Animation News

Posted on Monday, November 11, 2013 by Allison Byers

Uriarte sketching in Gharma, Iraq, in 2009View slideshow 

Maximilian Uriarte (Animation 2013) literally draws from experience to create the virally popular comic strip Terminal Lance. Started in late 2009 and based on Uriarte’s experiences as a Marine in Iraq, Terminal Lance is now published weekly in the Marine Corps Times newspaper and online.

In the Marines for “Art’s Sake”

There are many reasons men and women join the military, but Uriarte’s reasoning at age 19 was quite unique. “As an artist, I felt an intense need to experience the world in order to give a kind of legitimacy to my art. It might sound strange, but ultimately I joined for the sake of my art. I wanted to find the most difficult thing I could imagine.”

Uriarte joined in 2006, with the war in Iraq in full swing. With high scores on his ASVB entrance exam, Uriarte chose to go into the infantry. “My actual MOS ended up being 0351, Infantry Assaultman. I was assigned to 3rd Battalion, 3rd Marines in Hawaii, where I deployed to Iraq twice between 2007 and 2009.”

Art at War

During Uriarte’s second tour, his battalion commander saw his penchant for art and photography and offered him the opportunity to serve as combat artist and photographer. Through this, Uriarte was able to travel all over Iraq, taking photos and sketching the Marines’ daily lives.

“Most of the work I did was official, classified, documentary photojournalism. On a rare occasion, I would embed with a unit and effectively be allowed to capture anything I wanted, photographically or otherwise. This was the most fun, as I was given artistic freedom to sketch and take pictures of basically anything.

Part of my billet was also photographing for use our battalion “Cruise Book” (a yearbook for the deployment), which I designed cover to cover.

“This would ultimately prove to be an important step in my career, as it not only gave me experience I could draw from, but also laid the groundwork for Terminal Lance.”

Read the rest

Posted on Wednesday, September 18, 2013 by Matthew Harrison Tedford

Before helping to bring to life the metal band Dethklok in Metalocalypse or dreaming up the whimsical postapocalyptic Land of Ooo for Adventure Time (both Cartoon Network shows), animator Ako Castuera (Illustration 2000) was, perhaps surprisingly, a ceramics student.

Before coming to CCA, drawing really hadn't been her thing. She attended an arts high school and loved it, but thought drawing class was just too much like boot camp.

Read the rest

Posted on Thursday, August 1, 2013 by Allison Byers

Terminal Lance: The White Donkey is a webcomic that is written and illustrated by Maximilian Uriarte, a prior-enlisted Marine with a Bachelor in Fine Arts in Animation from the California College of the Arts. Max tells us that he has been writing this story for the past three years. “It is a fictional story of a Marine, Abe, and his existential journey through the Marine Corps, Iraq, and his return home. Within the story, Abe enlists in the United States Marine Corps in the hopes of finding that missing something in his life that he can’t explain,” Max related.

Read the rest

Posted on Monday, July 15, 2013 by Allison Byers

Uriarte recently graduated from California College of the Arts with a bachelor’s degree in fine arts and is pursuing a career in animation at a major studio. He publishes “Terminal Lance” online twice a week and works as a collaborator on another comic strip, “Into the Mangrove.”

Visit source »

Read the rest

Posted on Monday, July 8, 2013 by Allison Byers

Marine veteran and California College of the Arts alumni Maximilian Uriarte is a bit of a legend in the Marine Corps community when it comes to telling the untold story of life in the Marines. In 2010 he started a comic strip called Terminal Lance, that candidly and humorously addressed many of the nuances of life as a junior enlisted Marine.

Visit source »

Read the rest

Posted on Monday, February 25, 2013 by Chris Bliss

Animation faculty member Mark Andrews accepts Oscar for "Brave"

Make room for Oscar on the mantelpiece! Pixar's Brave won Best Animated Feature at the 85th Annual Academy Awards held February 24 at the Kodak Theater in Hollywood. Accepting the award was Director Mark Andrews, CCA Animation faculty member, and Brenda Chapman, codirector.

Read the rest

Posted on Monday, January 14, 2013 by Chris Bliss

Mark Andrews accepts Golden Globe for Best Animated Feature for "Brave." (Photo credit: Kevin Winter / Getty Images)

Pixar's film Brave won Best Animated Feature at the 70th annual Golden Globe Awards, held January 13 in Beverly Hills. Accepting the award was Executive Producer Katherine Sarafian and Director Mark Andrews, CCA Animation faculty member.

The Golden Globe Awards are presented by The Hollywood Foreign Press Association and honor the best in film and television.

Read the rest

Posted on Wednesday, December 5, 2012 by Lindsey Westbrook

A character concept for Fergus from the Pixar film Brave, by Steve Purcell

Steve Purcell (Interdisciplinary Fine Arts 1982) is a cartoonist, animator, director, game designer, and Eisner Award recipient. He works at Pixar, and was a writer and codirector of the 2012 feature film Brave.

While at CCA he contributed comic strips to the college newspaper, Spectrum, and these were the first public appearances of his characters known as Sam & Max Freelance Police, a duo of anthropomorphic animal vigilantes and private investigators who have subsequently enjoyed great success in comic, TV show, and game formats.

One of Purcell's friends and fellow students at CCA was Mike Mignola (Illustration 1982), who went on to become the creator of Hellboy. They both studied under Vince Perez and Gary Ruddell. After graduation Purcell freelanced for Marvel Comics and spent some years at LucasArts and Industrial Light & Magic before landing his current job at Pixar.

Purcell shared some insights about his career in the latest issue of CCA's Glance magazine:

Read the rest

Posted on Tuesday, May 8, 2012 by Clay Walsh

CCA's Animation Program landed the #6 spot in "The Best Animation Programs in the West: Our Top 20 in the Western U.S. Region", published by Animation Career Review, an online resource for people aspiring for careers in animation and related fields.

Read the rest

Posted on Thursday, April 19, 2012 by Mitchell Schwarzer

Mitchell Schwarzer gives his introduction at the CCA faculty retreat

On February 4, 2012, the faculty at California College of the Arts gathered at the college's San Francisco campus for a retreat focused on the state of the arts across our many disciplines. In the morning, 25 short presentations offered insights into challenges and opportunities faced by practitioners and thinkers in recent times. The word aired most frequently was crisis: the crisis of the Great Recession; the crisis of Global Climate Change; the crisis of understanding and working within a discipline in our digital age.

Watch the video of all the presentations (91 minutes), shot and edited by Yoni Klein (Photography 2012)

The economic downturn has produced an economic squeeze within most of our disciplines. Art directors, as Alexis Mahrus remarks, have diminished roles in shaping an illustration. Smaller profit margins reduce the flexibility and time given over to experimentation. Branding and celebrity worship take up a larger slice of the creative pie. Some presenters, like Sue Redding of Industrial Design, see no problem in this conflation of art and business and, furthermore, dispute the notion of a crisis. Yet many presenters feel that the economic crisis is not only real but wielding dangerously asymmetrical impacts. Demand remains strong for high-end craft goods and blue-chip fine art. Some small nonprofits are struggling to survive. To Ignacio Valero of Critical Studies, the priority given over to luxury items can be attributed to the ongoing influence of classical economic policies that privilege individual decision making over collective social and natural needs. Likewise, Sandra Vivanco of Diversity Studies notes that economic inequalities have greatly worsened over the past few years, especially in the developing world. Contemporary society is forging a timeless, spaceless way of conducting business, a race for lucrative and short-term gains that concentrates investment more than ever in the hands of a few.

Read the rest

Pages