Monday, November 2, 2015

INSTRUCTOR HAS THE FLU - CLASSES CANCELLED - INSTRUCTIONS BELOW

Hello Everyone,

It's with regret I inform everyone that I caught the flu over the weekend and have to cancel classes. The timing isn't great considering it's the first class of November, but we should be fine as long as we continue our current pace! If you find a student that is in my class, please inform of the following email.

I'll leave a folder on the server for each class labeled (QUESTIONS_AND_FEEDBACK) for all of you in case you have questions about your animation projects for me.  The one required thing I will ask of every student is to drop the current versions of any art you have today on the server, and email me any questions you may have. When I'm not getting medicine and the like, I'll be sure to answer and send them back to you.


The following post below mentions what each of my classes will be doing today look for your class in question for details:
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DM 325
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Place drafts of your animation work on the server in the folder mentioned above. Email me any questions you may have.

This week, we were covering the last 2 major principles of animation, appeal and exaggeration! Continue working on your animated piece, focusing on appeal and exaggeration this week.
Links to videos about each are below:



APPEAL IS PRACTICED FROM THE GETGO!
You may notice that Appeal, as a concept, is something we have been covering since the first day we talked about the principles behind excellent character design.  The focus lies inherently in design for animation, and in creating characters that read clearly at a moment's notice.  A clear design generates appeal by communicating clearly!  Be willing to double back into your designs, and make note of any simplifications you have made to your art since we started.

APPEALING DESIGNS ARE ENHANCED THROUGH CONVINCING ACTION!
By this point, each of you have produced compelling content in your animated works this semester.  What you should do to maximize your appeal this week is by conveying actions that give us opportunity to show the heart of your character's personality. Be willing to exaggerate the actions of your animation to show us the heart of who your character happens to be!

  1. Whatever direction your character is moving in, propel the character farther.
  2. When drawing your character with a specific emotion, make that emotion much more intense so it reads clearer to us!
  3. When your character is moving, experiment with squash and stretch a little more than usual to create much more vibrant impacts and expressions!
  4. As a reminder from the video, it is sometimes a good idea to exaggerate too much at first, and then dial it back to where you need your movement to be. You accomplish this by.

    • Sketching your action out, exaggerating keys farther than normal.
    • Erasing the end or the beginning of your action and redrawing the keys incrementally closer to how they would be in real life. (more subtle, more muted.)


We should see your character's personality through design, and through the REACTION of your character to the circumstances going on.  Ask yourself, "When my character does X, how should he or she react?"

ARTICLE: RALPH BAKSHI on MODERN ANIMATION

Now that we've learned the rules of animation, this week we break them. Below, I've included a link below an interview with Ralph Bakshi. He's a famous animator who made a number of important works over the years.  At age 77, he has a very opinionated approach to animation, in many ways contrary to the traditionally established rules most follow.  He also has words for young animators, I.E. everyone 76 and younger. I'd like you to read the article, and tell me what you think about it on your blog.


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Again, my apologies on missing class with you today. I'll be available via email for anyone whom has questions. If you need anything, please be sure to contact me ASAP. I will be back in class Wednesday.

Happy Monday Everyone!

Wednesday, October 21, 2015

Scheduling For Animation:

The following is a sample timeline for putting together an animated piece. (credit to https://3danimationproject.files.wordpress.com)


While the colors leave something to be desired, The above is pretty clear!  Each week is labeled at the top, and down the side of the sheet is a collection of duties needed to be completed.  To add one extra step, each of the boxes inside would be marked with the portion of the work that needs to be completed. (Example: Scene 1, scene 2, scene 3.)

Layout and Environments *stamped posting*

(posting for the next two weeks: Secondary Action)

Hey everyone!

Below I will start adding a list of environment demonstrations to help you in producing your own content!  Expect a list of resources to the right of your blog in the near future!

Environments can be challenging to produce, but when you approach them with the idea of it being like a stage for a play, it becomes easier to produce content!

