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A Survey of SIGGRAPH Women: Today's Role for Women in Digital Media, Visual Effects, Computer Graphics and Animation

John Edgar Park takes us on a tour of SIGGRAPH 2001, focusing on the latest technology news.

It's 1998. Twenty-five years since a pioneer group in computer graphics banned together to bring us what is now the world's leading Special Interest Group on Computer Graphics, SIGGRAPH. What began as a very small group has grown as large as 36,000 in attendance. Of these attendees, women have typically been in the minority. As the years go on, however, some women have been successful in this predominately male industry and are being recognized for their work.

My question is, 'What is today's role for women in this industry?'

To find the answer, I interviewed some leading women at this year's SIGGRAPH '98 in Florida: Rachel Levine, VR Animator at Walt Disney Imagineering; Sandra Frame, Storyboard Artist at Warner Bros. TV Animation; Rita Street, Editor of Film & Video Magazine; Judith Crow, CG Supervisor at Digital Domain; Bonnie Mitchell, Educator in Computer Graphics at Syracuse University; and Donna Cox, Professor, School of Art and Design, University of Illinois, Urbana-Champaign (UIUC), Assistant Director for Grid Group and Research Scientist at the National Center for Supercomputing Applications (NCSA), Champaign, Illinois, and Director for Center for Graphic Technologies, School of Art and Design.

From the wealth of information in their replies, I have broken the material into five sections:

  • Getting the Right Background
  • Being a Woman in CG and Setting Goals
  • Benefits of SIGGRAPH
  • The Balancing Act
  • Advice

This industry isn't for everyone, but if you're reading this article it might be the right one for you. What does one need to succeed in this industry? Well, it takes hard work, a lot of concentration, knowledge of software and hardware, and let's not forget, you should have some background in arts or graphics. We all know our careers are an investment, but depending on what we want to do can dictate the skills we should invest our time in to learn.

Rachel Levine.

This is where many get confused. What's the difference between a Technical Director, CG Effects Animator and CG Character Animator? Before weget our grocery list out and before we get too confused on what-titles-do-what, it's better to ask yourself what you want to do and what skills you already have. Then, assess what jobs are out there.

Getting the Right Background

"What got me into this? I was always more of an arts and crafts, hands-on kind of person. I like making things out of clay or papier-mâché or wood and getting dirt under my nails. In college, I made two stop-motion films and had a blast. As it's much harder to be a professional stop-motion animator these days, and since I was always good with computers and learning software, I started animating with a computer. So far I've been working two years animating professionally." --Rachel Levine

"I gained my Bachelors Degree after a course of study in Art and Design in Social Contexts and Contemporary Cultural Studies. For the next four years I worked in several community arts projects in London, UK, including a women's photography collective and a term as photographer in residence at a K-6 school. At Camerawork Gallery I curated photography exhibitions. I thought computers would change the world, so I did my Masters Degree in Computing in Design. Subsequently, I left Britain for Australia and then the US where I've spent time teaching, training, and in production." --Judith Crow

Donna Cox.

"Pat Hanrahan [one of the CG Pioneers] and I were graduate students at the same time, University of Wisconsin-Madison. Pat helped and encouraged me to pursue computer graphics. I began developing software to make art in the early 1980s. Some of the software that I developed was used by scientists for pseudo-coloring remote sensing data. At that time I had an important personal experience where I knew that I wanted to integrate art and science through the use of computer graphics. This integration has been my mission ever since that time. My graduate degree was a Master of Fine Arts in Computer Graphic Arts; this is a terminal degree and provided me with the education to teach in a major university. I then went to UIUC where I began affiliation with NCSA and started working on scientific visualization problems. By 1986, I coined the term "Renaissance Teams" to explain how scientists, artists, and computer technologists could work together to solve data visualization problems. I have extended the work to include research in tele-immersion, using networks, virtual reality, and visualization." --Donna Cox

"I got my start in animation because of Terry Thoren [CEO Klasky Csupo]. I was an accounts receivable gal at Expanded Entertainment, the distribution company he founded that put together compilations of animated shorts, The Tournees of Animation and Animation Celebrations, The British Animation Invasions, etc. I got my start in publishing through Expanded Entertainment." --Rita Street

There may be no hard or fast rules to what you will need to succeed in this industry, but knowing what you can do, what you want to do, what education you'll need, what jobs are or will be available, plus some good contact people to network with are highly suggested.

But, another question comes to mind: has being a woman had it's price in this male-dominated industry?

