ART 376
STORY & VISUALIZATION
WINTER 2016
CALIFORNIA STATE UNIVERSITY
LOS ANGELES
Professor JIM OVELMEN
jim@jimovelmen.com
Jim.Ovelmen@calstatela.edu
Meeting Time WEDNESDAYS 4:20-9:30pm
Office FA 227
Office Hours (SEE SYLLABI PAGE)
Phone Ext. 3-4033
Class Location Rm. FA 225, Art Department
*if you would like to meet with me during my Office Hours,
Please make an Appointment in the Art Office
COURSE DESCRIPTION
Introduction to visual storytelling and content visualization in preparation for animation projects. This course involves the creation of story artwork, sketchbooks, and visual imagination development projects that build creative preparation for narrative based projects.
This course develops the imagination and creative planning of an fictional story and visual content. Animation, in general, is often a long series of processes that results in a story or visual expression. It is essential that artists begin with the research, sketching and planning resources before embarking on production. Students will learn the planning and discipline while developing their creativity and visual story telling skills.
· Overview of storytelling methods, creation
of fictional characters, back stories and production of assets and content.
· Creation of artwork that relates to visual storytelling, involving
both dramatic elements of cinematography, and artistic elements of composition.
· Examination of color, texture and visual properties that contribute
to the emotion and visual communication of an animation.
· Development of critical and creative techniques in expressing
in expressing animated content in a static form: Planning of animation
in stills, concept art, and “animatics”.
· Research of various films, artwork, animations and interactive
artwork that provides a variety of perceptions of how drama, and content
is built.
· Creation of resource libraries and cataloging artwork and visual
research that builds the imagination of the artist. Visual information
will be gathered including mixed media, and diverse research techniques
that strengthen the organized visual thinker.
EDUCATIONAL OUTCOMES
· Demonstrate a diverse and imaginative
array of visual techniques for building a creative short story.
· Posses a command of different visual content creation methods
that fosters a creative approach to thinking about animation.
· Become an organized and disciplined visual thinker, necessary
to future animation endeavors.
· Appreciate and demonstrate an understanding of story drama, anticipation,
cinematic elements of suspense, surprise, and artistic development.
· Resist the urge to succumb to visual clichés, unthinking
and cheap devices to animation planning. Students will build a sophisticated
approach to thinking about animation.
· Develop their general artistic skills, like drawing, painting,
composition, and see how it relates to good visualization in animation.
PREREQUISITES
ART 378 Art & Motion
INSTRUCTIONAL METHODS
Class lectures, in-class assignments, and project related demonstrations will be provided from original or researched content. Supplemental homework assignments, specific tutorials from published sources will be given. Many of these assignments are, of course, to be done exclusively outside the hours of class time.
The expectation is 3 to 6 hours per week working outside of class on project assignments and homework. Lab hours will be posted. There are numerous books and online tutorials on the class subject. I have listed recommendations of texts and URLs for further study. I may also distribute, handouts, images, and other reference materials to supplement your studies.
STUDENT RESOURCES
Gelbas, Francis. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation Focal Press, 2008.
Bacher, Hans. Dream Worlds: Production Design
for Animation, Focal Press, 2007
Chistiano, Giuseppe, Storyboard Design Course: Principles, Practice,
and
Techniques Barron's Educational Series, 2007
Hart, John. The Art of the Storyboard: Storyboarding
for Film, TV, and Animation
Focal Press, 1999.
Wells, Paul. Basics Animation: Scriptwriting, Ava Publishing
2007
Sullivan, Karen Ideas for the Animated Short:
Finding and Building Stories
Focal Press 2008.
