Tag: class

Experimental Hand Drawn Animations

Scenario:

For this assignment you will be creating a character (or abstract shape), which exists in a certain environment, and you will be animating your character/shape via no less than 100 hand drawn frames. (P2.2) There are various stages which need to be presented in order to successfully finish this assignment. From simple sketching and storyboarding, and idea generation, to a finished drawing of the environment  in which you wish the character to inhabit. One finalized drawing of your character,  one finalized of the environment, and the final animation must be submitted. Students will be encouraged to utilize their strengths in drawing and apply it to the necessary media as well as production. (P4.1)

 

You are allowed to incorporate scanned textures, photos, draw on peoples bodies, etc in the creation of this work. You may use programs such as Toon Boom, or Flash however each frame must still be hand drawn, and all frames must be exported individually as well.  Students are NOT bound to creating this work simply as a 100 frame animation in the traditional sense, but my hopes are that students blend a multitude of media to create both the character, the movement, and the environment in which it/he/she resides. (D1) Judging by the speed at which students work, they will be encouraged to add sound or other effects to their animations in post-production.

Be aware that the storyboarding for this assignment does not have to be adhered to in the traditional sense. A storyboard can simply be a working document which helps plan your work and guides the process.

 

What will be submitted?

Storyboards ( scanned)

Sketches   (scanned)

Finalized Environment

Finalized Character

All of your frames

Finalized and compressed animation (must be less than 500 mb in size!)

 

 

Examples and Inspiration

Brain Lapse by Jake Fried 2014.
Hand-drawn animation with ink, white-out, coffee and collage.
More at http://www.inkwood.net

Animation experiment, photographing charcoal drawings and transferring them to my laptop, using Adobe Flash CS3 for animation and Adobe Premiere Elements 7.0 for editing.
Largely rotoscoped.

The Umbrella is a short animated film produced in Griffith Film School. The animation has been made with oil painting on glass.

A collection of works from the BFA1 class in Experimental Animation. Edited by Jamie Tan.

I made the video in ToonBoom Animate 3.

 

Objects in Motion PES

Objects in Motion
Class

Personal Experimental Studies
Semester 1304
Lecturer : Jeremiah Palecek and Krystof Kriz
Start:
18.11.2013
Due Date:
20.12.2013
Internally
Verified by
IV Date
Pass Criteria
1.
Pass Criteria Covered
P1 explore materials, processes
and techniques safely
P2: Record Experimental outcomes
Students should show they can use and explore their materials
and associated processes safely andwith care. They should
recognise and apply relevant health and safety guidelines, and
experiment with materials, techniques and processes to generate
a range of tests, samples, roughs and practical work..
students should demonstrate the ability to record their
experimentation in a clear and methodical
manner. They will record findings on a regular basis and include
all relevant technical information. Recording
can take many forms as appropriate to the process and the
individual learning needs. There will be evidence
of their involvement with the processes. Technical language and
terminology will be used correctly.
1.
Grading
Descriptors
Grading Criteria
Summary of Tasks

THE TASK:
Students will have to choose at least two different objects from which they will be making a sculpture, for instance, this could be
something like matches and bottle caps. They will also be assigned an emotion which they must illustrate. Using these two objects
they will make sketches of how to construct 2 characters which will interact in a short stop motion film. A storyboard will also
accompany these sketches. Students will be allowed to use materials to connect their objects together such as wire, string,
chickenwire fence, or rope. [p1] Once the character/sculptures are finished the students will then create an animation which
incorporates both of their objects into a narrative. Once all the footage is shot we will finalize the animations and add sound in
photoshop and premiere. [p2] Sketchbook (Can Continue using MEAD Sketchbook if you wish)
Experimentation will be carried out during class time. And we will be engaging in a series of
Prague College
1.
Required Work and Format
You must submit a cd to reception with your scans of all relevant sketchbook pages during the last
3 weeks. The more documentation you have of your experimentation, and research the better. Your
submission must contain every media studied during class. Failure to include documentation of each
medium will result in a failing grade.

 

 

Examples of Stop Motion Animation

EAGER by Allison Schulnik from garaco taco on Vimeo.

 

As you can see in all of these stop motions, the animator creating them took materials which had qualities of something quite different than what is portrayed. So slabs of meat become two lovers. Paper becomes water dripping. And dollar bills become herbs and spices.

For next class you must bring your materials with which you will be working! That means if you are going to be using bottle caps, matches, and wire then you must bring all of these materials to class to begin construction of your armature. This is a very in depth project which we don’t have a lot of time for so it is important to stay on track as it is very easy to fall behind. You may use any program to animate your objects. The simplest being Flash, or Photoshop or if you want to download a program like Dragon Frame then feel free as well. The important thing to remember is that your armatures must be solid enough to be moved into various positions.

MÖBIUS from ENESS on Vimeo.

Building Armatures

You’re going to have to find a way to get your objects to stick together. This can be done with a variety of materials from using a glue gun, to using glue, to tying pieces together with wire, to using hinges and joints to create functioning arms and legs.

