art3780 Art & Motion
SPRING 2017
CSULA
Professor Jim Ovelmen
jim@jimovelmen.com
jovelme@calstatela.edu
LAB HOURS (for working labs outside of class)
ABSOLUTELY NO MOBILE DEVICE USE IN CLASS!!
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 Time THURSDAYS 4pm-8:40pm,Class LocationFA 225, Term/YearSPRING 2016
*if you would like to meet with me during my Office Hours,
Please make an Appointment in the Art Office
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.
(2) Demonstration of creative application of different animation
materials and visual choices.
(3) Examination and practice a variety of animated content, from
stop-motion and analog animation, to digital techniques and compositing.
(4) Development of critical and creative techniques in expressing
the essentials of color, form, space; composition completely within the
language of animation and timing.
(5) Execution of projects that give the principles of animated
form and visual expression through a diversity of animation techniques.
(6) Presentation of an arrayed environment of visual elements,
timing, principles of basic animation such as anticipation, overlap and
exaggeration in animation.
STUDENT OUTCOMES
(1) Demonstrate a heterogeneous array of animation methods and
techniques, appropriate for creating expressive animation.
(2) Remain informed on materials, textures, and properties of
both physical and digital animation supplies.
(3) Practice and research mixed-media combinations in order to
create animations.
(4) Appreciate and demonstrate an understanding of creative timing,
and distinguish the difference between mechanical and motivated/creative
timing.
(5) Produce animations that involve both organic and automatic
image sources and materials.
(6) Become a distinguished thinker and chooser of content, and
be informed and critical about the nature, meaning, and message of the
animation that they create. (7) Become experienced with working with a group of artistic and conceptual
collaborators.
STUDENT RESOURCES
technical
STOP MOTION
Dragonframe
AFTER EFFECTS
ART MATERIALS
Stats (decor)
cerebral
FILM FORUM
MOCA
LACMA
SUNDANCE
ANN ARBOR FILM FESTIVAL
INDEPENDENT ANIMATION
ONLINE ART/ANIMATION
youtube
SUGGESTED TEXTS
Halas, John, Sito, Tom and Harold Whitaker. Timing for Animation, Second Edition
Focal Press, 2009.
Shaw, Suzannah. Stop Motion: Craft
Skills for Model Animation, Second Edition(Focal Press
Visual Effects and Animation)
Focal Press, 2008.
Furniss, Maureen, The Animation
Bible: A Practical Guide to the Art of Animating
from Flipbooks to Flash, Abrams, 2008
Furniss, Maureen. Art in Motion, Revised Edition: Animation Aesthetics
Indiana University Press, 2008.
Maestri, George. Digital
Character Animation 2, Volume I:Essential Techniques
New Riders Press, 1999.
Taylor, Angie Design Essentials
for the Motion Media Artist: A Practical Guide to
Principles & Techniques, Focal Press 2010.
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
Methods, Principles and Formulas for Classical, Computer, Games, Stop
Motion
And Internet Animators, Faber & Faber; Second Edition,
2009
Mattessi, Mike. Force: Dynamic Life Drawing for Animators,
Second Edition
Focal Press, 2006
White, Tony Animation from
Pencils to Pixels: Classical Techniques for
the Digital Animator Focal Press, 2006
Laybourne, Kit. The Animation
Book: A Complete Guide to Animated Filmmaking-
-From Flip-Books to Sound Cartoons to 3- D Animation Three
Rivers Press, 1998
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
DICK BLICK 44 South Raymond Avenue Pasadena, CA
91105
(626) 795-4985
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.
5x8 Blank Index Cards, 100-pk (about $6 each) (2-packs)
Friday, Jan 27th
intro:
Professor Jim Ovelmen: Jim Ovelmen video Bio
CSULA animation program: video
Stopmotion Animation at CSULA: video
glass-shooter
form 2 or 3 groups
(in class) glass down-shooter practice
Lotte Rienger
Anthony Lucas
Andy Kennedy
Allison Shchulnik
David Lee
Experimental Japan
Igor Skaletsky and a drummer Evgeniy Labich
Atyp & Si Begg
Friday, Feb 3rd
glass-shooter
Continue practice
form 2 or 3 groups
(in class) glass down-shooter practice
begin project#1
THE WILD ALTERCATION due beginning of week6
(20% of grade)
-past student work images(login to CSULA account first)
Terry Gilliam, Monty Python Animations
These are the final requirements of Project #1:
-your team must create about at least a one minute animation
- make good use of lighting, focus, and cinematography elements
-your animation must be artistically and visually engaging, and technically well exposed.
-your team must export a final animation as a HD quick time movie and present to class
-sound is not required but is encouraged.
