Animation Today! A critical overview of animation in 21 st century. Hāmed Zeraa tpisheh UCA
|
|
- Juliet Neal
- 8 years ago
- Views:
Transcription
1 Animation Today! A critical overview of animation in 21 st century Hāmed Zeraa tpisheh UCA
2 Preface Animation today enjoys an unprecedented variety of forms, styles, genres and techniques. Unveiling all mysteries and complexities of such a complex art form requires time and space far beyond the limits of this essay. What follows, therefore, is a brief evaluation of the status of animation today. Starting with a brief history of the moving image, the essay will then look at the evolution of animation, its breakthroughs and achievements throughout the final decades of 20 th century to present time. For convenience of the reader, wherever necessary, certain terms and names have been defined or further explained, using on-line databases. The details of these web pages could be found at the bottom of each page as footnotes. I hope this piece brings a better understanding of the status of animation in today s world. 2
3 The condition of film history becomes reasonably healthy when it is recognized how unimportant a first is in itself. The vital question is the degree to which any departure from routine film making affected the medium 1 James Card The raw material of motion picture animation is movement. Plastic form is necessary only because we cannot perceive movement without forms... The how of movement is the real aim of animation. 2 Alexandre Alexeieff If it is the live-action film s job to present physical reality, animated film is concerned with metaphysical reality- not how things look, but what they mean. 3 John Halas and Joy Batchelor History of animation The moment that human beings realised by putting a series of images in a sequence and looking rapidly at them they could see an illusion of movement, the art of animation was discovered. Cave paintings from years ago and Egyptian pots of some 3600 years back suggest that man has been aware of this magical effect at least since ancient time (if not pre-historic times) 4. However the art of animation as we understand today started around a century and a half ago, running parallel with the industrial revolution and the beginning of the modern age. It should be mentioned though that there is not a beginning in the history of moving image. For animation came to life as a result of collective effort of many people who contributed to the development of the medium in different times and parts of the world, many of whom are not even recognised today! 1 James, Card (Spring 1950) Problems of Film History, Film Quarterly 4:3 p Alexandre Alexeieff (1972), Reflections on Motion Picture Animation, in Robert Russett and Cecile Starr, eds., Experimental Animation (New York: Van Nostrand Reinold) p John Halas and Joy Batchelor, (January 1949) European Cartoon: A survey of the Animated Film Penguin Film Review, no. 8: 9. 4 Williams, Richard (2001) Animation Survival Kit London: Faber and Faber Limited 3
4 Despite this it is possible to reminisce some of the most outstanding inventors and artists who have left their names as the pioneers of this art. Peter Roget in 1824 discovered the vital principle of cinema and moving picture: the persistence of vision with regard to moving objects, and by this discovery paved the way for forthcoming inventions. Richard Williams writes about persistence of image in Animation Survival Kit: This principle rests on the fact that our eyes temporarily retain the image they ve just seen. If this wasn t so, we would never get the illusion of unbroken connection in a series of images, and neither movies nor animation would be possible. Many people don t realise that movies don t actually move, and that they are still images that appear to move when they are projected in a series. 5 Within half a century this principle gave birth to several contraptions, all of which used this principle to create some form of movement illusion: Thaumatrope 1826 Phenakistoscope 1832 Zoetrope (Wheel of life) 1867 Flipper book 1868 Praxinoscope All these inventions were highly innovative at the time and inspired hundreds of curious individuals to think about the potential of this principle and seek other ways of creating the illusion of movement. Thomas Edison and James Blackton were examples of such interested individuals. 5 See note 4 6 For more info see Hoffer, Thomas W. (1981) Animation a reference guide Westport: Greenwood Press 4
5 Richard Williams reports in the same book: In 1896 a New York newspaper cartoonist James Stuart Blackton interviewed the inventor Thomas Edison who was experimenting with the moving picture. Blackton did some sketches of Edison who was impressed by Blackton s speed and drawing facility and asked him to do some drawings in a series. Later, Edison photographed these- the first combination of drawings and photography. In 1906 they publicly released Humorous Phases of Funny Faces. This short clip was a big step towards the development of animation. Finally it was Windsor McCay who tried to develop animation as an art form. In 1914 he created the first animated character, Gertie the Dinosaur, which consisted of thousands of drawings. Then McCay himself performed live in front of the projected animation on stage, holding an apple and inviting her to eat, Gertie lowered her neck and swallowed the fruit. 7 Figure 2 Gertie the Dinosaur 7 See note 4 5
6 McCay was a brilliant mind and developed a form of art that has become an inseparable part of the contemporary visual culture. He is therefore known as the father of animated cartoon. The next notable event is probably the formation of Disney studios in 1923 and the beginning of a new era in the history of the moving image. In 1937 Walt Disney released the world s first fully-animated feature film, Snow White and the Seven Dwarfs and with it started the so called Golden Age of animation, which despite all its success, as we will see later, did considerable harm to the evolution of animation as an art form. Figure 3 Snow White and the Seven Dwarfs Walt Disney 1937 Animation Today It is probably still the case that when people hear the word animation they automatically recall Walt Disney cartoons. Disney s contributions to the medium of course is beyond 6
