Competences of animation designers: Perceptions based on a sample of Brazilian professionals

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Elis a n g e l a L o b o S chir ig at t i I la n Av r i c h i r

COMPETENCES OF ANIMATION DESIGNERS: P ercept io ns bas e d o n a sample o f B raz ilian profess io nals V O L U ME 1 A n i ma t i on a nd C ine ma

Curitiba - PR 2021


How to cite this e-book: Schirigatti, E.L., & Avrichir, I. (2021). Competences of animation designers: Perceptions based on a sample of Brazilian professionals. (Collection animation & cinema). Curitiba: Arte Final.


Contact Elisangela Lobo Schirigatti Department of Industrial Design/ UTFPR Federal Technological University of Paraná Av. Sete de Setembro, 3165 - Rebouças Curitiba - PR - 80230-901 E-mail ndesignanimacao@gmail.com Facebook @nucleo.designanimacao Instagram @nucleo.designanimacao LinkTree Linktr.ee/NucleoDesignAnimacaoUTFPR Site nucleodesignanimacao.ct.utfpr.edu.br/

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Graphic Project by Milene Ramos Suelen Zaramela Cover by Milene Ramos Texts by Elisangela Lobo Schirigatti Ilan Avrichir Figures and Tables by Suelen Zaramela Illustrations by Maiara Miotti Cunha Revision by Giulia Pietra Dal Col Translation by Robert Stewart Luiz Fernando Rosa de Araújo Fulfillment Núcleo de Design de Animação da UTFPR Curitiba Executive Editor Elisangela Lobo Schirigatti


This work was carried out with the support of the Federal University of Technology – Paraná (UTFPR), with the collaboration of volunteers and interns from the Animation Design Nucleus.


Professor and researcher Dr. Elisangela Lobo Schirigatti is a designer and faculty member of the Academic Department of Industrial Design at the Federal University of Technology – Paraná (UTFPR), where she teaches the disciplines of photography and animation. She is the coordinator of the Animation Design Nucleus and the Photography Nucleus, both extension projects at UTFPR. She is responsible for organizing extension events: Photographic Exhibitions at the Photography Center, National Experimental Animation Meeting (ExperimentAnima), Games, Comics and Animation Week (JoQA), Animation Moment, Animated Conversation Wheel and the Open Ani-


mation Laboratory (LAAB). She was a member of the organizing team of the Brazilian Seminar on Animation Studies (SEANIMA 2020), and a member of Red Sur a Sur, which is the Latin American Network of Animation Studies, and a member of the jury at the International Festival of Animation of Curitiba (Animatiba 2021). In the research field, she is the leader of the Research Group on Hybrid Interactive Narratives at the Brazilian National Council for Scientific and Technological Development (CNPq), and coordinates the International Observatory of Teaching in Animation and the Animation Production Chain projects, where she studies the skills of animation and experimental animation professionals.


Professor and researcher Ilan Avrichir is involved in the Graduate Program in Management (PPGA) at ESPM. He has a Doctorate in Company Management from the Getúlio Vargas Foundation in São Paulo, which he earned in 2002, a Master’s Degree in Management from that same institution and a degree in Production Engineering from the Polytechnic School of the University of São Paulo. He is an undergraduate and graduate professor at the Escola Superior de Propaganda and Marketing (ESPM) in the area of International Strategy and Organizational Studies. He researches the competitiveness of Brazilian industries with an emphasis on global value chains, local production arrangements, exporting goods and services and communication between national cultures.



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We dedicate this book to the professionals in the field of Animation who keep our lives moving!


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We are grateful to the professional animators who participated in the interviews and who, with great care and rich details, provided valuable information about their careers and the research topic. We would also like to thank Professor and Researcher Dr. Dilmeire Vosgerau who works on the Graduate Program in Education at the Pontifical Catholic University of Paraná (PUCPR). Through her coordination, she permitted the use of the Laboratory for teaching, practicing and analyzing qualitative data supported by ATLAS.ti, contributing to the data analysis strategy. She organized our attendance at the 1st Brazilian Meeting of Users of the ATLAS.ti Software and the monitoring of the data coding discipline with the support of the Atlas.ti Software, which contributed to our un-


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derstanding of the methods employed and the logic of developing the category analysis and final report. We would also like to thank professor and researcher Dr. Rosane de Mello Santo Nicola for her dedicated analytical reading and critique of the content of this research. It should be highlighted that the professor works in the Literature course at the School of Education and Humanities of the Pontifical Catholic University of Paraná (PUCPR) and is a founding member of the Teaching and Learning Center (CrEAre) of PUCPR, responsible for the continuing education of undergraduate teachers from 2015 to September 2018, when she guided the development of competence-based curricula in more than 50 structuring faculty nuclei in the institution’s undergraduate courses.

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We are also grateful for the knowledge shared by Professor Dr. Andrea Leite Rodrigues of the School of Arts, Sciences and Humanities (EACH) of the University of São Paulo during the minicourse on Interviews: conducting, analyzing, theorizing. The minicourse was taught by the professor at the XXI Seminar in Management FEA/ USP - SEMEAD on 09 November 2018. We recommend the content of the course on how to structure interviews to anyone who wishes to focus on the qualitative field. 14

We would like to thank the higher education institutions involved, the Federal University of Technology – Paraná (UTFPR), which granted Professor Elisangela Lobo Schirigatti the opportunity for her post-doctoral internship, and Escola Superior de Propaganda e Marketing (ESPM) which, through Professor Ilan Avrichir, opened its doors to welcome Professor Schirigatti to the Graduate Program in Management (PPGA). Directing and conducting their research provided an opportunity for both researchers to improve their knowledge in the field, strengthening the scientific dialogue between the two higher education institutions. This fulfills


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the role of the university in encouraging research, teaching and extension. Finally, it is important to thank the team at the UTFPR Animation Design Nucleus, in particular the volunteers from the Graphic Design Technology course, Milene Ramos and Suelen Zaramela, who participated in the design project of this digital book, to the Letters student Giulia Pietra Dal Col for proofreading the text, and design student Maiara Miotti Cunha for the illustrations. These dedicated women put a great deal of care and effort into meeting this challenge and making it a reality. 15



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The Competences of animation designers: Perceptions based on a sample of Brazilian professionals research project was developed during the Post-Doctoral internship in the Graduate Program in Management (PPGA) at ESPM. Between 2018 and 2020, the research project was given a warm welcome by Professor Ilan Avrichir, whose expertise provided guidance based on a qualitative approach and systematic literature reviews. This dedication gave rise to several contents, initiatives and products, among which is this book that you are now reading. Therefore, it is necessary to present, in a synthetic way, some points regarding the logic of how this specific challenge arose and the main paths that were followed.


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Post-doctoral internship: known as post-doc, this is an academic internship for improving research skills. Despite being supervised by a doctor in a Graduate Program, this study activity does not result in a university degree.

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It is not easy to talk about competence. The difficulty begins when the researcher is faced in the literature with a multitude of concepts. Nicola and Vosgerau 4 recently reinforced that the theoretical framework underlying the notion of competences is still diffuse and diverse, as contributions stem from different fields of knowledge, generating a terminological polysemy. For this reason, in this study, it was decided to conduct the content analysis from the perspective of authors who have already study competences in creative industries. Interest in the topic emerged when I started teaching the subject of Animation at the Federal University of Technology – Paraná (UTFPR) in 2009. Since then, a disturbing question has followed me: do the content and methods of the class contribute to the qualification of Design graduates who will work in the field of animation? However, to answer this question I should first answer another one: what are the professional


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animation competences? To put things in context, UTFPR offers a course in Animation within the curricula of the Bachelor’s Degree in Design and Technology in Graphic Design. According to the Industrial Design Department (DADIN), in the Bachelor’s Degree course, the content of Animation (DI67G) is 60 hours, spread over meetings lasting 3 hours 1. Meanwhile, in the technology course, the Animation discipline (DI86C) lasts a total of 75 hours spread over five-hour meetings 2 . Despite the different schedules and workloads, the course syllabus is similar in both cases and includes: foundations of animation, animation techniques, and stages of animation processes, including the execution of animation using one of the analyzed techniques. Thus, the program content meets 03 major goals: 1) to know and identify the foundations of animation: basic notions of the history of animation. Animation without a camera: thaumatrope animation, phenakistoscope, strobe, zootroscope, praxinoscope, flip-book. Equipment: studio, cameras, lighting, computer. 2) to know and identify animation techniques: animation of

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The strategic planning of the Industrial Design Department 20152030 describes, in the SWOT analysis, an opportunity: the dissemination of the importance of design education as a trainer of professionals for the Creative Industry and capable of generating intellectual property. The document highlights the subjects of audiovisual, animation and photography as being of great interest to student respondents.

