M.S.: No one tells students this stuff.

R.L.: Nobody ever tells them this in school. However, at the World Animation Celebration, we organized numerous events, one of which was the following: we had all the major studios come in and give their 90-minute recruitment spiel. We had Jay Francis from Film Roman, who was up there speaking, “Okay, this is Film Roman and this is what we do. And if you want to get a gig at Film Roman this is what you need to send me; A, B, C, D and E. Do not send me the following list A, B, C, D and E.” Then we had Frank Gladstone from DreamWorks, who gets up and says, “Hey, I’m Frank from DreamWorks. I want to see A, B, C, D and E.”

We put this together, because as an industry why should we make it such a mythological search, to try to figure out what Disney wants, or try to figure out what Warner Bros. wants, or Klasky Csupo wants, etc. Let’s just tell them, because, as recruiters, it just makes our life harder if people are sending us stuff in a confused state. I want them to know that at Klasky Csupo this is what I want to see and this is what I don’t want to see. Send THIS to me and it will help your portfolio move through the system here, which, in the end, will get you seen by producers and directors and get you a job here.

M.S.: Give us your “dos and don’ts.”

R.L.: For Klasky Csupo, do put in life drawings. That should always be the very first thing in your portfolio, if you are a beginner. If you have professional experience, put that professional experience first. Do put in quick sketches and contour exercises. That gives us a chance to see how you think as an artist. Because if you have that contour exercise where the pen never leaves the page, we can follow how you brought that life model onto the page, and see how you think as an artist.

Don’t put in any original pieces [oil paintings, originals of life drawings, etc.]. We’ve never lost a portfolio since I’ve been here, but you never know. These things are flying all over the studio, and even though we track them like hounds, you never know. You could end up losing all of your work, and that would be horrible. So never put originals in; always submit copies. Do focus on one area for which you want to present yourself.

If you think you’ll be a good character designer at Klasky Csupo, only put in your character designs. Don’t have a bunch of loose stuff flying around in your portfolio. The biggest don’t, for me, is don’t represent yourself as an artist who only draws in one style. Specifically I am talking to character designers. For instance, if I see one more big-breasted swordswoman, I’m going to kill somebody. It’s OK if big-breasted swordswomen are your thing, but just put only one character of that style in your portfolio. Otherwise you’re representing yourself as somebody who really only wants to draw that particular style.

If your thing is anime, fantastic. But we may only have one or two anime jobs in our commercials division a year. But if you can draw anime and you can draw in other styles, I might consider you for a character design position on a TV crew. Do not only show one style, show a ride range of styles because you’re showing your versatility as an artist.

To read the remaining interview with Rachelle where she covers bad portfolios, festivals, internships, training and gives advice to students and animators, check out Producing Independent 2D Character Animation, published by Focal Press. It can be purchased at any bookstore or online.

Producing Independent 2D Character Animation: Making and Selling a Short Film, by Mark Simon. Burlington, Massachusetts: Focal Press, 2003. 432 pages. ISBN: 0-240-80513-5.

Mark Simon founded and owns A&S Animation, Inc., an award-winning cel animation house in Florida, which develops and produces character animation for commercials, TV, training videos and the Web. He also owns Animatics & Storyboards, Inc., the largest storyboard house in the southern United States, which has provided work on more than 1,200 productions. Mark’s accomplishments include owning an award-winning advertising firm, being a syndicated cartoonist, production designer of film and TV, writing entertainment industry books and lecturing on both animation and storyboards. Winning more than 30 animation awards for his efforts, Mark has directed Timmy’s Lessons in Nature (which he sold as a TV series), My Wife is Pregnant, numerous commercials, training videos and television series special effects.