Hello WIA Members!
Friday, September 27, 2013
Intern Fridays: Interview with Visual Development Artist Tsebahat Fiseha
This is the first in our series of interviews with former Interns at animation, film, and video game studios. Today we bring you Tsebahat Fiseha, a former Cartoon Network Intern. Enjoy and stay tuned to future Intern Friday Interviews!
What is your current job title and where do you work?
I am a Production
Assistant at Moonscoop LLC, which is a Television Animation Studio. Currently, we are working
on the second season of Lalaloopsy for Nickelodeon.
What does your job entail?
Since I am a production
assistant for the storyboard dept., I am basically assisting the Production
Coordinator with conforming and storyboard mark up. Conforming entails scene
numbering, page numbering, camera cuts, and making sure the storyboard matched
the animatic panel by panel. Storyboard mark up entails calling each character,
location, and prop out-basically labeling with a call-out number. Each one of
those items have a specific number that match the image, so that animators
overseas are aware of which character, location, and prop to use and animate
for whatever scene they are given.
What inspired you to become an artist in the first
place?
Since my parents were
artists and very handy, I was intrigued and wanted to become independent and
learn how to make things, which is where the passion for fashion came about.
My father was an oil
painter and my mother was more of a fashion designer/ carpenter. My father
would make his own canvases and together they were able to make furniture for
our home. I loved drawing, but cartooning was what I wanted to do. At the time,
I felt like my style of drawing characters was way more exaggerated than fine
animation. However, I wanted to perfect my skills and become more of a fine artist.
Both of my parents were my inspiration.
Where did you study?
I attended Woodbury
University and majored in Animation Arts, which covered 3D/2D basics, and
received a B.F.A.. Three years after graduating from Woodbury, I went back to
school and earned an M.F.A. in Visual Development.
Why did you choose the studio to apply for the
internship?
I never applied to
Moonscoop as an intern. I just applied for the job itself. I applied to Cartoon
Network Studios back in 2005 because I needed school credit. It was the only
studio that called me back. I’m glad they did. I honestly had the time of
my life. It was the best
experience ever.
What did you submit for your portfolio and how did you
prepare for the submission?
When I was applying for
the internship at Cartoon Network, I showed my best paintings and character
designs. And I rehearsed explaining each one beforehand. As always, put your
best work only and put it in the beginning and of course smile.
What do you believe separated you from others who were
also applying for the internship?
Well, I have to say, I was
eager, excited, and hungry ….starving to show my portfolio. The thing is that
you are dealing with HR first and must impress them first before meeting with a
producer. I took my time with the
HR personnel.
What was the interview process like for the
internship?
The interview process was
intense. I actually thought I blew it. There was a mini interview
on campus. The second interview was at the Cartoon Network Studio. A
few days later, the third interview was with the producer of a show.
What department did you intern in and what specific
tasks did you accomplish as an intern?
I was a Visual Development
intern for Camp Lazlo. I had to create an idea for a TV show and design
characters, backgrounds, props, and storyboard an entire episode and lastly,
pitch the idea to the studio. Fifty people showed up to my pitch. I basically
had 12 weeks to prepare for my pitch.
How did the internship prepare you for your current
career?
I think my internship at
Cartoon Network Studios prepared me more for Grad School in terms of what I
wanted to major in , hence, the experience I I had at my internship prepared me
socially for my current career in terms of dealing with people of different
personalities and how to carry myself at work. You live and you learn!
What is your opinion on paid versus unpaid
internships?
Paid internships are
obviously more desirable, however not always easy to get. It’s the unpaid internship that you end
up appreciating more than the paid internship.
What advice do you have for aspiring artists who want
to intern at a studio?
You’re fellow classmates
and artist friends are you’re best network. Stay in touch. On the side when
possible, contact studios and ask about their internship program (paid or
unpaid) for students. Never ask if it’s paid. Let them tell you. Show your best
work. Get a teacher or chairperson to look through your portfolio. Then, apply.
What I would like to say
to aspiring artists after they receive the opportunity is be prepared to work
hard, leave a long-lasting positive impression because producers, artists, and
executives will NOT remember you if you don’t. Also, be prepared to wear many
hats and learn as much as you can. Plus, talking to other artists at the studio
maybe fun and amazing, but remember they are busy and it’s never good to linger
around their office.