Ghertner, Ed Layout and Composition for Animation Focal Press, 2010
Wellins, Mike. Storytelling through Animation
Charles River Media, 2005
Arnold, Brian, and Eddie Brendan. Exploring
Visual Storytelling (Exploring
(Delmar)) Delmar Cengage Learning, 2007
Osgood, Ronald J. Cengage Advantage Books: Visual Storytelling: Videography
and Post Production in the Digital Age (with DVD), Wadsworth Publishing,
2008
White, Tony Animation from Pencils to Pixels:
Classical Techniques for
the Digital Animator Focal Press, 2006
Tumminelo, Wendy. Exploring Storyboarding
(Design Exploration)
Delmar Cengage Learning, 2004
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
McGraw-Hill,2nd edition, 2009
Stewart, Mary Launching the Imagination
McGraw-Hill,4 edition, 2011
REQUIRED SUPPLIES
at STUDENT BOOKSTORE or Office-Max/Staples/Office-Depot
5x8 Blank Index Cards, 100-pk (about $6 each) (2-packs)
small mirror
at DICK BLICK 44 South Raymond Avenue
Pasadena, CA 91105
(626) 795-4985
14"x17" Strathmoore 100-st Sketchpad (about $12)
9"x12" Canson Field Sketchbook (about $13)
Prismacolor box of 12 colored pencils ($12)
Pencil Sharpener (container type) ($2-3)
Micron Tech Pens (set of 3, Various sizes Black) (about $7)
Non-Photo Blue Pencils, 2-pk (about $5)
Expo Dry Erase Markers, 4pk Assorted
15"x20" Pure Black Presentation Board, 5-pk (about $10)
Plastic Art Box 12x5x6" (about $5)
LINKS:
Jim's List Animated Visualizations
Visualization Gallery (the SENSE of SENSE)
production
flowchartWEDNESDAY
Jan 6
CLASS INTRODUCTION
PROFESSOR INTRODUCTION
SYLLABUS DISCUSS
ART SUPPLIES
GRADING
index cards
Story Development: HISTORY
History of Story, cave paintings, Oral traditions (play Grapevine), fable, myth, legend, urban legend, Theatre, written word, radio, music, Film (back to the cave), Television, Video games
In-class Assignment:
(1) Play the game of "Grapevine" (a short message is whispered in the ear of a line of people, by the end of the line what is the result of the sentence?)
PROJECT #1 Make Up a Story (in class)
(2)Research contemporary paintings and photographs online. research artist/photographers and historical contexts. How do images convey stories? Choose one of the images you found and create a story that you feel might be depicted in that image. BECUASE OF A LARGE VOLUME OF STUDENTS IN THIS CLASS, YOU WILL OFTEN PAIR UP OR TEAM UP. Chose a partner. Together, you must give a 5 minute presentation showing supplementary elements to support story.
Homework Assignment:
PROJECT #2 Video Game Fable (homework)
Why do you think fables, myths, and legends have had so much impact on storytelling? Create an idea for a video game that's based on a fable. Research a fable: (popular or obscure, traditional or urban) Make a 5-8 minute presentation (power point is preferred) on your idea. Show images and talk about these points:
What is the universal theme being conveyed by the story you created?
Why would your idea make a compelling video game?
Presentations will begin at the beginning of the next class. You should should show at least 15 photos and at least 4 drawings on 14"x17" sketch paper(color is encouraged).* You will use PHOTOS that you find on the Internet and drawings that you make yourself. YOU MUST USE AT LEAST 4 DRAWING OF YOUR OWN WORK, ANY ADDITIONAL IMAGERY ONLNE MUST BE CITED! You can choose to draw whatever you want, the character, the environment, special props, whatever. You must talk for 5-8 minutes and answer the above questions and be prepared to take live questions.
*I will only grade you based on effective communication of ideas, and imagination, not on technical accomplishment of the drawing.
WEDNESDAY
Jan 13
INTRODUCE DROPBOX:
[note on DropBox:
you must FIRST login to your CSULA account. Then click box below.
recommend: use"Safari" or "chrome" if you are Mac, or "Firefox" if on a PC
(log-in to your CSULA account on another tab,
then click below)
PRESENT: PROJECT #2 Video Game Fable
present your idea for a video game based on a fable
Story Development: HISTORY (continued)
Theatre, written word, radio, stand-up performance(at 34:00)
music, Film (back to the cave), Television, Video games, novels
Story Development: GENRE
What is GENRE?, Action, Adventure, Action-Adventure, Experimental, Short-subject Narrative, Diaristic Narrative, Music Video:(take on me, crazy), Abstract, Interactive, Sensory, Fine Art, documentary(?)
