POST SCHEDULE TO BLOG OF WORK FLOW BEFORE APRIL 29th: BEFORE END OF CLASS (group people list anticipated project responsibilities)
TURN IN OTHER PROJECTS: APRIL 15 WEDNESDAY (NAME, with folder for each assignment and assets)
SOUND DEMO SCC: APRIL 17 FRIDAY
*Kite Flying Day, Rock Prairie Elementary, Saturday April 18th 2pm (non-school event)
DRAFT DUE DATE: APRIL 20 MONDAY
*Jenny Sabin lecture April 20th Monday 5pm (http://www.cabin-studio.com/)
TECH QUESTIONS: APRIL 24 FRIDAY
FINAL REVIEW: APRIL 27 MONDAY
EXTRA CREDIT DUE: APRIL 27 MONDAY (re-creating eyeball WINK assignment 50 points MAXIMUM)
FINAL DUE: APRIL 29 WEDNESDAY
VIST SHOW: MAY 6 WEDNESDAY
Monday, April 13, 2009
Wednesday, April 8, 2009
QUESTIONS
Please comment on your BLOG:
What is the title and basic plot of the time-based work?
Who/what are the protagonist and antagonist?
What is the climax of the time-based work?
How is composition used to re-enforce the narrative?
How are camera angles used to evoke empathy?
What points-of-view are used to tell the narrative and why?
How are project time-based clips edited together to contrast rhythm/speed ?
What are motion and animation highlights in your work?
What do you want the viewer to think and feel after they finish viewing the project?
What is the title and basic plot of the time-based work?
Who/what are the protagonist and antagonist?
What is the climax of the time-based work?
How is composition used to re-enforce the narrative?
How are camera angles used to evoke empathy?
What points-of-view are used to tell the narrative and why?
How are project time-based clips edited together to contrast rhythm/speed ?
What are motion and animation highlights in your work?
What do you want the viewer to think and feel after they finish viewing the project?
Wednesday, March 25, 2009
Animatic/Photomatic
-Full-Length of actual piece
-include all camera angles & composition
-include most camera movements
-sample display of colors
-sample display of final imagery
-large scale motion samples
-small scale motion samples
-credits/titles
-sample sounds if possible
-include all camera angles & composition
-include most camera movements
-sample display of colors
-sample display of final imagery
-large scale motion samples
-small scale motion samples
-credits/titles
-sample sounds if possible
Monday, March 9, 2009
Storyboard & Animatic & Morph
Storyboard posted before class 3/11
9+ images
...include lighting/color, camera movement, and sound descriptions
AND 9+ references (3 motion, 3 look/feel, 3 story approximatley)
sample ideas:
storyboard
storyboard 2
morph exercise posted before class 3/25
start in class Monday 3/23
animatic posted before class 3/27
actual length of project, include subtle motion
animatic 1
animatic 2
animatic 3
modes & versions of the same narrative
beethoven
beethoven 2
9+ images
...include lighting/color, camera movement, and sound descriptions
AND 9+ references (3 motion, 3 look/feel, 3 story approximatley)
sample ideas:
storyboard
storyboard 2
morph exercise posted before class 3/25
start in class Monday 3/23
animatic posted before class 3/27
actual length of project, include subtle motion
animatic 1
animatic 2
animatic 3
modes & versions of the same narrative
beethoven
beethoven 2
Monday, March 2, 2009
Due Dates
CG Camera Paths-Friday 3/6
Camera Path walk-through (first person) Buildings/ 5-10 seconds
Camera Path around a character or object (360 degreees) white background, note lighting, note ground/ 5 seconds
Narrate cutouts in 3D space/ 5-10 seconds
Stop Motion-Monday 3/9
Drawing
Photo
CG
Posted
Storyboard/Animatic-Wednesday 3/11
...to be discussed 3/4
Camera Path walk-through (first person) Buildings/ 5-10 seconds
Camera Path around a character or object (360 degreees) white background, note lighting, note ground/ 5 seconds
Narrate cutouts in 3D space/ 5-10 seconds
Stop Motion-Monday 3/9
Drawing
Photo
CG
Posted
Storyboard/Animatic-Wednesday 3/11
...to be discussed 3/4
Monday, February 23, 2009
Assignment 5
Drawing in class
Drawing storyboard due this Wednesday 2/25
sequence of photos
3 points of view
5-10 seconds at least 12 fps
Stop-motion w/ different & combination Camera motions include smooth & jitter
Reveal Time longer than 5-10 seconds
Video Crits 3/2, due 3/4
CG crits 3/4, due 3/6
Wednesday, February 18, 2009
Assignment 4
Use the hand arm
push/pull heavy object out/in of frame
Close-up shot
Equal and Opposite reaction
