SchoolArts Magazine

MAR 2013

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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nOw OFFering accredited degreeS in art educatiOn enrOll nOw •  Earn your AA, BA, BFA, MA, MFA  or M.arch accredited Degree •  Engage in Continuing Art Education Courses •  Explore Pre-College Art Experience Programs •  Experience Teacher Grant Scholarships Study Online Or in San FranciScO acting* advertising animation & Visual effects architecture art education art History Fashion Fine art game Design graphic Design illustration industrial Design interior architecture & Design Jewelry & Metal arts* landscape architecture Motion Pictures & television Multimedia communications Music Production & Sound Design for Visual Media Photography Visual Development* web Design & New Media 800.544.2787 (u.S. Only) or 415.274.2200 79 New MoNtgoMery Street SaN FraNciSco, caliForNia 94105 Accredited member WASC, NASAD, CIDA (BFA-IAD, MFA-IAD), NAAB (M.ARCH) *Acting, Jewelry & Metal Arts and Visual Development degree programs are not available online. Visit to learn about total costs, median student loan debt, potential occupations and other information. JM: I'd tell them not to be afraid to get specific about exactly what kind of art they want to make. There A can be the temptation to try to keep your options open by staying general about your preferences, but you can only progress in the field if you Continued from page 14. know the direction in which you want to go. The best way to find this out is by really paying attention to yourself and the things that capture your interest. My career has sometimes been incredibly satisfying and sometimes absolutely terrifying, but I've never spent a minute of my life second-guessing myself or regretting any move I've ever made. I know I'm doing what I was meant to do. ART IN THE WORLD OF WORK Jim McNeill, Illustrator and Animator For an animation project, the workday varies depending on the part of the process I'm dealing with at the time. The day may include reading reference material, going to the library and trying to find reference material, and scribbling quick sketches. Once a workable script is available, I record a quick "scratch track" of the dialog. This is used as a time reference for the animation. I import the recording into Adobe Flash and start work on the storyboard, the shot-by-shot "comic strip" version of the story. Depending on the scene, this can take weeks to get together and months to animate. It usually takes four to six weeks to complete one minute of animation. Sharon Warwick rtist Jim McNeill is an internationally-known illustrator and animator. Currently living in Arizona, Jim is best known for his work on Crystal Productions' Dropping In On... video and book series starring Puffer the puffin. Sharon Warwick recently interviewed Jim about his career. Sharon Warwick: How would you describe your responsibilities, working day, and work environment? Jim McNeill: I freelance in what are essentially two different fields, so my workday can vary greatly depending on the project I'm working on at the time. I do all of my work at home on my own computer. For an illustration assignment, the day will start with an e-mail from an art director, indicating the description of the image needed, the price, and the deadline. Once I've got initial approval of a thumbnail sketch and a good idea of where I'm going with the overall layout, I'll scan the thumbnail into the computer, scale it up, and draw over it in Adobe Illustrator using a tablet with a pressure-sensitive pen. If everything looks okay to the client, I e-mail the final file to them. 14 March 2013 SW: How did you prepare yourself for this position educationally? JM: I went to the School of Visual Arts in New York, New York, and majored in Illustration. This was back in the dark ages before computers! I spent four years learning how to paint in oil before graduating in 1990 with a Bachelor of Fine Arts degree. Five years later, the computer had completely taken over the commercial art world! It was a happy change for me. I was doing paste-up work (back in the days when people really used paste!) for a small parenting newspaper at the time they got their first computer and I taught myself how to use the page layout program. I soon bought my own computer and started creating my illustration work exclusively on the computer. SW: Who are your influences? JM: I've had a million of them along the way! The biggest influence on me becoming a commercial artist was my high-school music teacher. He gave me a great example of how to approach a creative pursuit as a career. The art that inspired me to make illustration and animation a career were the great "Looney Tunes" shorts from Warner Brothers; comic book artists like Mort Drucker, Bill Elder, and Wally Wood; and great illustrators like John Berkey, Al Hirschfeld, and Frank Frazetta. Another huge influence was Bob Dunn, a cartoonist who used to do a syndicated comic called They'll Do It Every Time with Al Scaduto. His wife played bridge with my grandmother, and we struck up a correspondence, sending illustrated letters back and forth. SW: What advice would you like to pass on to young people who are interested in pursuing a career in some aspect of the visual arts? Continued on page X. SchoolArts Sharon Warwick is an art teacher at Winfree Academy in Denton, Texas. Web 58 March 2013 SchoolArts Link

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