Building of these armatures can obviously get very complex for more extensive projects.

GLUE

So, what do you need for next class?

1. Your two Objects which will form the majority of your characters which you will be creating.

2. Something to hold these objects together (Glue, wire, gluestick, etc.)

3. Choose one emotion which will be demonstrated by your animation. (see the list below)

4. Storyboards of your stop motion must also be finished as soon as possible ( but we understand it will take some time to construct your characters first)

 

STUDENT EXAMPLES

 

List of Emotions

abandoned

acceptance

adoration

affection

Aggravated

agitated

agressive

alert

amazed

ambitious

amused

anger, anger2

animosity

annoyed

anticipation, anticipation2

anxiousness

appreciative

apprehensive

ardent

aroused

ashamed

astonished

attraction (sexual)

attraction (intellectual)

attraction (spiritual)

awed

betrayed

bewildered

bitter

bliss

blue

boastful

bored

breathless

bubbly

calamitous

calm

camaraderie

cautious

cheerful

cocky

cold

collected

comfortable

compassionate

concerned

confident

confused

contempt

content

courageous

cowardly

crafty

cranky

crazy

cruelty

crummy

crushed

curious

cynic

dark

dejected

delighted

delirious

denial

depression

desire poem

despair

determined

devastated

disappointed

discouraged

disgust

disheartened

dismal

dispirited

distracted

distressed

dopey

down

dreadful

dreary

eager

ecstatic

embarrassed

emotional-detest

empathic

emptiness

enchanted

enigmatic

enlightened

enraged

enthralled

enthusiastic

envy

euphoric

excited

exhausted

expectation

exuberance

fascinated

fear

flabbergasted

fight-or-flight

foolish

frazzled

frustrated

fulfillment

furious

gay

giddy

gleeful

gloomy

goofy

grateful

gratified

greedy

Gray Because a Broken Heart

grief poem

grouchy

grudging

guilty

happy happy2

hate

heartbroken

homesick

hopeful

hopeless

horrified

hostile

humiliated

humored

hurt

hyper

hysterical

indignation

infatuation

infuriated

inner peace

innocent

insanity

insecure

insecure

inspired poem

interest

intimidated

invidious

irate

irritability

irritated

jaded

jealousy

joy

jubilant

kind

lazy

left out

liberated

lively

loathsome

lonely

longing

love

lovesick

loyal

lust

mad

mean

melancholic

mellow

mercy

merry

mildness

miserable

morbid

mourning

needed

needy

nervous

obscene

obsessed

offended

optimistic

outraged

overwhelmed

pacified

pain

panicky

paranoia

passion

pathetic

peaceful

perturbation

pessimistic

petrified

pity

playful

pleased

pleasure

possessive

pride

provoked

proud

puzzled

rage

regretful

relief

remorse

resentment

resignation

resolved

re

sadness

satisfied

scared

Schadenfreude
song about Schadenfreude

scorn

selfish

sensual

sensitive

sexy

shame

sheepish

shocked

shy

sincerity

solemn

somber

sorrow

sorry

spirited

stressed stressed2

strong

submissive

superior

surprised

sweet

sympathetic

temperamental

tense

terrified

threatened

thrilled

tired

tranquil

troubled

trust

tormented

uncertainty

uneasiness

unhappy

upset

vengeful

vicious

warm

weary

worn-out

worried

worthless

wrathful

yearning

zesty

Painting Intensive: Part 6

This part’s artist is Chuck Close

Charles Thomas “Chuck” Close is an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits.

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This section of the painting intensive deals with blending acrylics and creating form. We will be using the dry brush blending technique which can be seen in the video below as well as have an introduction to glazing. You will be working from a still life of objects which have been painted white and lit in front of you.

Once again you will be drawing light sketches based upon the contours of the objects placed in front of you as well as the large value shapes. From there you will be using mainly white, and a grey mixture which I will teach you how to mix using your three primaries. These paintings should look rather dull, but full of form.

Once we have created our form paintings we will explore some very simple glazing with acrylics. Please note that glazing depends on many factors which are largely determined through trial and error. However, the main objective in creating a believable glaze will be to minimize the streakiness of the color as much as possible.

Styles of Drawing

So you have been drawing for months from life. You have piles of worn Bridgeman and Loomis books piled up by your desk, and you still suffer from a simple problem. You don’t seem to have anything close to a personal style developed. Fear not. There is light at the end of the tunnel. Developing a personal style consists of two main components, 1 is to draw as much from life as possible as this builds up what is called your Visual Library (This means that if you draw a guitar 20 times from life, you’ll have a better chance of drawing a realistic one from memory), the second component is to understand and get very familiar with the type of symbols you generally use to convey certain features (or other objects). One must first get familiar with the different styles of drawing first in order to get a good feel for your visual vocabulary (symbols) .

