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
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
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 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
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