Animation

2011

Creative director/animation director, SpeakeasyFX; director/producer and director of photography, I.D.T./Starz; animation director, Wildbrain; member of the Advisory Board for Animation, Art Institute of California - San Francisco; instructor, A&M University; layout supervision, PDI/Dreamworks; sequence director/storyboard artist, Blue Sky Studios; director of digital imagery, Don Bluth Entertainment; computer animation director, R/Greenburg Associates; computer animator, Magi-Synthavision; production coordinator, Howard Graphics; 2-D animator, Penpoint Studios; production manager and 2-D animator, Vermont Cinegraphics; camera assistant, Francis Lee Animation

I was the first animation director entrusted with transposing the "Alien" and a "Sesame Street" muppet to digital.

• Electronic Theater, Siggraph, 1983, "Doggie"
• Clio Award, 1983, "Best Computer Animation, "Worm War One"
• Electronic Theater, Siggraph, 1994, "Where The Wild Things Are" test
• Mobius Awards, 1986, Outstanding Creativity, "Bell Atlantic Integration"
• Houston Film Festival, 1987, Gold Award, "IBM Fractals"
• Chicago Film Festival, 1987, Gold Plaque, "IBM Fractals"
• Computer Graphics Film & Video, 1987, Gold Award, "IBM Fractals"
• Electronic Theater - Siggraph, 1993, Computer animation Highlights, "Thumbelina"
• Telly Award, 1995, "Brother Printer Glitches"
• Clio Award, 1999, Nature's Resource "Echinacea"
• International Monitor Award, 1999, Nature's Resource "Echinacea"
• Mobius Advertising Award, 1999, "Mannington Floor Mosaics"
• Telly Award, 2000, "Mannington Floor Mosaics"
• Emmy Award, 2010, Voice Talent "Abby's Flying Fairy School"
• Emmy Award, 2010, Character Design "Abby's Flying Fairy School"
• Red Stick Animation Festival, 2010, Children's category "Abby's Flying Fairy School"

ASIFA

Chairman for a panel discussion on visual effects at the Imagina conference 1990

I love inspiring others to be creative and giving them the tools to express themselves in animation.

• ANIM 270 Principles of Screen Design
• ANIM 385 Concept Development/Animation
• ANIM 448 Senior Animation Project II
• ANIM 408 Senior Animation Project I

You never know what's around the corner till you get there. The journey is the fun and inspiring part.

2007

Character animator, "The Ant Bully," Warner Brothers; character animator, "Robots," Fox/Blue Sky; character animator, "The Adventures of Jimmy Neutron" television series, Nickelodeon; character animator, "The Adventures of Jimmy Neutron" film, Nickelodeon

Character animation on high-profile film and television projects and game titles

"I am a lifelong student who loves learning for its own sake. My inspiration for teaching stems from a desire to be involved in the educational environment - now from the teacher's side! Having been successful as an animator, I view teaching as an art form in itself, and I am driven to encourage students to love not only doing animation, but becoming a student of it as well."

ANIM 202 Principles of 2-D Animation
ANIM 333 3-D Character Animation I
ANIM 353 3-D Quadruped Animation
ANIM 363 3-D Character Animation II
ANIM 393 3-D Character Animation III
ANIM 756 Animation Character Performance

2007

2-D special effects animator, Walt Disney Feature Animation, Florida, California; 2-D supervising special effects animator, Walt Disney Feature Animation, Florida, California; 2-D supervising special effects animator, Hignite Animation Studio, Wisconsin

Special Effects animator for the Walt Disney Feature Animation films "My Peoples," "Brother Bear, " "Lilo and Stitch, " "Mulan," "The Hunchback of Notre Dame," "Pocahontas" and "The Lion King"

2-D special effects animator, "Brother Bear," Academy Award nomination for Best Animated Film, 2003; 2-D special effects animator, "Lilo and Stitch," Academy Award nomination for Best Animated Film, 2002; 2-D special effects animator, "Mulan," Annie Award for Best Animated Film and Special Effects, 1998; 2-D special effects animator, "Pocahontas," Academy Award nomination for Best Animated Film, 1995

"After working animation production for many years, I thought I had reached my highest goals for animation. However, when I started teaching traditional animation, I was overwhelmed by the desire and energy the students had for learning. It was exciting to see the students understand and produce animation. When a student finally understands what they are doing and completes their work successfully, I have a strong feeling of accomplishment."