Marshal MacLuhan is known for coining the phrase, "The medium is the message" in his work Understanding Media. This phrase simply means that the technology that delivers the information has far more impact than the information itself. Can you give an example of a movie, game, art piece, animation, etc. that communicates clearly BY its particular media? unlike life
In-class Exercise
(1) The Hybrid Genres
Homework Assignment:
PROJECT #3 Hybrid Genre Trailer (homework)
Develop a 30-second "trailer" using 2 vastly different genre films. You can use Premiere, After Effects, or iMovie to create a preview animatics. You can draw with Photoshop, or scan your drawings. You can use any media that you would like, but make sure to keep the visual components simple and achievable in one week. Sound is not necessary but you may add if you want. You may communicate in your trailer using typed words and images!. Animation, fancy camera moves, and moving elements(animation) is not necessary. Stills, scanned drawings are acceptable, but must be edited into a 30-sec movie (640x480 or 1280x720). Due at the beginning of the next class.
HOW TO GET STARTED: Research Feature films that you feel represents clearly a genre. First, identify the genre you think each are operating. Then, find a way to combine the 2 films into one film!. Look for breadth of difference in your choices. i.e.: Dude, Where's My Car with Fargo ONE OF YOUR FILM CHOICES MUST BE PICKED FROM HIS LIST here. At least one of your film choices should be picked from this list. I am looking for ideas and imagination in how you would achieve this hybrid.
*I will only grade you based on effective communication of ideas, and imagination, not on technical accomplishment of the drawing.
Downloading Videos from You-tube (using Firefox)
WEDNESDAY
Jan 20
PROJECT #3 Hybrid Genre Trailer
Story Development: BUILDING STORY
IDEA:
Concept, Springboard, Setting, Context, Back story, Premise, Synopsis or Treatment, Theme
scene cards ,2, film treatment pic, screenplay/script pic, outline,shotlist
Back-story without a Story???
We may split the class in half and work on opposite sides of the white board.
In-class exercise:
(1) write down on a large index card, 3 possible SPRINGBOARD ideas for a 30-minute TV anthology series (like the Twilite zone) (compare to series or mini-series) Be prepared to talk about them.
(2) We will place all the index cards on the white board, for each side of the whiteboard, we will select the top ten springboard ideas. **professor may reorganize this structure if need be a better system to fit the class size, and remaining time of class**
(3) Teams of 2 students per side, will take turns creating 2 characters from a springboard and placing them in an SIMPLE ARGUMENT (husband and wife, best friends, hated enemies, total strangers) What is the argument about? How can each of thier positions be seen as either valid or controversial?
(goal of this exercise: You can create back-story without realizing it during general creative process):Soon you will see the elements of back story creeping into the argument -even if the back story occurred five minutes prior to the meeting of the characters. Think about video games like MYST, what are ways the back story completely propels the story and the mysteries?
STRUCTURE
traditional structure
The 3-Act play, The Hero's Journey, Episodic, Steps of A Hero's Journey
experimental structure
cyclical, musical, interactive, experimental, exploratory, non-linear
Homework Assignment:
PROJECT #4 -Back stories Across Time- (Homework)
(1) Think about 2 different ERAS or TIMES(i.e.: ancient, Medieval, Victorian, Modern, or more contemporary) Study two vastly different eras you are interested. DO YOUR RESEARCH!
(2)VISUALIZE 4 characters as much as you can, that may emerge from each era. Create 4-drawings of 4 different characters, on sketch paper with color. Take high quality pictures of your artwork, include in your PowerPoint file. YOU ARE TO ALSO BRING YOUR ORIGINAL DRAWINGS TO CLASS. We will pin up your artwork, as SWEATBOX.
(3) CREATE A BACKSTORY for each character, not more than 3 paragraphs each (200-300 words). You may practice by brainstorming by using notes on small index cards to create "spring board" ideas.
(4) create a ONE PAGE SYNOPSIS (500 words) of how these characters may be crafted into a feature film.
(5)create SCENE CARDS (LARGE index cards, 5"x8"with a plot idea written on it, usually only one sentence) to display story structure (NOT a storyboard, simply writing on a large card) You may use your large index cards and number them in the upper left corner. We can post them on the white-board during your presentation. About 20 cards.