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objects, cutout animation. Pixilation and Time-Lapse. Kinestasis and bonding. Motion Graphics. Animation with sand and paint on glass. Dolls, clay, plasticine and stop motion. Rotoscoping. Line and cell animation. 3D animation. Design applied to the animation process. Finally, 3) to know the stages of animation processes and create animation: conceptualizing. Character design. Script, storyboards and animatics. Layouts and concept art. Planning. Budgeting. Animation. Post-production 2. Looking at the national scene, the study entitled Animation in Higher Education in Design in Brazil that I conducted in 2018 and which was presented during the UNESPAR Cinema in Perspective Symposium 7, provides an overview of how an animation discipline is included in the curriculum of higher education courses in the country. The study found that 31 Higher Education Institutions (HEIs) with 36 design courses are in a situation similar to that of UTFPR, that is, they register the


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offer of an animation discipline in the curriculum. Despite this, this number of courses corresponds to 21.56% of the total number of courses with a course concept equal to or greater than four (CC=>4). This demonstrates that, despite their importance, there are still few Design courses that include the subject of animation within a different discipline that are identified as a benchmark of quality by the Ministry of Education. A more up-to-date view could be appreciated during the meeting on Professional Training in Animation, held at the 2021 Curitiba International Animation Festival, at which I until 2018, Brazil had only 10 higher had the opportunity to describe education courses the current situation regarding in Animation and as the offer of higher education courses in Animation in Brazil. of 2019 this number On this occasion, it was seen rose to 41 that until 2018, Brazil had only 10 higher education courses in Animation and as of 2019 this number rose to 41. The boom in the number of courses that took place in the last two years could be the result of two factors. The first may be an effect of the resolution that regulates the higher education course in Technology in Animation Design nationwide that was disclosed in the Ministry of Education’s 2016 course catalog. The

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second factor may be linked to the growth of the Brazilian and international market, mainly triggered by the restrictions of the pandemic. Thus, remote courses aimed at professional qualification in this field are striving to meet this demand, since the training of technologists aims to follow the dynamics of the production sector and the needs of society.

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The 2021 Federal Court of Accounts report analyzed the management of the Audiovisual Sectoral Fund, the main public policy for promoting productions. In 2018, 815 projects were selected for access to resources. In 2019 and 2020, there were no new notices. The projects listed in these two years were announced in previous years, thus reaching 318 and 250 productions respectively. In practice, the fund is currently at a standstill.

At the same time as the efforts of educational institutions to increase the supply of qualified labor were observed, the Brazilian audiovisual industry monitored the weakening of public policies and a reduction in the number of bulletins that provide incentives for the sector to produce. On the other hand, there has been an increase in international co-productions and stronger representation, such as from the Brazilian Animation Association (ABRANIMA) and the Brazilian Association of Animation Cinema (ABCA), which promote dialogue strategies between the parties for business and adequate and


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equitable public notices for diversity at the national level, giving a voice to those in the least favorable circumstances. the study on the It should be highlighted that the research that gave rise to theme and execution this book has also generated a of interviews drew me closer to range of scientific content (5, 6, 7, 8) that enabled me to gain a bet- professionals in the ter understanding of the anima- field and guided my efforts to achieve tion production chain. Furthermore, the study on the theme other results that transcended this and execution of interviews role drew me closer to professionals in the field and guided my efforts to achieve other results that transcended this role. An example was this was the motivation to create the Animation Design Nucleus in February 2020, an extension project, linked to the Academic Department of Industrial Design at UTFPR, which facilitated the various technical and scientific activities organized by volunteers and teachers during the pandemic and which are maintained today. It is worth mentioning that the National Experimental Animation Meeting (ExperimentAnima), organized by the Nucleus, met for the second time in August 2021. Another achievement is the link between UTFPR, through the Animation Design Nucleus, to Red Sur a Sur - Latin American Network of Studies in Animation.

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The Animation Production Chain research project approved by the ProRectory of Research and Graduate Studies (PROPPG) at UTFPR works with volunteer scholarship holders from the Institutional Volunteer Program in Scientific Technological Initiation (PIVICT). The project arose in parallel with the post-doc internship and studies trends in Brazilian animation in terms of technological advances in the production, teaching and consumption of animation.

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It is also interesting to note that an abridged version of this work, in Portuguese, was presented and is available in the proceedings of the VII Meeting of People Management and Labor Relations (EnGPR), which was held online on 27 and 28 August 2020. On that occasion, Professor Ilan Avrichir and I participated in discussions at the session that addressed the theme of Plurality of Debates on Consequences, which was chaired by Professor Tatiana Ghedine of the Graduate Program in Management of UNIVALI (Academic Master and Doctorate courses in Management). The event allowed professionals and researchers in the field to engage in a specialized dialogue on competences. This academic trajectory led to the opportunity and audacity to publish this book, the intention of which is to share the findings on competence in the field and begin to reflect on the subject and encourage dialogue between the market and academia with a view to improving the


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field of animation in Brazil. For this purpose, I invite you to continue reading an at the end reflect on the following question: to your mind, what are the competences of animation professionals? Elisang e l a L o b o Sc h irigatti Coordinator of the Animation Design Nucleus

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The U T FP R A n im a t io n D esi g n N u c le u s

The UTFPR Animation Design Nucleus is an extension project formed by professors from the Academic Department of Industrial Design. The purpose of the Nucleus is to develop theoretical and practical activities in the field of animation, such as technical-scientific events to encourage debates and lectures on current issues, workshops to demonstrate and apply techniques and collectives for project development.


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Following the official opening of the Animation Design Nucleus in March 2020, several events were held during the first year. Under the coordination of Elisangela Lobo Schirigatti and vice-coordination of Marcelo Abilio Públio, the free online events were collaboratively organized by professors, students and market professionals, all of whom acted as volunteers. Thus, during the pandemic, the Animation Moment, the Animated Conversation Wheel, the National Experimental Animation Meeting (ExperimentAnima) (on two occasions), the Open Animation

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Laboratory (LAAB) and the Games, Comics and Animation Week (JoQA) were held. This effervescence of virtual meetings brought together several professionals who are active and experienced in the field of Animation from different parts of Brazil. The promotion of dialogue, the exhibition of works, research and animation initiatives generated a range of enriching contents that are available on YouTube and in the digital proceedings of the events.

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ExperimentAnima 2020

Games, Comics and Animation Week - JoQA

Open Animation Laboratory LAAB

ExperimentAnima 2021

see more here

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Animation, like the entire audiovisual sector, is a creative industry 54 and is considered a highly creative and complex business 53, whose final product allows it to educate, entertain and inspire 40. The animation production system has specificities that make it different form all other creative industries, 58 and involves different technologies and job competences 60. It requires highly skilled labor 53 , and is strongly impacted by the advancement of digital technology (24, 7).