The first examples are from SAMURAI JACK.  Here, the artist draws a black and white image first, making sure to denote every hard edge for the work produced.  Then, with traditional media, the artist paints solid volumetric shapes that represents each part of the object. That way, we do not get lost in details, and we ultimately see the totality of the work produced! The same approach can be applied digitally in photoshop, working first with flat color, and adding texture on top!

FOR A CEL SHADED APPROACH, IT MAY BE EASIEST TO PRODUCE YOUR ENVIRONMENTS IN TOONBOOM!

Samurai Jack: Painting Demo 1
Samurai Jack: Painting Demo 2
Samurai Jack: Painting Demo 3
Samurai Jack: Painting Demo 4

Static Images of Samurai Jack's Environments

The next approach is producing a singular black and white image.  This piece represents the LIGHTING that is needed on top of your artwork. Producing it primarily in black and white makes it easier to convey dynamic lighting for your art!

Check out the link below, and look at some of the conceptual art designs for Mulan, produced by Alex Nino and company.

Alex Nino:  Environment Concepts for Mulan on Pinterest

In some cases, people tend to start with a black and white image, lay flat color, and place in layers of shadow across the entire image to show more of what is going on!  This builds depth, texture, and creates an easy approach for creating more painterly art!

Take a look at this link to HANS BACHER's work on mulan.  You can see the final color designs for shots were much simpler, and much more expressive than the concept art! This was achieved over time, taking out everything that wasn't needed, and only keeping what was necessary.

Hans Bacher: Environments pt 1
Hans Bacher: Environment concepts (part 2)

As an extra note, use your own personal skills to produce the best environments you can!  For those of you that have 3D skills, you may be able to create models you could use as placeholders or sketches for your work in your film!

Hans Bacher's Blog: Animation Treasures


For those who are into more realism, check out the link below. This stylistic approach is done by an illustrator and animator known as Kevin Dart (powerpuff girls, symbionic titan, yuki seven, steven universe, among others)



Link to Kevin Dart's other work.

Take photographic reference of a REAL place you want to use as an environment, and make note of the COLORS that are used in that environment!  Apply those COLORS to your drawing to create a much more realistic and believable place in lighting and content! Better lighting = Better Colors + More specific content = Much more believable space!

Monday, October 5, 2015

Midterms Checklist for DM 325

In the MIDTERMS DROPOFF folder, submit a folder labeled as firstname_lastname.  Inside it, I would like you to include the following:

1.  Two Animation videos, marked as "firstname__lastname_Wk1" and "firstname_lastname_wk2"
2.  Any design elements you have created for your film!
Character designs
environment designs
color charts, etc.
3. Your storyboards for your production.
4. Your animatic for your production.
5.  If you have updated your assessment from the beginning of the semester, resubmit your storyboards and animation from the beginning of the semester!
6. A list of your notes for yourself on your current progress with your project! I want to know what you plan to do with your film, any elements (color, FX, character changes etc.) you plan to add to your story! The more information you can provide the better!

For midterms I will be grading you on the following:

A. Craftsmanship (20%): Line-art quality.  How clean are your lines in each section of your animation? Is your character the focal point of your animation, or are the rough lines the focal point?
B. Modeling (20%): How consistent is your character between every frame of your animation?  Do limbs get too thin and then too thick?
C. Performance (20%): Are we captivated by the actions on screen?  Is your animation about the character? Are the performances believable and relatable if we look at your animation as an actor and as the audience?
D. Clarity of storytelling (20%):  What is the story of each animation?  Is the story coming across?
E. Techniques:  Are you demonstrating the principles we've learned in class?


  • Animation creation: Performance is Key!  It's all about how we act and bring our characters to life!
  • Environment Design: Staging and Function Is the most important! We need environments that serve our character's purpose and provide CONTEXT to the scene!
  • Character design:  Big, Medium, and Small Forms, Clear Silhouettes, Shape Symbolism, etc.
  • Animation segment 1: Straight Ahead and Pose to Pose animation. Staging and Solid Drawing!
  • Animation segment 2: Arcs! (Solid and Solid Drawing!)

