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| Shelley Page Key Talent Liaison at Locksmith Animation |
What is Shelley Page's key advice for students just starting out? "Be flexible" and - if you find a junior position - "take it!".
How To Break Into The Animation Industry
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| Shelley Page from Locksmith Animation |
Industry Change
Shelley Page explained that the industry is going through a lot of change, and no-one knows what is going to happen, as "no-one has a crystal ball". But change has happened before, for example when Studios switched from 2D to 3D animation in the early 2000s, and "the sky didn't fall". Now that the internet has opened up new ways of working, things are changing again. People are working from home, but even now, "nothing replaces meeting people in person". Artists need to get out and meet each other, as it's "hard to do this online".
Grab Opportunities
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| Shelley began her career at Richard Williams Animation |
Linkedin
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| Animators "must be on Linkedin" |
Background Art and Concept Art
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| Concept art: Tone, Colour and Lighting |
Production Designer and Art Director
On a movie, the Production Designer "creates the world", and the Art Director "implements it day to day". Then other artists in the Art Dept "do a bit of everything". Production designers and background artists should also "learn to work in 3D", as this can help a lot. "Learn Blender"; 3D skills are very important nowadays. Learn the craft of painting; understand tone, colour and lighting.
Be Reliable
You must also learn to hit deadlines, being reliable is one of the most important skills in this industry. It is no use being a genius if you can't make the deadline.
Storyboarding
The industry is always looking for good storyboard artists. Too few graduates specialise in this important skill. Good board artists must "learn to take feedback from the director". Board artists tend to start out as board revisionists; typically a director will make some changes to a storyboard, and the junior board artists get brought in to make the changes. Good board artists draw well and clearly, and must always draw "faces and expressions". For a story reel, Shelley wants to "see the flow of the work", ideally with "characters interacting".
The Future of The Industry
The future is always uncertain, "no-one has a crystal ball". So you must take opportunities where you find them.
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