Being a Woman in CG and Setting Goals

Rachel, having seen some discrimination, has chosen to create a positive work-around to what could have become a major frustration.

"I think sometimes people expect less of me because I'm a woman. This can be a set-back and a benefit. It's a set-back if they don't give me an opportunity, but it's a benefit in that I can consistently exceed expectations. Discrimination doesn't usually flaunt itself in front of you, so it can be hard to judge whether it's happening. All you can do is work as hard as you can, treat others as you would like to be treated, and if somebody tries something backhanded, you hope those who respect you will stick up for you. The only thing I'm sure about is that the guys I work with keep a modicum of raunchiness to themselves when I'm around, and that's just fine with me.

"In the future, I want to work in animation for feature films, either for fully animated films or creature animation for live-action films. I want to be able to walk into a movie theater and say, 'I did that.' I also have plans to make stop-motion films on my own, or with my husband, in the next few years." --Rachel Levine

Sandra Frame

"I've been attending SIGGRAPH for about six years, and I remember going to my first SIGGRAPH in '91. I was getting quite a lot of attention for being a girl into animation and knowing something about computers. That has since changed, and I can now meet more women whose interests parallel my own.

"I don't like the idea of demographics and 'target audiences' determining that a certain type of show must be developed to exploit that market. I don't like the idea of studios thinking that they should hire women because it's the politically correct thing to do. Women should be involved because they feel they can do the job, not because the industry or studios or whomever is taking a head count.

"When I started going to Women In Animation meetings, I realized that the animation industry wasn't the 'boys club' I thought it was when I was in school. I was absolutely amazed at how many women there are now in the industry. I've also noticed that at SIGGRAPH, the number of women attending has jumped a lot.

"I think the industry right now is a free-for-all for anyone. The bottom line isn't whether one is male or female, but if one has any iota of talent. With the influx of younger people into the industry, I think that this is becoming the prevailing attitude. I know that once upon a time, things were much tougher for women if they wanted to get into this business. I'm appreciative of the women who were there then to do some trailblazing. Now, I think women can try and get as far as any man can. The only area that I'm still not seeing very many women in is in directing, and I hope that changes soon!" --Sandra Frame

Bonnie Mitchell.

"Generally, I don't find the career realm of computers difficult because of my gender. I think women are more accepted into computer graphics than they are in computer science. Occasionally, I deal with people that assume I don't know much about computers because of my gender and occasionally, I come in contact with men that feel somewhat threatened by the fact that I know more than they do about technology.

"I wouldn't say I have been discriminated against, but I have run into situations where men have felt threatened because of my technical knowledge. It often involves men that feel uneasy with computers and realize the need to improve their understanding of them. In situations where it involves a superior, it can be a bit tricky to do my best and promote my work without exacerbating the situation.

"Fortunately, I am currently encouraged and supported at my institution and also by many of my male colleagues." --Bonnie Mitchell

Judith Crow.

"There is always a smattering of discrimination in every walk of life. This industry is no exception. In general however, I'm rewarded well and recognized for the work I do, so it's not hard to work around a very few unpleasant people. I benefit from being a woman in as much as I like the challenge of taking on a job that is not perceived to be traditionally appropriate for women. It's just a personal incentive.

"I have seen the female work force grow some over the years, and of course, this industry is in the market for more female involvement." --Judith Crow

"Probably yes, but it is subtle, and not something I have to deal with face to face, as in the old days. Discrimination didn't use to be subtle, so things have improved. The biggest problems have been in dealing with people who do not understand the subtle discrimination that takes place during issues of management and power. By far, discrimination is less in the United States than any other country that I have experienced. Young American men tend to be most open to change and to listening and working with women.

"In the last two decades, I would say that I have only experienced two serious cases of sexual harassment. I simply worked harder than ever to offset the discriminatory practices and didn't take any time to vindicate. I think this worked out well for me, because there is no sweeter revenge than success! And success I did have. Now that I am older and wiser, I would take sexual harassers to court. [Joking] The irony is that now I am older and wiser, sexual harassment just doesn't happen to me ... knock on wood." --Donna Cox

This is encouraging! There's a market for the talented, and women have been growing within the marketplace. There's also a venue to share our achievements, and gain knowledge of what's on the cutting edge of this industry. Here is what these ladies thought of the SIGGRAPH '98 conference in Florida this year.

Benefits of SIGGRAPH

"I did notice that there were many more women represented in Papers and Panels, and other presentations. It's not such a novelty anymore that women are interested in computers, it's taken as par for the course.

