Showing posts with label Knowledge from Text. Show all posts
Showing posts with label Knowledge from Text. Show all posts

Friday, 13 April 2012

The Blog Rubric



The Marking of The Blog Online
by Nicole Wilk

As the third assignment to our year three Animations class we were charged with creating a rubric that would detail our learning outline for the semester. The goal was for students to choose their own skill sets that they wished to expand upon and set their own goals and projects to develop those skills, whilst also posting educational blog posts selected from the professor. I chose to create a library bank of referance and inspirational material while simultaneously performing practical experimentation in the process.

I wished to make my blog as user friendly as possible and chose to talk in a casual explanatory manner. My blog plan shifted during the process and I found myself leaving detailed records of my projects online for any who wished to know more about my work. I've found that not only are my projects praised by classmates, but the question of how often comes up when one of the projects is experienced/viewed. I believe that leaving footprints behind is an important part of project work that is often ignored after the fact, but would be helpful when people inevitably ask "how". Not only that, but I'm often cast in the role of leader so most creative decisions are made by me, and I play a large role in the other members work.   




ASSIGNMENT OUTLINE

Communication Studies and Multimedia – MMEDIA 3H03—Advanced Digital Animation— Winter 2012

Process Journals/Blogs Revised Specs


Deliverables: A minimum of 15 (8 personal research, 4 required readings, 1 event, 1 work screened, 1 practicioner) posts in addition to the required posts I assign are due throughout term. Required posts include assignment related posts.
Grade breakdown: 30% of final grade.
Other: Self- and instructor evaluation

Overview
As part of your ongoing development as producers of animated work, you will keep and regularly contribute to a journal to document your individual process. This journal will be hosted online in a blog format that affords the opportunity for you to track your learning and to share with others your on-going multimedia sources, inspirations and resources.

This idea of updating and processing your ideas is a way of tracking your own activity while expanding your exposure to animation and it’s many permutations. As multimedia practicioners, it is critical to learn how to situate your own work and acknowledge your influences within the traditions in which you practice.

In addition, this will be a forum for hosting your course work with updates of project development and your own professional development throughout the term. Photos, sketches, storyboards, colour and lighting studies, diagrams, audio, video are some of the material that can be readily formatted and uploaded and linked to your blog. I encourage you also, to use this forum for creative and technical information sharing.

Project Procedure and Guidelines
In addition to your regular project work, you should post regular updates to explore your own interests in
animation. Ideally, each post should be a thoughtful and a well-articulated exploration or analysis of an idea, article or animated or time-based work that adds to your own understanding of this medium. The posts should be approximately one–three paragraphs long and where appropriate include links, visuals and other media to add value.

16 posts in addition to the required posts related to Project 1 and 2 deliverables is the minimum goal and these posts should be spread out and should be representative of your research interests and progress throughout the semester. The posts should reflect a healthy mix of your technical, practical, visual, primary and secondary academic research interests as related to animation.

The following items are mandatory:
•Eight posts related to/delineating your personal learning plan;
•One written reflection of any film/video/sequence you have seen in class;
•Four reading responses or reflections (revised specs on page 2);
•Research and overview of one animator, practicioner or studio whose work relates to your research interests;
•Attending and writing a reflection about one animated and art-based (new media, film, video, installation etc…) on-or-off campus screening. This screening CANNOT a commercial screening at a movie theatre.

Deliverables
Personal Learning Plan (hardcopy)
This is a descriptive and itemized list outlining your individual learning objectives. This list must include examples of technical, practical, visual and primary and secondary academic research objectives with timelines associated with each step. You must also create an assessment rubric (detailed outline of how you would like to be assessed for this section) and describe your objectives or what a successful outcome looks like to you.
Examples of rubrics can be found at:
http://course1.winona.edu/shatfield/air/rubrics.htm
Personal Learning Plan, Timeline, Assessment Rubric  (hardcopy)
See description above, and suggestions/criteria on page two. You must design a usable evaluation system, with objective targets so that you (and I) are able to offer a fair evaluation.
Mid-project Self-evaluation (hardcopy)
Final Journals due (online). Final Self-evaluations due (hardcopy)



Evaluation Rubric
/10—Number of posts:
1-10=F; 11-14=D; 15=C; 16-19=B; 20-23=A; more than 24=A+
This is a mandatory rubric section.

