Ukrainian-born Oleg Dergachov met Maxine Schacker and Tina Seemann of Max the Mutt Animation School last summer. He had heard of the school’s stellar reputation, its philosophy regarding the importance of old-fashioned art fundamentals and the high quality of the work that its graduates produce.

Oleg Dergachov joined the staff at Max the Mutt in September. This academic year he is teaching anatomy and an introductory cartooning course. Oleg, a recognized, award-winning cartoonist and fine artist who received his training in Russia, is delighted with the curriculum that Max the Mutt offers. Max the Mutt students were thrilled to find out the College had added yet another internationally recognized cartoonist to its faculty!

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At Max the Mutt Animation School we are constantly in touch with our graduates who have embarked on great careers in the animation and gaming industries. This sense of community is very important to us; it results in an ongoing dialogue between our past students and those currently studying at the school.

One such opportunity for current students to hear first hand invaluable industry experience was the visit of Matt Rose, a team leader for EA Games Vancouver (class of 2004). Matt spoke to students at length and was quick to point out how important skill sets and levels of professionalism taught at Max the Mutt have been to his career.

Another alumni who recently happened to drop by and visit with school director Maxine Schacker was Sean Ng Qui Sang (Class of 2001). Sean has worked for Lynn Johnston of “For Better or For Worse” fame assisting with the development of her website and is currently living in England where he animates with Flash.

It is a wonderful experience seeing our graduates lead fulfilling professional lives and we encourage them to come back to share that with us!

Photo from left to right: Maxine Schacker, Sean Nq Qui Sang, Matt Rose, Tina Seemann

Ties to the animation industry are vital at Max the Mutt Animation School. We don’t believe in developing students in a vacuum and try at every opportunity to have industry leaders visit our premises.

A recent guest was Ann Denman, Head Co-Ordinator for the Platform International Animation Festival (Portland, Oregon- June 25th to 30th). Ann was on hand to meet Max the Mutt students and view their work while answering questions pertaining to the festival.

We work hard at Max the Mutt to actively promote the efforts of students to major animation festivals worldwide. In fact, this year students will be represented in exotic locales such as Anima Mundi in Rio, Brazil!

Without the tireless efforts of festival personnel like Ann, worthy student work just wouldn’t get seen and we want to thank her for taking the time to drop by!

Photo: Ann Denman (third from left)

At Max the Mutt Animation School we are proud to help in financially supporting students who exhibit the highest levels of creativity, discipline, focus, dedication and character. To this end we are very pleased to present the Sean Michael Stuart Memorial Scholarship and The Bradley Mark Johnston Educational Foundation Scholarship to the following students who have demonstrated a passion for learning and are valued participants in our community.

Thomas Deak- Sean Michael Stuart Memorial Scholarship Recipient

Larissa Thomas- The Bradley Mark Johnston Educational Foundation Scholarship Recipient

Tabitha Fisher- Sean Michael Stuart Memorial Scholarship Recipient

Richard Truong- Sean Michael Stuart Memorial Scholarship Recipient

Ben Roboly- The Bradley Mark Johnston Educational Foundation Scholarship Recipient

Congratulations again to all of our 2006 recipients! For more details on and information about applying for these scholarships please click the following link: http://www.maxthemutt.com/scholarships.html

Photo info (from left to right): Thomas Deak/ Larissa Thomas/Tabitha Fisher/ Richard Truong/ Absent: Ben Roboly/ (top) Directors: Maxine Schacker/ Tina Seemann.

Noel Tuazon is a veteran of the small press of the comics industry. A talented cartoonist who received some of his early training at Max the Mutt Animation School, Tuazon is about to make the leap to big-time New York book publisher with the much lauded Elk’s Run. We recently had the chance to ask Noel a few questions via e-mail as time permitted with his busy schedule at Core Digital.

Max: What are some of the comics jobs you’ve done prior to the Elk’s Run project?

Most have been anthologies. First there was a one page backup for Dave Sim’s reprinted single issues (Cerebus Bi-Weekly) in ‘89 & ‘90. There was also an eight page story for Stephen Bissette’s Taboo Especial (‘91), followed by appearances in the Canadian based Reactor Girl and Dennis Eichorn’s Real Stuff (Fantagraphics Books). In between those projects there was a two issue series entitled, Arianne, written by Rafael Nieves and originally published by Slave Labor Graphics (and later on by Moonstone Books). Other comic book anthologies which followed were Frecklebean Comics & Stories, Fleshrot (zombie stories) and it’s Halloween Special, and Suley Fattah’s local project to raise money for cancer research, Drawing the Line.

Max: How did your involvement with Elk’s Run come about?

I had e-mailed the writer , Josh Fialkov (back in 2004), asking him if his other project, Western Tales of Terror (another horror anthology), was in need of artists. Western Tales of Terror was ending but he was looking for someone to illustrate his other project, Elk’s Run so I took a chance on it.

