The Creative Talent Network (CTN) hosts a dedicated Expo for Animation Talent on Nov 15-17. Located in the #1 market, Burbank California, this event fills a substantial void by providing highly focused conference programming, workshops, presentations and networking opportunities designed to connect animation artists, studio executives and industry leaders both locally and internationally.
We are pleased to be sponsoring and participating at this year's CTN Animation Expo!
Renee Busse, our own resident animator and SketchBook community manager will be onsite! Come visit her at the Wacom booth to learn more about SketchBook Pro or our upcoming user event at CAVE Conference.
For more information about CTN, visit www.ctnanimationexpo.com
CALLING ARTISTS & DESIGNERS...
We are collecting artwork created in Autodesk software for exhibition at CAVE Conference 2013 in Las Vegas. This is a chance to showcase your artistic creation to hundreds of spectators!
The collection will be exhibited and presented live at the event via projection, as printed material, and selections will also be featured on the CAVE Conference website.
The collection will be curated by the CAVE organizers (including Chris Cheung, Renee Busse) and guest artist Susan Murtaugh. Selections will be made by November 3, so submit your artwork by November 1!
**This is not a contest and no prizes are awarded for selected participants**
Participants can submit to one of the following two categories:
1) SHOW OFF YOUR BEST PIECE
Submit your best original artwork or rendering created in your favorite Autodesk software, such as SketchBook Pro, Maya, 3ds Max, or Alias.
2) CAVE THEME: "Explore. Imagination."
Use your imagination to sketch an original concept that answers one of these questions... "What is the CAVE?", "What lives inside of it?", "What kind of outfit must you wear to enter?", "What type of gear or equipment do you need to survive it?"
HOW TO PARTICIPATE
- Pick a category from the list above
- Submissions MUST primarily be created with Autodesk product(s)
- Submission Deadline: November 3, 2013 (end-of-day)
- Submissions MUST be e-mailed to this ADDRESS
- Submission Requirements
- Minimum Pixel Dimension: 1500 pixels on any side, of any aspect ratio
- File size: please do not exceed 3 MB (JPEG or PNG preferred)
- Submissions MUST include a digitally completed & signed CONSENT FORM.
CLICK to download PDF.
- The collection is aiming to highlight beautiful, imaginative creations, so we'll be selecting pieces by artists that are visually interesting, well executed, and fit into the "Explore. Imagination." theme.
- Artists with pieces that are selected for the collection will be notified by email November 7, 2013.
Wacom and DODOcase are hosting drink + draw +jaw for anyone needing to shake loose that next big idea.
Doodle, draw and dream with the pressure-sensitive Intuos Creative Stylus for iPad and Cintiq Companion. Raise a pint with old friends and meet some new people with great ideas of their own.
For those who need food to kick start the creative process, we have you covered. Bring yourself or even better bring a few friends! You'll even get to draw with Renée Busse from the SketchBook team.
In collaboration with:
drink + draw + jaw
Wednesday, October 23rd
DODOcase 5:00 - 8:00PM
Industrial design, or ID, is a terrific profession with an extremely bad name. It really tells you nothing about what we do. Typically, when I begin explaining to someone what ID is, most ask, “What, do you design industry?” One of my clients, Augie Picozza has a much better name. He feels that we should be referred to as “Product Architects”. Everyone knows what a product is, and everyone knows what an architect does.
In a nutshell, industrial design is product design, product development and product styling. We carry the product from an idea through the development process and ultimately to the shelf. Sometimes the seed for the idea comes from us, other times it's provided by a client. Our responsibilities vary greatly depending on the product, industry and end consumer. We work on research, concept development, styling, colors, materials, textures, form development, CAD and even manufacturing sourcing and management. We are problem solvers, jugglers, sales people, managers and artists rolled into one.
As industrial designers, the biggest difference from “just making art” is the medium. As an artist, your medium is right in front of you. Be it pen, pencil, paper mache, paint or sculpture, you work directly in the medium that the end consumer will receive. In contrast, the medium for ID is mass production. In most cases, this medium means big business and big dollars.
If I am working on a project, and complete concepts in Sketchbook Pro, the end consumer will more than likely never see that artwork (maybe in some marketing material at best). They will buy the product that they like, fills a need, completes a job, makes their life easier/better or they think is out right cool. To manufacture this product requires complex techniques, assembly systems and delivery methods on a large scale.
“Design Thinking” is a new trend in the business now. It is something completely natural for ID people, but foreign to the other members of the typical development team (marketing, sales, engineering, quality assurance and so on). “Design Thinking” is forged in design/art school. Participating in critiques is how we hone this skill. You put designs and artwork on the wall and present them to a team of peers. Through this process, you learn how to take criticism and defend ideas that have merit. Most importantly, you learn how to let ideas go when shown a different perspective on why it is bad. This experience alters how you generate ideas, present ideas and think about a project. We approach a challenge with a completely different mindset than traditionally trained business people.
I am a believer that industrial designers should be comfortable sketching in pen on paper. Not only is it a great tool that forces commitment to what you are drawing, it is a powerful psychological tool in a business situation. In a meeting you quickly throw down a sketch, using a permanent tool that others in the meeting use to sign contracts. The magic you wield sketching is made more magical by using pen. The only way to master it is to draw with it all the time.
Having said that, as of late I use Sketchbook Pro and my Wacom more and more to kick off projects. It really is digital paper (with layers) combined with all the traditional sketch tools and no mess. I find that starting with this program makes me faster on each additional refinement sketch phase I complete. Building on the last sketch phase is a very natural and effortless step with a little layer planning and management.
Sometimes it is very nice to start off loose with shape and geometry exploration. If you have seen my video sketches, you have seen perspective guidelines that I throw down as I work. As much as I enjoy starting this way, sometimes ID work is very parameter driven. If proportions or a specific size/component is required, I often use a CAD screen shot as an underlay. It is efficient and insures my sketch is the right proportions and tells an accurate scale story.
This past spring marked twenty years in the profession for me. I consider myself extremely lucky to have found this career. In addition, I am a believer in giving back to design education. As working professionals, we owe this great profession to give back and make the next generation of artists and designers even better.
Jeff Smith is a SketchBook user and Design Director/Principal at a consulting firm, Reflex Design, Inc.