1/22 —Introduction: Lecture/Screening | Images, Things and Behaviors
—> DUE 1/24 —BUY THE BOOK! : Understanding Comics, by Scott McCloud (see Supplies section for details on how to buy). Please email me the confirmation of your purchase by Thursday noon ( or bring the printout to class on Thursday).

1/24 —Assignment #1: Muybridge Sequence: Find the Step-By-Step instructions for this assignment in the ASSIGNMENTS section of this website.
—> DUE 1/29

Also read Chapter 1 (pps 10-17)of Understanding Comics. If you don't have a book, you can find this reading on Blackboard in Course Documents. Comment on the reading in the Blackboard Discussion Board, addressing this question: what does McDonald say about comics in relationship to the history of art andthe history of written language? Please give your views, citing some examples from the reading.
—> DUE 1/29

1/29 —Lecture/Screening: Rotoscoping | Waking Life by Richard Linklater
Read "Experimental Animation", in Understanding Animation, pp. 43-46. This document can also be found on Blackboard "Course Documents". Please respond on the Blackboard Discussion Board.
—> DUE 1/31

1/31 —Assignment #2: Muybridge Rotoscope II: Two or Four Panel Sequence
—> DUE 2/5 to show in class

2/5—Lecture/Screening: Animated Text
—>On the BB Discussion Boards, please r espond to the reading from Understanding Animation: "Terms and Conditions: Experimental Animation", addressing the following question:
Do you see elements of Wells' definition of "experimental animation" in some of the everyday examples of animation on TV, the internet, screens in public places, or in gaming or handheld media devices? Give an example, and use Wells's terms to analyze it.
—>bring the text of a line of poetry to class, for use on 2/7

Duck & Cover

This Is Wanted

Because I could not stop for Death

cute 3D

roller coaster

2/7 —Assignment #3, Pt I, Poetry in Motion: Working with Graphics
—> DUE 2/12
—> Also Due 2/12: READING:
Read Chs 1 and 2 of Understanding Comics, pages 1-59, by Scott McCloud.
Comment on the reading in the Blackboard Discussion Board, addressing these questions:
What are some of the points that Scott McCloud makes about "icons"? Discuss some of the ways in which the realist image and the iconic image operate differently in creating pictorial meaning. Give an example and analyze it, using McCloud's terms.

2/12—Assignment #3, Pt II, Poetry in Motion: Animation
—> DUE 2/19 to show in class

2/14—Text Animation Techniques

—> DUE 2/19 Read Chapter 3, Understanding Comics.
—> DUE 2/19 Assignment #3, "Poetry in Motion" to show in Class.

2/19 —Poetry In Motion Pt. II Due

Introduction of Assignment #4, Pt I, Archaeology of the Surface: Compositing Photographic Layers

Lecture/Screening: Layered Realities

>Animus, by Gary Schwartz
>Etcetera, by Jan Svankmeijer
>Composited Intro to Huff (Showtime Series)
>Composited Intro to Carnivale (HBO Series)
HBO's dramatic new series Carnivale, which debuted on the 14th of September, had a bit of help on their opening title sequence from the talented folks over at A52. The goal of A52 was to create a title sequence that grounded viewers in the mid-1930's while encouraging them to experience a larger presence of good and evil over time. The unprecedented effort united 3D, design, and visual effects that crescendoed into a magnificent final product. Rounding it out were executive producer Darcy Leslie Parsons, producer Scott Boyajan, creative director Angus Wall, lead designer Vonetta Taylor, designers Ryan Gibson and Jesse Monsour, Inferno artist Patrick Murphy, 3D supervisor Denis Gauthier and 3D animators Westley Sarokin and Jeff Willette.

2/21 —Assignment #4, Pt I, Archaeology of the Surface: Compositing Photographic Layers
—> DUE 2/26

2/26 —DUE: Pt I, Archaeology of the Surface
Lecture/Screening: Bluescreening, Masks, Moving Collages

2/28—Guest Lecturers: Suleiman Ali and Joe Stakun. Write a response to the Ali/Stakun lecture/demonstration on the Blackboard Discussion Board

—Assignment #4, Pt II, Archaeology of the Surface: Masking Over Time
—> DUE 3/4 to show in class

3/4—DUE: Pt II, Archaeology of the Surface
Lecture/Screening: Character Animation

3/6 —Assignment #5, Pt I, Team Work/Individual: Each member conceives a character
—> DUE 3/18:
1. Reading: Ch. 3, Narrative Strategies (Understanding Animation);
2. Character Rationale (written);
3. Development (notebook); and
4. Digital Sketch (Photoshop file).
See Assignment #5 for details

3/11 & 3/13 —SPRING BREAK

3/18 —Lecture/Screening: Svankmeijer and others
Assignment #5, Pt. II, Team Work: Combining Characters in Space, Place & Time
—> DUE 3/25

3/25 In-Class Screening & Critique of Character Assignment

3/27 Assignment #6, Pt. I

4/1 In-Class Screening & Critique of 3D Assignment Part I

4/3 Assignment #6, Pt. II

4/8 In-Class Screening & Critique of 3D Assignment Part II

4/10 Assignment #7, Final Project Proposal Due

4/15 Assignment #7 Animatic Due

4/17 Assignment #7, Final Project

4/22 Assignment #7, Rough Due

4/24 Assignment #7, Final Project

4/29 Final Project Output

5/1 Final Show