7 any doubt, however, this should not stop one from seeing the problems of this style neither should it close one s mind to other forms of animation. Paul Wells writes in Understanding Animation: in many cases Disney had aligned animation with aspects of photographic realism, and misrepresented the form s more distinctive characteristics. The animated film had reached maturity, but in doing so had established Disney as synonymous with animation. This led to animation being understood in a limited way. Disney perfected a certain language for the cartoon and the full-length feature which took its model from live-action film-making. This overshadowed other types of innovation and styles of animation which have extended the possibilities of the form and enabled other kinds of film to be made. 8 Besides what Wells points out, the theme of most Disney productions are either some type of Silly Symphony 9 or based on stereotypical stories of good and evil (e.g. Snow White, Cinderella), dramatic fairytale style stories that mums tell (or used to tell) their children before sending them to bed. Evidently, the audience of such works are mostly children. This not only created an incorrect vision in the mind of many people worldwide that animation is solely meant for children, but also left little space for other forms of artistic expression for decades. 8 Wells, Paul (1998) Understanding Animation London: Routledge 9 Silly Symphonies is a series of animated short subjects, 75 in total, produced by Walt Disney Productions from 1929 to 1939, while the studio was still located at Hyperion Avenue in the Silver Lake district of Los Angeles. Unlike the Mickey Mouse series, to which it is a sister series, Silly Symphonies did not usually feature continuing characters. See Wikipedia, Silly Symphonies, (as of Jan. 9, 2008, 23:38 GMT). 7
8 Throughout the twentieth century, however, there were other animators and schools of animation, who looked at animation from a rather different perspective. Oscar Fischinger, the German painter and animator for instance, was one of the pioneers of the medium who worked in the areas of abstract and experimental animation in Europe at the time that narrative 2D classical animation was thriving in America. Zagreb School of Animation is another example of a view that looks at animation from a different perspective. Paul Wells writes elsewhere in the same piece: Mclaren reinforces the notion that the true essence of animation is in the creation of movement on paper, the manipulation of clay, the adjustment of a model etc., before the act of photographing the image, i.e. the activity that has taken place between what become the final frames of film. Animators of the Zagreb School, in the former Yugoslavia, however, seek to develop this definition further by stressing the aesthetic and philosophical aspects of the craft. They suggest, that to animate is to give life and soul to a design, not through the copying but through the transformation of reality (Holloway, 1972:9). Though recognising the importance of animation as a technical process, the Zagreb film-makers wanted to emphasise the creative aspect of literally giving life to the inanimate, revealing something about the figure or object in the process which could not be understood under any other conditions. Film-makers at Zagreb, including leading light, Dusan Vukotic, wanted to transform reality and resist the kind of animation created by Disney Studios which, for all its personality and comic energy, conforms to a certain mode of realism concordant with live-action film-making. 8
9 Figure 4 Oscar Fischinger ( ) and abstract animation Another example of an animator with an interesting standpoint is the brilliant Russian animator, Alexander Petrov, who won an Oscar for his short film The Old Man and the Sea in Petrov's style is very unique and personal. For each frame of his animation he uses his fingers to paint on a retroiluminated glass surface and, afterwards, he photographs the results. The Old Man and the Sea is made up of 29,000 takes, painstakingly prepared over the course of almost three years See Wiedemann, Julius (2004) Animation Now! Cologne: TASCHEN GmbH 9
10 Figure 5 The Old Man and the Sea Alexander Petrov 2000 It is well worth mentioning here also the efforts of the talented animators of Aardman studio, whose unique style and creative techniques in the area of stop motion animation has won them the reputation of the most successful Plasticine animation studio in the entire world. Aardman's prominent animator, Nick Park (the creator of Creature Comforts and Wallace& Gromit) proved to the world that one can achieve almost any effect with stop motion animation For more information see 10
11 Figure 6 Wallace and Gromit created by Nick Park In spite of all such efforts (and hundreds of other examples) Disney s dogmatic animation remained as the dominant form of animation until the last decades of the 20 th century. Two break points that I would like to point out here are the arrival of The Simpsons in 1987 and the advent of 3D Computer Animation in the early 90s. The most revolutionary animated piece of all times The Simpsons 12 breaks almost every rule that Disney studios had preset and dictated on the medium for over half a century, from the realism in the movement of animation to the story telling conventions and the narrative. The Simpsons completely turns back to the must do and must not do clichés of classical style and shows the world what animation, in its simplest 2D form, can achieve. Matt Groening s ingenious masterpiece is a metaphorical story of a middle-class American family who lives in the town of Springfield along with other residents of the 12 See 11
12 town. All members of the family: Homer, Marge, Bart, Lisa and Magi as well as other characters of the series, whose personalities and interactions are designed and orchestrated in the best possible way, each represent a group of people or school of thinking in the contemporary society of the United States. Figure 7 The Simpsons created by Matt Groening 1987 This seemingly simple 2D hand drawn animation is profoundly rooted in the most debated socio-political, cultural and philosophical issues of the present time. Anyone who has watched The Simpsons in depth knows that behind its exquisite comedy lays a critical mind, analysing the dilemmas of our time. Race, sex, colour, sexuality, identity, politics, religion, American capitalism, to name a few, are some of the issues that the producers of the Simpsons have touched upon in their lengthy sitcom series so far. The Simpsons is 12