So what does it mean to understand the symbols which you use? You have already been taught not to use symbols but instead use abstraction to create the illusion of depth. And this is fine if you want to make paintings like a traditional painter. However, a large group of people don’t start drawing from life in this manner when they are 14 or 15, they start by drawing from cartoons, comic books, and from their heads. And these early symbols we make for a nose (for example) stick with us for all eternity, or so it seems. Let’s take a look at just how eyes are handled in three different cartoons in the image below.

In all of these examples we can see that the symbol for an eye can vary greatly, but still depict an eye. This is what we generally refer to as someone’s style. The nuts and bolts of someone’s style is based upon the symbols they use, and the techniques which are used to represent them. So we can look at the image below, and see how different symbols are also further stylized by the techniques in which they are depicted.

So how did Ralph Steadman find his personal style, and how did that differ from Todd McFarlane and Bill Plimpton? Well, in order to see how these people draw, we can simply dissect the way they construct a drawing. In the top drawing by Steadman we can see a lot of importance is given to the gesture of the figures, and this is followed by a very methodical and technical series of dark cross hatching marks. The line is fluid and wild, and this is then kept in place by the very meticulous cross hatching. Therefore we could safely say that if we wanted to develop a style similar to Ralph Steadman we should do loads of gesture drawings, as well as practice how to crosshatch. In the second drawing by Todd McFarlane we see highly developed and structured figure drawing in outrageous poses. These drawings were most likely done in pencil first and are heavily dependent on drawing the figure from memory. So in order to draw more like Todd McFarlane I would suggest studying the figure from life, as well as drawings from memory and building up compositions slowly. Starting with sketches first of multiple characters, and then resketching these onto a larger composition, and then finally finishing them with pen and ink. In the third drawing by Bill Plimpton we can see that his depictions of form are very painterly and that his mark making is fluid and free. So in order to draw more like Bill Plimpton I would suggest working with colored pencils (because of their ease of use in depicting large areas of value) and then slowly building these values up and finishing the drawing with darker marks to place the features of the face. Then, when working with pen we will treat the ink in a similar manner as the colored pencil and gently shade in large value shapes with a pen.

So, so far we have distinguished two important aspects of how to develop a personal style. One is the symbols which are used, and the second is the techniques which are employed (ie. how someone handles the medium). But by going through the different ways these artists constructed their drawings we also added a third important aspect which needs to be considered. And that is the ability to look at drawings (preferably by an artist you admire) and take apart how they are created. Every artist on the planet is influenced by other artists. The simplest way to say this is for you to find out what you think is cool. Once you have identified your favorite artists you should then do what I’ve done in the preceding paragraph, and that is to take apart to the best of your ability how their drawing were made. Now, you shouldn’t just bite their style, you want to create your own, but the good news is that a style will naturally come out after years of drawing and multiple attempts at recreating a variety of other styles. In fact, you may already have a style now, it just might be a really generic and crappy style. So ask yourself, how do you want to improve it? Is there an artist which could be influential? Are you interested in creating commercial work? Or work for animations or comic books? Well, then you’ve got to create a style which already meets commercial expectations. Which means that straying from the accepted commercial norms will be looked down upon (this can even be the case for well established Comic Book artists). Otherwise the sky’s the limit and by using the tactics outlined above (and with a lot of practice!) you’ll be able to create a personal style that not only satisfies you, but others as well. Just remember that these things don’t come over night!

Media Experimentation in Art and Design Class: Lesson 1 and 2: Elements of Design in Art

Thursday – Jeremiah:

 

Looking at the Principles and Elements of Design in Art

Introduction to the course and a brief discussion about imagery  and Visual Culture. What is visual culture and how does it effect all of our lives?

Introduction to Principles and Elements of Design. 

The Principles of Design

There are many basic concepts that underly the field of design. They are often categorized differently depending on philosophy or teaching methodology. The first thing we need to do is organize them, so that we have a framework for this discussion.

We can group all of the basic tenets of design into two categories: principles and elements. For this article, the principles of design are the overarching truths of the profession. They represent the basic assumptions of the world that guide the design practice, and affect the arrangement of objects within a composition. By comparison, the elements of design are the components of design themselves, the objects to be arranged.

Let’s begin by focusing on the principles of design, the axioms of our profession. Specifically, we will be looking at the following principles:

  • Balance
  • Rhythm
  • Proportion
  • Dominance
  • Unity

Balance

Balance is an equilibrium that results from looking at images and judging them against our ideas of physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two forms: symmetrical and asymmetrical.

Symmetrical

Symmetrical balance occurs when the weight of a composition is evenly distributed around a central vertical or horizontal axis. Under normal circumstances it assumes identical forms on both sides of the axis. When symmetry occurs with similar, but not identical, forms it is called approximate symmetry. In addition, it is possible to build a composition equally around a central point resulting in radial symmetry1. Symmetrical balance is also known as formal balance.

Asymmetrical

Asymmetrical balance occurs when the weight of a composition is not evenly distributed around a central axis. It involves the arranging of objects of differing size in a composition such that they balance one another with their respective visual weights. Often there is one dominant form that is offset by many smaller forms. In general, asymmetrical compositions tend to have a greater sense of visual tension. Asymmetrical balance is also known as informal balance.