• ANIM 180 Action Analysis I
• ANIM 202 Principles of 2-D Animation
• ANIM 302 Action Analysis II
• ANIM 330 Animation Layout and Character Design
• ANIM 352 2-D Effects Animation

"When I received my B.F.A. in illustration I felt that my work was never really completed until I had the opportunity to work in animation. The animators at Disney taught me a new way of thinking and drawing. I found that I was not content with my drawings until I was able to make them move. Seeing a character I created come to life is amazing. I couldn't get enough of the animation world, so I tried to learn as much as I could. During my search I encountered quite a few extremely talented animators at Walt Disney Feature Animation and they captivated my interest. To them it wasn't just a job, and I knew this fact was the same for me; it was a way of life!"

1986

Professor, animation and computer art department(s), SCAD, Savannah, Georgia; course organizer, "Acting and Drawing for Animation," ACM - SIGGRAPH, Los Angeles, California; instructor, Horizon Program, New York Institute of Technology, Old Westbury, New York; office manager, SUNY College at Old Westbury, New York

Serving as course organizer for SIGGRAPH's "Acting and Drawing for Animation" workshop in 2004; supervising production and compositing for award-winning animation, "Skoffee," screened at Animex, SIGGRAPH, Los Angeles, Port City Animation Festival, AnimEX, VisionFest and Kalamazoo Animation Festival International

Producer, compositor and editor on Gold Remi Award-winning work "Escape"; international oil and digital paintings exhibits; finalist in the Fractal Design Contest for "Maria Theresa and Gramps"

International Animated Film Society, Association for Computing Machinery SIGGRAPH, Women in Animation, Savannah Chapter, Contemporary Animation Society

Illustrated covers, "6 Plays and Poems in Translation," 2011.

"Art is my life, but teaching is my soul."

ANIM 312 2-D Animation Production
ANIM 322 Acting for Animators
ANIM 410 Digital Ink and Paint
ANIM 426 Experimental Animation
ANIM 440 2-D and 3-D Compositing
CMPA 100 Survey of Computer Art Applications
CMPA 110 Advanced Survey of Computer Art Applications

"Animation is collaboration. The world offers us fresh material daily. We master the diverse arts of observation, acting, drawing, sculpting, writing, background painting, voice, sound effects, music and compositing for 2-D and 3-D animation production. Along this adventurous path, we find a group voice."

facultypages.scad.edu/~lhoshor

2009

Systems administrator, SCAD; senior animator and rigger, Jump Games, Pune, India; senior 3-D graphic artist, Nazara Technologies, Mumbai, India

Best Micromovie Award for "The Waiting Chairs," Kinofest, Bucharest, Romania, 2009

"Roll Yer Own 2010," ASIFA, Atlanta, Georgia; First Silver Salt Animation Festival 2010, Pune, India; International Digital Cinema Festival and Entertainment Technology Expo, Macau, China; Madiz-Alter-Native International Short Film Festival 2009, Gheorghe Doja, Romania; Kinofest 2009, Bucharest, Romania; [Aniwow!2009] Fourth China International Student Animation Festival, Beijing, China; Sixth China International Animation and Digital Arts Festival, Beijing, China; Anifest India 2009, Mumbai, India; BitFilm 3D Award Festival 2009, Hamburg, Germany; The Heritage Film Festival 2009, Largo, Maryland; 13th edition of Cartoons on the Bay, International Television and Multimedia Animation Festival, Roma, Italy

"Growing up in an acclaimed educational institute in Mumbai, the Indian Institute of Technology, I always found myself surrounded by academia. Not only was my father a recognized figure in these circles but everyone I knew and interacted with had a studious element to their personalities. This feeling of belonging to the academic community was rekindled and enhanced when I commenced my master's degree at SCAD. Inspired by the well-decorated and fun-loving faculty members here and beginning to identify my own potential as a teacher, I started treading this path that I have come to love very much."

"If you are going to be a salesman, you might as well be selling something worthwhile like education."