13 neither a Silly Symphony nor is it a dramatic fairytale. Therefore its creative agenda appeals to all age groups and social classes around the world. Matt Groening s surprisingly open and neutral attitude does away with any biased and narrow minded approach and opens the way up to orchestrate, in the most creative way, characters, personalities and archetypes that best represent the characteristics of the world we are living in, a true critique of our time. The other ground breaking change that shifted the equation of animation equals classical Disney cartoon was the emergence of CGI (Computer Generated Imagery) through technological advances in the area of computer graphics and resulted in the formation of a totally new from of animation, 3D Computer Animation. Ever since the release of Toy Story, the first fully computer generated feature film by the pioneering Pixar animation studios in 1995, the world has witnessed some fantastic productions. Figure 8 Finding Nemo, Pixar studios best selling animated feature film of all times For more information see 13
14 Many of the recently produced CGI animated films not only have revolutionised animation in terms of the technology and theory but also have contributed to the aesthetics of the moving image and visual arts. The creative agenda of some of these films are also noteworthy. Blue Sky studio s Ice Age, for example, was not only one of the most successful productions in the area of 3D Computer Animation and contributed to the development of the medium, but also had an important message with it: the contemporary issue of global warming Figure 9 Ice Age the meltdown Blue Sky studios
15 John Vince writes in 3D Computer Animation about the various uses of computer animation: Although computer animation has found an excellent niche in advertising, film special effects and television credits, it is also being used for visualising a wide variety of 3-D databases and numerical data sets. For instance, computer aided design (CAD) techniques are central to the activities of a modern architectural practice, which employs computer animation to visualise an architectural project. This might be an animated sequence shown as an aerial fly-over, or an interior walk- through. Research systems already exist where virtual reality (VR) techniques enable stereoscopic views of an environment to be displayed in real-time. Similar VR technology is also being used to evaluate the design of lighting fittings for building interiors. Industrial applications of computer animation include product visualisation of cars, engineering components and construction projects such as bridges, tunnels and hydroelectric schemes. In flight simulators, real-time image generators create sophisticated 3-D coloured scenes of international airports, and within the safety of these virtual environments, pilots can be trained to develop flying skills and practise emergency procedures. Computer animation is also used in educational graphics to describe two- and threedimensional problems in mathematics, physics, astronomy, science, biology and chemistry. And where idea is collected from experiments, or from computer simulations, the techniques of scientific visualisation become powerful tools for translating multidimensional data sets into animated images. Such sequences offer an extraordinary 15
16 insight into phenomena that might have remained undetected without these visualisation tools. 14 Animation today, therefore, enjoys great verve and variety and its significance is felt more than any time before. For not only is it an art form and industry on its own rights, it draws on and contributes to so many areas of Art, Design and Sciences: Drawing, Photography, Cinema, Architecture, Mathematics, Geometry, Dynamics and Computer Science, to name a few, are all areas that in one way or another contribute to and benefit from the world of animation at the present time. Be it considered as a fully experimental art form, a form of live-action movie, a way to simulate the movement of dynamic objects, a means of visual communication for commercials purposes etc, animation is a magical medium with endless possibilities and I think that many of its accomplishments and breakthroughs are yet to be seen, the future is bright! 14 Vince, J. (1992) 3-D Computer Animation Suffolk: William Clowes 16
17 List of Illustrations 1. On the cover, Happy Homer Simpson, retrieved on 13/01/2008 from: 2. Gertie the Dinosaur, retrieved on 13/01/2008 from: 3. Snow White and the Seven Dwarfs, retrieved on 13/01/2008 from: 4. abstract animation by Oscar Fischinger, retrieved on 13/01/2008 from: 5. The Old Man and the Sea, retrieved on 13/01/2008 from: 6. Wallace and Gromit, retrieved on 13/01/2008 from: 7. The Simpsons, retrieved on 13/01/2008 from: 8. Finding Nemo, retrieved on 13/01/2008 from: 9. Ice Age the meltdown, retrieved on 13/01/2008 from: 17
18 Bibliography - Alexeieff, Alexandre (1972), Reflections on Motion Picture Animation, in Robert Russett and Cecile Starr, eds., Experimental Animation (New York: Van Nostrand Reinold) -Hoffer, Thomas W. (1981) Animation a reference guide Westport: Greenwood Press -James, Card (Spring 1950) Problems of Film History, Film Quarterly 4:3 -John Halas and Joy Batchelor, (January 1949) European Cartoon: A survey of the Animated Film Penguin Film Review, no. 8: 9 -See Wiedemann, Julius (2004) Animation Now! Cologne: TASCHEN GmbH -Vince, J. (1992) 3-D Computer Animation Suffolk: William Clowes -Wells, Paul (1998) Understanding Animation London: Routledge -Williams, Richard (2001) Animation Survival Kit London: Faber and Faber Limited 18
Computer Game and Animation Past, Present, and Future
Computer Game and Animation Past, Present, and Future Computation Based Computer Game and Animation Past, Present, and Future Has gameplay, a pattern defined though a set of rules Changing objects over
More informationHow To Make Animation From Scratch
The Animated Film Key Concepts What is an animated film? Different from live action at the production stage Live action = an ongoing action is shot in real time Animated film = images are shot one frame
More informationWall-E. Ideas for the Classroom
Wall-E Ideas for the Classroom Wall-E In this computer-animated tale, a wide-eyed robot named Wall-E (Waste Allocation Load Lifter-Earth Class) travels through space in search of a friend. Wall-E is a