/10—Meeting Blog Requirements and Deadlines:
Jan 17, Feb 7, Feb 28, April 9; meeting assignment criteria.
These deadlines are mandatory.

Regular or systematic distribution throughout term. Using the assignment criteria as a guide, please define a system Ti for evaluating what “regular or systematic distribution” means in terms of your personal learning objectives as you have described them. You must design a usable evaluation system, with objective targets and clear descriptions so that you (and I) are able to offer a fair evaluation.

/20—Quality of posts
Suggested beginning point:
“Each post should be a thoughtful and a well-articulated exploration or analysis of an idea, article or animated or time-based or other art or design work that adds to your own understanding of this medium and to your learning objectives. The posts should be approximately one–three paragraphs long and where appropriate include links, visuals and other media to add value.”

Please define “quality of posts” in terms of your personal learning objectives as you have described them. For example, you could assess “quality of posts” in terms of: written expression, visual expression, functionality, content. You must design a usable evaluation system, with objective targets and clear descriptions so that you (and I) are able to offer a fair evaluation.

/10—Applicability of Journal to Personal Learning Objectives:
The extent to which you achieved your personal learning objectives within the timelines you indicated in your personal learning plan.

Please define/outline a system that will allow you to assess the degree to which you achieved your objectives within the target dates you determined. You must design a usable evaluation system, with objective targets and clear descriptions so that you (and I) are able to offer a fair evaluation.


Reading Responses
One–three paragraphs of informed analysis (not an opinion) vis-à-vis course outcomes, language and your own learning plan objectives. Your response can be written in point form, or composed into paragraphs. One reflection is due per chapter/reading.

For each reflection, please answer the following
1. Three useful, or interesting ideas not previously known, or that have been framed differently for you
2. Three direct applications to the current course project, course content (ie. a screening, guest, workshop), and/or your own technical, practical, visual and primary and secondary academic research interests as related to animation and/or your learning plan objectives.
3. Any questions, clarifications on readings.






PERSONAL LEARNING PLAN

3H03 Animation

I believe art is experimental in and of itself within both the realm of fantasy (abstract) and reality (accurate renditions of life), thus presenting endless possibilities for creation, experimentations, and chances for learning in both the ever expanding and upgrading program software available, such as Adobe After Effects, but also in the materials now more accessible than ever, as well as cheaper equipment. With endless ways to create available I believe the medium being the message is an important concept. The way in which the thought is expressed is important, so my goal for 3H03, and my personal learning plan is to experiment in mediums. 



I wish to consume the creations of others. By that I mean to expand the pool of inspiration I’ve been exposed to and build an effective library of works I find fascinatingly creative. I believe this to be a valuable way to improve my own animation abilities as I benefit from ‘starting points’, that is, by narrowing the endless possibilities of creation to a few I’ve found effective I can adopt others techniques and be more creative than if left staring at a blank page (as exemplified by adopting Caroline Leaf’s sand art during The Lost Kiss 2B03 Final project with beads on a scanner).  A large part of my posts will therefore be evaluating and exploring animation techniques as they have been exposed to and altered by the medium, and After Effects tutorials. 



The other half of my learning plan is to do practical experimentation separate from the inspirational library. Recreating work, though beneficial, is not my goal for the library. It’s intended as a bank I can draw from, apply and adapt to projects through my own renditions; as such I wish my practical experimentations to reflect the ability to perform basic animation in various mediums. As tutorials in 3H03 accomplish basic animation tasks already, the ones I set for myself will be more selfish in nature and will include lip syncing a song verse from existing content in After Effects, making a character do a simple dance gesture from ‘scratch’, weekly photo journals, and the creation of a thaumatrope.