• ANIM 280 3-D Character Setup and Animation
• ANIM 313 3-D Animation Production
• ANIM 505 Animation Character Set-up

"Education was a brisk process. Even before I knew it I was an electronics and telecommunications engineer. The next step was to move to something that would visually and artistically stimulate me. Animation provided all the answers. After having worked for two years as an animator, I started out with my M.F.A. in animation at the Savannah College of Art and Design. Here, besides maturing as a character technical director, I developed a fascination with the experimental form of animation, deriving my inspiration from subtle human tendencies and actions."

iashwin.net

1988

Certificate in 3-D animation software, Wavefront Technologies; certificate in 3-D animation software, Alias; R&H Faculty Education Program, Rhythm and Hues; 3-D digital animator, PCI Recording Studios

Selected to exhibit in Prix Ars Electronica 1987 and 1988; selected to exhibit in SIGGRAPH 1988

1984 Purchase Award, Broward County Courthouse, Ft. Lauderdale, Florida; first place medal, 1986 International Competition, New York, New York; Visual Studies Award, 1986 Memorial Art Gallery, Rochester, New York

USTA

• National Yunlin University, Yunlin, Taiwan, 2006
• Vanung University, Taipei, Taiwan, 2006
• Digital Content Institute, Taipei, Taiwan, 2005
• National Yunlin University, Yunlin, Taiwan, 2005
• Asia University, Taipei, Taiwan, 2004
• Design College Expo, Seoul, South Korea, 2004

"Teaching is to inspire students to become self-sufficient in the acquisition of worthwhile knowledge. When successful, the student continues to learn after the teacher is absent."

• ANIM 250 Digital Form, Space and Lighting
• ANIM 753 Animation Studio I
• ANIM 775 Animation Studio II
• ANIM 785 Graduate Independent Study
• ANIM 790 Animation M.F.A. Thesis
• CMPA 110 Advanced Survey of Computer Applications

"My current artwork endeavors to reconstitute the Florida of my youth. This is only possible by means of the artist as magician. What was Florida is now perpetuated in memory and tourist brochures only. The visual idiom that the viewer of the art sees is developed from the artifacts created in Florida during the 1940s and 1950s. These artifacts, sold as souvenirs, were produced to symbolize the experience Florida visitors had of being in a tropical paradise. Now they no longer function as souvenirs but as memorabilia. These memorabilia now become metaphors for man's destruction of what he was promoting. The alligator purse, a reminder of a Florida adventure, destroyed and made a commodity of the very thing it meant to glorify. As a young man I worked building the high rises that contributed to the demise of the real Florida. We all contributed to the loss we now share."

2005

Senior animator and designer, Sonalysts Studios

Being a partner in one of the main production studios in New England

Frank Netter Award, medical illustration, Time Life Medical Series, "Lower Back Pain," 1998; Telly Awards for NESN, "Boston Bruins," 1993; NESN, "Boston Red Sox Open," 1994; ESPN, "Scholastic Sports America," 1993; Connecticut Telephone, "One Bill," 1999

Photography exhibitor, The Korby Gallery, Cedar Grove, New Jersey, June 1991-March 1996

• ANIM 270 Principles of Screen Design
• ANIM 390 Animation Professional Development
• ANIM 448 Animation Senior Project II
• ANIM 470 Graduate Portfolio
• ANIM 724 3-D Naturalistic Character Animation
• ANIM 737 3-D Collaborative Project
• CMPA 100 Survey of Computer Art Applications
• CMPA 110 Advanced Survey of Computer Art Applications

2006

Director at Fathom Studios, Atlanta, Georgia; creative director at Macquarium Inc., Atlanta, Georgia

Directing the award-winning cast and crew on "Delgo"

Anima Mundi, Winner Best Feature Film for "Delgo"; official selection at Annecy International for "Delgo"; Rome International Film Festival spotlight feature "Delgo"; Seoul International Animation Festival official selection "Delgo"; ADDY Award for Fox51 station package's movie opener; Telly Award for Atlanta Knights commercial; three Telly Awards for "Windows 95 Without Headaches" video

Association for Computing Machinery, SIGGRAPH

An animated segment on "The Gate to the Mind's Eye"

"I look at teaching as one of the ultimate creative acts. You are given willing young artists' minds and are asked to mold and shape them. Like a photograph or a painting, each person is different, brings a different story to the table and requires a unique response in turn to help guide them toward being successful artists. It never gets dull. Their energy and enthusiasm for their craft is invigorating and infectious."