More informationComputer Animation. Jason Lawrence CS 4810: Graphics
Computer Animation Jason Lawrence CS 4810: Graphics Acknowledgment: slides by Misha Kazhdan, Allison Klein, Tom Funkhouser, Adam Finkelstein and David Dobkin Overview Some early animation history o http://web.inter.nl.net/users/anima/index.htm
More informationWSOA 3001 - Introduction to Principles of Animation Course Outline 2013
WSOA 3001 - Introduction to Principles of Animation Course Outline 2013 Lecturer: Charl Smit Contact Details: 082 68 75 306 Email: tapertiltpo@gmail.com Venue: The New Lab and Seminar Room. Class Times:
More informationThe World of Animation
The World of Animation 1 The World of Animation Wallace and Gromit: The Curse of the Were-Rabbit (released in 2005) British films are rarely successful in the United States. However, the animated adventures
More informationWWHS Visual Arts Program Tips
WWHS Visual Arts Program Tips Visualize a school that has a passion for the arts and the academics and you will see Walt Whitman HS. We offer a wide range of visual art experiences and the Art Department
More informationProgramme 3: Get Creative with IT
BROADCAST DATES BBC2 10.30-10.50AM Programme Title Broadcast Date 3 - Get Creative with IT Tuesday 17th May 2005 4 - IT Changing Lives Tuesday 24th May 2005 PROGRAMME 3: Get Creative with IT This is a
More informationCoraline Study Notes
Coraline Study Notes Directed by: Heny Selick Certificate: PG Running time: 100 mins Suitable for: KS2/3 English/Literacy This resource is designed to work across upper KS2 and lower KS3. It could form
More informationLesson 3: Behind the Scenes with Production
Lesson 3: Behind the Scenes with Production Overview: Being in production is the second phase of the production process and involves everything that happens from the first shot to the final wrap. In this
More informationContents. Introduction What Is the Art of Animation? 4. Chapter One Early Animation 7. Chapter Two Animation s Golden Age 19
Contents Introduction What Is the Art of Animation? 4 Chapter One Early Animation 7 Chapter Two Animation s Golden Age 19 Chapter Three Stop-Motion Animation 33 Chapter Four Computer-Generated Animation
More informationThe Thinking of Animation: Conflict of 3D and 2D. Shih-Ting Tsai, Ming-Hsiu Mia Chen Tatung University, Taiwan
The Thinking of Animation: Conflict of 3D and 2D Shih-Ting Tsai, Ming-Hsiu Mia Chen Tatung University, Taiwan 0180 The Asian Conference on Ethics, Religion & Philosophy 2013 2013 Abstract The computer
More informationCrash NARRATIVE. www.filmeducation.org 1
Crash NARRATIVE Crash tells the story of a group of very different people and the way in which their lives intersect over a period of twenty-four hours. As the film begins, each episode in the narrative
More informationOCR LEVEL 3 CAMBRIDGE TECHNICAL
Cambridge TECHNICALS OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN IT COMPUTER ANIMATION D/601/7658 LEVEL 3 UNIT 14 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10 COMPUTER ANIMATION D/601/7658
More informationCourse Description Graphic Design Department
Course Description Graphic Design Department Free drawing : 1021705 / 3 Credit Hours This course introduces the student to basic drawing skills and techniques. The emphasis is on traditional approaches
More informationTeacher Guide. English Examining Film. Teacher Guide. Series overview. Curriculum links. Educational approach
3. Series overview Learners enjoy watching films, but are often intimidated by having to analyse them as a genre of literature. This series aims to introduce learners to films as texts. We cover basic
More information*Info taken from Morden Collegiate, Morden Manitoba
Voiced by Mel Blanc, the innocent Tweety is said to have been inspired by Warner Bros. animator Bob Clampett's fond remembrances of baby birds he saw in nature films as a child, baby pictures of himself,
More informationWelcome to the USC School of Cinematic Arts, where we invite you to explore and expand the power and potential of film, television and new media.
Welcome to the USC School of Cinematic Arts, where we invite you to explore and expand the power and potential of film, television and new media. For time immemorial, the desire for humans to imagine and
More informationWRITING ACROSS THE CURRICULUM Writing about Film
WRITING ACROSS THE CURRICULUM Writing about Film From movie reviews, to film history, to criticism, to technical analysis of cinematic technique, writing is one of the best ways to respond to film. Writing
More informationMessage, Audience, Production (MAP) Framework for Teaching Media Literacy Social Studies Integration PRODUCTION
Message, Audience, Production (MAP) Framework for Teaching Media Literacy Social Studies Integration PRODUCTION All media messages - a film or book, photograph or picture, newspaper article, news story,
More informationContents. Why choose Film Studies at Liverpool? 01 Degrees 03 Example student timetable 04 Module details 06 Honours Select 08
Film Studies Contents Why choose Film Studies at Liverpool? 01 Degrees 03 Example student timetable 04 Module details 06 Honours Select 08 @livuni www.facebook.com/universityof Liverpool @livuni UofLTube
More informationUCLA Extension Writers Program Public Syllabus. Writing for Animation
UCLA Extension Writers Program Public Syllabus Note to students: this public syllabus is designed to give you a glimpse into this course and instructor. If you have further questions about our courses
More information{PROFILE} {PROFILE} {PROFILE} Roberto Fino. Roberto Fino {OUTLINE} ISSUE 1, 2014 9
{OUTLINE} ISSUE 1, 2014 9 Italian born Roberto has a long background working in illustration and animation in across an international environment. This experienced artist shares his experience, the importance
More informationVisual Rhetoric/Visual Literacy: Writing About Film
h t t p : / / u w p. a a s. d u k e. e d u / w s t u d i o Visual Rhetoric/Visual Literacy: Writing About Film This handout discusses ways to approach film as a visual medium. It offers suggestions for
More informationYOU THINK YOU MIGHT WANT TO STUDY:
YOU THINK YOU MIGHT WANT TO STUDY: ANIMATION DIGITAL MEDIA DESIGN PRODUCT DESIGN VISUAL COMMUNICATION MOTION GRAPHICS 70 DESIGN & CREATIVE MEDIA Course LISTING Bachelor of Arts in Animation Bachelor of
More informationA PHOTO OF BARBARA. expressing feelings in an artistic way.