SELF-EVALUATION



Educational Expectations:
I feel that I've gone above and beyond the expected post content. My posts are detailed, they always include visuals (commonly many) with various examples. Links are always relevant, and all sources are accounted for and cited on the page. Explanations are at minimal 2 paragraphs on every post and I've often gone out of my way to make the posts as user-friendly as possible. Some posts include sections and categories.

Personal Expectations:
Although my posts are detailed, with step-to-step explanations on some parts and explanatory paragraphs on others, I did not meet the outlined project quota that I had set out for myself.  When it became apparent that I would not be needing the lip-syncing skill for the Tatterhood project, I cut the exercise from my outline and posted the tutorial as well as inspirational videos to my blog instead. Likewise, I did not do the character dance as I was drawing the Tatterhood animation instead. The Thaumatropes turned out absolutely lovely and have been well received by any who actually get to spin them.

Blog Structure:
As I wanted the blog to be as user-friendly as possible I tried to make the blog clear and casual. Posts are colour coded depending on the category, and the post categories are the first thing you see on the bar to the right of the page. I followed my own type of formatting which included text type, size, colour and position and tried to keep the format as uniform and universal as possible. 

Blog Content:
It's hard for me to judge my own spelling and grammar but I have read and re-read my posts, and any obvious failures should have been dealt with - though I am not perfect. Content-wise I believe I have exceeded, on the most part, above the expectation on post length as well as visual content. All content is properly cited, and not in ridiculous ways. Wherever possible I have linked my posts to other posts, as well as direct users to other sites. Many images had been saved first and then uploaded and cited to their source in case the source-site fails. 

Monday, 9 April 2012

The Sequential Composition : Designing in Time

Source: Motion Graphic Design : Applied History and Aesthetics 
By Jon Krasner

 
Chapter 8: The Sequential Composition : Designing in Time

This chapter encompassed sequential composition: forms of continuity, forms of discontinuity, and montage to explain sequential composition and elaborate into the manner in which events occur over time. This chapter dealt heavily on transitions, explain what different techniques mean, as well as defining a few rules. I found this chapter to be beneficial and would recommend anyone working with motion to read it and expand their scene-to scene techniques. 
 

Sequential Composition

 

 

Forms of Continuity


Spatial continuity

The viewer retains a sense where elements are when in they are in the frame, and outside the frame. 

·         Establishing context
·         Index and motion vectors
·         Frame mobility

Graphic continuity

The visual properties of line, form, value, colour, and texture.  Instead of fading, zoom into a coloured shape.

Temporal continuity

The use of time, to bring the viewer instantly to the past, present, or future. In this case a fade would be useful as we associate the fades with a shifting of time.

Action continuity

How to preserve animation continuity:
1.       Cut just before or after an action.
2.       Cut between different types of action that move in the same direction.
3.       When cutting during a camera move, continue the same motion in the following sequence.
4.       If you are panning with a moving object then continue the pan with the speed of the object.

Forms of Discontinuity

May weaken the narrative, but intensify the context.

 

Narrative & Non-Narrative Forms

Cinema and motion graphics

 

Graphic Considerations

The visual and conceptual aspects of a compositions graphical properties.

Stranger than Fiction - end titles (high quality)

Subjectivity

Point-of-view editing enhances the narrative structure by representing the viewpoint of one or more characters.

2001: A Space Odyssey "Star Gate" sequence


Se7en (Opening Credits)

Spatial Discontinuity

Reconstructing an environment that relies partially on the imagination of the viewer.
·         Establish the viewpoint of a character
·         Intensify the overall emotional mood or impact of the concept.

 

 

Temporal Discontinuity

Deliberately create ambiguity, build tension, and intensify emotional impact. 


·         Jump cuts and flash cuts
Show an ellipsis of time, arouse tension, create disorientation
·         Parallel editing
Cross-cutting illusions the viewer o believe that different events are interwoven
·         Event duration and repetition
Differentiates onscreen events from the story screen time

 

 

Montage

Film was controlled by a rigid style of rules until the aftermath of WWI wherein surrealist and dad filmmakers juxtaposed unusual combinations of mundane images that were meant to explore the subconscious in a dream state.