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The global animation market is growing quickly (57, 28, 21) and its global revenues in 2017 totaled USD305.7 billion, with this number expected to reach USD404.8 billion in 2023 42. Some of the main success factors of the animation industry that provide it with a competitive advantage are knowledge, creatiCreative industries vity and location (30, 15, 40). Creatiin general, and the ve industries in general, and the animation industry animation industry in particular, in particular, depend on the creativity of their depend on the collaborators and freelancers (26, 20, 4) creativity of their , who are creators involved in collaborators knowledge-intensive activities (3, 43) and freelancers, . Knowledge structures affect creativity. It is important for who are creators involved in people to gain in-depth knowknowledge-intensive ledge in the early stages of their activities careers, which boosts creativity and the breadth of knowledge in the more advanced stages. It was believed that the flow of tacit knowledge circulated between geographically organized communities, but it occurs globally or “trans-nationally” with the maintenance of professional networks in different parts of the world 16. Thus, the strengthening of individual competences can impact a company’s efficiency, organizational innovation capabilities and corporate strategy 41. By in-


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corporating these competences, professionals can adapt more easily to external changes arising from the field of technology, business models, consumer behavior and competitiveness 44. In the face of these changes, workers in the animation industry highlight the importance of maintaining a set of training and learning relationships that are essential to the profession (23, 26). Although managers of animation companies recognize the key role of people in this type of business, Machado the good and Fischer 41 emphasize that management of there is still an understanding these professionals can contribute to that the good management of these professionals can con- their motivation and tribute to their motivation and retention, improving retention, improving the quali- the quality of their ty of their work. work In researching the available literature on the theme of competences in the creative industry, we identified some previous studies (10, 9, 11), conducted in developed countries and resulting in generalized competency portfolios (44, 17, 34, 13, 14). However, Bendassolli and Wood Jr. 10 emphasize that more specific studies should be conducted to assess pos-

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sible similarities and differences between the various sectors of the creative industry. Among the possibilities of research in this area, Paiva and Melo 45 suggest specification as an opportunity for research and studies of a thematic nature, those that contemplate professions that are in differentiated moments, highlighting the professionalization process in order to understand certain aspects of it.

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Studies on the competences of animation professionals are scarce, brief and published in the format of technical reports (2, 1, 31). No previous scientific study was found that sought to provide insight into the competences of animation professionals. In this context, the aim of the present article is to identify the critical competences of animation prothe aim of the fessionals. Due to the favorable present article context of Brazilian animation, is to identify the owing to its aforementioned critical competences successes, the present study of animation will focus on Brazilian animaprofessionals tion professionals.


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T h e c o m pe t e nce s a nd c h a r a c t e r i s t i cs of a n im a t io n p rof e s s i ona l s Our search for studies on the competences of professionals in animation industries found very few, and those we did locate were reports of surveys conducted by consulting firms. These reports tend to be brief, with restricted discussions of findings and little information on methodologies. The first list of competences of an animator were drawn up by Walt Disney in a memorandum sent to Don Graham in 1935. In this document, Disney 22 expresses his opinion that animators needed


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to combine different fields of competences: principles of drawing, animation, acting and narrative. It limitations as a study notwithstanding, the memorandum is a descriptive document animators needed drawn solely from the author’s to combine experience in animation. It is a different fields milestone that remains influenof competences: tial to the study and teaching principles of of animation 55 and the discusdrawing, animation, sion of the animator’s portfolio acting and narrative of competences.

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In 2008, Knowledge Wave International, at the request of online animation school AnimationMentor 2, carried out research to understand trends in animation careers. Animation professionals were asked what advice they would give to graduates who wanted to start a career in this area. Three categories were identified: the quality of the professional abilities and potentialities of the graduate, the maintenance of a network of professionals, and investment in career education in the field. The study emphasizes factors that contribute to employability, but does not specify the artistic, technical or creative competences. Accelerate Animation 1, a professional and practical development program for animators in London, identified some


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competences as essential for new entrants. It viewed animators as the drivers and administrators of their own businesses, entrepreneurs from creative industries. The survey highlighted professional competences that go beyond the activity of animaThe survey ting, such as business admihighlighted nistration, comprehension and professional market prospection and pro- competences that go ductive practice. beyond the activity of animating, Creative Skillset supports skills such as business and training for people and administration, comprehension and businesses, understanding the needs of employers and the market prospection creative industry workforce. Creand productive ative Skillset’s 18 most recent practice survey was published Honeycomb 31 and involved employers in this field. The results showed that one of the greatest demands for skills in the animation industry is related to technological, technical and managerial competences. In addition, it focuses less on business competences. However, animation competences are not only meaningful to this industry but are transferable to other creative media sectors such as advertising, visual effects, movies, video clips, games and web and graphic design 1.

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The most evident result of our literature search regarding animator competences, summarized in Table 1 (page 42), is the scarcity of studies on the theme, the diversity of focus and objectives and the fact that these studies do not refer to the previous ones, making it impossible to identify an accumulation of knowledge on the subject from them. Under these circumstances, authors such as Knopf 35 recommend that researchers broaden the field of literature in question to a “second tier”, relevant publications and that overlap with some of the research questions under investigation. Following this recommendation, we found the studies of Mietzner and Kampraph 44 and Kamprath and Mietzner 34. In these studies, the authors seek to understand the necessary competences for creative industry workers, an industry of which the animation industry is a part. They found that these competences could be divided into three sets: personal-social, methodological and professional. The ability to work in a team, motivation, independence, open mind, initiative and ability to receive and give criticism are some examples of personal-social competences. The ability to assess or organize, and creative and scientific methods are methodological


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competences. Practical expe- The ability to work rience, business administra- in a team, motivation, tion and relation management independence, open are professional competences. mind, initiative and 34 Kamprath and Mietzner ability to receive used these three dimensions and give criticism (professional, methodological are some examples and personal-social compe- of personal-social tences) to propose a comcompetences petence model for creative industries. In this model, the professional competence dimension unfolds into creative or artistic, managerial and technological competences. In the discussion section, we analyze to what extent our results can be seen as validating the conclusions of these two surveys.

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This study is of a qualitative nature 19. Following the theoretical contextualization, the animation professional’s critical competences were identified. We defined as the target audience animation professionals with experience in the Brazilian animation market as freelancers or fixed collaborators in companies operating in animation production. The individuals interviewed were selected using the snowball technique, formatting an intentional non-probabilistic sample 29.


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I – Interviewees. Type - Company classification for the number of employees according to the Brazilian Institute of Geography and Statistics [IBGE] for trade and services: (Micro: up to 9 employees, Small: 10 to 49 employees, Medium: 50 to 99 employees and Large: over 100 employees).

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The professionals were contacted by e-mail and received an invitation letter clarifying the research objectives and procedures. To address the ethical and legal issues of the study, the interview script and the informed consent form were sent by e-mail. The interviews were recorded with the participants’ consent and the interviews lasted from 30 minutes to 01 ½ hours.

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In the case of distance interviews, the Skype tool was used, and 15 professionals were interviewed between September and October of 2018. Information on the interviewees is provided in Table 2 (page 46). The chosen data collection technique was the semi-structured interview. In accordance with the theory, an interview protocol composed of a In accordance script with open-ended queswith the theory, an tions was prepared. The strucinterview protocol ture of the interview script was composed of a divided into two parts: 1) Socioscript with opendemographic issues, which were ended questions was intended to characterize the reprepared search subjects and 2) Specific questions with regard to the competences of the animation professional. The sociodemographic variables


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involved were: gender; age; place, area and time of training; place, area and time spent in current professional employment, years of total professional experience and professional experience in animation; company and currently held position. The specific variable was composed of a question related to the research question. With verbal data, the material was transformed into text through the transcription and identification of the saturation of the data collected. The content was then formally analyzed considering the competences critical to the animation professional. The first The content was then formally step in content analysis 8 was analyzed the identification of codes from considering the the transcribed interview material, which consisted of searching competences critical for repetitive patterns of actions to the animation professional and consistencies in the subjects. Operationally, this process was based on cycles, as proposed by Saldaña 47, and the software used was Atlas.ti version 8.0. The elementary, grammatical and exploratory methods were used in the first cycle, which is sufficient to identify the competences of the animator. The free quotations were first classified by a provisional and literal coding (In Vivo),

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and subcoding was finally used. Thus, the codes were linked to the document in order to generate the content to be analyzed. The provisional coding used the list of competences of creative professionals based on the theory of Mietzner and Kamprath 44 and for the subcoding, the competence model of creative industry professionals of Kamprath and Mietzner 34 was used. Finally, the magnitude of the codes was calculated to identify which topics were most frequently addressed in the interviews and which had more relevant implications for the determination of the animator’s competences. The path followed in the research process is depicted in Figure 1.


