Tyla Bolte – Page 4 – MTM College

You’re invited! Max the Mutt’s OPEN HOUSE Weekend: November 3 & 4 !!

Attend Max the Mutt’s November Open House Event and you will be introduced to the unique learning environment of a college created over 20 years ago by artists, animators and educators who are passionate about their arts and motivated by the desire to pass on their skills.

Community, professionalism, and generosity of spirit are words that best describe the culture we believe in and do our best to encourage at the college.

We are happy to answer your questions!

Like: Why do our graduates do so well? Why were we ranked first in North America for 2017 for Digital Illustration, 3rd in the world, by The Rookies, an international website supported by major companies worldwide?

Max the Mutt graduates can be found at top companies including:

Pixar, UbiSoft, Warner Bros Games, Guru Studio, Nelvana/Corus Entertainment, ToonBox Entertainment, National Film Board of Canada, Tangent Animation, Sony Pictures Imageworks and many more.

Learn about where they got their start and find out how our programs help our students make dreams come true!

Open Saturday: November 3rd

From 10:30 am to 3:00 pm

11:30 AM: Attend an Information Session to learn more about Max the Mutt, about each of our 3 in depth 4 year diploma programs, and the careers each prepares you for:

Our new 4 year Illustration & Storytelling for Sequential Arts Diploma Program (& we have welcomed our first group of students this Fall 2018 term)! We’ll share with you the additional courses that now make this a more secure path for people who want to study for a career in comics and graphic novels. This program now gives you additional skills for jobs that will sustain you while build build your comic book/graphic novel career!
Learn about exciting changes in the Classical & Computer Animation & Production Diploma Program. the only program in Toronto that gives you entry level skills for both 2D computer (Harmony) and 3D (Maya) animation jobs!
Learn about the many career paths open to graduates of our Concept Art for Animation & Video Games Diploma Program!

Following the info session, you’re invited to participate in a group tour of the college, where you can view student work from all 4 years and see classes in session.

1:30 PM: Bring your lunch, and stay on to meet Dave Ross, Author of “Figure Drawing for Illustrators”, Internationally acclaimed Comic Book Artist and MTM Instructor

Dave Ross - Author, Comic Book Artist and MTM Instructor — Dave Ross – Author, Comic Book Artist and MTM Instructor

A book signing will follow the “Introduction to Figure Drawing Without a Model” workshop with Dave.
Dave’s book, “Figure Drawing for Illustrators” will be available for purchase, or bring your copy with you and get it autographed!

Also open on the Sunday: November 4th

From: 10:00 am to 3:00 pm

To Book a private tour for Sunday click HERE!

We will give you a call to confirm the time of your tour and also, if you want to attend, we’ll book you for one or both of the free Sunday workshops:

11:00 AM: “Layout for Comics” workshop with Kent Burles – Illustrator, Comic Book Artist, MTM Instructor and Illustration Program Coordinator.

Kent Burles, MTM Instructor & Illustration Program Coordinator, with Comic Book workshop student

1:30 PM: “Introduction to Character Design For Comics” workshop with Meaghan Carter, Comic Book Artist & MTM Instructor.

Remember if you plan to take a workshop or workshops please bring your sketch book and drawing materials. You’re also welcome to bring along your lunch!

Please note: We suggest a private tour for those of you who are sure which direction you want to go in! We encourage you to include family or a good friend, and we offer, if you request it, free consultation on your art work and portfolio advice.

Please RSVP to admissions@maxthemutt.com or call 416-703-6877, or make a private tour request….

Max the Mutt College of Animation, Art & Design offers three 4 year in depth diploma programs, Classical & Computer Animation & Production, Illustration & Storytelling for Sequential Arts, and Concept Art or Video Games & Animation.

ERIK SEGRIFF’S SUMMER JOB AT 9 STORY/BROWN BAG STUDIOS!

Tina Seemann paid a visit to Erik Segriff at his summer job Animating and she wanted to share:

“I was happy to visit 9 Story Media & Brown Bag Films recently to visit MTM student, Erik Segriff, who had a summer job animating there.