Horizontal
symmetry

Approximate
horizontal symmetry

Radial
symmetry

Rhythm

Rhythm is the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. There are many different kinds of rhythm, often defined by the feeling it evokes when looking at it.

  • Regular: A regular rhythm occurs when the intervals between the elements, and often the elements themselves, are similar in size or length.
  • Flowing: A flowing rhythm gives a sense of movement, and is often more organic in nature.
  • Progressive: A progressive rhythm shows a sequence of forms through a progression of steps.

Regular
rhythm

Flowing
rhythm

Progressive
rhythm

Proportion

Proportion is the comparison of dimensions or distribution of forms. It is the relationship in scale between one element and another, or between a whole object and one of its parts. Differing proportions within a composition can relate to different kinds of balance or symmetry, and can help establish visual weight and depth. In the below examples, notice how the smaller elements seem to recede into the background while the larger elements come to the front.

Dominance

Dominance relates to varying degrees of emphasis in design. It determines the visual weight of a composition, establishes space and perspective, and often resolves where the eye goes first when looking at a design. There are three stages of dominance, each relating to the weight of a particular object within a composition.

  • Dominant: The object given the most visual weight, the element of primary emphasis that advances to the foreground in the composition.
  • Sub-dominant: The element of secondary emphasis, the elements in the middle ground of the composition.
  • Subordinate: The object given the least visual weight, the element of tertiary emphasis that recedes to the background of the composition.

In the below example, the trees act as the dominant element, the house and hills as the secondary element, and the mountains as the tertiary element.

Unity

The concept of unity describes the relationship between the individual parts and the whole of a composition. It investigates the aspects of a given design that are necessary to tie the composition together, to give it a sense of wholeness, or to break it apart and give it a sense of variety. Unity in design is a concept that stems from some of the Gestalt theories of visual perception and psychology, specifically those dealing with how the human brain organizes visual information into categories, or groups2.

Gestalt theory itself is rather lengthy and complex, dealing in various levels of abstraction and generalization, but some of the basic ideas that come out of this kind of thinking are more universal.

Closure

Closure is the idea that the brain tends to fill in missing information when it perceives an object is missing some of its pieces. Objects can be deconstructed into groups of smaller parts, and when some of these parts are missing the brain tends to add information about an object to achieve closure. In the below examples, we compulsively fill in the missing information to create shape.

Continuance

Continuance is the idea that once you begin looking in one direction, you will continue to do so until something more significant catches your attention. Perspective, or the use of dominant directional lines, tends to successfully direct the viewers eye in a given direction. In addition, the eye direction of any subjects in the design itself can cause a similar effect. In the below example, the eye immediately goes down the direction of the road ending up in the upper right corner of the frame of reference. There is no other dominant object to catch and redirect the attention.

Similarity, Proximity and Alignment

Items of similar size, shape and color tend to be grouped together by the brain, and a semantic relationship between the items is formed. In addition, items in close proximity to or aligned with one another tend to be grouped in a similar way. In the below example, notice how much easier it is to group and define the shape of the objects in the upper left than the lower right.

Related concepts

There are many additional concepts that are related to the principles of design. These can include specific terms and/or techniques that are in some way based on one or more of the above tenets. In they end, they add to the collection of compositional tools available for use by the designer.

Contrast or Opposition

Contrast addresses the notion of dynamic tensionÔthe degree of conflict that exists within a given design between the visual elements in the composition.

Positive and Negative Space

Positive and negative space refers to the juxtaposition of figure and ground in a composition. The objects in the environment represent the positive space, and the environment itself is the negative space.

Rule of Thirds

The rule of thirds is a compositional tool that makes use of the notion that the most interesting compositions are those in which the primary element is off center. Basically, take any frame of reference and divide it into thirds placing the elements of the composition on the lines in between.

Visual Center

The visual center of any page is just slightly above and to the right of the actual (mathematical) center. This tends to be the natural placement of visual focus, and is also sometimes referred to as museum height.

Color and Typography

Many would place color and typography along side the five principals I have outlined above. I personally believe both to be elements of design, so I’ll give them some attention in my next column. In addition, both topics are so robust that I plan on writing an entire article about each of them in the future.

——————————————————————————————

AND HERE WE HAVE OUR ELEMENTS OF DESIGN

Lets look at all the main elements of design in art and how by manipulating these simple concepts we can create a multitude of different compositions.

Line 

Line:  An element of art that is used to define shape, contours, and outlines, also to suggest mass and volume.  It may be a continuous mark made on a surface with a pointed tool or implied by the edges of shapes and forms.

