ART 378 Art & Motion
WINTER 2015 CSULA Professor Jim Ovelmen jim@jimovelmen.com jovelme@calstatela.edu
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LAB HOURS (for working labs outside of class) |
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CAL icon for all DUE DATES PINK icon for all assignment formatting TRICOLOR icon to return to ovelmen syllabi Department of Public Safety/Security 323-343-3700 OfficeFA 227,Office Hours (see syllabi page), PhoneExt. 3-4033, Course Length10 weeks + finals day, Meeting TimeTuesdays 4:20am-9:30pm,Class LocationFA 225, Term/YearFALL 2015 |
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*if
you would like to meet with me during my Office Hours, Please make an
Appointment in the Art Office |
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COURSE DESCRIPTION Animation is the artistic, not the scientific,
expression of motion. Students will develop strengths in imagination and
visual development with a variety of approaches toward animated artwork
and creative composition. Student will focus on the essence of time and
spacial relationships. Using physical animation techniques like stop-motion,
as well as digital and non-linear animation and compositing tools, student
are allowed to explore, yet must complete and present assigned projects.
Critical and creative skills are used to expand knowledge and practice
when working in groups as well as individually. This course puts theory
into practice by focusing on projects as both an individual artist, and
as a group collaborator, similar to that of a professional animation studio. PREREQUISITES: Art 280 INSTRUCTIONAL METHODS (1) Overview of artistic timing and pacing
of animated elements. STUDENT OUTCOMES
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STUDENT
RESOURCES |
SUGGESTED TEXTS Halas, John, Sito, Tom and Harold Whitaker.
Timing for Animation, Second Edition
Shaw, Suzannah. Stop Motion: Craft
Skills for Model Animation, Second Edition (Focal Press
Visual Effects and Animation) Furniss, Maureen, The Animation
Bible: A Practical Guide to the Art of Animating Furniss, Maureen. Art in Motion,
Revised Edition: Animation Aesthetics Maestri, George. Digital
Character Animation 2, Volume I: Essential Techniques Taylor, Angie Design Essentials
for the Motion Media Artist: A Practical Guide to Faber, Liz and Helen Walters. Animation Unlimited: Innovative Short Films Since 1940 Harper Design, 2004 McCloud, Scott. Understanding Comics: The Invisible Art . William Morrow Press, 1994. Kindem, Gorham. The Animator's
Survival Kit, Expanded Edition: A Manual of White, Tony Animation from
Pencils to Pixels: Classical Techniques for Laybourne, Kit. The Animation
Book: A Complete Guide to Animated Filmmaking- Harryhausen, Ray and Tony Dalton A Century of Stop-Motion Animation: From Melies to Aardman, Watson-Guptill 2008 Curtis, Brian Drawing from
Observation: An Introduction to Perceptual Drawing Stewart, Mary Launching the
Imagination |
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technical STOP MOTION
AFTER EFFECTS ART MATERIALS
cerebral
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REQUIRED
SUPPLIES |
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DICK
BLICK 44 South Raymond Avenue Pasadena, CA 91105 scissors, item: 57037-1005 19"x25" Black Canson Art Paper (50 sheets) item: 11273-2002 fadeless Art Paper, (Apple Green) 24"x12 feet (roll) item:12915-7172 white foamboard, Pkg of 12, 16" × 20", item: 13202-9006 white artist tape, 3/4" item: 24124-1034 Polymer Clay, assorted colors (Staedtler Fimo) exacto knife, item: 57409-0000 white glue cutting matte, 8½" × 12", item: 57522-7512 Portfolio (red wallet), 20" × 26", item: 15105-1001 Acetate bags, 10-pack, 14" × 16", item: 16969-1004 zipper bag, 12" × 16", item: 16974-2016 14"x17" Strathmoore 100-st Sketchpad (about $12) 9"x12" Canson Field Sketchbook (about $13) Prismacolor box of 12 colored pencils ($12) Plastic Art Box 12x5x6" (about $5) at the STUDENT BOOKSTORE or OfficeMax, etc. |
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COURSE OUTLINE (SUBJECT TO CHANGE) | |||||||||||||||||||||||||||
intro: Professor Jim Ovelmen: Jim Ovelmen video Bio CSULA animation program: video Stopmotion Animation at CSULA: video glass-shooter
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glass-shooter
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These are the final requirements of Project #1:
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glass-shooter
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project #1 is due -groups present Project#1 set-shooter
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Artist's Wildly different approaches in stop-motion, the medium is the message. Allison Shulnik, stop-motion blog Dragonframe Media Artists (via Joshua Mosley): Joshua Mosely (Dread), (Cow to Pascal, Rousseau and Dread) William Kentridge (Automatic Writing)
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set-shooter
After Effects
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