• ANIM 250 Digital Form, Space and Lighting
• ANIM 313 3-D Animation Production
• ANIM 321 Stylizing Characters in 3-D
• ANIM 385 Concept Development for Animation
• ANIM 395 Group Project in 3-D Animation
• ANIM 408 Senior Animation Project I
• ANIM 413 Animation Off-campus: Tokyo
• ANIM 448 Senior Animation Project II
• ANIM 488 Animation Postproduction

"I'm a storyteller - whether that manifests itself through writing, drawing, photography or animation just depends on the story. My work in general always carries a feeling of texture to it, everything from the exploration of gritty details on a picture plane to the complex textual rhythms of character animation. I'm constantly inspired by artists such as Dave McKean, Jim Henson, David Lean, Chuck Jones and Akira Kurosawa."

jasonmaurer.com

1999

Animator in residence, Museum of the Moving Image, London; in-betweener, "The Thief and The Cobbler"; animator, Hibbert Ralph Studio, Felix Films, Bermuda Shorts, Mojo Animation Studio, Nexus and Picasso Pictures; animation director, Sherbet, London; professor, Kent Institute of Art & Design School of Communication Media; professor, Royal College of Art; professor, Kingston University

Channel 4 commissioned "El Caminante," a five-minute 35mm animated film

"Touch" nominated for a BAFTA Best Short Animated Film Award; "El Caminante" nominated for a BAFTA Best Short Animated Film Award; Finalist Cartoon d'Or Prize organized by the Association Européenne du Film d'Animation supported by the MEDIA Programme of the EU

"During my career as an animator, I was awarded the position of animator in residence at the M.O.M.I. in London. The result of the residency was a film commission from Channel 4 Television. The opportunity to develop and direct my personal film 'El Caminante' was the most satisfying of my professional career. The film was screened at festivals all over the world, and also resulted in my second BAFTA nomination for Best Short Animated Film. The transition from animator to teacher was a creatively satisfying one. I enjoy being a part of the artistic development of students and to see them realize their artistic vision through their personal films."

• ANIM 202 Principals of 2-D Animation
• ANIM 252 Principals of 3-D Animation
• ANIM 333 3-D Character Animation I
• ANIM 385 Concept Development for Animation
• ANIM 408 Senior Animation Project I
• ANIM 448 Senior Animation Project II
• ANIM 504 Character Animation Basics
• ANIM 713 Drawing in Motion
• ANIM 724 3-D Naturalistic character Animation
• ANIM 753 Animation Studio I
• ANIM 756 Animation Character Performance
• ANIM 762 Directed Projects in Animation I
• ANIM 772 Directed Projects in Animation II
• ANIM 775 Animation Studio II
• ANIM 779F Graduate Field Internship
• ANIM 779T Graduate Field Internship
• ANIM 790 Animation M.F.A. Thesis

"Being able to take one's observations of the world and communicate those observations to others through the medium of animation has been my goal as an artist for many years. I am particularly inspired by the small everyday actions and gestures that define us as human beings."

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."

2007

Character technical director, "Beowulf," Sony Pictures Imageworks; CG animator and character technical director, "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe"; CG character animator, "The Polar Express"; character animator, "Stuart Little 2"; CG character animator, "Harry Potter and the Sorcerer's Stone"; CG character animator and character technical director, "Osmosis Jones" Warner Bros. Feature Animation; CG character animator, 3-D layout artist and character technical director, "The Iron Giant"; CG animator, 3-D layout artist and modeler, "Quest for Camelot"; technical director/compositor, "True Lies," Boss Film Studios; technical director/compositor, "Last Action Hero"; technical director/compositor, "Cliffhanger"; CG animator, technical director and modeler, "The Tom and Jerry Movie," Kroyer Films; assistant CG animator, technical director and modeler, "FernGully: The Last Rainforest"; technical director and modeler, "National Lampoon's Christmas Vacation"; modeler, "Honey, I Shrunk the Kids"; modeler, "Jetsons: The Movie"

CG supervisor at Boss Film Studios on a Kellogg's Rice Krispies Treats Cereal commercial for Leo Burnett

CG animator and character technical director, "The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe," Academy Award nomination for Best Visual Effects; CG character animator, "The Chubbchubbs," Academy Award for Best Animated Short Film; CG character animator, 3-D layout artist and character technical director, "The Iron Giant," Annie Award for Outstanding Achievement in an Animated Theatrical Feature; assistant art director, MTV Video Music Awards, Ace Award for Best Art Direction

Course lecturer, "CG in the Production of 'FernGully: The Last Rainforest,'" ACM SIGGRAPH

"After working in the film and television industry for 20 years as an animation and visual effects artist, I felt the need to expand my artistic skills and experiences. My growth as an animator necessitated a change that would put me in an environment where I could learn while helping others achieve their creative goals. I've become even more passionate about animation since coming to SCAD, and I'm gratified beyond words when my students demonstrate their passion and newfound understanding of the art form through their unique vision. Their success inspires me to become a better animator."