FIGURE 1 Methodological path followed by the research process



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P r o f ile o f re s p ond e nts Of the 15 interviewees, 67% (10) were men and 33% (05) were women. Their ages ranged from 29 to 56 years, with a mean of 41 years. With regard to position, 33% (05) were animators and 67% (10) were directors who were also animators. In total, 80% of respondents had more than 10 years of experience in the area, indicating solid experience within the studied universe. All the interviewees were university graduates, and 34% had continued their studies at the postgraduate level. The


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most frequent course was design, with 33%, followed by media and plastic arts, with 20%, multimedia production, with 13%, and architecture and cinema, with 7%. Around a third of the postgraduate courses were formal Master’s Degrees. 67% (10) of the interviewees worked in capital cities of the southeastern states of Brazil, known as the Rio-São Paulo axis, 27% (04) were in southern Brazil and only one did not reside in Brazil, but in Canada. The capitals of the Brazilian states are quite cosmopolitan. All of them are in the global cities list of Globalization and World Cities 25. Most of the interviewees (73%, 11) developed 2D computer animation using the cut-out technique, 13% (02) stop motion, 7% (01) traditional 2D animation and 7% (01) worked with 3D computer animation.

G e n e r a l a na l y s i s The study identified 270 citations distributed into 94 codes, with very similar percentages of personal-social competences (44%) and professional competences (50%). Regarding professional animation competences, 51% were more frequently cited by the interviewees. The critical competences are shown in Table 3.



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Regarding the general professional competences, being professionally up-to-date (06) and having practical experience (06) were the ones most frequently cited by the participants. The former, as described by the participants, included the the need for need for professional renewal professional and seeking new technical and renewal and seeking theoretical knowledge through new technical courses, training sessions, tutoand theoretical rials and self-teaching. “Having knowledge through early practical experience also courses, training helps because it adds somesessions, tutorials thing in the sense that new and self-teaching things are incorporated into the work process” (I5, 5:12). As for va“Having early rious animation techniques, it practical experience is difficult to find experienced also helps because professionals and it is preferait adds something ble for animators to be willing in the sense that to learn. The studios are willnew things are ing to train their staff, and peoincorporated into ple with this skill learn more the work process” quickly and adapt more easily to the work regime (I5, 5:11). Interviewee 08 highlights that knowledge in this field is only consolidated through practice (I8: 42). Nevertheless, “a learning curve is expected to grow over time” (I10: 19). The results showed that mastering software is the most frequently cited technological competence (11) required of a successful ani-


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mation professional. In the specific case of the animator, it is preferable for this professional to know how to apply the principles of animation rather than merely mastering soft- it is preferable for this professional ware. “When a person is a very good cheerleader and does to know how to not know the software, we also apply the principles of animation call them because it is easier to teach software than teach ani- rather than merely mation” (I14: 22). “I prefer that mastering software they find me a guy who is re“When a person ally willing to learn and make a is a very good contribution to our work than cheerleader and a guy that knows everything does not know the about software because this willingness to learn and consoftware, we also call them because tribute to the project is someit is easier to teach thing that few people can do. But software can be taught in software than teach animation” a week or two” (I4: 17). Another requirement that was identified was the ability to change more easily from one software to another. To achieve this, it is necessary to have a technical understanding of how software works, because animation software all follows a similar logic and what changes is the interface” (I7:13). Therefore, when a professional is introduced to a new platform, the studio understands that it takes time to adapt and make adjustments (I4:65).

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The abilities of working in a team (08), collaborating (07), being easily managed (07) and being willing to learn (07) were the personal-social competences most emphasized by the interviewees. A person who is easily managed is someone who “understands and follows the guidelines and at the same time succeeds in being creative and making a few suggestions without losing focus” (I14:11).

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Knowing how to draw (12) was considered one of the main artistic competences for animation professionals. “He has to know how to draw and have a good hand” (I3:15). Interviewee I12 stated “(...) that is what makes it second nature for you when you are posing a character, putting it into the right pose” (I12:7). Even in the computer 3D animation technique it is desirable to have drawing skills, which are a difknowing how ferential when it comes to poto draw is a sing characters well (I15:35). Accompetence that cording to I12, knowing how to can be developed draw is a competence that can by studying live be developed by studying live models, a very models, a very common praccommon practice tice in undergraduate courses in undergraduate in animation overseas (I12:7). courses in animation overseas The second most frequently men-


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tioned artistic competence was knowing how to apply animation principles (09). This includes having good acting, good timing and good character posing. The ability to construct a good auTo build this diovisual repertoire was cited by nine interviewees. To build repertoire, it is essential to read this repertoire, it is essential a great deal and to read a great deal and watch watch many movies, many movies (I4:61), series and animated short films (I5:36), series and animated “know the history of animation short films, in the movies and on TV” (I7:22), “look at the masters of animation” “know the history (I6:35) and the diverse animation of animation in the techniques (I9:12). movies and on TV” Entrepreneurial thinking (06) includes the ability to develop animation projects (long or short films) to show at festivals and the commercialization of other animation works. As it emphasized the production of the animators’ own animation content, the code was considered an artistic competence. Some citations showed the importance of the attitude of the animator in detriment of animation talent and technique with a view to avoiding conflicts in the relationship between the artistic side and the production process. “There is no point in being talented when your

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attitude leads to chaos” (I5:32) “(...) we usually hire people because of their portfolio and fire them because of their attitude” (I4:57).

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The balance between artistic and technical competences was highlighted in several interviews. For this reason, it is preferable for professionals to integrate their artistic skills with the production process to aid teamwork (I4:86) “I lost a talented professional because he was lost in his art and in his own world. He was not thinking in terms of teamwork. He could not think as part of a team.” Interviewee I5 highlighted the “it is important to importance of being talenintegrate natural ted, but also of combining this talent with mastery talent with agile animation of the animation (I5:45). On a different note, I7 technique” stressed that “it is important to integrate natural talent with in order to adapt mastery of the animation techartistic production nique” (I7:23) in order to adapt to how the company artistic production to how the wishes to work company wishes to work (I7:44).


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Asp ec t s t h a t in f lu e n c e t he a na l ys is According to the interviewees, some contextual aspects should be considered when analyzing animation professionals’ competences. Several professionals emphasized that the production process of animation is organized into three major stages: pre-production, production and post-production (53, 5) and that each stage involves different activities. Therefore, the competences required for each stage vary. Figure 2 (page 62) shows some professionals involved in the production of 2D digital animation feature films (49, 46). In the case of a 3D animation, we must consider other professionals, among them the 3D animator, 3D modeler, rendering wrangler and texture artist 49.

FIGURE 2 A Main stages of the animation production process

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FIGURE 2 B Animation production process and some of its animation professionals Source: Authors based on the research results, Shires (2001) and Pandolfi et al. (2015)


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Other contextual aspects that affect the required competences are size of company (small, medium or large), employment contract (freelancing or permanent staff), workplace (home office or in loco), position (animator, supervisor, director or producer), technique used (2D traditional, 3D, 2D or 3D computer animation) and the type of animation (advertising, author, short, long or series for TV) (Figure 3 - page 64). An example of how competences vary according to the production process is the domain of animation software. How to draw and master animation software might not be necessary competences in stop motion technique, but “Having artistic in this case, drawing can be qualities is used to express ideas, such as important, but it writing. This is demonstrated in a quote from a stop motion prodepends a lot on fessional: “Having artistic quali- the area. The person does not draw ties is important, but it depends well, but is a great a lot on the area. The person does not draw well, but is a great producer and knows producer and knows how to co- how to coordinate an entire team” ordinate an entire team” (I5: 56). Another example is the studios that focus on the production phases (script development, storyboards, scenarios, animation and finalization) and outsource

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FIGURE 3 Aspects that should be considered when analyzing the competences of animation professionals


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the issues of fundraising and bureaucratic and legal organization. As interviewee I1 (I1: 21) stated, “I have had a person for 5 or 6 years ago, [...]. For a long time in my life I had taken care the professionals of it myself.” Thus, the professionals who outsource this part may have difficulty may have difficulty identifying identifying the need for competencies the need for competencies orioriented to facets ented to facets to support the to support the production of an animation. Skills such as these have alproduction of an ready been identified in other animation field of research, such as business administration, mastering finance and financing issues and knowing how to conduct negotiations 1, negotiation skills, sales and marketing 18. Another case would be those animation professionals who work in the home office format and need to interact less with the work team, as seen in the following citation (I2:1). ”I currently provide animation services remotely, having more contact with production, and rare interaction with other animators in these projects - except when I need assistants.” Thus, remote professionals may not realize evidence the importance of teamwork and interpersonal relationships.