I like portraits, especially the ones which reveal an aspect of someone s life. This is what I try to achieve in my photographs as well. How you go about this is important. I try to get to know a person.
More informationTHE VISUAL ARTS Head of Department: Dawn Clarke
THE VISUAL ARTS Head of Department: Dawn Clarke Year 7 VISUAL ARTS - Core Subject One Term This is a general art program where students will explore aspects from the following practical areas; painting,
More informationBA (Hons) Photography course content
BA (Hons) Photography course content Year One Year One modules Representation and Construction in Photography (80 credits) This first visual practice module presents you with some of the misconceptions
More informationGraphics Designer 101. Learn The Basics To Becoming A Graphics Designer!
Graphics Designer 101 Learn The Basics To Becoming A Graphics Designer! Contents Introduction Chapter 1 The Role of the Graphics Designer Chapter 2 Qualifications in Order to Become a Graphics Designer
More informationGraphic Design for Beginners
Graphic Design for Beginners Presented By MasterResaleRights.com Table of Contents Introduction 3 Chapter 1 The Role of the Graphic Designer 5 Chapter 2 Qualifications in Order to Become a Graphic Designer
More informationThe Media Studies Section
Study Guidelines The Media Studies Section The fourth section to appear on your Higher Level exam paper is the Media Studies Section. Some of the options that may appear on the exam paper are as follows:
More informationCINEMA DEPARTMENT COURSE LEVEL STUDENT LEARNING OUTCOMES BY COURSE
CINEMA DEPARTMENT COURSE LEVEL STUDENT LEARNING OUTCOMES BY COURSE CINE 1000 A. Develop and implement a plan for approaching and completing complex individual and team projects. B. Illustrate skills in
More informationChapter 1. Animation. 1.1 Computer animation
Chapter 1 Animation "Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation."
More information2012 VISUAL ART STANDARDS GRADES K-1-2
COGNITIVE & K Critical and Creative Thinking: Students combine and apply artistic and reasoning skills to imagine, create, realize and refine artworks in conventional and innovative ways. The student will
More informationEDUCATIONAL. interview with Michael Blackshore. Gotlands Högskola University, Sweden
Spotlight interview with Michael Blackshore Computer Graphics and Animation Graduate Gotlands Högskola University, Sweden Michael Blackshore shares how he developed his passion for art and interest in
More informationVAPA (Visual Arts) VISUAL ARTS
VISUAL ARTS VAPA (Visual Arts) ART 1-2 This course will introduce the student to the various ways of producing artistic pieces in the areas of drawing, design, color, painting, three-dimensional, and printmaking.
More informationLesson Plan. Performance Objective: Upon completion of this assignment, the student will be able to identify the Twelve Principles of Animation.
Lesson Plan Course Title: Animation Session Title: The Twelve Principles of Animation Lesson Duration: Approximately two 90-minute class periods Day One View and discuss The Twelve Principles of Animation
More informationAn Open Letter to the Tech Community: Humanize the Craft of Building Interactive Computer Applications
An Open Letter to the Tech Community: Humanize the Craft of Building Interactive Computer Applications Much of my work since the late 1950s has been motivated by my belief that an understanding of how
More informationTechnologies Experiences and outcomes
Technologies Experiences and outcomes The technologies framework provides a range of different contexts for learning that draw on important aspects of everyday life and work. It includes creative, practical
More informationTeacher Resource Bank Unit 2 Exemplar Assignments
Teacher Resource Bank Unit 2 Exemplar Assignments GCSE Media Studies Version 1.2 Contents Assignment 1 - Introduction to the Media Page 2-5 Assignment 2 - Cross-Media Study Page 6-11 Assignment 3 Practical
More informationKIDS & TEENS SUMMER HOLIDAYS
DEC 2015 - JAN 2016 KIDS & TEENS SUMMER HOLIDAYS LEARN NEW SKILLS IN FILMMAKING, TV PRESENTING, SCREEN ACTING RADIO, DIGI ANIMATION & MORE! AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL SUMMER SCHOOL HOLIDAY
More informationHow To Become An Animation Artist
A Guide to Career Options: What Can I do with a Bachelor s Degree in Animation? Animation Careers 3D Modelers FX Artist Multimedia Instructional Designer 3D Tracker Game Artists and Designers Production
More informationStudy Sheet: Painting Principles
Study Sheet: Painting Principles Study Sheet: Painting Principles 1.1.2 Study: Getting Perspective Study Sheet Art Appreciation (S1685684) Name: Date: 1 of 4 10/15/12 9:13 AM Study Sheet: Painting Principles
More informationPHOTOGRAPHY GUIDELINES
PHOTOGRAPHY GUIDELINES TABLE OF CONTENTS The UQ brand... 3 The bigger picture... 4 Our imagery styles explained... 5 1. Overview imagery... 5 2. Academic imagery... 5 3. Lifestyle imagery... 5 4. Interactive
More informationThe Computing Curriculum at Coston Primary
Years Year 1 Year 2 1 and 2 Autumn We are learning about programming and computational thinking and in We are learning about programming and computational thinking and in Year 1 Food and farming Year 2
More informationMoving on! Not Everyone Is Ready To Accept! The Fundamental Truths Of Retail Trading!