Video- composition, movement, length…post
Drawing- anticipation follow through (x2 ) push/pull…post
Animation- 3-5 seconds (mitt fingers)…post
Include 12 principles
Review next Monday…Due the 25th Wednesday
push/pull heavy object out/in of frame
Close-up shot
Equal and Opposite reaction
Video- composition, movement, length…post
Drawing- anticipation follow through (x2 ) push/pull…post
Animation- 3-5 seconds (mitt fingers)…post
Include 12 principles
Review next Monday…Due the 25th Wednesday
CG project due Friday the 27th
References:
video of hand drawing up-close
Wednesday, February 4, 2009
Assignment 2
Finish Anticipation Follow Through Drawing and Photos
Make sure you have posted Squash/Stretch drawings and animations should be include 2 balls (will be graded on both)
For Wednesday post Anticipation Follow Through photo (timing), drawing (exaggeration), cg (articulation) all front, side, rear
For Friday watch Computer Animation Part 1 , Part 2
Make sure you have posted Squash/Stretch drawings and animations should be include 2 balls (will be graded on both)
For Wednesday post Anticipation Follow Through photo (timing), drawing (exaggeration), cg (articulation) all front, side, rear
For Friday watch Computer Animation Part 1 , Part 2
Monday, January 26, 2009
History of Animation
part 2
part 3
early black& white
stop-action
frames per second
double exposure
live action and animation
repetitive process
slow process
three-dimenstions
tracing cells over painted backgrounds
rotoscoping
full-color
universal audience
icon animation
animated film with sound
sacrafice of profits for quality
slapstick and the avant=garde
full length and shorts
part 3
early black& white
stop-action
frames per second
double exposure
live action and animation
repetitive process
slow process
three-dimenstions
tracing cells over painted backgrounds
rotoscoping
full-color
universal audience
icon animation
animated film with sound
sacrafice of profits for quality
slapstick and the avant=garde
full length and shorts
Tuesday, January 20, 2009
VIST 206 Visual Studies Studio I
Course Description I. (2-6). Credit 4. Theory and practice of traditional techniques for visual communication and visualization; the camera model; principles of physically based motion; time based media and animation; development of narrative and storytelling in the creative process. Prerequisite. VIST 205.
Meeting: Monday, Wednesday, Friday, 1:50pm- 4:05pm
Instructor: Yauger Williams, Asst. Prof, Visualization Dpt.
TA: Ranjith Chandy
Office Hours: By appointment, and Monday and Wednesday 12-1
C306 / 220-8800/ Yauger@tamu.edu
Materials
Supplies will be approximately $50 depending on the specific materials you use.
(2) 12 x 18 tracing paper pads, medium weight, not tissue-thin, 50-sheets each
(1) 12 x 18 drawing paper pad, smooth paper, not rough or newsprint, at least 100 sheets or 2 50-sheet
2 or 3 pencils: 2B, 4B, maybe even 6B
A black ink, roller-ball type drawing pen
Your laptop and programs
External storage for backing up files: firewire or USB drives, and CDs/DVDs for archiving
Blog site: go to www.blogger.com to set up a blog to post your course work.
Evaluation
6 short projects at 100 points 600
1 final project at 300 points 300
Classroom participation 100
Total 1000
Grading scale:
A: 900 – 1000 / B: 899 to 799 / C: 798 to 698 / D: 697 to 597 / F: below 597
Some want to know the criteria for grading. Below is a description. But please don’t confuse learning (that is, not being Michelangelo or Georgia O’Keefe on day 1, but then improving through practice) with any of the things below.
What makes an A?
Excellent. Meeting and then exceeding the project requirements, energetically collaborating with others, contributing to class discussions, being proactive in learning what you need to know, being there always and on time.
a B?
Good. Meeting the project requirements through effort, some energy toward collaboration, contributing to discussion when asked to, having to be told what’s going on, being there most of the time and on time
a C?
Satisfactory. Just meeting project requirements, not much energy in collaboration, discussing or contributing when arm is twisted, not being clued in to what’s going on, being absent and/or late
a D?
Unsatisfactory. Not meeting project requirements, no collaboration, no discussion even when poked, not knowing what day it is, being absent and/or late.
or an F?
