Hi Folks!
Ok, here's my problem. I've been working as a comic book artist for the comic book industry in the U.S. for the past six years. I've done several-- rather--TONS! of portfolios that I have submitted to the big comic book companies and "indies" as well. So I would say I'm quite adept and already an "expert" when it comes to that department.
Now, I'm at the point of my career where I really need some change. I've always wanted to work in animation. I want to see my ideas on paper "move" on the silver screen!
The position that I would really be good at is:Visual Development Artist or Story Artist. Most animation companies do not require a "demo reel" for these positions. I know the Job Description/s of these positions really well.
What I don't have an idea is is how does the portfolio of a Visual Development Artist or Story Artist should look like? I've never even seen nor touch one in actuality. I know that it should really look professional, of course, that's a given in any field. What I'm talking about are the dimensions of the portfolio. How big should it be? What are the accepted dimensions by the animation companies? How many pieces of artwork should I put in there? Only the best ones, I know. Should I just put it in one of those "clear book binders" that you can buy in a bookstore? Is that an acceptable presentation? I don't have a clue.
So anyone out there who knows how, please reply. Thanks in advance. Especially those people who are currently working for animation companies right now. Big or small. Advice from an animation insider would be the best I guess. And if there's any important topic that I forgot to cover regarding this topic, please feel free to expound.
Good Day to ya' all.
poomch3d
Send your portfolio in a form where you wouldn't mind if you never got it back. In other words, send copies rather than originals. Lots of studios like to keep portfolios on file, and I don't know of any that will send them back without return postage and packaging provided by you (and some won't even at that). I've found that the book binders from the office supply store work great, but I'm an animator, not a development artist.
You will also probably want to keep film frame aspects in mind when you select your work. Comic book frames have much more flexibility in their proportions and shapes than film does, and you want to show you understand the limits of the film frame and can work within them.
To answer the "positions" part of your query:
Story Artists are not that common, storyBOARD artists are much more common though.
Different between the two is that the former is more likely found on feature, and that's a far less common position that storyboarding for, say, TV.
Now, coming from a comicbook background.........you MIGHT have the skills to do the job, and you might not. There's technical kinwloedge required that comic book folks just don't use on the printed page and restrictions in frame, plus various lingo etc. Its something that a 12-week evening course could address though. Comics have a kinship with storyboards, but there's a very early point where they split into two very distinct forms.
Most studios are going to want people that know the stuff, the technical aspects and the lingo used. If you don't know it yet, you are lacking a valuable and NEEDED asset for that job.
Visual development artist is probably the easier of the two to land--as it tends to be straight visual imagery. Obviously, good clear perspective drawing is essential, but also that ability to dazzle with a camera angle that alot of comic book folks have is a big help. Colour work is useful here, but good clear layout and settings are most important.
Strive to impress with your visuals.
As far as what to put in: 10-15 pages, 8 1/2 X 11 is standard, bound is essential. Paper stock doesnt have to be that fancy, though if you have detailed colour work a better grade paper stock helps show that.
Treat it as disposable-like a tear sheet. Black and white or colour copies as you can afford them. Contact info on each page, on the bottom or margin if you can wiggle it in--or on the back if you can't. Try to include some figure drawing, and things like animal subjects and whatnot--but focus mostly on the material for your sought position.
"We all grow older, we do not have to grow up"--Archie Goodwin ( 1937-1998)