(6)At the beginning of the next class, present all your materials and field a critique by your classmates.
(7) put all images of artwork, back-story, synopsis, into a single Power-point file (or zipped folder). and upload to assignment folder on the my dropbox. *Also show your original drawings at the same time.
WHAT TO TURN IN:
-4 color drawings each on 14x17 on PAPER
-PowerPoint containing images of your drawings, and backstory for each character to DROPBOX
-One page Synopsis (500 words), and Backstories of characters (200-300 per character) PRINTED!
think about films that have done this:
2001,
Bill and Ted's Excellent Adventure
can you think of others?
There are many Hollywood films that employ a "time machine". The time machine device can thought of as genre in itself, yet quite prone to being the ultimate cliché.
Can you think of other films stories might traverse across time by using story structure or more unique devices?
WEDNESDAY
Jan 27
PRESENT PROJECT #4
Scene Development: SITUATION
PLOT TOOLS:
A/B story, incitation, foreshadowing, conflict, goals, MacGuffin, Ticking Clock MarClay the Clock, The idea of time, Deus Ex Machina, cliffhangers, clichés,..etc.
STORY VERSUS PLOT
Plot is NOT Story, Plot Points, Plot Twists, The Butterfly Effect
CLIMAX and RESOLUTION
Final battle, most intense action, In the 3-act structure it is the final 25-30 pages. in the heroes journey, it is the ordeal through the resurrection. In a game, it is the final moves that lead to victory or defeat. Climax gives way to this resolution.
Conveying Information
animation in film, TV and games:cinematics, animatics, Cut-scenes, trigger events, customizations
How Events Unfold
Plot, consequences, engagement and interactivity, collaboration, repetition, consistency, flow, non-linearity
Emotional Content
Experiential Storytelling, Creating Emotion
PROJECT #5 -EXPERIENTIAL STORYTELLING
I may group you into pairs for this project!
Think in terms of: Goals, Wants, Needs, Desires, Curiosities, Fears, Virtues and Vices...
Create a story structure that generates an EXPERIENCE, A situation, condition, event, that changes everything!!..some examples?: District 9, Grave of The Fireflies Titanic?, They Live some movies more "moving" than others, yet the characters react to the experience, not just expressing emotion.
IDEAS? a war with new weapons and consequences (bomb), a new technology that isolates people, natural calamity that limits resources, a government takeover that leads to famine...look for springboard ideas that lead to story structure ideas.
REMEMBER, here you are creating the STORY STRUCTURE first, not the characters first.
(1) articulate your story structure and ideas (for example, an invention allows time to go in reverse for some characters, but not for others) Be as creative and imaginative as you can. Describe this story synopsis in one page.
(2)develop the SCENES of your story structure, first through SCENE CARDS, scene cards ,2, then turn the scene cards into a simple storyboard. (you can turn the card over and make a drawing.
(3) create 3 color drawings from 3 selected scenes of your story. Select emotional peaks of the story, and illustrate them. look for ways to talk about the EXPERIENCES of the characters.
(4) present all your materials at the beginning of the next class. Your large Scene Cards, this time can double as story panels, and will be numbered and stuck to the white board.
What to turn in:
-one page Synopsis (per pair) PRINT and INCLUDE in Power Point
-20 scene card /story panels (per person) ACTUAL CARDS
-3 color drawings of scenes (per person) MUST BE ON REAL PAPER (take pic too, and include in Power point file.
If you work in PAIRS for this project, you must turn in:
1 page synopsis, 40 scene cards/story panels, 6 color scene drawings.
Again, you must have hard copies or everything, and real drawings on paper to present to class. You must also take pics of all and include as a Power-point file that you turn into dropbox:
WEDNESDAY
Feb 3
PRESENT PROJECT #5
Scene Development: ENVIRONMENT (1)
world building, resume of forces, color-metrics, natural environment, natural props, man-made props, breakdowns, art direction of environment.