• ANIM 252 Principles of 3-D Animation
• ANIM 280 3-D Character Setup and Animation
• ANIM 333 3-D Character Animation I
• ANIM 363 3-D Character Animation II
• ANIM 408 Senior Animation Project I
• ANIM 411 Dynamic Simulation and Secondary Motion
• ANIM 448 Senior Animation Project II
• CHAR 310 Scripting for Animators
• CHAR 314 Facial Setup and Animation
• CHAR 340 Non-human Character Set-up
• CHAR 350 Advanced Character Set-up

"Animation is a very powerful form of visual communication that allows for artistic expression that has no bounds, and my goal is to reach people on an emotional level through this amazing art form."

2010

Lecturer, The Ohio State University; lecturer, California Institute of the Arts; senior 3-D EFX animator, DreamWorks Animation; digital artist and technical director, Digital Domain; digital lighting designer, Boss Film Studios; founder/director, SimplisticPictures LLC.

Co-founder/director of The Animation Co-op, an organization that supports independent filmmakers

IFCT Best New Animation Director; BIMINI Best Animated Film; Best Animation, San Diego Asian Film Festival; First Prize Winner, Beecher Center Digital Art Competition; Best Animation, Great Lakes Film Festival

• Presentation, The FMX International Conference on Animation, Effects, Realtime & Content
• "In the Can," Woodbury University
• A weeklong lecture, Dongseo University in Pusan, South Korea
• "Artist talk," Walt Disney Feature Animation

"There is nothing equivalent to witnessing an 'Aha' moment from students: a twinkle in the eyes soon followed by a burst of creative endeavors. As a professor, I feel privileged to be a part of their artistic journey as a guide and as a cheerleader."

• ANIM 385 Concept Development for Animation
• ANIM 448 Senior Animation Project II
• ANIM 485 Undergraduate Independent Study

"I love storytelling through the medium of CGI. It is a perfect blend of study between the real world and the fabricated microcosm of one's own imagination. Particularly, I am passionate about creating emotionally believable characters; understanding their inner motivation fascinates me. I treasure the time a viewer became teary with empathy for my animated character Henry, and I saw then the power of authentic characters within universal stories."

2001

Freelance illustrator with experience in editorial, book and advertising illustration; professor, Centro de Arte y Diseno, Universidad del Bajio; professor, Universidad Iberoamericana; managing editor, Refrescos del Bajio Azteca (Coca-Cola) Mexico

First place, national painting contest, "The Art that Moves Us," Daimler-Chrysler Corporation, Los Angeles, California; grant recipient, Liquitex Excellence in Art Purchase Award Program, national illustration competition, Piscataway, New Jersey

First place image/logo competition, Game Developers Conference, Georgia Department of Economic Development, Atlanta, Georgia; first place, poster competition, "Arts on the River," SCAD, Savannah, Georgia; first place, international poster competition, "Protect our Cultural Heritage," UNESCO, Paris, France; Independent Creative Achievement Award, SCAD, Savannah, Georgia; national recognition, National Council of Science and Technology, "The Best Students of Mexico," Mexico City, Mexico

• "Teaching Animation in North America," Anigames Expo, Anigames and Naska Digital, Bogota, Colombia, 2010.
• "Animation and Moving Media," Universidad DeLaSalle, Leon, Mexico, 2009.
• "Animation and Broadcast Design," Design Week, Tegucigalpa, Honduras, 2006.
• "The Process and the Short Animated Film. First Latin American Encounter of Animation," Universidad Veritas, San Jose, Costa Rica, 2005.
• "Animation and the School of Film and Digital Media at SCAD," San Jose, Costa Rica, 2004.
• "Natural Filters," Asia International Education Center, EC Multimedia Technology, Taipei, Taiwan, 2002.

"As an artist myself, I am always inspired by watching students grow through their experience in the classroom. I am honored to be part of the dialogue and instruction that leads students to develop their own languages as artists and individuals. In lectures and through class dynamics, I encourage students to develop critical thinking and analytical skills. Every assignment is an opportunity to engage students, challenging them to respond personally to their own passions."

• CMPA 100 Survey of Computer Art Applications
• ANIM 180 Action Analysis I
• ANIM 270 Principles of Screen Design
• ANIM 385 Concept Development for Animation
• ANIM 713 Drawing in Motion
• ANIM 721 Storyboarding and Previsualization
• ANIM 748 Animation M.A. Portfolio

"As a graphic artist and independent animator I am motivated by storytelling. My figurative work is infused with symbols and graphics that create many levels of narrative significance resulting in the appearance of layers of fragmented iconography. I address the issues of excess visual stimulation and oversaturation of information through this fragmentation. Using this style as a framework, I explore narrative through the use of color, shape, texture, technique and subject matter."

