOHNSON who leads the Holiday Party Committee. By all accounts, another successful event! (see 2014 HOLIDAY PARTY, page 3) IN THIS ISSUE: 2014 Holiday Party ..................................................................................................1 From the Business Representative: Continuing Updrafts................................4 Dues Increases Over The Next Four Years ........................................................6 Email List Subscribers At All Time High ..............................................................7
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47Th Program Book
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