PROJECT #6 -TBA- (Homework)
or
PROJECT #6 -EXTERIOR WORLDS
Using your 9"x12" Field sketchbook, create TEN sketches of different exteriors locations. FIVE of those sketches should be purely natural exteriors and FIVE should include man-made elements. Be imaginative as you can create alien, futuristic, or ancient worlds. Be as creative as possible
After you have made your sketches, chose FOUR to turn into finished versions. You may use Photoshop or Sketchbook Pro enhance these digitally or add more layers/detail/complexity. But you need to have printed copies of any digitally enhanced artwork, to pin up on the board if asked.
You may color your finals by on paper, or you may use Photoshop or Sketchbook Pro enhance these digitally or add layers/detail/complexity. But you need to have actual artwork, or printed copies of any digitally enhanced artwork, to pin up on the board if asked.
Be prepared to talk about your drawings and your process, research, and your creative ideas!
What to turn in:
-5 sketches, natural exterior depictions (roughs)
-5 sketches, industrial/man-made exteriors (roughs)
-Choose your best 4 sketches to turn into color finals. (nicely rendered/depicted)
You must bring ACTUAL drawings to class, as well submit DIGITAL copies of those drawings to dropbox.
**NAME FILES PROPERLY!! : " LastnameFirstname_Pr# "
WEDNESDAY
Feb 10
PRESENT PROJECT #6 EXTERIOR WORLDS
Scene Development: ENVIRONMENT (2)
research and natural observation, field exploration, (if time permits)
NOTE ABOUT PRESENTATION
There will be many times when presenting that you will be asked a creative question, that you have not planned an answer. Also, many times that you will have planned explanations, that you will be asked to rethink on the spot. This is all part of a heathy creative development. IMPROVISATIONAL techniques, in acting and theatre can actually help. It's not that you are "making it up" more than you are reamining open-minded and flexible. This is a mindset that is great to be when you are in the early stages of brainstorming and development. Humor is a great way to simply excersise in flexibility, and resisting defensiveness is creative presentation.
Whos Line is it Anyway: out of a hat, props, props, narrative,party quirks, party quirks, sports caster
PROJECT #7 -INTERIORS WORLDS
Using your 9"x12" Field sketchbook, create TEN rough sketches of different interior locations. FIVE of those sketches should be interiors of "public" settings, and FIVE should be interior of "private" settings. The public interiors would be places many random people would use everyday. The private, a place that only a one, a few, a small group or family would use. Be as creative as possible. Your settings can be futuristic or set in the past, OR use different planetary rules (i.e.: gravity, scale)
Be sure to include movable props in your interiors (also called "assets", which could describe the kind of people or society). Do not show actual people only the interiors. Assets may include furnitures, tools, weapons, food, instruments, clothing, monetary items, objects, etc..
After you have made your sketches, chose FOUR to turn into finished versions. you may use Photoshop or Sketchbook Pro recreate these digitally and add more layers/detail/complexity.*
You may color your finals on paper, and/or you may use Photoshop or Sketchbook Pro enhance these digitally or add layers/detail/complexity. But you need to have actual artwork, or printed copies of any digitally enhanced artwork, to pin up on the board if asked.
You may also, if you wish, create your final color versions on paper and scan or photograph them to present digitally.
Be prepared to talk about your six exteriors and your process, research, and your creative ideas!
What to turn in:
-5 sketches, public interior depictions (roughs)
-5 sketches, private interior depictions (roughs)
-Choose your best 4 sketches to turn into color finals. (nicely rendered/depicted)
You must bring ACTUAL drawings to class, as well submit DIGITAL copies of those drawings to dropbox.
**NAME FILES PROPERLY!! : " LastnameFirstname_Pr# "
WEDNESDAY
Feb 17
PRESENT PROJECT #7 INTERIOR WORLDS
Character Development IDENTITY
Archetypes: (here)
Hero, shadow, mentor, helper, guardian, trickster, the herold, the lackey
Contemporary Types
Protagonist, Antihero, Co-protagonist, antagonist
Ancillary Characters
pivotal character, sidekick, lackey, allies, henchmen, mole
Please research all of these archetypes and more on your own. They are very well documented and easy to find definitions of the Internet. Try to determine what is more credible or useful to your particular idea for a story.