Director of animated music videos, television commercials, television titles, stings and short films; teacher at Baden Wuerttemberg Film Academy

Contributions to "Liquid Television," "Spike & Mike's Festival of Animation" and Stash Magazine

Special prize at Hiroshima Animation Festival and finalist for British Animation Awards

"I have always considered my animation students as future colleagues in the field. As much as they learn from me and from my experience, I learn from them."

• ANIM 270 Principles of Screen Design
• ANIM 385 Concept Development for Animation
• ANIM 426 Experimental Animation
• ANIM 705 Animation Aesthetics and Practice
• ANIM 748 Animation M.A. Portfolio
• ANIM 759 The Short Short
• ANIM 778 Animation M.F.A. Portfolio

"I see myself as a filmmaker and an artist. My work, my interests and my aesthetics lie between orthodox and experimental animation. I believe in individual artistic expression as much as I believe that the audience deserves clarity of communication."

1997

Consultant and developer, IBM Corporation, Atlanta, Georgia; fellow, Alias Research, Toronto, Canada; fellow, ElectroGIG USA, Chicago, Illinois; fellow, Autodesk Inc., Sausalito, California; exhibitor, SIGGRAPH

Council for Basic Education and the National Endowment for the Arts fellowship in computer animation

Major shows and exhibitions at the Museum of the Philadelphia Civic Center, Philadelphia, Pennsylvania; Incorporated Galleries, New York and Southampton, New York; Artisans Gallery, Great Neck, New York; Northeast Crafts Fair, Rhinebeck, New York; SUNY at Fredonia, permanent collection, New York

NEAS&C Visiting Committee for the evaluation and accreditation of New England Association of Schools and Colleges, Bedford, Massachusetts

Featured artist and interview, "Adobe Partners By Design," 2001; featured art director and testimonial interview, IBM Corporation; SIGGRAPH exhibition reel and internal corporate worldwide network

"Great teachers have always inspired me through the obvious love for their disciplines and their ability and willingness to convey that delight in the classroom."

• ANIM 250 Digital Form, Space and Lighting
• ANIM 351 Advanced Digital Modeling
• ANIM 709 Computer-generated Modeling and Design
• ANIM 725 Environment Look Development
• ANIM 790 Animation M.F.A. Thesis
• CMPA 100 Survey of Computer Art Applications
• CMPA 110 Advanced Survey of Computer Art Applications
• CMPA 500 Independent Study
• IDUS 313 Computer Modeling
• IDUS 383 Product Animation
• IDUS 723 Computer Modeling
• INTN 750T Graduate Teaching Internship
• INTN 750 Graduate Industry Internship
• ITGM 130 Digital Design Aesthetics
• VFSX 768 Photorealistic Modeling

"In the history of art, the quest for realism is cyclic, in which each reoccurrence achieves greater levels of both expression and audience engagement. In this current periodicity, the new digital realm of computer graphics is an even more compelling force in the re-creation of this shared reality."

2008

Animator, Walt Disney Feature Animation, Burbank, California, Orlando, Florida, 1991-2004; clean-up, "Pines of Rome" sequence in "Fantasia 2000"; rough in-betweener, lead characters of "Pocahontas" and "Hercules"; character animation, Mushu from "Mulan," lead characters in Disney's "John Henry," Lilo from "Lilo and Stitch," Kenai in "Brother Bear"; co-founder, Project Firefly Animation Studios, responsible for numerous client-based projects including the completion of more than 20 percent of the animated feature film "Curious George"; digital animation lab assistant, Full Sail University

The entrepreneurial spirit developed when co-founding Project Firefly Animation Studios on the Universal Studios Orlando, Florida, back lot

"I've always been a kid at heart. My mind is always thinking of imaginative things, places or people. The camaraderie of working with like-minded young people is fuel for me. Most students are motivated and passionate - always exploring new mediums and constantly learning. I enjoy taking my experience and passing it on to the students while being a student at the same time. The industry is fast-changing, and I enjoy getting in the trenches and learning alongside students."