Moving on If you re still reading this, congratulations, you re likely to be in the minority of traders who act based on facts, not emotions. Countless others would have simply denied the facts, and moved
More informationAt twenty-three, Alexander Tuschinski has begun to reveal his own very personal voice (...) with talent that is blossoming splendidly.
"The films of Alexander are a new kind of film, of showing what can come out from the editing. It is good" Tinto Brass, Director: La Vacanza. Talking about Break-Up. At twenty-three, Alexander Tuschinski
More informationTHE ART AND HISTORY OF STREET PAINTING. Kurt Wenner 2011
THE ART AND HISTORY OF STREET PAINTING Kurt Wenner 2011 In cities and towns throughout the world pedestrians may see a patch of sidewalk or paved surface decorated with chalk or pastels. Although this
More informationTheater, Cinema, & Film Production
Course Syllabus Theater, Cinema, & Film Production Course Description Lights! Camera! Action! This course will introduce students to the basics of film and theater productions. Students will learn about
More informationDesigning a Pixar Film
At Pixar Animation Studios, we think our entire filmmaking process is a design process, alternating iterations of planning and implementation, all centered on storytelling. Like a painter, imagining the
More information1 Animation Animation
Bh1073M-PressProofs.QX6 13/10/05 3:02 PM Page 1 Chapter 1 Animation Animation Animated films and persistence of vision An animated film is easily defined as any film where each frame is produced individually
More informationINTERIOR DESIGN. Total Credits: 70 Studio Credits: 46 Academic Credits: 24. SEMESTER I Credits: 18 Studio Credits: 12 Academic Credits: 6
DELAWARE COLLEGE OF ART AND DESIGN 600 N MARKET ST WILMINGTON DELAWARE 19801 302.622.8000 INTERIOR DESIGN Total Credits: 70 Studio Credits: 46 Academic Credits: 24 SEMESTER I Drawing I 3 2D Design I: Black
More informationViewing a Crime Drama
LESSON PLAN Level: Grades 9 11 About the Author: Adapted, with permission, from a unit developed by Mark Zamparo, an Ottawa-based media educator Viewing a Crime Drama Overview In this lesson students explore
More informationNon-Stop Optical Illusions A Teacher s Guide to the Empire State Plaza Art Collection
Non-Stop Optical Illusions A Teacher s Guide to the Empire State Plaza Art Collection New York State Office of General Services Curatorial/Tour Services 29 th Floor, Corning Tower Albany, NY 12242 518.473.7521
More informationM2: Animation Techniques
M2: Animation Techniques This module is divided into the following topics: Animation Techniques, on page 24 Activity 1: Research a New Animation Technique, on page 31 Animate Pro 2 - Student Workbook Animation
More informationHACKETTSTOWN, NEW JERSEY. Computer Animation Grades 10-12 CURRICULUM GUIDE FINAL DRAFT. July 2014
HACKETTSTOWN, NEW JERSEY Computer Animation Grades 10-12 CURRICULUM GUIDE FINAL DRAFT July 2014 Mr. David C. Mango, Superintendent Ms. Nadia Inskeep, Director of Curriculum & Instruction Developed by:
More informationART & DESIGN COURSES
ART & DESIGN COURSES WJEC GCSE in ART & DESIGN WJEC GCSE in GRAPHIC DESIGN ART AND DESIGN BOARD ACCREDITATION WJEC GCSE COURSE CONTENT The GCSE in Art and Design contains two papers - Paper 1 is Coursework
More informationThe Flat Shape Everything around us is shaped
The Flat Shape Everything around us is shaped The shape is the external appearance of the bodies of nature: Objects, animals, buildings, humans. Each form has certain qualities that distinguish it from
More informationTeacher Edition. Making an Animated. Cartoon. alphakids. Written and illustrated by Alex Stitt Photography by Michael Curtain
Teacher Edition Making an Animated Cartoon alphakids Written and illustrated by Alex Stitt Photography by Michael Curtain Published edition Eleanor Curtain Publishing 2004 Text Kerrie Shanahan Photographs
More information2 of 8 1/14/2011 11:50 AM
2 of 8 1/14/2011 11:50 AM Subject Area: Elective Category: Grade Level for which this course has been designed: Unit Value: 9 10 11 12 1.0 (one year, 2 semesters, or 3 trimesters equiv.) Is this course
More informationDigital Media Arts Center
Digital Media Arts Center Naming Opportunity This lead gift to name the DMAC will enhance the living/learning environment for all students in Dodge College and lay the foundation for a new era of excellence
More informationVancouver Film School
Vancouver Film School Over a thousand students graduate from VFS every year. VFS has green screens f Animats to do motion capture; a Dolby 5.1 theatre f Sound Design; multiple computer labs and industry-standard
More informationHow to Design and Operate Success: Five Golden Rules Speaker: Simon Opie
How to Design and Operate Success: Five Golden Rules Speaker: Simon Opie Euro Attractions Show September 30 October 2, 2008 Munich, Germany Presentation material is also availalbe at: www.iaapa.org EAS
More informationNew and Emerging Applications of Tablet Computers such as ipad in Mathematics and Science Education.
