  It's Thursday and time to talk tech like we really mean it. These days I get a lot of questions from young people wanting to enter the animation industry. From "Where can I take an animation class?" to "What's the best editing software or microphone to use?", kids everywhere are drawn (sorry for the pun) to the industry like bees to honey. In Southern California In California the top school for animation is Cal Arts / California Institute for the Arts located in Valencia, Southern California, Cal Arts offers wide arts education and has probably contributed the most animators and directors to the industry than any other single institution. Conceived by Walt Disney, and founded in the 1960's Cal Arts leads the way in comprehensive arts education across a wide variety of disciplines. https://calarts.edu/prospective In Northern California Located in Northern California, The California College of the Arts, formerly CCAC, located in Oakland, California, has a robust arts and design curriculum, and leads the way in both the fine arts and filmmaking. https://www.cca.edu/ The San Francisco Art Institute is also a fine institution, with a large focus on design and fashion. It's experimental film program is renown. http://www.sfai.edu/ Ex'pression College, located in Emeryville, CA, teaches a full curriculum for up to date education on digital animation and in particular, editing and post-production. http://www.expression.edu/about-us/contact-info-locations/ In both Northern and Southern California, great arts feeder programs flourish at LA City College, Pasadena City College, San Francisco City College and Berkeley City College. Young people who want to enter the animation field are confronted with a unique challenge. The advent of new and easy to use technologies is both a blessing and a curse. In too many cases, young people skip over the fundamental drawing skills coursework that form the base of a classical fine arts education. With easy to use software, they jump right into creating animation cycles, sometimes without an understanding of physiology, acting, emotional expression or the physics of gravity, depth and motion translation. This is the biggest single piece of advice that I have for young people entering the field today - don't skip this fundamental piece of the educational puzzle. The explosion of technological animation aids has created a situation where young people create walk cycle animations using software before they have developed their own artistic perspective. Where there is opportunity, there is also a technology trap. It's vital that young people have a solid education in the arts, drawing, figures, perspective, shading, acting, math, story-telling, music, all the things that go into a classical arts education, in addition, and ideally BEFORE using super refined and slick animation software cycles. Many students are really bummed out when they learn that their portfolio for an animation program absolutely has to contain hand rendered artwork. This can be a big shock. So today's Tech Talk Thursday post is a bit of a backwards arrow - pointing not to the latest and greatest in technology for animation, but backwards to the fundamental skills associated with great story telling - line, weight, depth, motion, music and word. Since once you enter the field and are working, you will spend the majority of your time working with computers, my advice to young people is to relish the messy arts education that comes before - unless you work in a story department, you're not going to see piles of paper, ink, charcoal hear the tinkering of the band, very often. Working in the industry can feel like descending into a computer render farm 24/7. Start with art, Start with art. How do I start - the answer is right in the question... START with stART! Below is an interview from: http://artschools.com/resources/ regarding what art programs look for in prospective students. Written by Written by Ward Allebach, ArtSchools.com 1. When selecting students for admission into your program, what factors are considered by your admissions staff? Every school has its own set of criteria for evaluating prospective students – but most of them look at the same things. So, the difference isn’t really what they consider, but how important they consider each factor. All of the leaders interviewed mentioned at least one of the following (and in some cases all four) as major considerations that successful candidates must not miss:
However, to illustrate the difference among the top art schools, consider the approach of California Institute of the Arts, where only one of the aforementioned criteria appears to be applied. Kenneth Young, Director of Admissions, said that “admission is based totally on talent. We need to see a portfolio of recent work. Test scores, GPA and class rank are not considered.” Ed Schoenberg, Vice President for Enrollment Management at the Otis College of Art and Design in California probably has the most memorable approach: “We look at the four P’s; Passion, Preparation, Portfolio, and Potential before making an admissions decision.” You can read more in this article, which Mr. Schoenberg contributed to ArtSchools.com. The Big Lesson: One size does not fit all. Find out early what’s important to the art school to which you apply. Then, make what’s important to them, important to you. 2. What do you look for in a prospective student’s portfolio?“ Your portfolio represents you to a college as a potential student and young artist,” wrote Kavin Buck, UCLA, Director of Recruitment & Outreach, School of the Arts and Architecture in an article which he contributed to ArtSchools.com. “Preparing your portfolio should be an exciting and thoughtful process that you engage in both in art classes in school and on your own at home.” Indeed, the portfolio was the most-often mentioned criteria for admission to the top art schools, listed as an important consideration in all interviews. So, exactly what are they looking for when they examine your portfolio? The most-often cited factors that make a great portfolio were:
…to the specific: Carmina Cianciulli, Assistant Dean for Admissions at Temple University’s Tyler School of Artsaid “We look for 15-20 pieces of original work executed within the last year, which must include strong examples of drawing from direct observation. We look for a variety of media and scale, sketchbooks, and good technical skills.” Again, there was some overlap in the responses, but each school has its own idea of what’s important to see in a prospective student’s portfolio. As Mr. Young (CIA) said: “Most art schools are VERY specific regarding what they want to see, and each school is different. If you are in doubt, call and ask.” It is advisable to read very carefully Mr. Buck’s article, titled on “How to Prepare your Portfolio for College Admissions”. Also, Ms. McKenzie’s response to this question about CCAC’s portfolio review was quite detailed and informative, so it is definitely worth a good, long look at her full interview transcript (click here). 3. What are you looking for in an interview with a prospective student? Some of the top schools we interviewed do not conduct interviews – two of our interviewees said they don’t; and at another two they aren’t required (although they’re recommended). The ones that do, though, want their students to be passionate about their art. Some of the most-often mentioned qualities that they’re looking for:
Carole Schaffer, Associate Dean at Parsons School of Design in New York said that she looks for “discipline, drive and seriousness about the hard-work involved in becoming a designer.” Katharine E. Willman, Dean of Admissions and Financial Aid / Registrar at the Cranbrook Academy of Art said: “The student should demonstrate powerful commitment to development as an artist; openness to new ideas and the intense critique environment of the Cranbrook program.” Mr. Lightfoot (RIT) appeared to agree that serious candidates for his program must be willing to explore new ideas: “Art often takes us in unpredictable directions; therefore having an open mind is also critical.” Clearly, the best art schools are looking for the very best students, and when you interview with them, you can’t hold back – you need to tell them with confidence that you’re the one they want, and show them in every way possible that you’re serious, committed and passionate about making your art into your career. 4. What three things can most likely DECREASE a student’s chances of getting accepted? In most cases, the answer was simply the opposite of the good qualities we’ve already discussed. However, it’s worth reiterating, and a few new factors were brought to light. Here are some of the things that are most certain to hurt your chances of admission:
Mr. Young (CIA) said that a student whose work “tells us nothing about the personality of the artist” may not be a good fit for their program, either. Craig Vogel, Associate Dean of the College of Fine Arts at Carnegie Mellon University said that the following are the worst things that an applying student can do: “Just send slides of your work. Not fully research the school before you apply. Bring too much work for a portfolio review. Fail to know enough about the field to tell someone in an interview why you feel this is the career for you.” 5. How selective are art schools in general? The real answer to this question was almost unanimous: It varies too greatly from one school to the next to answer, even among the best art schools in America. “There is no ‘in general,'” said Ms. Dignan (Michigan). “Schools vary greatly and look for different types of students.” Ms. Willman said (Cranbrook): “All reputable schools wish to be highly selective in order to have the very best students enroll. The reality, however, lies in the applicant pool in relation to the possible openings, and enrollment/recruitment policy of an institution. Where there is great administrative pressure for full enrollment, the ‘selectivity’ criteria can become soft. “In my opinion,” she concluded, “art schools are indeed fairly selective, and most wish they could be more so.” Lydia Thompson, Assistant Dean of Undergraduate Studies at Virginia Commonwealth University, School of the Arts added this:”On a scale from 1 to 10, we are about a 7, in terms of being above average regarding selectivity. However, what’s interesting is how a student with an average profile (SATS, GPA and skill level) can be highly successful if placed in a supportive and vibrant environment.” But, more often than not, it seems, with the number of applicants rising, and the number of positions available remaining relatively constant, selectivity is a necessity. Said Judith Aaron, Vice-President for Enrollment, Office of Admissions and Financial Aid at Pratt Institute in New York: “With an increase of 300 applications each year, acceptance rates have dropped each year for the last nine years.” 6. What advice can you provide to students who are trying to get accepted into America’s best art schools? Here’s where everyone reading this article should perk up and pay attention: This kind of advice, coming from these kinds of people should mean something! There were three important responses that came up again and again:
Ms. McKenzie (CCAC) suggested that serious candidates should “take as many high school art classes as possible, supplement these classes with summer art programs, community art programs, etc.” The practical advice, which might escape the excitement of being considered by a top art school, was offered byMr. Buck (UCLA): “Each school is unique. Visit the campuses and ask a lot of questions.” Ms. Cianciulli (Tyler) went as far as to suggest that students should “arrange to sit in on a freshman class. Take the school for a ‘test drive.'” Beverly Johnson, Coordinator of Student Services at Alfred University in New York, said that prospective students must “pay attention to admission criteria. Each institution may be looking for something just a little bit different.” Ms. Schaffer (Parsons) echoed this response: “Do not rely solely on high school guidance counselors or art teachers for advice. Read all college materials carefully and do research on the various art and design disciplines and the careers they lead to.” Ms. Aaron (Pratt) suggested that applicants “establish a relationship with an admissions counselor who can fight for you if necessary. Make sure the school knows it is your first choice.” And if you first do not succeed… she added: “Go somewhere else and apply again as a transfer student, but make sure the school accepts transfer students in the major you want first. Many schools have very small transfer classes and some majors are not open to transfers at all.” 7. What percentage of applicants do you accept? Again, the responses varied greatly, as you’d expect from school to school. The low percentage was 7% or 8%, and the high was 75% – but most responses were qualified as varying greatly from year to year and from discipline to discipline – some were even contingent upon passing a “pre-screening.” Here’s the full run-down:
8. Explain the differences between being accepted into your graduate vs. undergraduate program. Ms. Dane (SAIC): “There are more differences than similarities,” said Ms. Dane (SAIC). “…The portfolio requirements for the MFA in Studio are very different. MFA applicants must demonstrate technical skills in the area (department) to which they are applying, and they must also present a cohesive, focused body of work that evidences strong conceptual investigation. (Another) major difference is that the staff members of the Admissions Office are not voting members of the review committee for the graduate programs. Only the full-time faculty teaching in the areas of study make decisions on interviewing or admitting candidates.” Ms. Aaron (Pratt): “The requirements for admission are similar in terms of the documents submitted; the standards for the fine arts master’s are obviously much higher since it is expected that the student has had four years of undergraduate preparation in art. Some of our graduate programs are open to career changers and look for strong academic ability and evidence of potential rather than outright evidence of skill. These programs (communications design, industrial design, interior design) offer developmental courses for students who are not yet ready for the graduate level program. These programs are ideal for the student who comes to the realization later in life that he/she wants to work in these fields.” Ms. Schaffer (Parsons): “Graduate programs and Parsons are not replications of the undergraduate subjects. The admissions review process is handled directly by the departments (as opposed to the Admissions office). Applicants to graduate programs should become very familiar with the particular programs and focus their applications on addressing how they fit that program.” Ms. Johnson (Alfred): “The application process is quite similar in that both levels require a 20 pc. portfolio. Undergraduate applicants undergo a two-part process. Portfolios are reviewed by a committee made up of Art & Design faculty from a variety of mediums. Academic credentials (grades, SAT’s, etc.) are reviewed by the Alfred University Admissions office.” 9. Do you have ANY other helpful comments, advice and/or statistics that prospective art students can use? Here are a few closing words of wisdom: Ms. Cianciulli (Tyler): “In the year 2001, there will be more than a quarter of a million jobs available for visual artists. It’s important to remember that everything that is made by hand or manufactured by machine has to be touched at some point by the hand or the mind of an artist. Do what you love, and the money will follow. The Bureau of Labor Statistics has a very interesting website that confirms this.” Mr. Young (CIA): “Many of the applicants we turn down contact us to find out why. For some of them we are the wrong school and they need to look somewhere else. But many of them find out why they got denied and what to do about it. Usually more life drawing. For these applicants, who reapply the following year after working on making a stronger portfolio, 90% get accepted.” Ms. Willman (Cranbrook): “At least half of the students in our MFA program aspire to teach at the college level. This is a highly competitive field, and your diversity will become important. Look ahead to various directions your art career may take. If you think you may be teaching, be sure to have a solid background in art history, color theory, and humanities. Keep aware of the explosion in technical media and be open to using such tools if they interest you. If it is possible to extend your practice to gallery or museum environments, or in industry, take classes that will help you be more marketable there. For example, curatorial studies, marketing, art criticism, critical writing, and education courses may be helpful. Be sure you can handle public speaking. Make time to make work – be prolific. Always remember the old adage that the well-formed question is more important than the well-formed answer.” Ms. Dane (SAIC): “Use the application process as a way to better understand who you are as an artist and to locate the school that best suits your educational needs. This process allows you to better discover your artistic interests, inspirations and educational and career expectations. It also allows you to locate areas that you might need to work on prior to admission to that particular school. Be open to criticism during this time period.” Ms. Thompson (Virginia): “Research your high school art curriculum to build your skills. Participate in summer art programs. If your school does not teach figure drawing, enroll in art class at your local community college. Attend National Portfolio Days to get feedback regarding the quality of your portfolio. Ms. Johnson (Alfred): “Ask how selective the school is in accepting applicants. What percentage of students are placed in jobs, graduate schools following graduation? Is there assistance with such placement? What are the credentials/reputations of faculty teaching studio courses?” Ms. Aaron (Pratt): “The most important advice is to visit the schools in which you are interested and try to find the one that feels right to you. Sit in on classes; talk to students; talk to the admissions counselor; visit the website and talk to students.” Wrap-up As you can see, there’s a lot of work to be done if you’re aiming to be admitted to one of America’s top art schools. Hopefully, this article will help you gain the confidence to take the necessary steps to make it into one of these schools, or any of the other top art schools. Remember the biggest lesson, though: Every school is different. Mr. Young’s comment backs this up: “A school can be great for one student and terrible for another. If you can’t visit before you apply, you must visit before making a decision to attend. The personality of the school is very, VERY important. Talk with the students. Ask them if they are happy or if they wished they had gone somewhere else.” Although this article may provide a good framework for doing the right things, you have to do most of the leg-work yourself. Call the schools you want to get into; ask them some of these same important questions, and pay close attention to the answers. Then, work hard and believe in yourself. You can do it! Full Responses from Interviews with Top Art School LeadersFor this article, we interviewed admissions leaders and academic leaders from what many consider to be some of the top art schools in America. For a full transcript of their responses to our questions, click on the individuals below:
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