Here is an even further list of character Archetypes (tropes) necessarily clichés?:
http://tvtropes.org/pmwiki/pmwiki.php/Main/ArchetypalCharacter
can you come up with more of your own?
ARCHETYPES WITHOUT A STORY?
IN CLASS PROJECT: GROUP CHARACTER FACTORY (PAINT PAPER)
Students will use a cooperative system to create characters through creative automatic stream. (by collective abstraction) Beginning with a Rorschach like image, each student assembles part of the character and passed down the line. When 15-20 characters pass through this factory, they are declared "finished". We then will rank the top 8-9 to put into archetypes. From archetypes we will create story on the fly, without any preconceived ideas for story or plot, using archetype cues alone.
angry walk, cool walk, depressed walk, dreamy walk, happy walk, macho walk, run, run_away, run_toward, skip, sneak, tip toe
PROJECT #8 -CHARACTER IDENTITY
Using your 9"x12" Field sketchbook:
Create a sketch of these 8 different character types that use the idea of archetypes:
HERO, SHADOW, MENTOR, HELPER, GUARDIAN, TRICKSTER, HAROLD, THE LACKEY, (you may also sketch other archetypes you research)
Look up more information on the definition of these character types if necessary. You don't necessarily have to have a single story that all the characters belong. Focus on characteristics and archetypes alone.
Chose FOUR sketches that you think is the most successful and turn them into finished designs in color..You may use photoshop or Sketchbook Pro recreate these digitally and add more layers/detail/complexity.*
At the beginning of the next class be prepared to present both your original sketches as well as digital versions.
Be prepared to talk about your four characters and your process, research, and your creative ideas!
What to turn in:
-8 sketches of archetypes (roughs)
-4 color finals archetypes
*You must bring ACTUAL drawings to class, as well submit DIGITAL copies of ALL drawings to dropbox.
**NAME FILES PROPERLY!! : " LastnameFirstname_Pr# "
WEDNESDAY
Feb 24
PRESENT PROJECT #8 CHARACTER IDENTITY
Character Development INTEREST
Back story
compelling characters, character back story, character physiology, character psychology, character sociology
Development
Internal Conflict, Finding Conflict, Turning Up the Heat, Compassion, ancillary characters, consistency, character growth, character arc
BIO-TYPE CHARACTERISTS:
Age, race, body type, size, textures, gender, hair/eye color, raw features, clothing, ectomorph/mesomorh/endomorph...physical characteristics.
STEREO-TYPE CHARACTERISTS:
Age, race, vocation, era that they live, gender, group-identity, role in society, cultural belongingness/nationality.
ATTITUDINAL CHARACTERISTCS: how they think, how they walk, how they talk, what they say, how they say it, their preferences, their temperament, their desires, how they wear their clothing, their tastes..Can these attitudinal things be seen immediately? easily visualized?
ARCHE-TYPE CHARACTERISTS:
What role do they fulfill in the story: Hero, shadow, mentor, helper, guardian, trickster, herold, the lackey ...etc.
NUANCE CHARACTERISTS:
Small but memorable differences within character types that help make a character compelling
Nuances can be physical things like freckles, type of clothing, jewelry, tattoos, hair style, living in a time (datedness). But should distinguish the differences between one character who is otherwise exactly the same. Your character may be a plumber, but how is THIS plumber slightly different. What are the characteristics THAT otherwise have NOTHING to do with any of the other identification methods. quirks, idiosyncrasies ticks, and traits.
Imagine a classroom full of school kids who are all forced to wear school uniforms. Although every costume is the exactly the same, does each kid look exactly the same? what nuances make the differences?
Nuances can be ANY kind of slight difference. They provide CONTRAST from otherwise pure stereotypes.
NUANCES by definition, important directly to the story, yet they are CRUCIAL to creating a compelling character, and avoiding formulaic/clichés Even if the character is very WELL DRAWN or technically masterful. The character can become quite boring, flat and UN compelling, rather quickly without developing nuances.