"There appeared to be no amazing breakthroughs for software animation-wise, but one of the best demos I did catch was at the Intergraph booth, where they had a virtual cadaver to dissect virtually. The cadaver data was gleaned from slicing the gentleman into thin strips and scanning them into the computer. The results of that was seen in Electronic Theater a couple of years ago. Now Intergraph has taken the leg of that same guy and rigged up 3-D glasses and a pressure-sensitive stylus so one can either run a stick along the 'surface' of the leg, or cut it open with a scalpel, or stick a syringe in down to the 'bone.' Disgustingly cool!" --Sandra Frame

"My SIGGRAPH '98 experience was really enjoyable. There was so much to do that was relevant to me and my interests in character animation and effects that there wasn't enough time to do it all.

"Two things that stuck out the most as general observations are: 1.) There were a lot more creative women there, not only walking around, but put into positions of representing studios in various courses and sketches. 2.) There was a much greater emphasis on character animation and story by well respected people in the industry. I heard motion-capture people saying it doesn't work well by itself and requires animators to get a good result. There were many more who just said that computers are wonderful, but they can't do too much without animators and a good story. It made me a lot more optimistic for the future of animation." --Rachel Levine

Rita Street.

"I saw something very interesting in the sigKIDS area. In an interactive area where kids were supposed to be playing on the computers, boys were working feverishly away, while a group of young girls had left their displays and started to stack up these bright colored bean bags to build a fort. The girls were more interested in something tactile than the distance the monitor created for them. I'd like to see something that can address these issues of interactivity, creating more tactile worlds." --Rita Street

Hard work, networking and becoming a success does have a price. How does one balance a full-time career with pleasure and leisure?

The Balancing Act

"When I'm not working or trying to learn more about animation on the outside, I like to hike or ride my bike. I'm always up for a movie. I don't have children yet, but I plan to have some in a couple more years. I have a husband who is in 2-D animation. I also have two turtles, and that seems just about right to fill my time at this point." --Rachel Levine

"Perhaps if I can stop working insane hours I may consider the family option. Otherwise, I do not see how I could possibly manage." --Judith Crow

"My daughter is an adult now. But those were the hardest times of my life when I was raising a child, going to graduate school, pioneering efforts in early computer art and visualization, and finally, getting tenured and promoted to full professor. Wow! I don't know how I did it when I look back. I think it all came down to time management, lots of energy and an interior drive that, for lack of better term, I call spiritual." --Donna Cox

that note, I'd like to challenge everyone in the industry, ladies and gentlemen, to consider what you really think about ways to balance your work and pleasure. Perhaps if we share our frustrations with our friends, co-workers, and our studio heads we can find some solutions to this common problem.

All-in-all, we're in this industry for the love and challenge of the work. Let's hear this sextet's advice to women who want to make it in this industry.

Advice

"Network, network, network, draw, draw, draw, network, network, draw, draw - and above all, believe in yourself." --Rita Street

"Be tough, keep practicing, get good, and don't take crap from anyone. Work hard, set your goals and reach 'em. Get a group of friends who are also interested in animation, and let them critique your work and help you out when you think you can't make it in this industry. Prove that you are as good as the next guy!" --Sandra Frame

"My advice to others is to be a generalist, and understand why that is useful. Be fair. It's possible to get a long way without trampling on people. Work hard. Find a way to be around a lot of highly intelligent and skilled people, and ask them questions. Don't just learn the software tools, learn theory and learn to apply it. There's really no big mystery to any of it." --Judith Crow

"Be persistent, work hard, keep your eye on the ball, and take personal time to reflect on what really matters." --Donna Cox

"Work very hard but only do it if you really love animation. There are a lot of people trying to break into it these days who read in an article that a person can make a lot of easy money doing this. Those are all lies. It's never easy. Animation takes a lot of concentration and time to get right, and if you don't have your heart in it, you won't be happy. In terms of being a woman, hold your ground, voice your opinions, and don't let anybody tell you, you can't do something." --Rachel Levine

Thank you ladies for sharing your experiences with us. Special Interest Groups are a great place to meet and learn from the professionals in the industry. SIGGRAPH has many local professional chapters in many cities. For those who aren't the social type or not near a local chapter, e-mailing a committee chair is a great way to get information and possibly, a mentor.

Kellie-Bea Rainey is in the animation and SPFX industry and has produced both traditional animation and computer animation. Kellie-Bea has worked for Pacific Title Digital, National SIGGRAPH '95, The Baer Animation Company, and most recently, Jim Henson Interactive. Kellie-Bea is currently the owner and president of her new studio and school, The Better Mouse Trap.

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