Characteristic of Line are:

  • Width– thick, thin, tapering, uneven
  • Length – long, short, continuous, broken
  • Direction– horizontal, vertical, diagonal, curving, perpendicular, oblique, parallel, radial, zigzag
  • Focus– sharp, blurry, fuzzy, choppy
  • Feeling– sharp, jagged, graceful, smooth

Types of Line:

  1. Outlines– Lines made by the edge of an object or its silhouette.
  2. Contour Lines– Lines that describe the shape of an object and the interior detail.
  3. Gesture Lines– Line that are energetic and catches the movement and gestures of an active figure.
  4. Sketch Lines– Lines that captures the appearance of an object or impression of a place.
  5. Calligraphic Lines– Greek word meaning “beautiful writing.”  Precise, elegant handwriting or lettering done by hand. Also artwork that has flowing lines like an elegant handwriting.
  6. Implied Line– Lines that are not actually drawn but created by a group of objects seen from a distance.  The direction an object is pointing to, or the direction a person is looking at.

  Name the Line:

1.    Below are five boxes.  Create a different type of line for each box.

2.    In the blank under the box come up with a name for that line that describes it.

 _____________    ____________    _____________    _____________    _____________ 

Color

Color comes form light; if it weren’t for light we would have no color.  Light rays move in a straight path from a light source.  Within this light rays are all the rays of colors in the spectrumor rainbow.  Shining a light into a prism will create a rainbow of colors because it separates the color of the spectrum.  When the light rays hits an object our eyes responds to the light that is bounced back and we see that color.  For example a red ball reflects all the red light rays.  As artist we use pigments in the form of powder or liquid paints to create color.

Categories of Color

Color Wheels a tool used to organize color.  It is made up of:

·        Primary Colors-Red, Yellow, Blue these color cannot be mixed, they must be bought in some form.

·      Secondary Color-Orange, Violet, Green, these colors are created by mixing two primaries.

·      Intermediate Colors– Red Orange, Yellow Green, Blue Violet, etc.; mixing a primary with a secondary creates these colors. 

·      Complementary Colors-are colors that are opposite each other on the color wheel.  When placed next to each other they look bright and when mixed together they neutralize each other. 

Color Harmonies

Color Harmonies is when an artist uses certain combinations of colors that create different looks or feelings.

·        Analogous Colors are colors that are next to each other on the color wheel for example red, red orange, and orange are analogous colors.

·      Triadic Harmony is where three equally spaced colors on the color wheel are used for example, yellow, Red, Blue is a triadic harmony color scheme.

·      Monochromatic is where one color is used but in different values and intensity.

·      Warm colors are on one side of the color wheel and they give the felling of warmth for example red, orange and yellow are the color of fire and feel warm.

·      Cool colors are on the other side of the color wheel and they give the feeling of coolness for example blue, violet, are the color of water, and green are the color of cool grass.

 

On the back of this sheet of paper create a color wheel.  Be sure to include the primary, secondary and intermediate colors.  Use colored pencils to create your colors.

  

Shape 

Shape:  When a line crosses itself or intersects with other lines to enclose a space it creates a shape.  Shape is two-dimensional it has heights and width but no depth.

Categories of Shapes:

  • Geometric Shapes-Circles, Squares, rectangles and triangles.  We see them in architecture and manufactured items.
  • Organic Shapes-Leaf, seashells, flowers.  We see them in nature and with characteristics that are free flowing, informal and irregular.
  • Positive Shapes-In a drawing or painting positive shapes are the solid forms in a design such as a bowl of fruit.  In a sculpture it is the solid form of the sculpture.
  • Negative Shapes-In a drawing it is the space around the positive shape or the shape around the bowl of fruit.  In sculpture it is the empty shape around and between the sculptures.
  • Static Shape-Shapes that appears stable and resting.
  • Dynamic Shape-Shapes that appears moving and active.

Create a Shape

In box 1 create a design with Geometrical Shapes

In box 2 create a design with Organic Shapes

1                                                                              2


In these two boxes below draw the same picture in each box.  The first box shade the positive space and the second box shade the negative space.

Space

Space is the three-dimensionality of a sculpture.  With a sculpture or architecture you can walk around them, look above them, and enter them, this refers to the space of the sculpture or architecture.  A three-dimensional object will have height, width, and depth.

Space in a two-dimensional drawing or painting refers to the arrangement of objects on the picture plane.  The picture plane is the surface of your drawing paper or canvas.  You can have a picture plane that is a crowded space with lots of objects or an empty space with very few objects in the picture plane.  A two-dimensional piece of art has heights and width but no depth.  The illusion of depth can be achieved by using perspective.  This is the technique used to have your picture look likes it is moving to the distance like a landscape or cityscape. 

Categories of Space

·        Positive space-Like in positive shape it is the actual sculpture or building.

·        Negative space-Also like negative shape it is the space around the sculpture or building.

·        Picture Plane is the flat surface of your drawing paper or canvas.

·        Composition is the organization and placement of the elements on your picture plane.

·        Focal Point is the object or area you want the viewer to look at first.

Types of Perspective

·        Nonlinear Perspective is the method of showing depth that incorporates the following techniques.

o      Position-Placing an object higher on the page makes it appear farther back then objects placed lower on the page.

o      Overlapping-When an object overlaps another object it appears closer to the viewer, and the object behind the object appears farther away.

o      Size Variation-Smaller objects look farther away in the distance.  Larger objects look closer.

o      Color-Bright colors look like they are closer to you and neutral colors look like they are farther away.

o      Value-Lighter values look like they are farther back and darker value look like they are closer.  For example in a landscape the mountains often look bluish and lighter then the trees or houses that are closer to you.