Monday, September 21, 2015

Animation Week 1 | Today's Topic: Staging, Pose to Pose, and Timing!

The following resource will be used in class as extra examples for you! This is a list of visual examples created by Alan Becker, who gained some fame across the internets for his "Animator vs Animation" series from 2006 onward.

https://www.youtube.com/user/AlanBeckerTutorials/videos


The current video we'll cover in class is the following:

STAGING:  http://www.youtube.com/watch?v=u-SXLaQGg50

POSE to POSE vs. STRAIGHT AHEAD Drawing: http://www.youtube.com/watch?v=v8quCbt4C-c

Solid Drawing: http://www.youtube.com/watch?v=7An0jukOkCI


Tuesday, September 15, 2015

Reminder: Homework for Tonight and Wednesday

Note: This homework is for ALL students, regardless of if you were in class or not monday or wednesday!

1.  Make a blog for blogger.  Email me the link before 6PM on Tuesday, September 15th.
2.  On your blog, you need to scan your drawings for your animation. Number and post your storyboards, and include a description of them for the students in the class.
3. Tuesday night, read all of the stories for every student and post comments and feedback on them to their blogs!  I will do the same.
4. For Extra Credit:  Take what we learned in class, and begin crafting out sketches and concepts for your characters for your animation!

Monday, August 31, 2015

Homework for this Wednesday!

A. Send me an email with the following:

  • The 40 things that serve as your reflection on your work.
  • A summary of your experiences from these two weeks. Treat it as the assessment it really is! Write down what you have learned and what you need to improve upon! Think about what you want to focus on improving in your art during the semester!
  • A video file of your animation, and your scanned in storyboards (if the filesize is too big, make a smaller video for me!)
  • The notes from the two videos in the previous post:  (Jackie Chan: Action Comedy & Edgar Wright: Visual Comedy)
  • An ESTIMATE of how long it takes you to animate a scene. (six seconds, or one scene with three different actions)



B. Come to class with 3 ideas for your film!  Bring sketches, environment designs, etc, but be able to summarize each idea into a SINGLE SENTENCE. This serves as both your "elevator pitch" and a way to better know the core of your story!

C. Bring a pack of index cards, know a bit about how you want to make your story, and get ready to work on something new! =)

Storyboarding Primer 1: Chapter 3 of Framed Ink, And how to use the Camera and Motive to Enhance Character Performance!

Let's take a look at this video:

Jackie Chan: How to do Action Comedy
Edgar Wright: How to do Visual Comedy

More information on Jackie Chan and Action Comedy:
http://nofilmschool.com/2014/12/jackie-chans-9-principles-action-comedy

Things to make note of:

1. How to create a story where every moment is MEANINGFUL.
2. How to create a story where THE CAMERA ENHANCES THE PERFORMANCE ON SCREEN.

Reading chapter 3 of Framed Ink coincides with todays lesson by giving you a list of tools and methods to work with! Easy solutions to the most common challenges of filmmaking and visual storytelling!

Friday, August 28, 2015

Homework for Monday!



A)   Complete BOTH your animation and 12-panel storyboarding exercise! Below is the link to download the pdf of the storyboarding sheet.  The png version is an image below.



The final version of your storyboarding exercise should be completed on this sheet. For your animation, remember that the full story of your animation should be told through CHARACTER PERFORMANCE. If we can’t see your character preform due to a lack of frames or lines that are too unclear, and the content of your animation is not complete, then the story will not be successful.

Also, when you come to class, we will assess your skills based on what you have completed in the last two weeks. To make this process go faster, bring in a summary of the notes you have been taking the last two weeks.


If you were absent, I still expect you to complete these assignments, so please get any missed notes from your your classmates FIRST, than notify me if you have questions or need clarity!

B) Bring ideas for your 45 second short animation!  We have 2 weeks to prepare before we start animating! We will need every second available! The more sketches, ideas, and the like you bring to class, the better of you will be!

C) Read Chapter 3 of Framed Ink: Pages 33-72. We begin talking storyboarding in the second half of Monday's class!