Failing. The absence of all things that make an A-D
References
Art in Motion: Animation Aesthetics by Maureen Furniss, John Libbey & Comp. 2008 revised, ISBN-10: 0861966635
The Illusion of Life by Ollie Johnston and Frank Thomas, Disney 1995, ISBN-10: 0786860707
Animation the Mechanics of Motion by Chris Webster, Focal Press 2005, ISBN-10: 0240516664
The Animators Survival Kit by Richard Williams, Faber and Faber 2002, ISBN-10: 0571202284
VIST 206 Course calendar
The course calendar is subject to change depending on dynamics over the course of the semester.
week 1 -- capturing motion (warm-up)
class intro, cell animating from observation, drawing frames, moving scale-position-rotation, speed
assignment: “Blink”
partner-up with a person in the class
pick one of their eyes to draw
observe eyelash, lid, pupil and iris
observe light, form, reflection, opacity
observe movement scale-rotation-position
draw eye open
draw eye closed
draw eye in three positions not open/closed
import images into computer
make settings 12 frames per second
animate images for 1-3 seconds
convey an expression (i.e. tired, approval, alert)
goto blogger.com and create account
using youtube or other video account upload animation and post to your blog
week 2 – basic movement
object moving vertically, timing of object, ease in/out, decay, surface, height, distance energy, weight, materials, interaction, gravity, exaggeration/distortion, squash stretch
week 3 – anticipation and follow through
beginning motion, finishing motion, secondary motion, tertiary motion, key frames
week 4 – figurative motion (gross motor)
mechanical and organic body cycles, distribution, balance, weight, center of action
week 5 – figurative motion (fine motor)
acceleration, deceleration, momentum, deformation, materials, weight, equal and opposite actions
week 6 – camera, character, & environment
point of view, motion and environment (object moving around camera), motion and object (camera moving around object), object and camera moving, transitions, roll-pitch-yaw
week 7 – research (warm-up)
static image, stylistic, motion samples, narrative, historical, and conceptual studies of final project
week 8 & 9 – storyboard & animatic
storyboard, motion studies, style sheets, and animated sequence of project
week 10-15 -- final project
review project work; from existing animatic, or previous studies, create short animation of character; use earlier sketches as a basis or observe something new; new character studies based on story; review arcs, secondary action, timing, exaggeration, and appeal; what makes a short work interesting; accelerated narrative or situation, open text
Americans with Disabilities Act (ADA) Policy Statement The Americans with Disabilities Act (ADA) is a federal anti-discrimination statute that provides comprehensive civil rights protection for persons with disabilities. Among other things, this legislation requires that all students with disabilities be guaranteed a learning environment that provides for reasonable accommodation of their disabilities. If you believe you have a disability requiring an accommodation, please contact the Department of Student Life, Services for Students with Disabilities, in Cain Hall or call 845-1637.
Academic Integrity Statements AGGIE HONOR CODE
“An Aggie does not lie, cheat, or steal or tolerate those who do.”
Upon accepting admission to Texas A&M University, a student immediately assumes a commitment to uphold the Honor Code, to accept responsibility for learning, and to follow the philosophy and rules of the Honor System. Students will be required to state their commitment on examinations, research papers, and other academic work. Ignorance of the rules does not exclude any member of the TAMU community from the requirements or the processes of the Honor System.
For additional information please visit: http://www.tamu.edu/aggiehonor/
Pledge On all course work, assignments, or examinations at Texas A&M University, the following Honor Pledge shall be pre-printed and signed by the student:
“On my honor, as an Aggie, I have neither given nor received unauthorized aid on this academic work."
NAME:
EMAIL:
HOMETOWN:
FUTURE EDUCATION GOALS:
FUTURE CAREER GOALS:
HOBBIES:
Course Description I. (2-6). Credit 4. Theory and practice of traditional techniques for visual communication and visualization; the camera model; principles of physically based motion; time based media and animation; development of narrative and storytelling in the creative process. Prerequisite. VIST 205.
Meeting: Monday, Wednesday, Friday, 1:50pm- 4:05pm
Instructor: Yauger Williams, Asst. Prof, Visualization Dpt.
TA: Ranjith Chandy
Office Hours: By appointment, and Monday and Wednesday 12-1
C306 / 220-8800/ Yauger@tamu.edu
Materials
Supplies will be approximately $50 depending on the specific materials you use.
(2) 12 x 18 tracing paper pads, medium weight, not tissue-thin, 50-sheets each
(1) 12 x 18 drawing paper pad, smooth paper, not rough or newsprint, at least 100 sheets or 2 50-sheet
2 or 3 pencils: 2B, 4B, maybe even 6B
A black ink, roller-ball type drawing pen
Your laptop and programs
External storage for backing up files: firewire or USB drives, and CDs/DVDs for archiving
Blog site: go to www.blogger.com to set up a blog to post your course work.