IN CLASS PROJECT: GROUP CHARACTER FACTORY (SCULPT)
Students will use a cooperative system to create characters through creative automatic stream. (by collective abstraction) Beginning with clay and some very basic structure, each student assembles part of the character and passed down the line. When 15-20 characters pass through this factory, they are declared "finished". We will then put them into a single job/vocation, and craft a story on the fly with love interests, conflicts, politics and job-drama.
WHAT MAKES A CHARACTER COMPELLING?
variety+nuance+contrast/development+compelling story=compelling character
VARIETY=Work beyond your comfort zone to visualize a wider variety characters that look wildly different from one another. A character is not always compelling on their own; A character is compelling in relation to others in the story. this gives richness, and interest.
NUANCES=focus on the little differences that breaks from the otherwise stereotypes/archetypes/bio-types of the character.
PROJECT #9 -CHARACTER NUANCES
Using your 9"x12" Field sketchbook:
Create designs of ten different characters that all do the same job or vocation yet contrast greatly from one another. Use the idea of character nuances. Develop traits which are different from one another. Make sure you are developing a wide variety of forms, shapes, body shapes and appearances. Don't for example, make all your characters tall-thin-anime-like or all-cute adorable-disney-like. Go for variety. Don't just do your typical style of drawing a character .. BOLDLY EXPERIMENT!
Reach beyond your comfort zone and everything you think you know about characters.
Chose FIVE designs that you think represent the most character diversity, yet still have the same job.(Do NOT use the idea of school uniforms) Turn those FIVE into final color artwork. You may use drawing or painting technique you want.
SPEND TIME ON YOUR ARTWORK! MORE DEFINIATION AND DETIALS IN ROUGHS and SHADING, RENDERED COLORS, AND DETAILS ARE EXPECTED in FINALS! YOU SHOULD BE (you should be spending around 6-8 hours at minimum on weekly project homework!)
Lastly, present a short back-story for each of the five characters. Be prepared to explain how or why these characters interact in their job. Give a one page story synopsis of they may meet and interact.
WHAT TO TURN IN:
-10 sketches of characters, each different, one to a page (roughs)
-5 color finals character
-1 page synopsis that contains back-story.
-ALL sketches must depict characters that do the same job. The nuances/differences in each character is your focus.
*You must bring ACTUAL drawings to class, as well submit DIGITAL copies of ALL drawings to dropbox.
**NAME FILES PROPERLY!! : " LastnameFirstname_Pr# "
WEDNESDAY
Mar 2
PRESENT PROJECT #9 CHARACTER NUANCES
Color-metrics....
Character Development VOCALIZATION and ACTING
verbal performance can be an enormous part of an identity. Considering the one in a trillion uniqueness of our voices, but HOW we say something, at particular times tells everything about the acting performance
I have nothing to say_v1, I have nothing to say_v2, I have nothing to say_v3
video tape yourself acting out the ticks of your character.
Narration
First Person, Third Person
Monologue
Dialog
purposes of dialog, non-verbal dialog, internal dialog, writing dialog
Relationships
Dyad, Triangle
Point of View
First-Person, Third Person
REMINDER:
or
PROJECT #10 -FINAL PROJECT
(Due Finals Day: FRIDAY December 12th).
Create a short subject COLOR ANIMATIC with SOUND (filmed storyboard) that includes some original voice work. Fully developed Stories, back-stories, characters, and artwork is expected. Story told through still artwork, editing, cuts and/or camera moves only. You will be graded on the success of the story and characters represented, not on fancy editing or movement.
The story needs to include the following in some way:
-archetypes with back-stories (does not need to be exaggerated!)
-a genre ( you can make up your own, or mash together more than one, you can interpret this creatively!)
-a goal
-conflict
-nuance in character design
-experiential story development (event effecting characters)
-foreshadowing
-well-developed environments (interiors and/or exteriors)
-a plot twist
-a compelling conclusion
-a "feeling" of originality/uniqueness
-and lastly, a moralistic or conceptual THEME
Work in groups of 2-3 (total project length should aim to be at least 2 minutes per group member)
START WITH SPRINGBOARDS , creating archetypes, creating back-stories, creating experiences, and THEN begin to piece together your story through the cards. THINK ABOUT STORY DEVELOPMENT ORGANICALLY. Use all of this class experience to develop the most appealing, entertaining, or compelling story that you possible can, and as original as possible. Working organically, can insure that ideas are as original and fresh as possible. Focus on the part of the story you can best tell in the short time, not on an epic adventure of plot points!