• ANIM 180 Action Analysis I
• ANIM 202 Principle of 2-D Animation
• ANIM 312 2-D Animation Production
• ANIM 332 2-D Character Animation I
• ANIM 342 Digital Cel Animation I
• ANIM 362 2-D Character Animation II
• ANIM 392 2-D Character Animation III
• ANIM 442 Digital Cel Animation II

"My vocation as an artist is in the service of beauty. I am not nearly as interested in what comes from the 'eye of the beholder' as much as what comes from the thing itself. 'Harmony, wholeness, proportion'… we strive for these things in the creation of excellence in our work, and when we are successful it lifts us and our audience toward greater inspiration. Animation is an art form that involves all of these things whether it is through storytelling, drawing or painting backgrounds. It is a monumental challenge and can be extremely rewarding. I love the camaraderie of teamwork and passion of working with young people in this regard. Animation opens the door to creating anything you can imagine and I want what I do to be in the service of the common good. I'm just getting started!"

2011

2-D and 3-D character animator at DreamWorks; animation assistant, The Prince of Egypt; animator, The Road to Eldorado, Spirit: Stallion of the Cimarron, Sinbad: Legend of the Seven Seas, Shark Tale, Madagascar, Over the Hedge, Flushed Away, Bee Movie, Monster Vs. Aliens, Monsters vs. Aliens: Mutant Pumpkins from Outer Space, How to Train Your Dragon, How to Train Your Dragon: Olympic Spots, MegaMind, How to Train Your Dragon: DVD Short; adjunct professor, professor, CalArts

Creating my popular Web comic, Team Spectacular, inspired by my micro-preemie son.

Articles

• "Team Spectacular Proves Normal Parents Can Be Stronger Than Any Superhero," GeekDad, 2010
• "Team Spectacular: Micro-Preemie Power by Scott Wright: B+", Soliloquy in Blue, 2010
• "Adios, DreamWorks! Hello, dream job!," St. Albert Gazette, 2010

Everyday has been an amazing experience in the animation industry. I have learned how to adapt, create and motivate during my career. My ability to enhance any genre with my humor, drama and storytelling sensibilities has fulfilled all the dreams I had as a college student. I now want to give back and help the next generation of animators create even more powerful stories and characters.

• ANIM 202 Principles of 2-D Character Animation
• ANIM 353 3-D Quadruped Animation
• ANIM 363 3-D Character Animation II

team-spectacular.com

2008

Animator, Walt Disney Feature Animation, feature film credits include "Pocahontas," "Legend of Mulan," "Hunchback of Notre Dame," "Tarzan," "Brother Bear" and "Lilo and Stitch"; co-founder and executive in charge of production, Firefly Animation Studios; animation supervisor, "Curious George"; senior animator, n-Space Games, titles include "Star Wars Battlefront," "Marvel Ultimate Alliance" and "Call of Duty: Modern Warfare"

• ANIM 202 Principles of 2-D Animation
• ANIM 252 Principles of 3-D Animation
• ANIM 322 Acting for Animators
• ANIM 332 2-D Character Animation I
• ANIM 333 3-D Character Animation I
• ANIM 342 Digital Cel Animation I
• ANIM 362 2-D Character Animation II
• ANIM 363 3-D Character Animation II
• ANIM 390 Animation Professional Development
• ANIM 442 Digital Cel Animation II
• ANIM 504 Character Animation Basics

greggazzopardi.com

2005

Editor, "Animation Magazine"; editor, "Animation World Magazine"; editor-publisher, "The Animation Report"

Founder and founding president, Society for Animation Studies

Society for Animation Studies, Society for Cinema and Media Studies, Annecy International Animation Festival, Cardiff International Animation Festival

• "Astro Boy and Anime Come to the Americas: An Insider's View of the Birth of a Pop Culture Phenomenon" (McFarland, 2008), co-author, with Fred Ladd. (Published in Japan by NTT, 2010)
• "The Art of Anastasia" (HarperCollins, 1997)
• Contributor to Beck, Jerry, ed. "Animation Art: From Pencil to Pixel, the History of Cartoon, Anime & CGI." (HarperCollins)
• Contributor to Lent, John A., ed. "Animation in Asia and the Pacific." (John Libby/University of Indiana Press)
• Contributor to Canemaker, John, ed. "Storytelling in Animation." (American Film Institute)
• Contributor to Pilling, Jayne, ed. "A Reader in Animation Studies." (John Libby/University of Indiana Press)
• Various papers presented at Society for Animation Studies & Society for Cinema and Media Studies conferences
• Oral histories of animation pioneers Paul Terry and J.R. Bray for American Film Institute
• Oral History, Beginnings of Animation Unions in New York, Museum of the Moving Image

