Peter
Weishar
Dean, SCAD School of Film, Digital Media and Performing Arts
B.A., studio art, Union College, 1983
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First year at SCAD:
2003
Credentials/past experience:
Author of three books on computer animation and digital media; artwork contributor to Newsweek, U.S. News & World Report, Disney's EPCOT Center, the SIGGRAPH Electronic Theater (1998 and 2000) and the Museum of Native American Culture; computer animation and design lecturer, New York University; president-elect of International Digital Media Art Association
Awards, recognition, honors:
SIGGRAPH Electronic Theater - 1997 and 1999
Organizations:
International Digital Media Art Association, ACM SIGGRAPH, Themed Entertainment Association
Publications and/or presentations:
Publications
Presentations
- "CGI: The Art of the Computer Generated Image" (Abrams, 2004)
- "Blue Sky: The Art of Computer Animation" (Harry N. Abrams, 2001)
- "Digital Space: Designing Virtual Environments" (McGraw-Hill, 1998)
- World Book Encyclopedia 2003, 2006, 2010 articles on computer animation, CGI and Digital Media
Presentations
- SIGGRAPH Conference: 1998, 2002, 2003, 2005, 2008, 2010
- International Digital Media Art Association Conference: 2008, 2009, 2010
Courses:
SFDM 399 Off-campus Disney Imagineering
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Robert A.
Mond
Chair
- B.A., University of Dubuque
- M.A., design and technology, University of Nebraska - Lincoln
- M.F.A., scenic and lighting design, University of Wisconsin - Madison
First year at SCAD:
2006
Credentials/past experience:
Actor, dancer, director, and scenic, lighting, costume or sound designer for more than 300 productions; resident lighting designer, Pennsylvania Shakespeare Festival; operations manager and tour lighting designer, Tulsa Ballet Theatre; owner, production company designing scenery and lighting for product infomercials, videos, events, theater and dance; designer, special events company; designer, the Bristol Riverside Theatre, the Stratford Arts Council, the Nebraska Repertory and the Charleston Ballet Theatre
Awards, recognition, honors:
Honored four times with Certificates of Distinction for lighting design by the Kennedy Center/American College Theatre Festival
Organizations:
United States Institute of Theatre Technology, Themed Entertainment Association, International Association of Amusement Parks and Attractions
Inspiration for teaching:
"Gilbert Hemsley Jr., lighting designer, professor of lighting and life: 'For Gilbert life was a special event. The care and planning that went into making a gala or an opening night special was the same care that Gilbert took to ensure that each moment was lived to its fullest. Whether it was outfitting the design table with flowers, beanbag ashtrays, and pistachio nuts, doing nine loads of laundry with a bottle of champagne, taking students to work at The Met, or gathering his TAs around the family table for a barbeque and a planning session, Gilbert found a way to take advantage of every moment. But the moments he found joy in, he always found by sharing them with others. Gilbert rarely told us one way to live.' From an elegy celebrating the life of Gilbert Hemsley by Mark Stanley, former lighting supervisor, New York City Opera."
Courses:
- PROD 101 Introduction to Production Design
- PROD 110 Drafting for Production Design
- PROD 130 Stagecraft
- PROD 200 Production Management and Administration
- PROD 210 Script Interpretation
- PROD 220 Lighting Design I
- PROD 270 CAD for Production Design
- PROD 320 Lighting Design II
- PROD 730 Script Analysis for Production Design
- PROD 741 CAD for Production Design
- PROD 756 Evolution of Production Design
Artist statement:
"I am firmly convinced that a training program that prepares students to confront issues of the human spirit by emphasizing the past as a springboard to the future and celebrating the diversity of human culture and achievement is vital. I believe that students in the arts cannot reach full artistic maturity without understanding the breadth of human experience. We are storytellers and to represent, with truth, this multi-faceted being, we must be able to draw upon the full cultural, sociological, historical, artistic and spiritual perspective of humankind.
"I believe that if one really wishes to be the master of an art, technical knowledge of it is not enough. The individual has to transcend technique so that art becomes an 'artless art' growing out of the synergy of technique and concept in the unconscious mind. All learning and all experiences must have a substantive and tangible relationship with the development of the individual as a reasoning questioning being. The result must be tempered and filtered by the quest for excellence. I believe that the theater artist is a knowledgeable, skillful, well-rounded person with experience in all aspects of our art but choosing to follow a particular discipline."
"I believe that if one really wishes to be the master of an art, technical knowledge of it is not enough. The individual has to transcend technique so that art becomes an 'artless art' growing out of the synergy of technique and concept in the unconscious mind. All learning and all experiences must have a substantive and tangible relationship with the development of the individual as a reasoning questioning being. The result must be tempered and filtered by the quest for excellence. I believe that the theater artist is a knowledgeable, skillful, well-rounded person with experience in all aspects of our art but choosing to follow a particular discipline."
On the Web:
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