·        Linear Perspective is the method of using lines to show the illusion of depth in a picture.  The following are types of linear perspective.

o     One-point perspective-When lines created by the sides of tables or building look like that are pointing to the distance and they all meet at one point on the horizon this is one-point perspective. To see an example stand in the middle of the hallway and look at the horizontal lines in the brick or the corner where the ceiling meets the wall.  See how they move to one point on the horizon.

o     Two-point perspective-Here the lines look like they are meeting at two points on the horizon line.

 

Texture 

Texture is the surface quality of an object.  A rock may be rough and jagged.  A piece of silk may be soft and smooth and your desk may feel hard and smooth.  Texture also refers to the way a picture is made to look rough or smooth. 

Categories of Texture

·        Real Texture is the actual texture of an object.  Artist may create real texture in art to give it visual interest or evoke a feeling.  A piece of pottery may have a rough texture so that it will look like it came from nature or a smooth texture to make it look like it is machine made.

·      Implied Texture is the where a two-dimensional piece of art is made to look like a certain texture but in fact is just a smooth piece of paper.  Like a drawing of a tree trunk may look rough but in fact it is just a smooth piece of paper

Using your pencil create different types of textures in the boxes below. 

Explain what the texture is at the bottom of each box.

Value 

 

Value is the range of lightness and darkness within a picture.  Value is created by a light source that shines on an object creating highlights and shadows.  It also illuminates the local or actual color of the subject.  Value creates depth within a picture making an object look three dimensional with highlights and cast shadows, or in a landscape where it gets lighter in value as it recedes to the background giving the illusion of depth.

Categories of Values

·            Tint is adding white to color paint to create lighter values such as light blue or pink.

·        Shade is adding black to paint to create dark values such as dark blue or dark red.

·        High-Key is where the picture is all light values.

·        Low-Key is where the picture is all dark values.

·        Value Contrast is where light values are placed next to dark values to create contrast or strong differences.

·        Value Scale is a scale that shows the gradual change in value from its lightest value, white to its darkest value black. 

Create a 5 value, Value Scale.

Beginning with the box on the right leave it blank, it will be the lightest value of the value scale.  The box on the far left will be the darkest value, so shade it in completely black.  The three remaining shade in to show a gradual change form the lightest to the darkest.

Form          

Form is the three-dimensionality of an object.  Shape is only two-dimensional; form is three-dimensional.  You can hold a form; walk around a form and in some cases walk inside a form. In drawing or painting using value can imply form.  Shading a circle in a certain manner can turn it into a sphere.  

Types of Form

Draw and correctly shade the four basic Forms.

            Cube,                              

            Cylinder                            

            Cone                               

 

 When looking at the Elements of Design in Art we can now hopefully see correlations between what is often regarded as high art, and also advertising and the visual culture which surrounds all of us everyday. Building up a working vocabulary about how to talk about these elements will be important as you move forward into the HND program. 

 

Friday – Ryan:

Spiel about attendance and expectations

Class overview (what is design, what will we learn)

Intro to computer graphics theory (raster/vector etc)

Personal Experimental Studies Class: 9 and 10: Ink Wash Techniques

Photographing Portraits and Ink Wash Techniques

 

1st Class: Krystof

During todays class you will all be taking photos of yourselves with the camera and lights from the school.

2nd Class:  Today we will be drawing self portraits in pen and ink from the images which were taken on Monday.

First we will “Live Trace” all of our images in Illustrator. If you don’t know how to Live Trace then here’s a quick tutorial.

By Live tracing the image we will get a clear “value scale” map of our images. A value simply refers to a shadow.  Since we don’t have a lot of time to spend drawing these we can use the same transfer technique we used on our stencils so we can have more time working with the materials, and many of the drawing elements will be already taken care of.

ink wash techniques

In this video tutorial we can see how to simply make different values for making washes with ink.

You will be using the photographed portraits made with Krystof and then you will be drawing these images with pen and ink, and then use ink wash techniques to fill in the final value shapes and variations.

Personal Experimental Studies Class: 7 and 8

1st Class: Krystof

For this class you will bring your completed sequence of frames and begin to do any more post production that you wish to do. This would include things like adding sound effects (which can be downloaded for free from places like freesound.org , or imcompetech.com . If you wish to use some music you can find royalty free music at jamendo.com . Why use royalty free music and sound effects? Well, because for one thing many of you may want to share your animation with friends, and a really quick way to get your video taken down from sites like youtube is to have a famous song as background music. Once you have found the sound effects as well as the music you’d like to include you can then add them using Premiere. Here’s a quick tutorial on how to do that.

Make an animation in Premiere by finalizing all of the frames you have been working on.