You may choose your partners, but I reserve the right to re-assign students. Each group will be evaluated and graded as one project. Yet, I will also grade the participation level of each group member.
-You should use some kind of original dialog or monologue, learn more here. It can be voiceover, or one or multiple talking characters. No animation is necessary. With any amount of voice content, use how much or how little as you need to push the story. Again quality is preferred over quantity.
-Create static artwork cut and edited (Premier or After Effects) (music, Foley, soundtrack is not necessary) Your team does not need, of course to actually create animation, yet is encouraged to use "previsualization" animation where appropriate.
-You may use ANY technique that best gets your Story and Visualization abilities across, but you must deliver a Final Quicktime movie in 720 HD format with sound.
-You may use the classroom for the rest of the quarter as your "production studio". I will manage the entire class, and provide assistance and guidance and settle any disputes if they occur.
-You may divide up the task each one of you will do: (i.e. one person does backgrounds, one person characters, one person editing sound and camera, but you should work on everything as collectively as possible, especially story development. If there is a disagreement I will help settle.
-I will grade all projects according to the criteria for all assignments
WHAT TO TURN IN:
-720 HD, H.264, color animatic video, 2 minutes per member (i.e.: 3 members to your group = 6-minute video)
-3 page synopsis containing character back-stories and plot.
-all evidence of your work on paper, and process: drawings, backgrounds, character studies, sketches, research. etc.
NOTE: 2 MINUTES PER GROUP MEMBER DOES NOT INCLUDE TITLES/CREDITS...also NO INTERIOR TEXT PLATES ALLOWED!
Upload all digitally to the dropbox for the final:
this space resevered for format purposes
WEDNESDAY
Mar 9
PROJECT #10-FINAL PROJECT (production continued)
Story Development: Final Execution
Theme, Story, Genre, Environment, Setting, Character types, How Story Unfolds, How to tell it, Goals, The Voice of the Writer, (After Effects)
FINALS WEEK: FINAL PROJECT DUE with PRESENTATION, WEDNESDAY MARCH 16th
also present NOVEL REPORT or DREAM JOURNAL DUE
METHOD OF EVALUATION
Homework assignments will be given points based on accurate completion of assigned readings, assignments and tutorials.
All Projects will be Graded with the following Criteria
* Appeal of Presentation
* Craftsmanship and/or Organization
* Creativity of the Story or Visualization.
* Followed Project Guidelines/Direction
Each given an equal weight of the point composition for each project.
It is, of course, the responsibility of each to ensure his/her work in completed an handed in on due dates (see below)
Critical review of your work will provide the source most assessments. Participation grade includes the extent and quality of the participation in the critiques, presentation of projects and positive interaction with classmates and professional approach toward the class. Students requiring any kind of special assistance should speak with the instructor at their earliest
GRADING
Attendance & Class Participation%15 (sample rubric)
1st, 2nd, 3rd, 4th Project %20 [5-pts. each] (sample rubric)
5th, 6th, and 7th Project %20 [6.6-pts. each] (sample rubric)
8th and 9th Project %20 [10-pts.] (sample rubric)
Project#10 (Final) %20 (sample rubric)
Novel Report or Dream Journal %5 (sample rubric)
Extra Credit: (see below)
GRADE SCALE: A 90%-100%B 80%-89%C 70%-79%D 60%-69%F Below 60%
Extra Credit:
Other opportunities for extra credit are possible involving visiting related exhibits, films, museums, art galleries, specific research, attending relevant shows or conferences, or related study, etc. Such points are limited and per the instructor's discretion and official acceptance policies are TBA.
POLICIES
Missing 3 classes, consecutively or not) is an AUTOMATIC FAILURE for the class.
Expect to spend from three to six hours a week on your working outside of class. Lab hours will be available and posted by the end of the first week.
Students are responsible for any material missed due to tardiness or absence. Readings, and assignments, and projects are expected at the beginning of class on their due dates.
Late submissions will be lowered one grade per class late.