New and Emerging Applications of Tablet Computers such as ipad in Mathematics and Science Education. MEHRYAR NOORIAFSHAR mehryar@usq.edu.au University of Southern Queensland, Toowoomba, Australia Abstract
More informationUnderstand career planning in a digital media environment.
Objec&ve 201.01 Understand career planning in a digital media environment. Course Weight : 5% 1 Careers in Digital Media Skills and knowledge in the digital media field can be applied to a wide variety
More informationCustomer Success Story
Client: Industry: Products: Akama Studio Animation & VFX V-Ray for ds Max October 011 Working with V-Ray has changed our way of conceiving images. In an industry where clients demand ever more beautiful
More informationUNIT 18: Creating cartoons and producing animations (LEVEL 3)
UNIT 18: Creating cartoons and producing animations (LEVEL 3) Learning outcomes This unit will give candidates, who have an interest in cartooning and animation, an opportunity to develop their skills
More informationUnit in brief. Unit introduction. Learning aims. Level: 1 Unit type: Sector (Digital Media) Guided learning hours: 40
Unit DM9: Creating an animation Level: 1 Unit type: Sector (Digital Media) Guided learning hours: 40 Unit in brief Learners will develop the skills they needed for animation pre-production, production
More informationELECTRIC I FIRES. CW036_Electric_brochure_art.indd 1
ELECTRIC I FIRES CW036_Electric_brochure_art.indd 1 A WARM WELCOME It s never been so easy to get the warm inviting atmosphere of a real flame fire with all the convenience, versatility and efficiency
More information2014/2015 Middle School Exploratory/Elective Course Descriptions
2014/2015 Middle School Exploratory/Elective Course Descriptions Applied Study Skills (Year Long) Pending Board Approval (Course only offered in lieu of Foreign Language) This year long course focuses
More informationQUARTERLY SCHEDULE OF CLASSES
Producing Emphasis GH166 Art of the Pitch Winter, Spring GS256 Entertainment Law Fall, Spring GH253 Hollywood Business Practices Fall, Spring F441 Producing: From Greenlight to Completion Fall, Winter
More informationAnimation Course For Teachers. Oscar Stringer
Animation for education Animation Course For Teachers Oscar Stringer www.animationforeducation.co.uk southstreet@easynet.co.uk COPYRIGHT 2002 OSCAR STRINGER Pre-Production Modelling The pre-production
More informationFundamentals of Design
Fundamentals of Design One of Ottawa s most prominent marketing and communications firms, gordongroup offers award-winning design for a complete range of communications products from corporate brand identities
More informationEMBEDDING VISUAL EFFECTS IN 3D ANIMATED ENVIRONMENT DESIGN FOR SHORT MOVIE. Zahari Hamidon Kong Ho Abdullah Mohd Noor
EMBEDDING VISUAL EFFECTS IN 3D ANIMATED ENVIRONMENT DESIGN FOR SHORT MOVIE Zahari Hamidon Kong Ho Abdullah Mohd Noor ABSTRACT Visual effects are commonly referred to as Visual F/X or VFX, which comprise
More informationComposition and Layout Techniques
Composition and Layout Techniques Composition Techniques Composition Composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject of a work.
More informationMEDIA OCR LEVEL 3 CAMBRIDGE TECHNICAL. Cambridge TECHNICALS ANIMATION PRODUCTION CERTIFICATE/DIPLOMA IN K/504/0480 LEVEL 3 UNIT 66
Cambridge TECHNICALS OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN MEDIA ANIMATION PRODUCTION K/504/0480 LEVEL 3 UNIT 66 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10 ANIMATION PRODUCTION K/504/0480
More informationThe Art Institute of Philadelphia Catalog Addendum GAME ART & DESIGN
The Art Institute of Philadelphia Catalog Addendum GAME ART & DESIGN See AiPrograms.info for program duration, tuition, fees, and other costs, median debt, federal salary data, alumni success, and other
More informationThe Art Of Animation
UNIVERSITY OF CALIFORNIA College of Engineering Department of Electrical Engineering and Computer Sciences Computer Science Division CS 294-7 The Art Of Animation Professor Brian A. Barsky and Laurence
More informationCOMMUNICATION. COMMRC 0005 INTERVIEWING AND INFORMATION GATHERING 3 cr. COMMRC 0310 RHETORICAL PROCESS 3 cr.
