GENE HAMM’S BOOK “HOW TO GET A JOB IN ANIMATION AND KEEP IT” IS LOADED WITH INFORMATION ABOUT THE ANIMATION INDUSTRY AND TIPS FOR ASPIRING ANIMATORS

reviewed by Martha Gorzycki, Animation Program Coordinator at San Francisco State University. 

Hamm’s book is a biography of the ups and downs of surviving as an animator. It blends the historical with the personal, gives advice on technical and creative skill development and lists pertinent resources.  From Hollywood studios to free-lance animation to independent filmmaking, this book covers fundamental aspects of how to profit in animation.  Hamm’s personal anecdotes can shed light for those driven to succeed in the current industry.  Readers will walk away feeling like Gene Hamm is standing at the sidelines cheering them on as they wend their way into the professional world of animation. 
The organization and writing style draw the reader into the anecdotes and lessons the author boldly divulges.  This book is wryly written, weaving memoirs with tips on preparing oneself for a career in animation.  Hamm’s contact with Hollywood superstars adds entertainment to his brutally honest approach regarding his life experience and process as an animator and director.
As a starting point, the author gives an overview of the three basic animation techniques: 2D, 3D and stop-motion and elaborates on the skills they each require.  Strong life drawing and design mastery are fundamental to all animation techniques and should be well developed before learning computer software.  Understanding lighting, cinematic techniques, storyboarding, 3D design and laws of gravity/physics are also foundations for crafting motion that evokes the desired liveliness.
A compelling story is at the heart of narrative animation.  A dynamic script that immerses an audience’s attention and creates believability is conducive to strong visual planning.  Hamm does a good job outlining the basic principles of animation: squash and stretch, anticipation, follow-through, over lapping action, timing, staging, arcs, slow in and slow out.  Students must know, master and effectively demonstrate these principles on their show reel.  Working with good animation teachers who demystify the animation principles goes hand in hand with students’ drive to be active participants in developing their animation talents to the fullest.  Quoting from master animators, Hamm warns it is imperative to minimize distractions when animating and focus fully on the feeling of the scene; this is truly sage advice.
                The strengths of this book include outlines of the essential creative, technical and savvy business skills that will support advancement in the animation industry.  The section on demo reels is very detailed and confirms what studio heads have been recommending for years.  Information on the Animation Guild, the animator’s union, is very elaborate.  Hamm does a good job summarizing its history, purpose and the current benefits of membership.  A breakdown of the union groups, their acronyms and functions is a useful resource giving clarity to the myriad of how creative talent is organized professionally.
For those interested in free-lancing, there are tips on how to price a job and important questions to ask a potential client.  Press releases for self-promotion are critical for the independent animator and in keeping with current trends, the web is a great place to promote oneself as an artist/animator/director which can lead to the possibility of selling one’s work online.
Highly beneficial information is included in the appendices as well.  I especially appreciate the interview with Steve Hulett, union business agent for Animation Guild Local 839, who discusses current trends for feature, effects, game, and web animation industries.  Other references mentioned such as copyrights, books, videos and professional organizations are invaluable.
Readers get a glimpse into Hollywood studios through Hamm’s personal stories, though today with most animation being outsourced to other countries, some of the L.A. job information is a bit outdated.  Also, with technology changing so rapidly and software companies buying each other and modifying or eliminating software programs at every opportunity, any software recommended is doomed to change or become obsolete in a short period of time.  I encourage the reader to institute ongoing research in the latest animation software trends and developments.
Serving as a precaution, Hamm chides the slave labor practice of student internships.  However, many of my students have had very positive experiences as interns at local studios in the Bay Area, and more often than not they were offered employment upon graduation.  For me, the only questionable aspect of this book is its title; I am not convinced it reflects its content most accurately.  Perhaps “How I Survived Working in Animation” or “Anecdotes for Aspiring Professional Animators” is more succinct. Despite the misleading heading, the value and insightfulness of the text is not diminished.
The foreword is written by Ed Hooks, the internationally renowned actor who teaches animators the acting essentials required for solid character animation.  Hooks is gracious in his introduction and I concur with his view that young animators can indeed learn from the lessons of an elder animator that are in this book. How to Get a Job in Animation (and Keep it) is published by Heinemann of Portsmouth, NH.  It retails for a mere $13.95, well worth the price.