Evaluation
6 short projects at 100 points 600
1 final project at 300 points 300
Classroom participation 100
Total 1000
Grading scale:
A: 900 – 1000 / B: 899 to 799 / C: 798 to 698 / D: 697 to 597 / F: below 597
Some want to know the criteria for grading. Below is a description. But please don’t confuse learning (that is, not being Michelangelo or Georgia O’Keefe on day 1, but then improving through practice) with any of the things below.
What makes an A?
Excellent. Meeting and then exceeding the project requirements, energetically collaborating with others, contributing to class discussions, being proactive in learning what you need to know, being there always and on time.
a B?
Good. Meeting the project requirements through effort, some energy toward collaboration, contributing to discussion when asked to, having to be told what’s going on, being there most of the time and on time
a C?
Satisfactory. Just meeting project requirements, not much energy in collaboration, discussing or contributing when arm is twisted, not being clued in to what’s going on, being absent and/or late
a D?
Unsatisfactory. Not meeting project requirements, no collaboration, no discussion even when poked, not knowing what day it is, being absent and/or late.
or an F?
Failing. The absence of all things that make an A-D
References
Art in Motion: Animation Aesthetics by Maureen Furniss, John Libbey & Comp. 2008 revised, ISBN-10: 0861966635
The Illusion of Life by Ollie Johnston and Frank Thomas, Disney 1995, ISBN-10: 0786860707
Animation the Mechanics of Motion by Chris Webster, Focal Press 2005, ISBN-10: 0240516664
The Animators Survival Kit by Richard Williams, Faber and Faber 2002, ISBN-10: 0571202284
VIST 206 Course calendar
The course calendar is subject to change depending on dynamics over the course of the semester.
week 1 -- capturing motion (warm-up)
class intro, cell animating from observation, drawing frames, moving scale-position-rotation, speed
assignment: “Blink”
partner-up with a person in the class
pick one of their eyes to draw
observe eyelash, lid, pupil and iris
observe light, form, reflection, opacity
observe movement scale-rotation-position
draw eye open
draw eye closed
draw eye in three positions not open/closed
import images into computer
make settings 12 frames per second
animate images for 1-3 seconds
convey an expression (i.e. tired, approval, alert)
goto blogger.com and create account
using youtube or other video account upload animation and post to your blog
week 2 – basic movement
object moving vertically, timing of object, ease in/out, decay, surface, height, distance energy, weight, materials, interaction, gravity, exaggeration/distortion, squash stretch
week 3 – anticipation and follow through
beginning motion, finishing motion, secondary motion, tertiary motion, key frames
week 4 – figurative motion (gross motor)
mechanical and organic body cycles, distribution, balance, weight, center of action
week 5 – figurative motion (fine motor)
acceleration, deceleration, momentum, deformation, materials, weight, equal and opposite actions
week 6 – camera, character, & environment
point of view, motion and environment (object moving around camera), motion and object (camera moving around object), object and camera moving, transitions, roll-pitch-yaw
week 7 – research (warm-up)
static image, stylistic, motion samples, narrative, historical, and conceptual studies of final project
week 8 & 9 – storyboard & animatic
storyboard, motion studies, style sheets, and animated sequence of project
week 10-15 -- final project
review project work; from existing animatic, or previous studies, create short animation of character; use earlier sketches as a basis or observe something new; new character studies based on story; review arcs, secondary action, timing, exaggeration, and appeal; what makes a short work interesting; accelerated narrative or situation, open text
Americans with Disabilities Act (ADA) Policy Statement The Americans with Disabilities Act (ADA) is a federal anti-discrimination statute that provides comprehensive civil rights protection for persons with disabilities. Among other things, this legislation requires that all students with disabilities be guaranteed a learning environment that provides for reasonable accommodation of their disabilities. If you believe you have a disability requiring an accommodation, please contact the Department of Student Life, Services for Students with Disabilities, in Cain Hall or call 845-1637.
Academic Integrity Statements AGGIE HONOR CODE
“An Aggie does not lie, cheat, or steal or tolerate those who do.”
Upon accepting admission to Texas A&M University, a student immediately assumes a commitment to uphold the Honor Code, to accept responsibility for learning, and to follow the philosophy and rules of the Honor System. Students will be required to state their commitment on examinations, research papers, and other academic work. Ignorance of the rules does not exclude any member of the TAMU community from the requirements or the processes of the Honor System.
For additional information please visit: http://www.tamu.edu/aggiehonor/
Pledge On all course work, assignments, or examinations at Texas A&M University, the following Honor Pledge shall be pre-printed and signed by the student:
“On my honor, as an Aggie, I have neither given nor received unauthorized aid on this academic work."
NAME:
EMAIL:
HOMETOWN:
FUTURE EDUCATION GOALS:
FUTURE CAREER GOALS:
HOBBIES:
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