• ANIM 223 History of Animation
• ANIM 753 Animation Studio I
• CINE 205 Reading Films
• CINE 705 History of Cinema
• SFDM 719 Media Theory and Application
• VSFX 709 Visual Effects Theory and Application

deneroff.com/blog

2009

Storyboard artist, Nitrogen Studios; animation instructor, Capilano University; senior studio director, storyboard supervisor, animation director and writer, Bardel Animation; episode director, Sextant Entertainment; associate director, Walt Disney Television Animation Canada; instructor, Vancouver Film School; storyboard artist, Don Bluth Entertainment; director, Videosystem; director, Animation House; animation director, storyboard artist and effects director, Teleproductions Gaumont; director and animator, Nelvana

Associate director at Walt Disney Television Animation Canada

Public Broadcasting Association award, 1983; Elan Award

• 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

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."

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

Professor, School of Visual Arts, New York, New York; professor, Pratt Institute, New York; professor, The New School, New York; instructor, Franklin Furnace, New York; instructor, Young Audiences New York; dean of the Art Center Design College, Albuquerque, New Mexico; owner/executive director, One Eighty One Productions Inc., New York

"Appearing on-camera twice in the PBS show, 'Reading Rainbow'; being one of 12 people profiled in Scholastic's 'Meet the Mentor' educational series, where my career in stop motion production was converted into a comic book for elementary students; helping grow SCAD's animation department out of the original computer art major; establishing SCAD's stop motion lab and courses on both the Savannah and Atlanta locations."

New York Festivals Gold Worldmedal, Parents' Choice Gold Award, Parents' Choice Silver Award, Broadcast Designers' Association silver award, DESI Award, Caples first place award, USA Film Festival finalist (Dallas) and first place at the BACA Film Festival

ASIFA, Society for Animation Studies (SAS), co-founder of StopMoCo Lab (Atlanta)

• "The Animator's Eclectic Guides," (current, in-progress).
• Profiled in articles in Millimeter Magazine, Screen Magazine and the Puppetry Journal.
• "Poem," Convergence, Vol. 1.
• Invited reading, Barnes and Noble, Savannah, Georgia.

"At age 8 I took up tap dancing and, shortly after that, decided I wanted to be a music teacher. At 12 I aspired to be an actor/playwright, and then at 14 started my own 'art school' in my basement, 'teaching' neighborhood kids how to do art. Having always been drawn to collaborative creative environments, animation and teaching, it was a natural career choice so that I could work with a group of people in a fascinating intersection of the visual, performing and literary arts. I continually learn how to be a better animation director and producer through teaching and how to be a better teacher through directing and producing, all of which often and rewardingly blends together."

• ANIM 218 Stop Motion I
• ANIM 318 Stop Motion II
• ANIM 385 Concept Development
• ANIM 390 Animation Professional Development
• ANIM 395 Group Project in 3-D Animation
• ANIM 408 Senior Animation Project I
• ANIM 426 Experimental Animation
• ANIM 448 Senior Animation Project II
• ANIM 459 The Short Short
• ANIM 705 Animation Aesthetics
• ANIM 713 Drawing in Motion
• ANIM 721 Storyboarding and Previsualization
• ANIM 737 3-D Collaborative Project, Animation Portfolio
• ANIM 753 Animation Studio I
• ANIM 759 The Short Short
• ANIM 760 Stop Motion
• ANIM 762 Directed Projects in Animation I
• ANIM 764 Experimental Process and Narrative
• ANIM 772 Directed Projects in Animation II
• ANIM 778 Animation M.F.A. Portfolio

stopmoco-lab.blogspot.com

2011

Training manager, IMAGI Animation Studios; instructor, City University of Hong Kong; Autodesk Certified Instructor

Feature animated movie "Astro Boy"

Committee member, ACM SIGGRAPH HK Professional Chapter

"Digital content development is all about teamwork. Everyone matters; everyone has a role to play. I enjoy teaching, and I enjoy being able to help someone learn. I enjoy being able to create something fantastic with the group. Every individual makes a difference!"

• ANIM 250 Digital Form, Space and Lighting
• ANIM 270 Principles of Screen Design
• ANIM 280 3-D Character Setup and Animation
• ANIM 495 Special Topics in Animation
• ITGM 240 Modeling, Materials and Lighting
• VSFX 210 Digital 3-D Visual Effects

"Eat, sleep, sports and digital entertainment!"