Animation

2005

Disney, DreamWorks, EA

Artist development trainer, having taught artists in every department of the animation and game production process including the games and films: "Madden," "NCAA," "Superman," "Prince of Egypt," "Mulan," "Lilo and Stitch," "Dinosaur" and "Brother Bear"

Supervising professor, "Quercus Venenum," 2008, screened at Daytona Film Festival and Savannah Film Festival; supervising professor, "Jaguar McGuire," 2009, premiered at AtlantAmation 2010; supervising professor, "Drag N' Fly," 2010

SAAS: Atlanta Animation Society Student Group faculty advisor

"Hybrid Animation: Integrating 2-D and 3-D Assets," published by Focal Press 2010

"It is humbling and inspiring to see how 20 students in a classroom can all look at the creative problem at hand a completely different way. I am forever learning and guided by the students' limitlessness."

• ANIM 280 3-D Character Setup and Animation
• ANIM 395 Group Project in 3-D Animation
• ANIM 440 2-D and 3-D Compositing
• ANIM 450 Industry Insight: Los Angeles
• ANIM 714 3-D Cartoon Character Animation
• ANIM 736 2-D Collaborative Project
• ANIM 737 3-D Collaborative Project
• ANIM 750 Industry Insight: Los Angeles

tinaohailey.com

1999

Animation technical instructor, Royal College of Art, London, United Kingdom; rostrum camera technician, National Film and Television School, Beaconsfield, United Kingdom; animation technician, Liverpool Polytechnic, Liverpool, United Kingdom

Summer of 1989, riding a Vespa 200 from London to the Turkish/Syrian border and back

1997 British Academy Award (BAFTA) nomination for Best Short Animated Film for "El Caminante"; Distinction Best Experimental Film 1997, International Film Festival, Gavà, Spain; Special Mention in Under 6 Minutes Category 1997, Cinanima, Esphino, Portugal

Society for Animation Studies, Association for Computing Machinery - Siggraph

"Participating in the transformation of someone from student to focused artist is at the heart of why I teach. Being engaged in the development and growth of a student's talent and confidence as an artist and craftsperson is professionally very satisfying. My inspiration for chairing the animation department is to provide the most comprehensive educational opportunities for SCAD students to become highly sought-after animation practitioners."

• ANIM 218 Stop Motion I
• ANIM 318 Stop Motion II
• ANIM 385 Concept Development for Animation
• ANIM 705 Animation Aesthetics and Practice
• ANIM 760 Stop Motion Animation

"Thoughtful and thorough observation is at the heart of good animation. Drawing from life, both literally and philosophically, the animation artist learns to apply the vocabulary of pose, gesture and action to communicate story. By mastering the tools of that communication and developing an individual visual voice, the animation artist can create unique insights into the human condition for the viewer."

2005

Independent filmmaker and freelance animator, Washington, D.C.; gallery exhibitor, Atlanta, Georgia; owner and chief designer, MT Maloney Custom Jewelry; animation works include "King Rust," "Bill" and "The Anchorite"

Animation work premiered at the Cannes Film Festival in 2009 and screened at the Hearts and Minds Documentary Film Festival.

MT Maloney Custom Jewelry listed in counter-culture press as one of the top five skull ring designers in the world.

"Creative Synthesis: The Anchorite and the Noble Failure," Mezmer, 2010.

"I like working with students. Their ideas are generally less restrained. Creativity still matters a great deal. With student projects, money isn't part of the process. We're left with pure creation driven towards nothing but an increase in skill, an exploration of new methods, and the development of interesting and compelling work."

• ANIM 250 Digital Form, Space and Lighting
• ANIM 270 Principles of Screen Design
• ANIM 312 2-D Animation Production
• ANIM 313 3-D Animation Production
• ANIM 385 Concept Development for Animation
• ANIM 408 Senior Animation Project I
• ANIM 448 Senior Animation Project II
• ANIM 459 The Short Short
• ANIM 721 Storyboarding and Previsualization
• ANIM 753 Animation Studio I
• ANIM 775 Animation Studio II

"My work centers on image-driven short-subject narrative. I'm interested in exploring poetic devices in visual storytelling and using animation as the primary medium. Animation by its very nature is poetic. The simple act of passing reality through the lens of expression in animated performance, character design and overall aesthetic architecture creates a natural visual poem. The work is inherently subjective to the point of really getting to something truthful about who we are and how we live."