Erik is an Classical & Computer Animation & Production student who recently completed his 2nd year at Max the Mutt.

In addition to animating classically, our 2nd year students begin their 2D software courses: in the fall term they learn FLASH and in the winter term they begin the first of 3 courses to learn TOON BOOM HARMONY software. At the end of their 3rd year, they complete a 30 second short film so that they might gain employment animating for TV series for broadcast.

Although TOON BOOM HARMONY is the most prevalently used software for television series, these days, FLASH ( used for series like “POWER PUFF GIRLS” back in the day-) is still being used in the industry as well. Learning how to use both will allow Erik to be versatile.

Erik came into the FLASH course having some previous experience which was an advantage.

He took to the content readily and amazed his instructor, Keith Fukumoto, with his final FLASH project which involved a walk and run cycle as well as lip sync. Keith has the students create themselves as their characters which is fun! Not only did Erik’s character do what was required of him- his character even danced! We all got a big kick out of it!

Keith said that Erik was among the best students he’d ever had in his FLASH course.

” He was very quick to understand the complicated concepts and when he had questions,he always made sure to ask. He was an inspiration to all his classmates and even to myself.

He hit all his deadlines and was a pleasure to work with! ” Keith said.

Christine Huot, the Recruitment & Resourcing Specialist at 9th Story echoed Keith’s experience with Erik. His demo reel caught Christine’s attention and he was invited to come in for an interview. Erik confessed that he was nervous when he came in for his interview and a FLASH test.

“He was prepared and he asked intelligent questions-” Christine said. ” He is very professional in how he conducts himself which is great. We’ve had more seasoned animators apply for jobs who didn’t work out half as well. From the start, Erik fit right in!”

Erik Segriff summer job animating — Erik animating for ‘DANIEL TIGER’S NEIGHBOURHOOD’

Erik is thrilled to be animating on 9 Story/Brown Bag’s pre-school series ‘DANIEL TIGER’S NEIGHBOURHOOD‘.

“He’s a nice character and I have grown to love him!” Erik said. ” I can’t believe that I am actually animating on a series! They give me a scene, I rough out the poses and then show it to the director. I like doing little ‘extras- things that would make kids laugh. I made a character dance around and the director approved it, so it stayed in the scene!”

Best of all: this isn’t a summer internship- Erik is drawing an animator’s salary!

Erik Segriff summer job with DANIEL TIGER — Erik with DANIEL TIGER

Christine knows that Erik will be returning to Max the Mutt to begin his 3rd year in the fall.

We value the fact that she knows how important it is for him to finish his education at MTM.

He begins his MAYA training in year 3 and in his final year he will be part of a 3D simulated production experience wherein he will be part of a production team along with his classmates.

Knowing how to animate classically in both 2D & 3D will expand his opportunities in the future.

Apart from knowing the software, having a professional attitude already puts Erik in good stead. Being a good team player is vital in any studio environment.

Christine said she’ll be sorry when the summer is over and Erik will have to return to his animation studies.

Christine said, “Erik knows he has a place here when he is finished!”

How to Learn Concept Art Even if You Can’t Draw

One of the biggest curves that life can throw is to give you a desire to do something without the innate ability to begin. You can be really creative with lots of artistic ideas, but have a problem when you try to put those ideas on paper. How to Learn Concept Art Even if You Can’t Draw?

The more refined an artistic discipline becomes, like concept art, the wider that disconnect can be. Just how do you go from a rudimentary ability to draw, to being a full-on concept artist? Can you even do it?

Concept Art – Yes You Can

First of all, few people get anywhere they want to go without the desire and motivation needed for the journey. That said, if you’re interested in learning about concept art and its role in the creation of films, video games, animation, graphic novels and other artistic media, you can pursue that interest, even if you’re starting at square one.

How to Become a Concept Artist Even if You Can’t Draw

1. Learn to Draw

It sounds so simple. You may have considered it, but figured it was too far a leap to start there and end up at concept art. But you must start somewhere and there’s no better place than art classes and workshops. There are important basics of art, including perspective, color theory, light and shade, and the human from, that you’ll need as a concept artist. Even if it seems miles away from your goal, a good grasp of the basics will make the journey easier.