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In this study, through interviews with animation professionals, we identified the competences that they consider important in their work. We identified elements of competences that we clustered into categories of competences, which were in turn clustered into competence dimensions. Although we did not codify the competences using the categories identified by Mietzner and Kamprath 44 and Kamprath and Mietzner 34, several of our competences, categories and dimensions are similar to what they developed, while some are different. In this


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section, we comment on these similarities and differences. We also compare our results with those of the previous studies of animation professionals.

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An important point of convergence between our results and those of the aforementioned authors is that, at the higher aggregation level of these competences, the dimensions and categories that we identified could be clustered under the same denominations that Mietzner and Kamprath 44 and Kamprath and Mietzner 34 attributed to the ones they identified, given that they were the same or expressed the same concepts in different language. In In the personalthe personal-social dimension, social dimension, creativity, openness to change, creativity, openness and willingness to learn are the to change, and same in both studies. Others willingness to learn have differences that could be are the same in both attributed more to the fact studies that we did not work with the competences of the authors as categories based on a pre-existing classification in the literature than to substantial differences. The studies that were found on creative industries (44, 34) are concerned with compiling a generalized competence list, despite being aware of the


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diversity of the professionals that compose them 6. Furthermore, the studies emphasize entrepreneurial competences for professionals who manage their own business and need to apply creative methods (9, 36). As shown in the literature, studies on the competences of animation professionals are scarce, brief and published in the format of technical reports. Therefore, in defining a more specific object of study within the creative industries, as did Boldrini, Bracchini and FantI 13 in Europe, we took a step beyond the current debates on the subject, contributing to the existing research. The model The model used as a reference divides the was proposed by Kamprath competences into and Mietzner 34 and it divides the competences into persopersonal-social, methodological nal-social, methodological and and professional professional categories, inclucategories ding in the latter artistic, technological and managerial competences. The study identified these categories and subcategories in the animation professional, identifying a set of more specific competences in this field of study. The results obtained revealed a very similar percentage between personal-social competences and

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professional competences, with a slight predominance of the latter. Among the professional competences of the animation professional, the artistic competences were the ones that were more prominent compared with the many of the general, technological and macompetences nagerial competences. Despite found in this study the focus on the competenwere transversal, ces of the animation professioand it should nal, many of the competences be highlighted found in this study were transthat these can be versal, and it should be highmobilized for other lighted that these can be moprofessions bilized for other professions 48. 70

Mietzner and Kamprath 44 point out that one of the greatest changes in the competences of professionals in the creative industry is the development of basic business administration and legal knowledge. Although our study did not show critical competences of this nature, they had already been identified in other studies (1, 18). The outsourcing or delegation of these services to specific professionals within the team by the studios in question may have affected the responses to this question (Figure 4).


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FIGURE 4 Competences of Animation Designer

Personal-social competences. The personal-social competences that received the most emphasis in this research and that were equivalent to Mietzner and Kamprath 44 were: ability to work in a team, readiness to learn, communication, creativity, openness to change/ open mind and initiative. According to these authors, having an open mind


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having an open mind about the new, including changes in new themes and technologies, is an important criterion for professional creative industries

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about the new, including changes in new themes and technologies, is an important criterion for professional creative industries, becoming a fundamental individual attitude. Teamwork, communication, autonomous learning, creativity, adaptation to new situations were identified competences that also demonstrated convergence with the study by Boldrini, Bracchini and FantI 13. Creative talent had also been investigated in the Creative Skillset study 18. Communication and collaboration are the interpersonal competences demanded by this industry, according to Bakhshi and Yang 7. In addition, the most relevant findings of this study emphasize that animation professionals should also be collaborative, easily managed, show that they like what they do, be able to maintain interpersonal relationships, have a sense of observation, be dedicated, be curious, be agile in production, know how to make suggestions and have an aptitude for animation. The expression “be easily managed” was used by the interviewees to describe the animation professional who accepts and follows the director’s instructions. Competences related to social acumen and active learning are supported by


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Bakhshi and Yang 7 and are aimed at all professionals in the creative industries. Knowing how to Knowing how to work as a team work as a team was was found to be one of the most found to be one of important personal-social skills, even more than knowing the the most important personal-social software. The interviewees exskills, even more plained that in any type of anithan knowing the mation, even in authorial anisoftware mation, it is necessary to work in a group, requiring a very collaborative profile. Thus, as a result of animation being a productive system, the work of each member can affect the productive stages. Our study showed the importance of the attitude of the animator over the talent and technique of animation in order to avoid conflicts in the relationship between the artistic side and the production process. Furthermore, with the growth of teams, the animation process requires better communication between its members and professionals with less exaggerated artistic ego (Figure 5).

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FIGURE 5 A Personal-social competences

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FIGURE 5 B Personal-social competences


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Methodological competences. The methodological competence highlighted in this study and compatible with the competences creative industry professionals described by Mietzner and Kamprath 44 was “being able to understand and analyze”. In the case In the case of the of the animator, this compeanimator, this tence can be used mainly to competence can interpret the information conbe used mainly tained in the guidance mateto interpret rials for the execution of anithe information mation projects, such as script, contained in the briefing, storyboards, animaguidance materials tics, technical bible and scene for the execution of planning. The ability to analyze animation projects and synthesize was detected in the study of Boldrini, Bracchini and FantI 13, who identified it as one of the critical competences of the design sector, specifically for both 2D and 3D animation technician. The results of the current study showed that the higher incidence of citations on methodological competences was related animation is a to the ability of the animation productive process professional to meet the deadcomposed of several lines established in animation phases that must projects. It is important to unfollow a plan derstand that animation is a and fall within productive process composed a previously set of several phases that must budget follow a plan and fall within a


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previously set budget. Unlike the importance assigned to it by Boldrini, Bracchini and FantI 13 and despite the enhancement of creativity in animation professionals’ personal-social competences, there were no citations concerning the need to know how to apply creative methods in their professional practice (Figure 6).

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FIGURE 6 Professional methodological competences

Professional competences. Knowing how to deal with new technologies, having practical experience and entrepreneurial thinking were most prominent the professional competences in this study, and which were compatible with the list of competences presented by Mietzner and Kamprath 44. How-


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ever, current research has shown that mastery of animation software was the most evident professional competence of a technological nature (Figure 7).

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FIGURE 7 Professional competences

Professional managerial competences. Professional competences of a managerial nature were referred to by respondents who emphasized the role


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of the supervisor or the animation director. These are not directly linked to the animator’s competences per se but they make a difference to the professional who aspires to a superto be a good visory position. Therefore, to be a good supervisor or animasupervisor or tion director, team manage- animation director, team management ment and the mastering the and the mastering animation process were highthe animation lighted. Although most of the interviewees held positions of process were director, all had already been highlighted animators, and this highlights the importance of mastering the animation process to coordinate teams in this area. The ability to coordinate technical teams in the field of animation corroborates the Creative Skillset study 18, which highlights the need for leadership and management competences. The study in question did not draw attention to the competences of the animation professionals who work at the managerial level. Therefore, this emphasizes the need for a more detailed investigation of the subject. With regard to content production, it is important for managers and supervisors to develop their own project control techniques and technology expertise 40 . It is common for animation business plans to involve a transmedia appli-

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cation. In the case of animation, the adaptation of content to comply with increasingly innovative and multidisciplinary transmedia plans may require new knowledge and techniques from the professionals in the team (Figure 8).