 

Conceptual Forms

Idea-Associative Montage: juxtaposing 2 different ideas to create a third.


·         Comparison montage (similar)
·         Collision montage (opposing)

 

Analytical Forms

Indicates a passage of time and condense or expand time within a narrative context.

Conceptualization : developing ideas


Source: Motion Graphic Design : Applied History and Aesthetics 
By Jon Krasner

 

Chapter 9: Conceptualization : developing ideas

 

This chapter explains the process of creative development. It walks you through assessment (defining your goals), formalization (developing ideas), cultivation (determining if your project is realistic), storyboards (defining the scenes and layout of the idea), and animatic (the detailed motion storyboard). This chapter is important as it lays out the creative process in manageable steps, defining the process along the way and clarifying the expectations of quality of work.  

ASSESSMENT:
Before you begin, define who your final project will be designed for, what your goal for creating the project is, and that you have knowledge about your project content and means of production.


Designing For Your Target Audience

o   Defining the object
o   Targeting the audience
o   Researching the topic
o   Understanding the restrictions
o   Considering image style

FORMULATION
Here you begin the creative process. You will brainstorm the style of the project, what imagery will be used, colour schemes, and collect a bank of inspirational references.


Brainstorm: 15 Ways to Improve Freelance Creativity

o   Brainstorming
o   Pathways to creative thinking
·         Inspiration
·         Risk taking
·         Experimentation

CULTIVATION
 Here, the idea begins to take shape. At this stage one can ascertain whether their project is realistic. Is the project in the means of the people, budget, and equipment involved? 

Character Development by ~thefireis

o   Evaluation
  1.     Will my concept capture and hold my audience's attention?
  2.     Is this idea based strictly on technique or trend?
  3.     Is this concept different enough from what has already been done?
  4.     Is this concept realistic enough to implement technically? 
  5.     Will the means needed to impliment my idea fit within the budget?
o   Selection
o   Clarification & Refinement

STORYBOARDS
Describes motion in a static manner.

Fantastic Mr. Fox storyboard artist Christian DeVita


o   Visual content and style
Digital vs traditional.
o   Pictorial and sequential continuity
The pictorial continuity must indicate cohesion between the style of images and type, choice of colour scheme, and treatment of compositional space.
o   Stages of development
·         Early development
Consider Continuity:
flow of action or events from scene to scene
clarity of transitions from scene to scene
the approximatetime it will take to animate the scenes versus the allowed time
the resources needed to create the desired effects
·         The final comprehensive
Show major events:
transitions
framing
camera moves
·         Brevity and clarity
Be succinct. Use only major events:
6-10 frames per 30 seconds
20 frames for 1-2minute trailer
8 frames for website introduction & station IDs
o   Professionalism
“Sloppy execution, lack of attention to detail, and ambiguity of presentation can create a negative impression” p301

ANIMATICS
Using your rough but clear images, sounds, and pacing to determine the overall effect and time of the video. Used as a referance for the final animation.


Visualizes the project prior to production and resolve the motion and timing of events.
·         Synchronise the art pace
·         Incorporates the audo
·         Allows early problem solving for:
Lighting
Cinematography
Sound production

Saturday, 25 February 2012

Images, live action, and type : design considerations

Source: Motion Graphic Design : Applied History and Aesthetics 
By Jon Krasner

 
Chapter 6: Images, live action, and type : design considerations

This chapter walked us through the visual properties (form, value & colour, texture & pattern), image consideration, live action consideration (filmic form, filmic properties, integrating live-action), and typograpghic considerations (typographic form & motion, expression through typeface). This chapter studies a wide range of mediums, and would be most beneficial to those planning on creating a title sequence as it deals with type, tone, focus, and many story-board-like examples. On this blog, I try to share as many examples from the textbook as I can, unfortunately I can always locate the material and will substitute my own findings.