2. Get Used to the Technology

From digital background painting and computer graphic design, to 3D modelling, digital technology is integral to concept art.

3. Talk to Concept Artists

Is there a professional concept artist whose work you admire? Or do you follow a few concept artists on Twitter? In any case, don’t be afraid to reach out and start a conversation. It could be the most valuable one you have about becoming a concept artist.

Max the Mutt offers a full diploma program in Concept Art. Contact us to learn more.

3 Sources of Inspiration for Artists and Animators

It’s bound to happen sometime. You might be the most prolific artist ever; you might have the best creative brief ever authored. But you simply can’t seem to get a start on your illustration, piece of art or the first frame of your animation storyboard.

First, you’re not alone. Creative blocks are common for creative people. If and when one strikes, the first thing to do is reassure yourself that you’ll get around it.

Sources of Inspiration for Artists and Animators

Back in the day, like the last century, artists and illustrators kept physical ‘idea’ files. These were stuffed with magazine clippings, the work of other artists, brochures from gallery openings, photographs, and more.

Idea files were a place for artists to store anything they found inspiring. Then, when they sat down to put pencil to paper and drew a blank, they could look into their idea file for inspiration.

Of course, today everyone can have access to the largest idea file ever, the internet. But the internet is so vast with so much inspiration, you may not find all the places where your particular inspiration lurks.

Here are just a few of the different places you can find inspiration for your work, beyond doing a straight google search.

1. Blogs

Sure, you probably follow a few blogs you like, but if you look more closely, you find inspirational blogs in some unexpected places. In addition to artists’ blogs, and those from design agencies, Adobe offers a graphic design blog that highlights artists, trends and news.

2. Podcasts

It might seem counter intuitive to get graphic inspiration from an aural medium but podcasts, like The Bancroft Brothers Animation Podcast, can help point you in directions you might not have thought of before for inspiration.

3. Other Artists

Websites, YouTube videos and social media are great places to display your art and that makes them great places to find inspiration. And, again, in ways you may not have thought. Can you pick up any pointers for concept art and/or illustration from graffiti artist Omen514’s Instagram feed?

Here’s one more. You can always visit Max the Mutt’s Alumni Portfolio page!

Benefits of Camps & Workshops in Art and Animation

We’ve done them for over 20 years and this year’s schedule for summer camps and workshops in art and animation at Max the Mutt is as busy as ever.

Whether you’ve graduated from a formal arts and animation college or university program. Or you’re considering a career in arts and animation. Summer camps and workshops can help you in lots of ways.

Workshops help you focus on practical applications in specific areas of study. Aimed at adults, postsecondary and secondary school students, you can enroll in workshops and camps as your schedule allows. The one exception being our Intro to Traditional Fine Art Skills & Portfolio Development Certificate Program, which combines a number of workshops into a 6-week program.

How You Can Benefit from Summer Camps & Workshops in Art & Animation

Learn a New Skill

If you’re a doodler or a professional. There may be areas of art and animation that your experience and or training haven’t exposed you to. Whether it’s life drawing, cartooning or painting in acrylic. Workshops and camps give you a ‘non-committal’ way to learn. And if you want to learn, even more, there are often subsequent workshops to expand your skills.

Freshen Up an Existing Skill

Maybe your work or schedule doesn’t allow you to keep all your art and animation skills as sharp as you’d like. 3D animators often like to revisit 2D animation and drawing as a way to keep their digital work more realistic.

Satisfy Your Curiosity

If you’ve always focused on one area, like animation. You may wonder about expressing yourself in life drawing or acrylic painting. Workshops can give you practical insights into other artistic disciplines to satisfy your interest and help you decide whether you want to pursue your new skills further.

Camps and workshops covering a wide range of art, design, and animation are available throughout the summer at Max the Mutt.