Saturday, August 22, 2015

Weekend Update: Sheet Timing

Hello Everyone! Below is the completed spreadsheet I made for my method for timing animation:


You can also download the spreadsheet here if you need to. (Will need your MCA email to download)
https://drive.google.com/a/mca.edu/file/d/0B2cn59SDERgZZm1UU3F3czhhZ0k/view?usp=sharing

This is merely an alternative example to timing your work. We will talk more about this process (and layout) as we get further. Some of you may feel this process isn't as important as drawing your frames. However, spending 30 minutes to an hour drafting out some example to work from may save you about 2 or 3 trying to constantly move tons of frames around into decent timing.

When trying to time animation, you're literally trying to make your drawings occur at realisting or at least, believable intervals.  The more you practice, and the more time you dedicate in the beginning to understanding how long different actions take to do, the better you will get at it!

If you need a review of anything else covered on Wednesday, contact me at mshaw@mca.edu!


Monday, August 17, 2015

Welcome to the Fall Semester! =D

Course# DM325 | Advanced 2D Animation
Location: Mac Lab 4
Instructor: Michael Shaw
Time: Monday and Wednesday 4:00 PM | 6:30 PM
Contact: mshaw@mca.edu  901.282.3902
Office Hours:  Monday and Wednesday:  6:30 PM – 8 PM Mac Lab 4

COURSE DESCRIPTION:
Welcome to DM325! This is an advanced level course that focuses on producing animation work of the highest quality! This is the course where you channel your experiences in animation art-creation into making professional level work by semester’s end! Here, you are both a researcher a theorist, and a skilled executioner in producing complete assignments. We aim for quality over quantity in this course, so you will be asked to make multiple revisions to a shorter project as opposed to working once through a longer one. By semester’s end, you should be well versed and comfortable in all the avenues of producing quality 2-D animation, and ready to make self-directed, higher-level work in the classes going forward!


Methods of Study – The Flow of Class is as Follows:
Class Readings:
Each topic we cover in class will have an accompanied reading or video that provides more information and instructions on the current study.  These readings are meant to give you means to practice in-class content on your own!

Interactive Demonstrations:
The best way to learn how to animate is to practice hard, and see how others animate!  Keep what works, and scrap what does not! This semester will have many interactive demonstrations on making quality animated works.  The short you create will be divided into easily digestible chunks for building your animation skills each week. Each demonstration will focus on specific principles of animation. Creating a practical project where we can focus in detail on refining

Projects and Workflow
Each week, you will be given an assignment to accomplish that will investigate the possibilities of story and visual development of an animated short. The purpose of these assignments is to prove that the process of making a film is not magic, but a series of calculated steps that help you hone in and further develop your creativity.  You will be able to combine each assignment into a professional portfolio by semester’s end, and have all the tools needed to begin applying for internships, and exploring new content that piques your interests!

The Flow of Class is as follows:

2 Weeks to Review and assess you current abilities.
2 Weeks for storyboarding and film development.
8 weeks for Animation Development at a minimum of 6 seconds a week.
4 weeks (including finals week) for additional animation production, post production, and

Fields of Study Include:
I.  Assessment:  We will spend a week and a half assessing your current abilities in animation! This is more for you to know how well you can preform, and at what level, so you can better learn how you work as an animation artist!
II. Preproduction: You will design your
III. Animation: This semester: We will spend each week covering a couple of the principles of animation in detail!
IV. Workflow: How to become a more balanced animation artist.  How to design and implement a successful project, working backwards form the end goal to the beginning!
V. Animation Art and Collaboration: How to properly assess your abilities. How to know how long it takes you to create a first draft for an animation shot, and how to get resources that are beyond your abilities, whether it’s other people, or new skills.
VI. Professional Development: Portfolios, demo reels, applications for internships, film festivals, and everything else!