Open Adobe Premiere Elements.
Create a new project.
Go to File -> Import, and import and open your video.
Now, go back to File -> Import, and select the audio you want to use.
Open it. It will now appear in the project panel. You can press Shift + 1 if you do not see this window.
You should now see an Audio section on your timeline. Drag your audio to this section.
Your audio will now appear under your video tracks and will sync with it. You can play around with your audio on your timeline. If you want it to come in a few seconds after the video starts, you can move the start of the video a few clicks in.

Other things to consider may be some minor color correction, and setting the contrast and tone. You can edit multiple images at the same time by using photoshop. Here’s a video tutorial on how to do it.

2nd Class:

During this class we will be showing all of our animations to the class. Be prepared and make sure to have it saved as a Mp4, .mov, or .avi, so we can easily play it. After we have shown all of the animations we will have a brief critique and then you will be turning them in to reception.

Personal Experimental Studies Class:Lesson 5, and 6:Photoshop Animation Tutorial

Finalizing your Frames and a Photoshop Animation Tutorial

1st Class: Krystof: Studio time working on your animated short. You should now begin to start photographing your frames in preperation for the finalization and post production process involving your work.

If you are using a small set for a photo based stop motion using real objects it will be important to figure out how you will use lighting to achieve the mood you are attempting. In the video below we can see a creative solution to light brick films (Stop motions made with legos) by using two adjustable desk lamps.

How you light a subject also will drastically change a characters image and can give a viewer a clear vision as to what mood is being portrayed.

If you are doing all of your sequences on paper then you will have the option of either scanning, or photographing them one by one. It is also important to keep the resolution of your pictures relatively low as they will be easier to manage in Photoshop later.

You should have all of your sequences finished and ready for animating for next class.

 

2nd Class: Final Class of studio time.You will now be shown how to use Photoshop’s animation toolbar to begin to animate the individual frames which you have created.

Photoshop Animation Tutorial

The reason why we use photoshop to animate our sequences is because it is a simple way to begin onion skinning your image. In the past onion skinning was commonly done on a light box, with the intent of being able to see a previous sequence could be seen and small adjustments could be made in order to achieve the illusion of movement. Now the reason why you will be onion skinning your sequences is because we want to eliminate any sort of bounce or shakiness that can happen from not correctly lining up your photos. In photoshop after you have imported all of your individual photos/scans onto layers, you can then see the previous layer quite simply by adjusting the opacity of the layer on top (or the selected layer). This is a necessary step because when you first play your animation you will see that there may be large jumps between frames. The easiest way to reconcile this is to pick a certain element (perhaps the eyes, or something else which would stay in the same position) and then onion skin each layer until one element is always in the same place.

Personal Experimental Studies. Lesson 3 and 4; Frame by Frame Animation

 

Frame by Frame Animations

frame by frame animation

1st Class: Krystof

Today we will be looking at various stop motion animated shorts using a variety of mediums, and begin storyboarding our projects. Now’s the time to start planning how your frame by frame animation will look and feel, and begin to document how you will be illustrating the emotion which you have been assigned.

If you are drawing, or using real object to make your stop motion you must begin to consider how your subjects will be lit. Prague College has lights available from their media center which can be checked out by students. These lights, and how to properly use them will be introduced.

If you are using a character in your piece then you must also look at different angles, and shots which can evoke certain feelings.


After looking at some examples of short animations will then finalize our storyboards in preperation for production next class with

stopmotion clay





2nd Class:

You will be required to bring your media to class you have been assigned. We will then be working with our mediums in class and I will help students individually. This is the production phase of the assignment and it is extremely important to be present during these classes as it is very easy to fall behind.

Drawing Class Lesson 1

Today after a quick introduction to the course, we’ll get straight into the first assignment which is to create 3 views of a character which you will later animate in your Animation Techniques program. The first hurdle to overcome is to give our characters some 3 dimensional qualities.  Many times in the past these characters have come out looking quite flat and we want to avoid this. Therefore we will be trying a 3/4 view along with the frontal and side view.

 

sam_example_orthos

 

anime_studio_rigs

 

Shapes often look flat when we use symbols, such as a symbol for a sun, or other early shapes which elementary school children use in the creation of their drawings. The first thing we need to understand is that drawings can have form, and more often than not, form is more important than anything else in the creation of a realistic looking 3d Object. Take a look at the eyes below, in the first drawing they appear very flat, whereas if we think of the eye balls as two large spheres we can begin to carve our forms out of the space.

 

loomis-shapes

So today we will be working with some very simple sketches of our characters, and attempting to add an element of 3 dimensional space to them. This is a required part of the assignment, so keep your drawings for later submission. In general it is very important to get a sketchbook or something where you can keep all of your drawings, because in the first half of the semester you will be creating many drawings which you will later have to compile into PDF files for submission.

This tutorial on how to draw Loomis Shapes can be helpful for review.

 

And here is a nice step by step about how Loomis suggest you make a head for a cartoon.

loomis-cartoon-head-step-by-step

 

Welcome to Drawing Techniques and Processes.

During this year you will embark on 4 different assignments designed to make you better at drawing, as well as develop a better understanding of color and how it’s used.