A Introduction to Colour Theory for Art

The first thing you need to know about colour theory is that, as the name implies, it is a theory. In other words, while colour theory has many aspects that are accepted as fact, it remains as a set of guidelines for using colours together in harmony, including for art, animation, and design.

Many artists and animators have an instinct about using colours in harmony. Others need to constantly review the guidelines. In any case, we all can benefit from learning more about colour theory.

The Basic Terminology of Colour Theory

Before you can learn more, it helps to understand the some of the terms used in colour theory.

Hue

At its most basic level, hue can be thought of as the colour itself and its variations due to tint and shade.

Value

Sometimes referred to as brightness or lightness, a colour’s value is determined by its overall brightness. A simple example is, using a colour of a green hue, the colour’s value could be high, (or brighter, or lighter) and commonly called a ‘light green’; or low (or darker) and commonly called a ‘dark green’.

Chroma

Sometimes referred to as saturation, the chroma of a colour is its intensity. A green of a higher chroma will appear richer and a green of a lower chroma will appear duller.

The Colour Wheel

Colour wheels are used to get a visual representation of the relationship between colours and are a basic tool for choosing colours in your art and animations.

To show the relationship between colours, they are divided into three basic categories on a colour wheel.

Primary Colours

Primary colours are defined as those colours that cannot be be created by mixing other colours on the wheel. The primary colours on the wheel are red, yellow and blue.

Secondary Colours

The secondary colours on the wheel are those that are created when you mix two primary colours together. The secondary colours on the wheel are green, orange and violet.

Tertiary Colours

When you mix a primary colour and a secondary colour together, you ge a tertiary colour. There are six basic tertiary colours on the wheel, including yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green.

Using the Colour Wheel for Colour Harmony

The colour wheel can be used to choose colour combinations, or pallets, for your work that appear more aesthetically pleasing. Colour harmony can be achieved by using any of three basic colour classifications that are easily found on a colour wheel.

Complementary Colours

Any two colours that are diametrically opposed on the colour wheel are considered complementary. These colours offer the greatest visual contrast between each other.

Triadic Colours

If you’re looking for colour harmony among three colours, try a combination of triadic colours. They are three colours that are equidistant for each other on the wheel. The three primary colours are considered triadic.

Analogous Colours

Analogous or related colours are the combination of a main ‘root’ colour and two or more colours that in close proximity on the colour wheel.

With even a basic knowledge of colour theory, you can begin to understand the importance of colour harmony in your work. Colour theory is part of the curriculum in all diploma programs, be it Animation, Concept Art or Illustration, at Max the Mutt College of Animation, Art & Design.

The Psychology of Colour in Art and Animation

Whether it’s in animation, concept art or illustration for sequential arts, the psychology of colour might play as much a role in a viewer’s impression of your work as just about any other aspect.

In terms of art and animation, the psychology of colour involves the mental and psychological effects that the colour in your work exerts on viewers.

But colour psychology is at work every day in everything we do. For example, the colour red has been shown to trigger increased heart rate, and a subsequent increase in adrenaline, in many people. As such, interior decorators generally won’t recommend a bright red for bedrooms, often opting instead for blues and greens, which are more often associated with calmness.

Keeping the Psychology of Colour in Context

It’s important to note that no definitive studies or series of studies exist to show that any particular colour will consistently trigger an emotion or psychological effect in everyone.

But, especially in marketing, analyses have shown results in how colours can generally affect a consumer’s brand perception, and even inclination to buy. The takeaway here is that colours shouldn’t be relied upon to instill any particular psychological effect, but should be considered as potentially having a psychological effect in the context of your work.

We can look again at the colour red for an example. Yes, red can generate excitement, but it may also produce feelings of anger, or engender a sense of romance.

Sticking with red, cultural influences can also affect the psychology of colour. Red is considered lucky in Chinese culture.

The Psychological Effects of Cool and Warm Colours

The psychological effects of colour are commonly noted around two main categories of colours: warm colours and cool colours.