80 FIGURE 8 Professional managerial competences

General professional competences. The competences most frequently cited by the participants in this group were being able to increase their theoretical and practical knowledge through professional updating, developing their competences through practical experience and having the ability to share knowledge in the work environment. In this case, professional updating included, as described by the participants themselves, the need for professional renew-


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al and the search for new technical and theoretical knowledge through courses, training, tutorials and self-teaching. However, faced with the difficulty of finding experienced professionals in applying animation techniques, the data revealed that studios are prepared to train professionals who are willing to learn. The importance of acquiring work experience has already been confirmed by Accelerate Animation 1 and is in accordance with the results obtained by Mietzner and Kamprath 44. faced with the Professional updating acts as a difficulty of form of preparation, resulting in the constant transformation finding experienced of the specific knowledge deprofessionals in applying animation manded for working in rapidly techniques, the changing environments. Faced data revealed with these requirements, it is up that studios are to the professional to acquire the necessary skills for technical prepared to train professionals specialization (Figure 9).

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FIGURE 9 Professional general competences

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Professional technological competences. The study underscored the importance of the animation professional who wants an opportunity in a studio. For example, in the case of an animator, despite mastering animation on paper, the market requires the professional to master digital animation developed in software. The demand for software competences was previously identified by Creative Skillset 18. However, the preference of the interviewees for professionals who already know how to animate rather than those who only know the software was made clear. Therefore, mastering software does not mean that the professional is a good animator, and


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it is easier and faster to teach mastering software software to those who already does not mean that know how to animate well the professional is and are willing to learn. On the a good animator, other hand, readiness to learn and it is easier and on the part of those who only faster to teach know the software can stimusoftware to those late learning about animation, who already know if they have a good practical how to animate well advisor who has mastered the and are willing to subject. Another aspect that learn was identified is that the animation professional needs to be able to adopt new technologies easily. Thus, it is understood that the professional needs time to adapt and incorporate the novelties arising from technological evolution such as changes in the interface of software and the emergence of new tools. In the creative industry, there is a tendency for increasingly technology-oriented tasks to be needed more in the post-production sectors and, what used to be done by several professionals is now concentrated in the hands of a single professional 44. However, we found that in the area of ​​ animation, technology is used in all phases of production (pre-production, production and post-production). The results of Mietzner and Kamprath 44 point out that,

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the higher the quality requirements or the more complex the technique applied, the more likely that a specialist professional, rather than a generalist, will be chosen. Seeking generalists is sometimes a matter of cutting costs and this is facilitated by the progress of technology and operations. Our study came across two different contexts. On the one hand, we found small Brazilian studios that have seen similar budgets and deadlines, where it is common to practice lean teams with versatile professionals, who accumulate more than one function. In this case, a generalist may have an advantage over the specialist. On the other hand, we found several medium-size and large studios and/or producers with teams of 60 employees, where the tasks are subdivided among different professionals who have specific expertise (Figure 10).

FIGURE 10 Professional technological competences


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Artistic or creative professional competences. Artistic competences are understood here as being those specific to the animation professional. Therefore, they have no reference for comparison on the list of competences found in creative industries, except for the study by Boldrini, Bracchini & FantI 13 In this study, the . In this study, the most outmost outstanding standing artistic competence was knowing how to draw. The artistic competence need to know how to draw and was knowing how to draw do good poses corroborates the recommendations of Disney 22. Although it was highlighted in the 1930s, today it continues to be highly appreciated 55, especially in the traditional 2D animation technique and 2D computer animation. It was seen that drawing is a competence that can be developed with practice and repetition, being recommended as a discipline in higher education courses on animation, in keeping with the standards of international schools. Some authors discuss the importance of design to the contemporary animation professional (32, 38) and conclude that knowing how to draw is essential for both traditional and digital animation. In animation, the design is used in the pre-production phase (concept

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art, character and props design) and in production. The advantages lie in the aesthetic and functional definition of the film, the passage of time and the performance of character. The second most frequent artistic competence was knowing how to apply the principles of animation

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The second most frequent artistic competence was knowing how to apply the principles of animation, this being a specific competence for the animator. The 12 fundamental principles of animation were developed in the 1930s by Disney studios and involve squash and stretch, anticipation, staging, straight ahead action and pose to pose, overlapping action and follow through, slow in and slow out, arcs, secondary actions, timing, exaggeration, solid drawing and appeal 51. In the literature review, the survey conducted by Creative Skillset 17 shares the idea of the importance of the animator’s technical competences but does not describe them.

In animation, the character needs to appear alive and realistic to engage with the audience, create rapport and connect (51, 39). However, there is a difference between being able to draw and giving life to the character, which involves knowing how to create dynamic


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moves and applying timing 12. The animator, including in 3D animation 39, must know how to apply the basic principles of animation 51, how to apply the principles of action 37 and be able to combine these two skills to build more reliable and interesting characters 50. Another important topic captured by our study was the ability to build an audiovisual repertoire, especially in animation. These readings are like references for animation professionals and affect the quality of their final product. Due to the thorough segmentation of the production process, professionals tend to focus only on the technical part of animation, forgetting to develop their creative potential. this repertoire Therefore, this repertoire helps helps to shape to shape professionals with a creative profile and more cre- professionals with a ative and authorial proposals. creative profile and more creative and The animation market depends on service delivery and it also authorial proposals grows and gains experience with it. However, it is important to stop the creative side of animation as a competitive edge and not just to form a low-cost workforce to meet outsourcing demands. Therefore, many of the animation studios involved in this study are also producing, i.e., in addition to

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developing their own series, they also produce those of other studios. Our study emphasized the importance of artistic talent associated with the following competences: teamwork, good interpersonal relationships, agility in animating, applying animation techniques 88

Our study emphasized the importance of artistic talent associated with the following competences: teamwork, good interpersonal relationships, agility in animating, applying animation techniques, delivering what is requested and knowing how to adapt artistic production to the studio’s way of working. In addition to dominating the theoretical foundations of animation, it is important to know how to apply them in the execution of an animation project. Likewise, understanding what the phases of the animation process are and how they work was more emphasized than knowing how to act at all stages.

Due to the intensive work context in which animation is embedded, the balance between competences and workforce being essential for the development of the industry was also confirmed by Honeycomb 31. The agility discourse to achieve productivity in the process had already been shared by Honeycomb 31 . That report emphasized the need for trained animators for productions, stri-


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ving to increase the capacity to produce animations in shorter time frames. Despite the advances in digital technology, the production process of animation is still based on intensive work. This means that the competitive advantage is based on the ability to mobilize trained animators for productions in an effort to increase the capacity for producing animations in shorter periods of time. In this context, the balance between skills and workforce is essential for the development of the industry 31 (Figure 11).

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FIGURE 11 Professional artistic or creative competences


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The present research identified the critical competences of animation professionals, with implications for people working in this highly dynamic working environment. Due to the aforementioned importance of animation in an emerging market like Brazil, the study is intended for Brazilian professionals. Animation involves several phases and requires professionals with different competences inherent to each position within specific contexts. It is clear that all those who work in the animation production chain are considered ani-


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Animation involves several phases and requires professionals with different competences inherent to each position within specific contexts

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mation professionals. In their initial research on the subject, the authors were concerned with understanding the macro view of the competences of this sector of the creative industry and thus did not differentiate the competences by specific professions.