DEPARTMENTAL OUTCOMES:
Students will demonstrate the capability to organize and present concepts verbally.
Students will demonstrate the capability to organize and present concepts audibly. 
Students will produce evidence of an understanding of the methods of audio production.
Students will be able to coherently communicate the content their audio productions.
Students will demonstrate the time management skills necessary to complete the entire sound creation process.
Students will demonstrate the capability to effectively publish their audio production via the web, and integrate it into their current body of work.

PROFESSIONAL OUTCOMES:
Students will demonstrate the ability to write an artist statement.
Students will demonstrate the ability to document their work.
Students will demonstrate basic computer/software literacy applicable to their field.
Students will demonstrate the ability to give a public presentation about their work.
Students will demonstrate the ability to research to stay current in their field.
Students will demonstrate basic knowledge of communication etiquette in their field.
Students will demonstrate the ability to work collaboratively.

-------Assignments and Requirements ------
You are required to attend class everyday, on time.  We will start class @ 4:00 every day, unless otherwise noted.  As with the Student Handbook, students who misses 6 days of class will fail the course.  This will be strictly enforced. Prior to this event, any student that must miss a day needs to notify me ahead of time, long before the start of class.  Anyone who wonders into class at least 30 minutes after class begins will be considered absent for the rest of the day. 4 absences result in a loss of one letter grade. Three tardies equate to one absence. If you miss, you must catch up on assignments via consulting other students first, and myself via email. I reserve the right to notify students ahead of time for any day that MUST NOT BE MISSED due to course content be it finals, assessments, midterms, or other coursework.

----Turning in Assignments -----
Each Assignment will be due on a scheduled date, given at the beginning of the assignment.  Often, I will give you time to watch, and review other students’ work.  Part of your grade will be your review of the creations of your peers. We will remain objective throughout, even when we are delving into content that goes beyond our personal taste.  When it comes to late assignments, assignments will drop a letter grade each day they are late. After 3 days, I will not accept your assignment.

Supplies:
1)    If working Traditionally: 1 ream of 10f Ingram Bond Animation Paper and 1 plastic peg bar Purchased for $50.00 at the business office. Return to me with a recipt of purchase!

2)    Folder and Notebook for taking notes. You are required to keep track of your notes. You will also be required to turn in your sketches for review from time to time, so be sure to keep your sketchbook on hand during class!

3)    $100 Deposit to check out audio equipment. (optional) Upon completion of the class, or the major, you will receive this deposit back. This single deposit can count for multiple classes within the department. If you still have your deposit from last semester, you can check out as available.

4)    External Hard Drive: Can purchase online and use with other classes. If you already have it, great! If not, it’s an investment that can last you long beyond your undergraduate career.  The Computers primarily use USB 3.0 connections. The hard drives listed below are examples, compatible with mac and PC, but require formatting to go cross-platform.
Western Digital Brands:
3TB My Book |  http://tinyurl.com/HD4mac
3TB My Book Essential | http://tinyurl.com/HD4win

5)    Light Box: for those of you who elect to build one from scratch, gather the supplies at this link, and meet me in class! http://mca-dm200.blogspot.com/2014/08/lightboxohrama.html

6)    TEXTBOOKS:
The Animator's Survival Kit, Expanded Edition: A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators - Richard Williams ($25.00) Click to find on amazon

Your Career in Animation: How to Survive and Thrive - David B. Levy ($14.46)  http://www.amazon.com/Your-Career-Animation-Survive-Thrive/dp/1581154453


7)    Pencils, tablets, erasers, etc!  For those that draw traditionally, it may help to obtain a pack of non-photo blue and blue pencils for sketching characters and drawings!

GRADING:

Each assignment will be awarded a grade based on the following rubric. Plus(+) and minus(-) will denote more or less intricate mastery of objectives.  Students will be allowed to turn in higher-quality versions of their projects midterm for a higher grade.

Group assignments will be graded on individual achievement, and group achievement.  Both grades count 50% of any group assignment.

A - Excellent.  Assignment objectives are completed above and beyond the course requirements to great effort and great success.  Technical and conceptual skills are on display in a masterfully coherent manner with clean craftsmanship.

