from east to west — computer animation education in china and the united states

8/7/2019 From East to West Computer Animation Education in China and the United States

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Abstract

This paper contrasts the different approaches to computeranimation education in China and the United States. The

intent of this paper is to discuss the state of animation

education in China, and to consider the value of such

an education in academia or in the animation industry.

American universities tend to position themselves

either with industry or with a fine arts/experimental

approach. Animation education in China is currently

in an ambiguous stage. By comparing approaches in

China and the United States, possibilities for clear

pedagogical/curricular trajectories for Chinese students

entering the field of animation can be identified. Because

animation education and industry in both locationsis being drastically affected both by increased power

of and access to digital tools, as well as by alternate

dissemination venues (DVD, web, cable, and mobile),

this is an opportune time to debate this topic.

Historical backgroundIn the United States, the animation industry has been

present since the early 1900s. Traditionally, animation

training took place in the studios under a master/

apprentice system. As educational interest in animation

grew, animation programs appeared in Americancolleges and universities.

In comparison, the animation industry in China dates

only to the 1950s. Animation as a field of study and

as a major in universities only surfaced in China

recently (during the 1980s). The Chinese government

has increasingly supported animation education and

the animation industry since the mid-1990s (there are

now 1,250 universities and schools that offer animation

courses).

Many animation firms with a global presence areheadquartered in the United States. When hiring

employees, these American animation companies look

for graduates with sets of specialized skills often they

From East to West Computer Animation

Education in China and the United States

Hui ZhuAcademy Art and DesignTsinghua University, [email protected]

Bruce WandsSchool of VISUAL ARTS, United [email protected]

Sven TravisParsons the New School for Design,United [email protected]

Xiaobo LuTsinghua University, [email protected]

prefer candidates with several years experience in the

industry.

In China, animation studios with a significant presence

are either part of the state-sponsored television and

film industry (such as China Central TVs animation

department), or private companies that operate under

contract with foreign firms. Animation companies in

China seek graduates with multiple proficiencies who

can be involved from initial design to post-production

tasks.

In both China and United States, the animation field is

growing quickly. The genre has expanded to include

feature films, television, games, and commercials.

Distribution venues now include the Internet, cable

TV, and portable devices. In both countries, animation

education must balance instruction in marketable skills

with creativity and academic research.

Animation education in the United

StatesTypical American computer animation curricula include

training in traditional principles of animation such

as motion drawing, character, and cell techniques, as

well as instruction in mainstream 3d packages such

as Maya and/or 3d Studio Max, including modeling,

rigging, texturing, lighting and rendering. Approaches

to animation education vary between art schools and

universities. Art schools use more part-time faculty who

are professionally active in the animation industry. This

ensures that instructors possess real-world understanding

of industry processes and practices, mirroring the

traditional master/apprentice process. Such instructors

may bring different emphases and approaches to the

classroom, but they share a common industry-oriented

focus.

At the university level, most faculty are full-time, and

generally focus more on animation theory and research.


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Some university faculty also produce animation. While

there is some overlap, art schools generally provide a

curriculum that is industry-aligned, while universities

tend towards a fine arts/experimental approach, or

towards scholarly/historical/critical activity.

Across all types of schools there is an increasing

influence of non-traditional production and dissemination

techniques. Flash, After Effects, Final Cut, and

digital adaptation of traditional techniques (cut paper,

claymation, stop motion, video collage, etc.) are shaking

up the learning processes and the end result. That young

animators are posting their work to YouTube years before

they reach college age suggests the need for radical new

learning pedagogies within higher education.

Animation education in ChinaIn China, although more universities are teaching

animation courses, there are limited employment

opportunities for graduates (the Chinese animation

industry is still young and there are few Chinese-

produced original animation films). Instructors in

Chinese animation programs tend to have a fine arts

background and an artistic perspective, with little or any

animation industry experience. Courses in animation

theory also have little relevance in the current jobmarket.

Students studying animation in China are extremely well

versed in illustration. Most schools require applicants

to pass an exam of visual art fundamentals, including

drawing, color, and design. Incoming students excel in

these areas. University curricula are focused on nurturing

this assortment of skills into an artistic sensibility.

This does not always jibe well with the need to master

a variety of skills specific to the field of animation.

Students often graduate with excellent fine arts skills,

but with less animation-specific knowledge. Add thisto uneven access to distribution platforms such as the

Internet, and the disconnect between Chinese animation

curriculum and the global industry is exacerbated.

Clockwise from top:Computer Lab, School of VISUAL ARTS, New York

Animation.Alex Feurer. Parsons the New School for DesignAnimation Mirage. Youngwoong Jang. School of VISUAL ARTS 2006

Animation Simulacra. Tatchapon Lertwirojkul. School of VISUAL ARTS 2007


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The most common criticism voiced by animation

graduates in China is the disparity between what they

are taught and the skills that the animation industry

requires. One of the most important approaches that

the Chinese animation educational community could

learn from American animation education is to provide

a clear and strong relationship between the objectives

and expectations of animation education and the actual

application of such an education in the real world.

ConclusionFor animation education in China to develop and grow

in meaningful and productive ways, three approaches

may be suggested. The first is for Chinese universities

to establish practical relationships with the animation

industry, both Chinese and global. This will produce

knowledgeable, experienced faculty and turn out

graduates who can easily move into the industry and

thrive.

The second approach is for Chinese universities to

create projects that allow Chinese animation to developits own distinct characteristics. All educators must rely

on their countrys history and cultural background,

against the backdrop of worldwide industry. China

has its own aesthetics and is able to display its arts in

beautiful, interesting, and even striking ways that are

different from the West. China also has a rich tradition

of folk art, lore, and tales. All of these must be applied

to the animation realm. Puppet theatre can be a fertile

resource for the development of stop-motion animation.

Traditional brush and line illustration brings tremendous

possibility into time-based media (at the Academy of Art

and Design at Tsinghua University in Beijing, traditional

brush and line illustration has been incorporated into the

animation fundamentals curriculum, resulting in a very

innovative course).

Finally, animation programs in China would benefit

from increased interaction with universities in the United

States and other countries. Shared classes and projects

possibly even industry sponsored, would be of great

help. Any exchange in the fast-changing animation

sphere benefits both sides. Building shared academic

pedagogies and distributed learning internationally

will move Chinese universities into a global exchange,

critical when interacting with an animation industry that

is international in nature.

Clockwise from top:Computer Animation Lab, Academy Art & Design of Tsinghua University, Beijing

Animation Lab, Academy Art & Design of Tsinghua University, BeijingFilm Studio, Academy Art & Design of Tsinghua University, Beijing

Character Wawa. Hui Zhu. Academy Art & Design of Tsinghua University 2005

Animation Pig, Gong Zhang. Academy Art & Design of Tsinghua University 2006

from east to west — computer animation education in china and the united states

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