Cool Colours

In color theory, cool colours are considered those in the blue-green and blue-violet ranges, including most grays. As mentioned, blues and greens tend to induce a sense of peaceful calm and relaxation.

Warm Colours

Reds, yellows, browns and tans are considered warm colours. Generally, their effect is to arouse and stimulate. There’s a reason why so many restaurants use red in their branding – it’s actually been shown to cause some people’s stomachs to growl.

Nature always has a balance of cool and warm. In your work, a lack of warmth will make a piece seem lifeless. Too much warmth will appear garish.

As you get more sophisticated about the use of colour, you’ll begin to see that there are actually warm greys and cool greys, and with red pigments and yellow pigments there are also warmer and cooler reds and yellows. Nature does a dance between warm and cool changes that can be very subtle and when we mimic that in our work, it sparkles. That’s why a well chosen palette will include warm and cool blues, yellow and reds. The potential for colour mixing, while not as great as nature’s, gives artist’s many expressive possibilities.

The Importance of Still Life Drawing

Before we discuss the importance of still life drawing, it helps to clarify just what is is. Interestingly, still life art typically depicts everyday natural or man-made objects that are inanimate and, in contrast to the name, generally lifeless.

But it’s the depiction of what may be a lifeless (actually including dead animals in some cases!) object in a way that draws in the viewer, almost as if it was somehow ‘alive’, offers the first clue to its importance.

Whether you’re considering a career in 3D or 2D animation, gaming graphics, fashion design, advertising art, or any graphic-related profession, the importance of learning still life drawing shouldn’t be missed.

1. Creating the Illusion of 3D in 2D

Even if you want to jump straight into 3D animation, understanding how to make a two-dimensional object look three dimensional gives you a practical understanding of what you’re doing on the screen.

2. “Animate” the Inanimate

The art of still life drawing is depicting objects that we might never notice day-to-day, other than for practical purposes (like a can of tomato soup!), in ways that lets the viewer see them differently, see different aspects and even different meanings in them.

If you can do that in a drawing of a bottle, you’ll be better able to do it in any graphic art form.

3. Setting the Scene

Still life artists take time and care to choose and compose their subjects before composing their drawing. It’s like sketching with the objects of your art instead of with pencil and paper. And it helps your ability to compose any scene, whether it’s on paper or digital.

4. Capturing Colour Theory

In addition to composition, still life art can rely heavily on colour theory to add meaning, mood and dynamics to the subject. All of which are valuable tools for every artist and animator.

5. Adds an Interesting, Unexpected Dimension to Your Portfolio

In addition the your areas of specialization, still life drawings add a sense of versatility and depth to your portfolio.

Still life drawing is a major component of the Fine Art Portfolio Skills Class at Max the Mutt College of Animation, Art & Design.

Congratulations Dhenzel Obeng, 2018 UbiSoft Toronto NXT Showcase Award & Internship Winner!

NXT Showcase Concept - by Dhenzel Obeng — NXT Showcase Concept – by Dhenzel Obeng

On Tuesday evening, May 15th, with excitement running high, UbiSoft Toronto held this year’s NXT Showcase awards presentation. The five finalists for each category were present along with faculty members from many Ontario university and college programs, some family, and UbiSoft employees. As usual, the atmosphere was warm, positive… and the food was great!

The pic below was taken before the announcements of winners. Dhenzel Obeng and close friend Zabi Hassan, also an MTM 2018 Concept Art grad, and a current concept artist at UbiSoft, joined Tina Seemann (she took the pic) and me in celebrating the fact that Dhenzel made it as a finalist, an honour in itself!

Maxine Schacker with Dhenzel Obeng and Zabi Hassan at Ubisoft Toronto NXT Showcase Awards 2018

This one was taken after the awards! HOORAY FOR DHENZEL !!!

Dhenzel has passion, drive, curiosity, and a generous spirit. He’s worked hard to develop the skills to create worlds and share his vision. We are all very, very happy for him!

Maxine Schacker

(Click on the link for info about 4 year program, unique in Canada)

Concept Art Diploma

Year End Open House at Max the Mutt! Graduate Work on View!