Thank you Tsebahat for the interview! For more info on Women in Animation San Francisco visit our Facebook Page at:
and Twitter at:
Sunday, September 22, 2013
Andreas Deja and Carol Kieffer Police Wow the Crowd at the Walt Disney Family Museum
Saturday Sept. 21st members of Women in Animation San Francisco had the great pleasure of meeting and hearing animation legends Carol Kieffer Police and Andreas Deja discuss their careers and work on Bambi II at the Walt Disney Family Museum. The pair in front of a sold out audience in the Disney Theater first discussed how they came to excel in their respective careers.
Ms. Police's career spans the gamut from feature films to television, including animating on The Lord of the Rings, and serving as a layout artist for Ducktales: The Movie, Home on the Range, and art director for Tinker Bell, Bambi II, and as a location development artist for Shrek.
 | |||
| From left to right top: Sarah Fenton, Carol Kieffer Police, Andreas Deja, Angela Entzminger, and Diana Martinez. Bottom left to right: Kristen Sanzari, Samia Khalaf, Jasmine Truong, and Marji Fortin. |
A native of Germany, Mr. Deja dreamed of working on Walt Disney animated features, and took his first life drawing course at the impressionable age of 16. Although he earned a degree in graphic design, he longed for the world of animation. Since their were few formal classes he could take, he resorted to creating assignments for himself, such as animating walk cycles for various types of people, big and small, and animating horses. His persistence paid off and in August 1980 he became a member of the Disney Training Program led by animator Eric Larson.
Stateside, Ms. Police dreamed of becoming a renowned fashion illustrator in New York City. Her mother, president of the National Watercolor Society and an accomplished painter and illustrator in her own right, created the catalyst that led to Ms. Police's determination to excel in her field. She attended Art Center College of Design and the week before graduation, was hired by Ralph Bakeshi to work on the animated The Lord of the Rings. "You can do all the pretty stuff in the movie, " Backshi said upon seeing her illustrative work. Afterwards, she received a call from legendary animator Richard Williams. "I'll hire you for one hundred dollars a day and teach you what I know," said Williams. For the next three years, she worked with both Williams and animator Art Babbitt, gleaning a wealth of experience in the world of animation.
As the crowd of students, professionals and animation fans listened in awe, Ms. Police and Mr. Deja chronicled the ups and downs of their careers. Above all, Ms. Police urged students to "...not be afraid of being afraid. Fear is the great motivator." "Just do it," she said. "You guys will be great. Use your brain. Draw, draw, draw."
Along with discussing their careers, the pair also discussed the art of Tyrus Wong, now on display at the Museum through the fall. They analyzed Mr. Wong's lyrical style in his paintings, his sense of line and motion, as well as the shape detail of his backgrounds and characters. Influenced by the Chinese Sung Dynasty, it was Mr. Wong's unique style using gouache studies that led the Disney studio to hire him as a background artist on Bambi. "Bambi is one of those films where one artist was able to put their stamp on the film. That doesn't happen that often," remarked Mr. Deja on Mr. Wong's artistic sensibility.
Mr. Deja entertained the crowd with stories he heard firsthand from luminaries like Marc Davis, Ollie Johnston, Frank Thomas, and Milt Kahl, who all worked on the feature. As Mr. Deja explained, "Even they didn't know they could do this." This was the first time Disney feature films had ever crafted realistic looking creatures, even more so than in other films like Snow White and Bambi. Disney's excitement encouraged them, said Mr. Deja. These were not individuals who had studied deer for decades, these were artists in their 20s , figuring out new ways to draw.
Mr. Deja and Ms. Kieffer Police ended the session by answering questions about everything from where they felt 2D was heading in the future to more in depth discussions of Bambi. Mr. Deja even gave a demonstration on how to draw the famous faun in under 10 minutes.
Very Special thanks also to Walt Disney Family Museum Public Programs Coordinator Mary Beth Cullen as well as the numerous volunteers at the Museum and the staff at the California College of Arts who made the event possible.
Visit Mr. Deja's blog at http://andreasdeja.blogspot.com/
Visit Ms. Police's studio site at: http://www.madeinparadiseprod.com/
For more information on the Walt Disney Family Museum and their upcoming events, visit their website at www.waltdisney.org
For more information on Women in Animation San Francisco and to get updates on other animation related events in the Bay Area, check out our Facebook page:
https://www.facebook.com/wiasf
And Twitter:
@WIASanFrancisco
Subscribe to:
Posts (Atom)