COMMUNICATION COMMRC 0005 INTERVIEWING AND INFORMATION GATHERING 3 cr. Students are introduced to the fundamental principles of interviewing, including the interpersonal communication process, the structure
More informationCREATIVE COMPUTER GRAPHICS II
CREATIVE COMPUTER GRAPHICS II Description This course provides experiences with a variety of computer technologies and Art related software programs, such as Photoshop and Illustrator, which are part of
More informationAn Introduction to Stop Motion Animation
An Introduction to Stop Motion Animation Our resources are designed to be used with selected film titles, which are available free for clubs at www.filmclub.org See, think, make. Imagine intofilm.org Into
More informationNew Media production week 9
New Media production week 9 How to Make an Digital Animation poonpong@gmail.com Hardware PC or Mac with high resolution graphics and lots of RAM Peripherals such as graphics tablet Digital Camera (2D,
More informationHIGH SCHOOL COURSE OUTLINE
OFFICE OF CURRICULUM, INSTRUCTION AND PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Department Visual/Performing Arts Course Title Art & Animation 1-2 Course Code 1044 Grade Level 9-12 Course Length
More informationWhat people who attend Linton Sellen s Leadership Training have to say:
What people who attend Linton Sellen s Leadership Training have to say: Excellent course, couldn t have been better. Training content and knowledge and delivery are exceptional. I've been to many management
More informationBUILDING GROUP DYNAMICS OUTSIDE THE CLASSROOM
BUILDING GROUP DYNAMICS OUTSIDE THE CLASSROOM Peter Hriso Assistant Professor of Digital Media East Tennessee State University College of Business and Technology P.O. Box 70552 Johnson City, TN 37614 Tel:
More informationStandard 1(Making): The student will explore and refine the application of media, techniques, and artistic processes.
Lesson 9 Picasso and Cubism: Self-Portraits How are many sides of an object expressed at once? How is a subject reconstructed into planes, forms and colors? LESSON OVERVIEW/OBJECTIVES This lesson focuses
More informationRARITAN VALLEY COMMUNITY COLLEGE ACADEMIC COURSE OUTLINE. ARTS 248: Designing Motion Graphics
I. Basic Course Information RARITAN VALLEY COMMUNITY COLLEGE ACADEMIC COURSE OUTLINE ARTS 248: Designing Motion Graphics A. Course Number and Title: ARTS-248 Designing Motion Graphics B. New or Modified
More informationProduct Interdisciplinary Activities Core Area Concepts and Skills * Storage Capacity TEKS (5): A,C (10):A,C,E
1: Technical Foundations Product Interdisciplinary Activities Core Area Concepts and Skills * Storage Capacity TEKS (5): A,C (10):A,C,E 1.Hardware 2.Storage 3.Digital Measurement Students create a paper
More informationMaster of Arts and Master of Fine Arts Art: M.A., M.F.A.
Master of Arts and Master of Fine Arts Art: M.A., M.F.A. Program Description The Division of Fine and Performing Arts offers the Master of Arts and Master of Fine Arts degrees in Studio Art. The Master
More informationLIVE Arts: Art Meets Science
LIVE Arts: Art Meets Science Strand: Visual Arts Level: Grade 5/6 Content: 45 minute broadcast + hands-on activity This session will allow students to participate in a live studio broadcast with guest
More informationGraphic Design. Location: Patterson Campus - Bldg. K. Program Information. Occupational Choices. Average Full-Time Wage.
Graphic Design 178 Graphic Design Location: Patterson Campus - Bldg. K Program Information Graphic Design is a vital component of the communications people receive each day. Personal, professional, business,
More information3D Animation & Visual Effects
Course Components 3D Animation & Bachelor of Art and Design www.mediadesign.com Year One Interdisciplinary Components Foundation 3D Animation, and Rigging: 3D1G01A This component is designed to provide
More informationSCHOOL OF DESIGN STUDIES
SCHOOL OF DESIGN STUDIES SCHOOL OF DESIGN STUDIES 1FOUNDATION YEAR DIPLOMA 3 ART HISTORY ART HISTORY BUSINESS PRACTICE 5 50 RESEARCH SKILLS 5 ACADEMIC SKILLS 10 40 11 X 5 BUSINESS PRACTICE 5 DRAWING 40
More informationIncompatible Pencil - Chance for Changing in Design Process. Alexander Asanowicz Technical University of Bialystok Poland
The House of Illusion : Extending the Boundaries of Space Incompatible Pencil - Chance for Changing in Design Process Alexander Asanowicz Technical University of Bialystok Poland The existing CAAD systems
More informationJul 5, 2012, Sep 13, 2012, Oct 11, 2012, Jan 10, 2013, Mar 1, 2013, Jul 11, 2013, Sep 12, 2013, Oct 10, 2013
FILMMAKING: TUITION: $18,000* (USD)/Semester / 13,747 (EURO)/Semester YOU GRADUATE WITH: Diploma/Certificate, DVD Film Reel LOCATION: New York, Los Angeles, USA Jul 5, 2012, Sep 13, 2012, Oct 11, 2012,
More informationAfter Effects, or Velvet Revolution
After Effects, or Velvet Revolution Part II Lev Manovich [spring 2006] This article is a second part of the series devoted to the analysis of the new hybrid visual language of moving images that emerged
More informationFoundation Science International Programme
Foundation Science International Programme www.ecetravel.com enquiries@ecetravel.com +44 (0)20 8295 8620 FOUNDATION OF SCIENCE 14 DAYS From the organisers of the London International Youth Science Forum
More informationComputer Forensics: an approach to evidence in cyberspace
Computer Forensics: an approach to evidence in cyberspace Abstract This paper defines the term computer forensics, discusses how digital media relates to the legal requirements for admissibility of paper-based
More informationProduction Design / Art Direction. TV Animation / Shorts
12 Head of 14 Head of Animation Studio 16 Top Creative Story Generates and develops story ideas, sequences, storyboards, elements and enhancements throughout production. TV Animation / Shorts Manages the
More information