I don't agree with the practice of giving tests. Anyone new to a job (with few exceptions) needs some time to ramp up to the job requirements and tests don’t allow for that.
What they don't tell you in the article is the reasons behind giving the tests. I understand - to a degree - why tests are given. Some animation artists, to secure a position, will use other artists' work and pass it off as their own. (I know of one instance where a fellow artist admitted using another animator's samples to get a job) And if it's for a union shop it's hard to get rid of incompetent help once hired. Several notices and chances have to be given to the artist as part of the union agreement. In turn, it costs the production extra time and money to get rid of that person.
Tests are also a way to thin the herds and fabricate an excuse for not hiring someone.
June 17, 2010 1:32 PM
[Image] The new issue of Flip (#34) is out. As always, it's an interesting read. For me, the highlights of this issue are a round table of professionals giving their views on art tests for employment and a feature on Dean Yeagle.
"FLIP, Tests and Dean Yeagle"
1 Comment -
I don't agree with the practice of giving tests. Anyone new to a job (with few exceptions) needs some time to ramp up to the job requirements and tests don’t allow for that.
What they don't tell you in the article is the reasons behind giving the tests. I understand - to a degree - why tests are given. Some animation artists, to secure a position, will use other artists' work and pass it off as their own. (I know of one instance where a fellow artist admitted using another animator's samples to get a job) And if it's for a union shop it's hard to get rid of incompetent help once hired. Several notices and chances have to be given to the artist as part of the union agreement. In turn, it costs the production extra time and money to get rid of that person.
Tests are also a way to thin the herds and fabricate an excuse for not hiring someone.
June 17, 2010 1:32 PM