Jen Hancock

What was your major and how did you choose it?
Illustration. Initially, I was in the Arts Entrepreneurship program, but after meeting with a visiting artist from Disney Animation Studios, I decided to commit to my art and see where it could take me.

Who was your favorite faculty member and why?
Kristin Solid, because she took the time to help me figure out how to put together the best collection of courses that would best prepare me for what I wanted to do. She was honest with me about my work, and challenged me to do better. She knew what this industry would require– you have to be good at taking feedback.

Describe your internship(s).
Costume Design Intern for Trevor Bowen. Post-graduation, Disney Parks Costume Design and Development.

What have you learned since graduating from MCAD?
Nothing is handed to you. If you wait for employers to notice you, work will never come. You have to have the courage to cold call or email prospective employers. You have to be at industry events prepared to do a portfolio review if the opportunity presents itself. You need to build relationships with the people you want to work with via social media or events.

In the beginning, you might have to bend sometimes and do work you don't love, but if you fill your portfolio with the work you love to do and keep making connections, eventually clients who will value your favorite work will find and continually hire you.

Best thing you ever found on the free shelf?
Quality watercolor paper.

How did you get your job?
I applied to become a member of the Costume Designers Guild, and once accepted immediately started connecting with other artists in this niche, networking at industry events, and adding work to my portfolio that was more on par with what studios were accustomed to receiving.

Did MCAD prepare you for life after graduation? In what way?
If I'm being honest... not really, but I am not sure that is any fault of MCAD's. I took a hard path, there are other schools on the west coast that offer entire programs in pre-production and visual development work. MCAD gave whatever connections it had, but I chose a niche outside of what MCAD specializes in. That said, the classes that I find have been the most useful were available at MCAD– figure drawing, painting, digital illustration, and any character study courses in animation or comics.

Is there anything you wish you knew when you were an MCAD student?
I wish I knew more about negotiating my rates, writing up contracts, and understanding agreements. Negotiation skills are vital. I often struggle with imposter syndrome, but I still have to find the courage to match the energy of the person I'm negotiating with. Often, the unit production manager I am speaking to will lie about what they have paid artists in the past, or hide the fact that they get kick-backs payments from the studio if they negotiate my rate down. Students should know that they aren't just fighting for themselves when they stand their ground and hold strong on the rate they feel they deserve.

It would have been great to have been made aware of all of the major industry internships that become available throughout the year. Laika Studios, Disney Parks, Disney Animation, etc. all have robust internship programs. It would have been great to see these internships and deadlines posted all around the school, as well as some "why not" training for those who don't feel ready or worthy of applying (the worst that can happen is that they decline, and you have learned how the process goes for next year).

Your biggest takeaway from MCAD?
You must self-advocate. I might have been a pain in the rear to some faculty, but encouraging students to respectfully drive their educational experience will only add to the skills that may be required of them after MCAD.

What advice do you have for current MCAD students and/or artists at the beginning of their creative careers?
Meet your heroes. I know the saying is that you never should, but that has not been true in my case. Reach out to the people at the top of your industry, doing the work you most admire. Quite a few of my heroes have become mentors, then co-workers, and best of all, great friends.

What accomplishment are you most proud of?
My family! Professionally, I think its been validating to fill out my IMDb profile.

What inspires you/your work?
Films, music, and my kids continually expose me to cool new things.

How do you network yourself and your art?
Be where everyone is. Find out what the industry events are, get in on social events, join associations. Beyond social media, the Concept Art Association and The Lightbox Expo have been vital to my ability to meet people.

What was your experience living in the Twin Cities? Any hidden treasures?
Matt's Bar, and nearly any of the Lakes outside of the city.

Who are your creative heroes?
Too many to mention! People interested in this profession should know the work of Phillip Boutte Jr., Oksana Nedavniaya, and Robin Richesson– each of these incredible artists have been my heroes and mentors, and I am grateful to call them friends. Each of them have also served as Illustrator Representative in the Costume Designer's Guild; they are incredibly knowledgeable, supportive, and connected.