So how does drawing relate to Interactive Media, and why is it important? Well, for starters, Drawing is involved in some way in every major program which you will be studying with perhaps the exception of sound. A better understanding of drawing will help you in virtually every area of study which you choose to pursue in Interactive Media.

If you have a tablet, and prefer to work digitally, then that’s fine. I have no problem with it. In fact, as you’ll notice throughout the year, all of your assignments can be completed in a variety of mediums and this class is much more open to experimentation than you may think.

While the technology and tools have changed over the years. The basic principles stay the same. That’s why I’m interested in what you want to create, and why you chose to study in the Fine Art;Experimental Media Program.

The important thing to note here is that while methods and processes of drawing have changed greatly over the years. That new programs, and brushes are simply just tools. If you are thinking that this class, or this program will merely teach you how to use certain programs (such as Flash, Aftereffects, 3dsMax, etc.) then you are sadly mistaken. Don’t get me wrong, you will learn all of these programs during your time here, but these are just tools. Tools which millions of other people know how to use, and which you can teach yourself how to use just by watching YouTube Tutorials. What I’m interested in in this class is how you plan on making your mark, and how that mark will be different from others. If you’re not sure about what you want to focus on then that’s fine too! This is a place for experimentation and discovery.

Drawing Class Lesson 3: Animating with Photoshop

Once you’ve finished your sequences I will begin to start showing you how to animate them in Photoshop. Now, you may be thinking, “Animating stuff in photoshop sucks!” and you’re kind of right. It can be a pain in the ass. There’s a lot of different ways to animate your hand drawn sequences and I don’t care if you use Adobe Premiere, Flash, or Imovie. But, and this is a big but, you’ve also have to be able to do some “Onion Skinning” which is a process where you can manipulate the opacity of each layer so certain elements stay in alignment.

So what’s onion skinning? According to Wikipedia “Onion skinning is a 2D computer graphics term for a technique used in creating animated cartoons and editing movies to see several frames at once. This way, the animator or editor can make decisions on how to create or change an image based on the previous image in the sequence.”

Back in the day this was done by drawing on semi transparent paper, or on a light box.

Now it’s done by taking down the opacity on layers which can be manipulated individually in Photoshop.

Take a look at this tutorial to see how to start using the animation window in Photoshop.

Now that you’ve got all of your frames imported into Photoshop I want you to manipulate each frame and start lining them up one by one. If you skip this step your animation will look bouncy and you won’t achieve a proper flow.

If you are still having trouble figuring out how to onion skin and animate in photoshop check out this great tutorial here.

The drawings can be scanned at school, however be aware that with 12 students, each of which will be scanning multiple drawings that this will take quite some time. If you’ve got access to a scanner then scan them at home.

Drawing Class Lesson 5; Squash and Stretch

squash_stretch_assignment

Today we will be working on a quick series of keyframed drawing which will illustrate the principle of squash and stretch.

What’s a keyframe? A key frame in animation and filmmaking is a drawing that defines the starting and ending points of any smooth transition. The drawings are called “frames” because their position in time is measured in frames on a strip of film. A sequence of keyframes defines which movement the viewer will see, whereas the position of the keyframes on the film, video or animation defines the timing of the movement. Because only two or three keyframes over the span of a second do not create the illusion of movement, the remaining frames are filled with inbetweens.

Although this is most commonly known as “tweening” in Flash. Keyframing has been used in animation for over 40 years. This video, produced in 1971 looks at some of the early attempts at key framing for animation.

So. Since you are not going to be creating a full animation (although if you want to do a short animation you should). I want you to just draw 3 different key frames. This must involve changes in a character. So I don’t want to see 3 different positions of a ball. The keyframes should also demonstrate the animation principle of Squash and Stretch. One drawing will be of the ball (object) resting, when will be squashed, and one will be stretched.

Squash and Stretch was described in The Illusion of Life as being “by far the most important” discovery that the Disney animators made in their pursuit of excellence in animation. Only lifeless stiff objects remain inert while in motion. Any living object will tend to change shape, though retaining overall volume. One example is a flexed bicep, another is a human face – while talking or chewing it will tend to extend and compress. The principle is often used in conjunction with another principle of animation which is “slow in, slow out”

During the 1930s the Disney animators competed amongst themselves to exaggerate the squash and stretch in their drawings, making their poses ever more extreme. The important thing was to maintain the overall volume of an object so that it did not appear to change size as well as shape. To this end they devised the half-filled flour sack, showing that even if dropped on the floor or stretched out by its corners, its overall volume would never change.

The animators consulted the sports pages in the newspapers and found in the photography endless examples of the elasticity of the human body in motion. Using these poses as reference the animators were able to start “observing in a new way”.

 

The classic preparation for the training of Disney animators began with a bouncing ball. The ball would change shape, compressing (squash) as it hit the ground, then extending (stretch) as it bounced up again.

Here’s a video tutorial of how to squash and stretch a ball, and the dramatic difference it has on an animation.

And in these drawings we can see how squash and stretch is applied to a character.