Consequently, some aspects need to be considered during the competence analysis. Essentially, animation is based on intensive production and requires professionals with both artistic and technological competences, able to meet deadlines and adapt to the work process. The personal-social competences are also important, and involve maintaining working relationships and teamwork. When analyzing the results of this study with regard to the technique used, it should be remembered that many interviewees worked in studios that developed computer cut-out animation. The principle of this technique is based on the animation of puppets drawn and articulated in the computer, often resulting in a 2D marionette effect. To execute this technique, it is necessary to have knowledge of software, generally Toon Boom Harmony. The use of a table digitizer for


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digital drawing is also commonplace. Another aspect that should be considered is that most of the interviewed animation professionals were producers and directors of animation and animators. Therefore, the results might have placed greater emphasis on Therefore, the artistic competences such as results might have knowing how to draw, animaplaced greater ting with quality and applying animation principles. Likewise, emphasis on artistic competences such this may have been responsible as knowing how for the high incidence of responto draw, animating dents referring to the mastery with quality and of animation software as one of the most important professional applying animation principles technological competences. Regarding the theoretical implications, the study contributes to this field by addressing the professional artistic competences of animation professionals and adding to the model proposed by Mietzner and Kamprath 44 : the general professional competences. The information provided by this study makes practical contributions and can serve as a reference to assist human resources management professionals in assembling a portfolio of competences of animation professionals. Thus, understanding the needs of employers and

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the workforce, this information can serve as a guideline for the establishment of training for these professionals. With regard to teaching, the coordinator and the structuring teaching nucleus of the design animation courses can find out which of these competences can be developed in the teaching plans that help to compose the profile of animation professionals and update it in the Course Teaching Plan (CTP).

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The limitation of the study lies in its qualitative basis, requiring greater investments in quantitative research. However, this e-book is only a this e-book is only starting point to encourage fura starting point to ther empirical research, paving encourage further the way for new questions and empirical research, serving to inspire more studies. paving the way for Another point is that the renew questions and search focused on a group the serving to inspire Brazilian animation professiomore studies nals to extract generalized conclusions regarding the competences of these professionals. Because of this limitation, we recommend broadening the questions on the competences of animation professionals to more Brazilian and international animation studios, as well as to teachers in this field. It would also be interesting


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to investigate different management levels and independent producers, including other professionals involved in the production process.

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Com p e t en c es of an imation design er s:

References - Preface Dadin (2014). Animação: Plano de Ensino do Curso de Graduação em Design. Retrieved on 18 October 2021, https://dadin.ct.utfpr.edu. br/wp-content/uploads/2019/11/DI67G.pdf 1

Dadin (2016). Animação: Plano de Ensino do Curso de Tecnologia em Design Gráfico. Retrieved on 20 September 2021, https://dadin. ct.utfpr.edu.br/wp-content/uploads/2019/11/DI86C.pdf 2

Ministério da Educação (2016). Catálogo Nacional de Cursos Superiores em Tecnologia. Retrieved on 19 October 2021, http://portal. mec.gov.br/docman/outubro-2018-pdf-1/98211-cncst-2016-a/file 3

Nicola, R. de M. S., & Vosgerau, D. S. R. (2019). Conceitos e Enfoques em Competências nas Pesquisas Brasileiras: Uma Revisão Narrativa. Revista e-Curriculum, 1(17), 107-144. Retrieved on 19 October 2021, https://revistas.pucsp.br/index.php/curriculum/article/ view/37162/28065 4

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Schirigatti, E. L., & Avrichir, I.; Kasprzak, L. F. F. (2018, August). A Produção de Animação no Estado do Paraná/Brasil com Base no Uso de Recursos Públicos e Privados. Anais do Congresso Internacional de Administração, Sucre, Bolívia, 14. Recovered in 18 October, 2021. 5

Schirigatti, E. L., & Avrichir, I. Processo de Produção de uma animação: Uma abordagem teórica. Revista Diálogo com a Economia Criativa, Rio de Janeiro, v.4, n.11, p. 32-55, May/Aug, 2019. Recovered in 18 October, 2021. 6


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Schirigatti, E. L., & Avrichir, I. (2019, December). A Animação no Ensino Superior de Design no Brasil. Anais do Seminário Nacional Cinema em Perspectiva, Curitiba, Paraná, Brasil, 8. Recovered in 18 October, 2021, https://fe717dd1-6cf7-4215-96ab-43c6c7426a01.filesusr. com/ugd/7d3881_1e203248ef224a9085bef1d356580238.pdf 7

Schirigatti, E. L., & Avrichir, I. (2020, August). Anais do Encontro De Gestão De Pessoas E Relações De Trabalho, São Paulo, São Paulo, Brasil, 7. Recovered in 18 October, 2021, http://anpad.org.br/eventos. php?cod_evento=&cod_evento_edicao=104&cod_edicao_subsecao=1709 8

TCU (2021). Resultados da política pública para o setor audiovisual devem ser divulgados. Retrieved on 04 November 2021, https://portal.tcu.gov.br/imprensa/noticias/resultados-da-politica-publica-para-o-setor-audiovisual-devem-ser-divulgados.htm 9

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References - Chapters Accelerate Animation (2013). Animate Projects. Retrieved from https://accelerateanimation.com/accelerate-report/ 1

Animation Mentor (2008). What future animators are looking for in an Animation School. Retrieved from http://content.animationmentor.com/pdfs/AnimationMentor_IndustryReport.pdf 2

Aoyama, Y., & Izushi, H. (2003). Hardware gimmick or cultural innovation? Technological, cultural, and social foundations of the Japanese video game industry. Research Policy, 32(3), 423-444. 3

Ashton, D. (2015). Creative work careers: pathways and portfolios for the creative economy. Journal of Education and Work, 28(4), 388-406. https://doi.org/10.1080/13639080.2014.997685 4

102 Asia Pacific Foundation of Canada (2016). Asian animation Industry. Retrieved on 28 February 2019 from https://www.asiapacific.ca/ sites/default/files/filefield/animation_industry_summary_final.pdf 5

Bakhshi, H., & Yang, L. (2018). Creativity and the future of work. Retrieved on 22 January 2019, from https://media.nesta.org.uk/documents/creativity_and_the_future_of_work_1.1.pdf 6

Bakhshi, H., Downing, J., Osborne, M., & Schneider, P. (2017). The Future of Skills: Employment in 2030. London: Pearson and Nesta. 7

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Bardin, L. (2010). Análise de conteúdo. Lisboa: Edições 70.


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Bendassolli, P. F., & Borges-Andrade, J. E. (2013). Desempenho Empreendedor nas Indústrias Criativas: Propondo um Modelo Teórico. Temas em Psicologia, 21 (1), 105 -120. http://dx.doi.org/10.9788/ TP2013.1-13 9

Bendassolli, P. F., & Wood Jr, T. (2010). O paradoxo de Mozart: carreiras nas indústrias criativas. O&S, 17(53), 259-277. 10

Bendassolli, P. F., Borges-Andrade, J. E., Gondim, S. M., & Makhamed, Y. M. (2016). Desempenho, autorregulação e competências de empreendedores de indústrias criativas brasileiras. Psicologia: Teoria e Pesquisa, 32, 1-10. http://dx.doi.org/10.1590/0102-3772e32ne221 11

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Blair, P. (1994). Cartoon Animation. Walter Foster Publishing. 103

Boldrini, F., Bracchini, M. R., & FantI, S. (2015). State of the art and mapping of competences report. CSVM. Retrieved from http:// cesie.org/media/R2.6.Mapping-the-Competences-of-the-Cultural-and-Creative-Sectors.pdf. 13

Cai, W., Lysova, E. I., Bossink, B. A. G., Khapova, S. N., & Wang, W. (2018). Psychological capital and self-reported employee creativity: The moderating role of supervisor support and job characteristics. Creat Innov Manag., 1-12. DOI: 10.1111/caim.12277 14

Chaston, I. (2008). Small creative industry firms: a development dilemma? Management Decision, 46(6), 819-831. https://doi. org/10.1108/00251740810882617 15


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Cole, A., & Barberá-Tomás, D. (2014, August). Negotiating Conventions and Creating Community: The Case of Cartoon and European Animation. Journal of Economic Geography, 14(1), 973-993. 16

Creative & Cultural Skills (2010). Sector Skills Assessment for the creative and cultural industry‐Northern Ireland. Retrieved on 13 November 2018, from https://ccskills.org.uk/downloads/1321190281-CCSkills_ Northern_Ireland_SSA_2010-11.pdf 17

Creative Skillset (2015). 2015 employment survey: Creative media industries. Retrieved on 19 November 2018, from https://www. screenskills.com/media/1562/2015_creative_skillset_employment_ survey_-_march_2016_summary.pdf 18

Creswell, J., W., & Creswell, J. D. (2018). Research Design: Qualitative, quantitative, and mixed methods approaches. SAGE Publications. 19

