| —class
schedule
1/19 —Introduction: Lecture/Screening | Images, Things and Behaviors
—> DUE 1/26 —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).
—Assignment
#1: Muybridge Sequence: Find the Step-By-Step instructions for this assignment in the ASSIGNMENTS section of this website.
—> DUE 1/26
Also read Chapter 1 (pps 1-22)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 Class Blog <digitalanimation2012.wordpress.com>, addressing this question: what does McDonald say about comics in relationship to sequence, the history of art and/or the history of written language? Please give your views, citing some examples from the reading.
—> DUE 1/26 to show in class
1/26—Lecture/Screening: Compositing | PIGMENT, by Alexis McCrimmon in class.
Read For 2/2: "Experimental Animation", in Understanding Animation, pp. 43-46. This document can also be found on Blackboard "Course Documents". Please respond on the Class Blog seven times during the semester. <digitalanimation2012.wordpress.com>.
—> DUE 2/2
—Assignment #2: Muybridge Compositing: Walking In Landscape
(see ASSIGNMENTS for instructions)
—> DUE 2/2 to show in class
2/2—Lecture/Screening: Animated Text
—>On the Class Blog <digitalanimation2012.wordpress.com>, 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 2/9
Duck & Cover by CallMe4B
Dakota by Young-Hae Chang Heavy Industries
Traveling to Utopia with a Brief History of the Technology Young-Hae Chang
Because I could not stop for Death by Stealing Patrick
cute 3D by Vatsh123
roller coaster by Malvina
sort of interesting corporate ad
text animation by Sebastian Lange
More on Blogs
the Delights of Seeing
—Assignment #3, Pt I, Poetry in Motion: Working with Graphics
—> DUE 2/9
—> Also Due 2/9: READING:
Read Ch 2 of Understanding Comics, pages 23-59, 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.
2/9—Assignment #3, Pt II, Poetry in Motion: Animation
—> DUE 2/16 to show in class
—Text Animation Techniques
—> DUE 2/16 Assignment #3, "Poetry in Motion" to show in Class.
Assignment #3 Part II-
POETRY IN MOTION, Pt. II
Re-work the piece you did for POETRY IN MOTION Pt. I. Use the technique "Animating Text on a Path", in addition to techniques used in PIM Pt. I. Thinking about Scott McCloud's discussion of realism, abstraction (or "the iconic") and words, use elements of all three of these in your animation: realism, abstraction/icon and words. Try to be as aware as possible about the ways each of these elements influences the meaning of your moving poem.
Marina Zurkow animations
Read for 2/16: Chapter 3, Understanding Comics. Blog your response.
2/16 —Poetry In Motion Pt. II Due
Introduction of Assignment #4, Pt I, Archaeology of the Surface: Compositing Graphic
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.
—Assignment #4, Pt I, Archaeology of the Surface: Compositing Photographic and Graphic
Layers
—> DUE 2/23
Lecture/Screening: Bluescreening, Masks, Moving Collages
—Assignment #4, Pt II, Archaeology of the Surface: Masking Over Time
—> DUE 2/23 to show in class
Read for 2/23: Chapter 4, Understanding Comics. Blog your response.
2/23—DUE: Pt I, Archaeology of the Surface
Due 3/1: Pt II: Archaeology of the Surface
Read for 3/1: Chapter 5, Understanding Comics. Blog your response.
3/1 —Lecture/Screening: Svankmeijer and others
Lecture/Screening: Character Animation
—Assignment #5, Pt I, Team Work/Individual: Each member conceives a
character
—>DUE 3/15:
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
3/8 —SPRING BREAK
3/15 Assignment #5, Pt. II, Team Work: Combining Characters in Space,
Place & Time
—> DUE 3/22
3/22 In-Class Screening & Critique of Character Assignment
— Assignment #6, Pt. I
3/29
In-Class Screening & Critique of 3D Assignment Part I
— Assignment #6, Pt. II
4/5 In-Class Screening & Critique of 3D Assignment Part II
— Assignment #7, Final Project Proposal Due
4/12 Assignment #7 Animatic Due
— Assignment #7, Final Project
4/19 Assignment #7, Rough Due
— Assignment #7, Final Project
4/26 Final Show |