VISUAL PROPERTIES 


Form
o   Geometric Form
o   Natural Form
o   Abstract Form
 
Rhythmus 23 (1923) 
by
Hans Richter


Mothlight
(1963)
by Stan Brakhage


3D Form
Programs:

Cinema 4D
LightWave
Maya
Motion















Blur Studio ID: Venice


 
Value and Colour

 “Studies have indicated that most human beings make a subconscious assessment about what they see within 90 seconds of initial viewing, and that their evaluation is based on colour alone.” P 171

 
The components of Colour:
o   Hue
the colour itself
o   Saturation (chroma)
the hue’s purity or intensity or lack thereof
o   Value (tone or brightness)
lightness or darkness of the colour by adding white or black
o    
Emotional, gender, and cultural association:
Men are attracted to dark and saturated colours.
Woman are attracted to cool colours and softer tints.



 

MOJO (Male Oriented Entertainment Network)
Dark rich and deep colours for upscale male audeince
















 
Decent Days And Nights
The Futureheads  
Florescent colours to express vintage rock






When choosing colour know your audience, gender, culture, time-period, etc

Red
  • Australian Aboriginals: Land, earth
  • Celtic: Death, afterlife
  • China: Good luck, celebration, summoning
  • Cherokees: Success, triumph. Represents the East.
  • Hebrew: Sacrifice, sin
  • India: Purity
  • South Africa: Color of mourning
  • Russia: Bolsheviks and Communism
  • Eastern: Worn by brides, happiness and prosperity
  • Western: Excitement, danger, love, passion, stop, Christmas (with green), Valentine's Day
  • Astrology: Gemini
  • Feng Shui: Yang, fire, good luck, money, respect, recognition, vitality
  • Psychology: Stimulates brain wave activity, increases heart rate, increases blood pressure
  • Roses: Love, respect - red and yellow together means gaiety, joviality
  • Stained Glass (Dante): Divine love, the Holy Spirit, courage, self-sacrifice, martyrdom. A warm, active color.
Pink
  • Korea: Trust
  • Eastern: Marriage
  • Western: Love, babies, especially female babies, Valentine's Day
  • Feng Shui: Yin, love
  • Psychology: Used in diet therapy as an appetite suppressant, relaxes muscles, soothing
  • Roses: Gratitude and appreciation (deep pink) or admiration and sympathy (light pink)
Orange
  • Ireland: Religious (Protestants)
  • Netherlands: House of Orange
  • Western: Halloween (with black), creativity, autumn
  • Astrology: Sagittarius
  • Feng Shui: Yang, earth, strengthens conversation, purpose, organization
  • Psychology: Energizes, stimulates appetite
  • Roses: Enthusiasm, desire
Gold
  • Eastern: Wealth, strength
  • Western: Wealth
  • Astrology: Leo (Golden Yellow/Orange)
  • Feng Shui: Yang, metal, God consciousness
  • Stained Glass (Dante): The sun, the goodness of God, treasure in heaven, spiritual achievement, and the good life.
Yellow
  • Apache: East - where the sun rises
  • Cherokee: Trouble and strife.
  • China: Nourishing, royalty
  • Egypt: Mourning
  • India: Merchants
  • Japan: Courage
  • Navajo: Doko'oosliid - Abalone Shell Mountain
  • Eastern: Proof against evil, for the dead, sacred, imperial
  • Western: Hope, hazards, coward, weakness, taxis
  • Astrology: Taurus
  • Feng Shui: Yang, earth, auspicious, sun beams, warmth, motion
  • Psychology: Energizes, relieves depression, improves memory, stimulates appetite
  • Roses: Sociability, friendship, joy, gladness - red and yellow together means gaiety, joviality
  • Stained Glass (Dante): The sun, the goodness of God, treasure in heaven, spiritual achievement, and the good life.
Green
  • Apache: South
  • China: Green hats indicate a man's wife is cheating on him, exorcism
  • India: Islam
  • Ireland: Symbol of the entire country, religious (Catholics)
  • Islam: Perfect faith
  • Japan: Life