104 Daniel, R., & Daniel, L. (2015). Success in the creative industries: the push for enterprising and entrepreneurial skills. Journal of Australian Studies, 39(3), 411-424. https://doi.org/10.1080/14443058.2015.104 6896 20

Digital Vector (2018). Global Animation, VFX & Games Industry. Retrieved from http://www.digital-vector.com/ 21

Disney, W. (1935). Walt Disney Productions Inter office Communication. Retrieved from http://www.animationmeat.com/pdf/nineoldmen/MemoFromWalt.pdf 22

Eberts, D., & Norcliffe, G. (1998). New forms of artisanal production in Toronto’s computer animation industry. Geographische Zeitschrift, 86(2), 120-133. 23


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Gandia, R. (2013). The Digital Revolution and Convergence in the Videogame and Animation Industries: Effects on the Strategic Organization of the Innovation Process. International Journal of Arts Management, 32-44. 24

GaWc (2016). The World According to GaWC 2016. Retrieved from https://www.lboro.ac.uk/gawc/world2016t.html 25

Goff, J. L., & Mouline, A. (2003). Les Stratégies des firmes dans les industries du multimédia: 10 ans d’opérations de rapprochement 1993/2003. Paris: Ministère de l’Economie et des Finances. 26

Gordeeff, E. M. (2014). Animated Image: Expression and Design. Triades: v.3 (1), 2-24. 27

Grand View Research (2017). Market Research Report: 3D Animation Market analysis by technique. Retrieved from https://www. grandviewresearch.com/industry-analysis/3d-animation-market 28

Handcock, M. S., & Gile, K. J. (2011). On the Concept of Snowball Sampling. Sociological Methodology, 41(1), 367-371. https://doi. org/10.1111/j.1467-9531.2011.01243.x 29

Hill, R., & Johnson, L. W. (2003). When creativity is a must: Professional applied creative services. Creativity and Innovation Management, 12(4),221-229. 30

Honeycomb (2015). That’s not all folks: Developing the animation sector. North Ireland: Ulster University. Retrieved from http:// thehoneycomb.net/public/research-reports/Animation-Report-Final-2015.pdf 31

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Hosea, B. (2010). Drawing Animation. Animation: An Interdisciplinary Journal, 5(3) 353-367. 32

IBGE (2018). Diretoria de Pesquisas, Coordenação de População e Indicadores Sociais, Estimativas da população residente com data de referência 1º de julho de 2018. Retrieved from https://cidades. ibge.gov.br 33

Kamprath, M., & Mietzner, D. (2015). The impact of sectoral changes on individual competences: A reflective scenario-based approach in the creative industries, Technol. Forecast. Soc. Change, 95, 252-275 http://dx.doi.org/10.1016/j.techfore.2015.01.011 34

Knopf, J. W. (2006). Doing a Literature Review. Political Science and Politics, 39, 127-132. 35

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Kohn, K., & Wewel, S. A. (2018). Skills, scope and success: Na empirical look at the start-up process in industries in Germany. Creativity and Innovation Management, 27, 295-318. https://doi.org/10.1111/ caim.12279 36

Kundert-Gibbs, J., & Kundert-Gibbs, K. (2009). Action! Acting Lessons for CG Animators. Singapore: Wiley Publishing. 37

Kunz, S. (2012 November). The role of drawing in animated films. 51-65 In CONFIA. International Conference on Illustration & Animation Ofir. Portugal. Retrieved from https://repositorio.ucp.pt/bitstream/10400.14/14644/3/confia_2012_proceedings-1.pdf 38

Lasseter, J. (1987, july). Principles of traditional animation applied to 3D computer animation. Computer Graphics, 21(4), 35-44. 39


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Lee, H. K. (2010). Introduction: Animation industry at a crossroads. Creative Industries Journal, 3(3), 183-187. 40

Machado, M. C., & Fischer, A. L. (2017). Gestão de pessoas na indústria criativa: o caso dos estúdios de animação brasileiros. Cad. EBAPE.BR, 15 (1),132-151. http://dx.doi.org/10.1590/1679-395153019 41

Malaysia Digital Economy Corporation Sdn. Bhd. (2018). South East Asia Animation Report. Retrieved from https://mdec.my/wp-content/uploads/SEA-layout-20180815.pdf 42

Mannucci, P. V., & Yong, K. (2018). The differential impact of knowledge depth and knowledge breadth on creativity over individual careers. Academy of Management Journal, 61(5), 1741–1763.

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Mietzner, D., & Kamprath, M. (2013). A competence portfolio for professional in the creative industries. Creativity and Innovation Management, 22(3), 280-294. https://doi.org/10.1111/caim.12026 44

Paiva, K. C. M., & Melo, M. C. O. L. (2008). Competências, gestão de competências e profissões: Perspectives of research. RAC, 12(2), 339368. 45

Pandolfi, F., Branco, M. A., & Pinheiro, C. M. (2015). Estudo do processo de realização da produção de animação em longa-metragem do filme “Até que a Sbórnia nos separe”. Proceedings of the 8th GAMEPAD (pp.1-28). Novo Hamburgo, Brazil. 46

Saldaña, J. (2016). The coding manual for qualitative researchers. London: SAGE 47

Scallon, G. (2015). Learning Assessment in a Competency Approach. Curitiba: PUCPress.

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Shires, J. (2001). Careers in computer animation. New York: The Rosen Publishing Group, Inc. 49

Sultana, N., Lim, F. Y. P., & Meissner, N. (2013). Exploring Believable Character Animation Based on Principles of Animation and Acting Principles. Proceedings 2013 International Conference on Informatics and Creative Multimedia ICICM 2013. https://doi.org/10.1109/ ICICM.2013.69 50

Thomas, F., & Johnston, O. (1981). Design animation: The illusion of life. Disney Editions. 51

Tschang, F. T., & Goldstein, A. (2004). Production and Political Economy in the Animation Industry: Why Insourcing and Outsourcing Occur. Retrieved from https://ink.library.smu.edu.sg/lkcsb_research/2853 52

108 Tschang, F. T., & Goldstein, A. (2010). The Outsourcing of “Creative” Work and the Limits of Capability: The Case of the Philippines’ Animation Industry. IEEE Transactions on Engineering Management, 57(1), 132-143. https://ieeexplore.ieee.org/document/5393262 53

United Nations Conference on Trade and Development. (2010). Creative Economy: Report 2010. Retrieved from https://unctad.org/ pt/docs/ditctab20103_pt.pdf 54

Webster, C. (2005). Animation: The mechanics of motion. Oxford: Focal Press. 55

Wells, P., Quinn, J., & Mills, L. (2009). Drawing for animation. Lausanne: AVA Academia. 56


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Westcott, T. (2014). An overview of the global animation industry. Creative Industries Journal, 3(3), 253-259. 57

Winder, C., & Dowlabati, Z. (2011). Producing Animation. (2th ed.). Oxford: Focal Press. 58

Yoon, H. (2015). Globalization of the animation industry: multi-scalar linkages of six animation production centers. International Journal of Cultural Policy, 23(5), 634–651. https://doi.org/10.1080/1028663 2.2015.1084298 59

Yoon, H., & Malecki, E. J. (2009). Cartoon planet: worlds of production and global production networks in the animation industry. Industrial and Corporate Change, 19(1), 239–271. https://doi.org/10.1093/ icc/dtp040 60

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read the e-book? comment here

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The animation industry is growing quickly and generating several positive and some negative externalities. It has specificities that set it apart from other creative industries. Yet, notwithstanding its dependency on a highly qualified work force, few studies have been conducted regarding the competences required of animation professionals. This research is intended to bridge this gap by identifying these competences. To this end, in depth interviews were conducted with a sample of 15 Brazilian animation professionals that work in various positions within the industry and in companies of different sizes. Brazil is a suitable locus for the study as the country’s animation industry is becoming increasingly important due to international commercial successes and the winning of prestigious awards. The study identified personal-social, methodological and professional competences within the animation profession, pinpointing a set of more specific competences in this field, such as the subcategories of artistic, technological and managerial competences.


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