B - Proficient. The assignment completed demonstrates most mastery of the skills presented, and objectives are completed beyond course goals. Much effort, and a clear and concise direction shines through the final result. There are still a few issues that can be pushed further.

C - Competent.  The assignment completed demonstrates relative mastery of the skills presented, and objectives are completed to average sufficiency.  Assignments are successful, and craftsmanship and technical skills are on display -- All are completed at an average level.

D - Deficient.  The assignments completed are missing demonstrations of the skills presented, and/or required objectives have yet to be completed. There are conceptual and technical flaws and hurdles that have not been overcome.

F - Failure.  The majority of the project is either not completed, and/or objectives for assignment are not met.

Final Grades will be based on a comprehensive average of all of your projects, as well as midterm and final milestones for blog upkeep.

*Your blog upkeep factors into your grades for each major assignment handled out of class.*

Assignments are due at 4:00 P.M. on their scheduled dates unless otherwise noted. Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. I can not grade what does not exist!  You are solely responsible for the security of your files. Your files are not 100% secure on the server or computer. You should have multiple copies on multiple sources at all times. No files are safe unless backed up to 3 locations. (Example: Personal hard drive or flash drive, school network, personal computer, or web service.  Note: you can store work on dropbox. We will discuss cloud storage.)

Copyright
You must receive copyright permission for all non-public domain media used in your film projects. Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org/. Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use.


Accommodations for Students with Disabilities
Students with a special learning need are encouraged to let their instructor know at the beginning of the course. Reasonable accommodations (such as extended time for exams, readers, scribes, and interpreters) are provided on an individual basis as determined by documented need. It is the student’s responsibility to provide authorized documentation to Student Affairs or Achievement Center Support Staff as early in the semester as possible.


Course Content and Title IX Reporting
Students should be aware that information disclosed to faculty (whether through assignments or as a personal disclosure) that indicate experiencing sexual harassment, abuse, or violence while a student at Memphis College of Art, requires that your instructor as a “mandatory reporter” disclose this information to Student Affairs staff to ensure students’ safety and welfare are addressed. Student Affairs staff will contact you, and/or those involved, to make you aware of accommodations, remedies, and resources available at Memphis College of Art.

HEALTH and SAFETY PRECAUTIONS

As more and more work, education and recreation involves computers, everyone needs to be aware of the hazard of Repetitive Strain Injury to the hands and arms resulting from the use of computer keyboards and mice.  This can be a serious and very painful condition that is far easier to prevent that cure once contracted, and can occur even in young physically fit individuals. Paul Marxhausen - visit his site below.
            http://eeshop.unl.edu/rsi.html
            http://www.mydailyyoga.com/yoga/rsi.html


DEPARTMENT AND LAB POLICIES:
Immediately submit an online tech request to report any problems with a lab computer or printer. 
Main MCA computing info site = mca.edu/labs -- go here for answers to frequently asked questions and online tutorials for MCA specific technologies.
No Food or Drinks in Lab.
Keep the Lab Clean. Dispose of all trash -- Paper scraps, old media etc.
Leave your workstation in an orderly fashion. All materials left on the desktop will be deleted. Organize files within the documents folder on your account. Delete your trash from your desktop and trash bin. 
Back up work to an external source. Remember files are only safe if they exist in 3 separate locations. MCA servers are not to be considered secure and used only for temporary storage.  
Log Out of your workstation prior to your departure. Upon your departure, the chair should be pushed in. Your monitor, keyboard and mouse should be placed in their proper positions.

COPYRIGHT:
You must receive copyright permission for all non-public domain media used in projects. (Music, film footage, etc.)  Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org.  Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use. We will discuss fair-use policies during class.

EPA MANDATE:
Memphis College of Art students and faculty are required to follow the      standards detailed in the "EPA (Environmental Protection Agency) Materials

Handling Protocols - September 2007"


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Below is a tentative schedule for the semester. Schedule is subject to change due to class performance, inclement weather, etc.

https://drive.google.com/a/mca.edu/file/d/0B2cn59SDERgZQTV6cUJzWnVRVEE/view?usp=sharing