Max: What was the publication history of Elk’s Run and how did it eventually end up with New York book publisher Villard/Random House?

The first three issues were originally published by Josh & his business partner’s company, Hoarse & Buggy Productions. When they met up with Darwyn Cooke at a U.S. Comics convention he suggested a new company called Speakeasy. They put the three issues into one book as an intro to new readers. Then it took forever to get #4 out. Shortly after that, Speakeasy went out of business and that’s when Villard/Random House’s acquiring editor, Dallas Middaugh, pounced on it. Instead of the original plan to publish the book as eight issues, it’ll now be published as a graphic novel next spring (‘07).

Max: You were nominated for a Harvey Award this year in the Best Artist category. How did that feel to get some recognition in one of the most important awards ceremonies in North American comics?

I was very surprised in even getting nominated! It’s good to finally receive a nomination in a field I’ve wanted to get my foot into for over 20 years.

Max: You attended Max the Mutt Animation School early on in it’s inception. What were some of the courses you took and how did they help you develop your cartooning abilities?

I took storyboarding courses which helped in the pacing of a comic page. When working on Elk’s Run, I found myself sometimes adding an extra panel or two just so the scene wouldn’t be too sped up or to make sure the reader understands as to why a character is going from this action to the next. It even aided in the compositing of scenes whether it be in a single panel or a splash page. Also the drawing and perspective courses greatly improved my draughtsmanship in comparison to where I was before.

Max: You are also an accomplished illustrator and animation artist. What are some of the assignments you have been involved with in the past?

I’ve provided illos for Cricket, the National Post, the SCBWI (Society of Children’s Book Writers and Illustrators), Bulletin magazine and, more recently, a children’s book (Sunny Bear’s Rainy Day by Caryn A. Tate). I’ve done storyboard clean-up for Bob & Margaret and Rescue Heroes. I’ve also worked for animation company 9 Story, and now I’m currently doing concept drawings for C.O.R.E. Digital Pictures.

Max: What do you see in your future as an artist? What is the next big project now that you are finished Elk’s Run?

I just finished up my contribution to an anthology called Postcards. The 9-page story I drew was written by Antony Johnston and he’s adapted (into comic books) some of Alan Moore’s prose stories.

Max: Do you have any advice for aspiring cartoonists who might be attending part-time classes at Max the Mutt or those who plan on attending the full time Illustration for Sequential Arts Program in 2007?

Don’t focus too much on just comic art. Look at works by fine artists as well as illustrators (especially the masters of ink drawing: James Montgomery Flagg, Charles Dana Gibson, John Lagatta, Joseph Clement Coll, etc..) Concentrate a lot on the basics of drawing!

(Photo: Left to Right- Tony Dezuniga, Ernie Chan, Noel Tuazon and Alex Nino. Noel hangs with fellow Filipino artists from the old school while attending this years San Diego Comicon to promote Elk’s Run.)

In May of this year we were honored to have Sabrina De Los Rios visit our school to meet with instructor Haig Bedrossian and our 4th year 3D animation students.

Sabrina is a recruiter from Blue Sky Studios, the makers of Ice Age. We appreciate her interest in Max the Mutt students and hope to have her back in the near future.

Ty Templeton, who has worked on comics like Batman Adventures, is part of Max the Mutt Animation School’s new diploma program focused on comic illustration and art.

Many of us remember those childhood games of dress up, tying a bed sheet around our necks for a cape, arms stretched out, dreaming about being our favorite superhero. For the students at Max the Mutt Animation School, these dreams have become reality.

“You have to love what you do,” says Ty Templeton, a professor of comic book production, writing, and illustration at Max the Mutt. “Comics are a viable career and it’s a fun industry to work in.”

Max the Mutt Animation School has created a new diploma program focused on comic illustration and art. They have been pushing the idea of a comic illustration diploma program since they founded the school in 1999. This May, they finally got the ball rolling.

With the help of well-known Canadian comic artists like Templeton, who has worked on DC Comics’ Batman Adventures and has illustrated many other titles, including the Justice League, the course is slated to create the comic artists of the future.

“There’s no such thing as talent. Talent is taught, and that’s what we’re teaching the students here,” Templeton says.

American design school, Savannah College of Art and Design in Savannah, Ga.; was one of the few options for hopeful comic artists, with tuition at $22,950 US. Max the Mutt offers the only two-year diploma program for comic art in Canada. Now, Canadian artists don’t necessarily have to hop on a plane south of the border to get the education they want. And course tuition at Max the Mutt is at a bargain price of about $7,000 a year.

Daniel Tynan, a 26 year-old recent graduate of Max the Mutt’s three-year animation program, believes that their current animation program has helped him as an artist. He feels the comic program would be beneficial to artists.

“I’ve learned a lot here. We get to work on great stuff.” Even though the school year has ended, Tynan is ambitiously tinkering at an impressive animation he created using Maya software.

“It’s a lot of hard work, but in the end you make something you’re proud of.”