  • Eastern: Eternity, family, health, prosperity, peace
  • Western: Spring, new birth, go, money, Saint Patrick's Day, Christmas (with red)
  • Astrology: Cancer (bright green)
  • Feng Shui: Yin, wood, growing energy, nurturing, balancing, healing, health, calming
  • Psychology: Soothing, relaxing mentally and physically, helps with depression, anxiety and nervousness
  • Stained Glass (Dante): Hope, victory over ignorance, happiness and gaiety, springtime, youth, good humor, and fun.
Blue
  • Cherokees: Defeat, trouble. Represents the North.
  • China: Immortality
  • Iran: Color of heaven and spirituality, mourning
  • Navajo: Tsoodzil - Turquoise Mountain
  • Eastern: Wealth, self-cultivation
  • Western: Depression, sadness, conservative, corporate, "something blue" bridal tradition
  • Astrology: Capricorn and Aquarius (dark blue)
  • Feng Shui: Yin, water, calm, love, healing, relaxing, peace, trust, adventure, exploration
  • Psychology: Calming, lowers blood pressure, decreases respiration
  • Stained Glass (Dante): Wisdom of God, the light of heaven, meditation, enduring loyalty, and eternity.
Powder Blue or Baby Blue
  • Western: babies, especially male babies
  • Astrology: Virgo
Purple
  • Thailand: Mourning, widows
  • Eastern: Wealth
  • Western: Royalty
  • Astrology: Gemini, Sagittarius, and Pisces
  • Feng Shui: Yin, spiritual awareness, physical and mental healing
  • Stained Glass (Dante): Justice, royalty, suffering and mystery. With white it stands for humility and purity.
Violet
  • Astrology: Virgo and Libra
  • Psychology: Suppresses appetite, peaceful environment, good for migraines
White
  • Apache: North - source of snow.
  • Cherokee: Peace and happiness. Represents the South.
  • China: Death, mourning
  • India: unhappiness
  • Japan: White carnation symbolizes death
  • Navajo: Tsisnaasjini' - Dawn or White Shell Mountain
  • Eastern: Funerals, helpful people, children, marriage, mourning, peace, travel
  • Western: Brides, angels, good guys, hospitals, doctors, peace (white dove)
  • Astrology: Aries and Pisces
  • Feng Shui: Yang, metal, death, mourning, spirits, ghosts, poise, confidence
  • Roses: Reverence, humility
  • Stained Glass (Dante): Serenity, peace, purity, joy, faith, and innocence.
Black
  • Apache: West - where the sun sets
  • Australian Aboriginals: Color of the people
  • Cherokee: Problems and death. Represents the West.
  • China: Color for young boys
  • Navajo: Dibé Nitsaa - Obsidian Mountain
  • Thailand: Bad luck, unhappiness, evil
  • Eastern: Career, evil, knowledge, mourning, pennance
  • Western: Funerals, death, Halloween (with orange), bad guys, rebellion
  • Feng Shui: Yin, water, money, income, career success, emotional protection, power, stability, bruises, evil
  • Psychology: self-confidence, strength, power
Gray
  • Eastern: Helpers, travel
  • Western: Boring, dull, plain, sad
  • Feng Shui: Yin, metal, dead, dull, indefinite
Silver
  • Western: stylish, money
  • Feng Shui: Yin, metal, trust, romance
Brown
  • Australian Aboriginals: Color of the land
  • Cherokee: Good.
  • Western: Wholesome, earthy, dependable, steadfast, health
  • Astrology: Capricorn and Scorpio (reddish brown)
  • Feng Shui: Yang, earth, industry, grounded





Texture & Pattern















Promsite in Motion
by Ritxi Ostariz



LIVE ACTION CONSIDERATIONS




House M.D. Opening Credits



o   Tone and Contrast
o   Lighting
Key Light
Fill Light
3-Point Lighting
o   Depth of Field and Focus
Focal Distance
Deep Focus
Shallow Focus
Racking Focus
o   Camera Angle and Shot Size
Shot size
Establishing Shot
Medium Shot
Over the Shoulder
Close-Up




TYPOGRAPHIC CONSIDERATIONS
















Altered States (1980 film title)






Black Day to Freedom (opening)