-Project #1 is due beginning of class, Week 4
Friday, Feb 10
continue work on project#1
down-shooters
After Effects Demonstration
Using Camera in After Effects (basic)
After Effects Keyboard Shortcuts
Friday, Feb 17
special event: 4-5pm:
ANIMATION CANDIDATE PRESENTATION
down-shooters
continue work on project#1
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)
Tripping on ideas of "Musical"
Bollywood: Maiya Yashoda, Dola Re Dola, Maar Dala, Munni Badnaam, Hunka Peeni hai
Horror/Zombie Musical
Friday, Feb 24
down-shooters
continue work on project #1
Friday, March 3
down-shooters
continue work on project #1
set-shooter
Friday, March 10
project #1 is due
begin project #2 Pixilization Liberation (25% of grade)
-past student work (login to CSULA account first)
Research Assignment
Friday, March 17
set-shooter
continue work on project #2
After Effects
Stopmo shorts
head over heels, head over heels
scintellation, the shrine, out of a forest, much better now, something left
the deep end, fresh guacamole, street of crocodiles, dimensions of dialog, darkness light, mary and max, clip2, trailer
Friday, March 24
Friday, March 31
Cesar Chavez Day/ Spring Break
No Class
Friday, April 7
Present Project#2, Pixelization
A presentation of project #2 is to be given by all groups to receive feedback, style, editing, and technique.
Begin Project #3, due Final's Day
"Psychedelic Musical"(35% of grade)
-past student work (login to CSULA account first)
TUTORIALS: (you don'thave to use characters/figures, but if you do):
Artist's Wildly different approaches in stop-motion, the medium is the message.
Allison Shchulnik
Media Artists (via Joshua Mosley):
Joshua Mosely (Dread), (Cow to Pascal, Rousseau and Dread)
William Kentridge (Automatic Writing)
Tripping on ideas of "Musical"
Bollywood: Maiya Yashoda, Dola Re Dola, Maar Dala, Munni Badnaam, Hunka Peeni hai
Horror/Zombie Musical
Friday, April 14
continue to work on Project#3
Friday, April 21
continue to work on Project#3
Friday, April 23
continue to work on Project#3
Friday, May 5
continue to work on Project#3
Friday, May 12
continue to work on Project#3
WEEK 16 - FINALS DAY
Friday, May 19, 2pm
FINALS WEEK (week 11)
Present FINAL PROJECT Project #3 is due on FINALS DAY:
ASSESSMENT PROCEDURES
ATTENDANCE
Attendance is mandatory. Any absences not excused by a note from a doctor or a dean will negatively affect your participation grade (see participation below). I will take roll during every class. If you have an illness or family emergency that prevents you from attending class, you need to contact me as soon as possible (e-mail is usually the surest way). If you are late for class, it is your responsibility to make sure I don't have you recorded as absent. If you miss a class for any reason, whether excused or unexcused, it is your responsibility to contact someone from class to find out what you missed (do this before the next class meeting). You are also responsible for getting copies of any handout that was given out in your absence. After your second unexcused absence, any additional absence will knock 30 points off of your final grade (see Grade Scale below for the points scale for this class).
PARTICIPATION
Your participation will be evaluated using the following criteria:
-Doing the reading assignments before we discuss them.
-Active participation in all small-group work.
-Speaking in class discussions.
-Listening (in the active sense).
Your participation grade will be negatively affected by any of the following (this is a short list):
-Leaving on your electronic devices. All laptops, cell phones, pagers, and other electronic devices should be turned off and put away during class. This includes earphones and earpieces.
-Coming to class late and/or leaving class early.
-Failure to do the homework on time.
-Absences.
-Talking about non-course-related subjects during group activities.
- Talking during video screenings and/or while someone else has the floor.CLASS POLICIES
Missing even one class is enough to put you significantly behind. Regular class attendance in mandatory. Class attendance is also part of your class participation grade. Arriving on time is equally important. You would be fired in a job you do not show up. The expectation here is similar. You will be considered absent one class period for every two tardies. (more than five minutes late)
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 day late.
student may be able to re-submit any assignment for an improvement grade. The policies are specific to each assignment. Check specific project descriptions for more details.
METHOD OF EVALUATION
Homework assignments will be given points based on accurate completion of assigned readings, assignments and tutorials.
The Midterm and the Final project will graded based on these criteria:
*Quality of Movement/Timing
*Visual Appeal
*Technical Effectiveness
*Originality/Creativity
Each given an equal weight of 20%, to compose your grade 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
ASSIGNMENTS
Participation %15
Artist Report/Museum Visit %5
Project#1 %20
Project #2 %25
Project #3 %35
GRADE SCALE: A 90%-100%B 80%-89%C 70%-79%D 60%-69%F Below 60%
MAKE UP WORK
Late assignments, or absences due only to emergency or illness may be granted leniency only per the instructor's discretion.
Extra Credit:
Students may be able to re-submit any assignment for an improvement points as long as that assignment was turned in the original due date. The policies are specific to each assignment. Check specific project descriptions for more details.
Other opportunities for extra credit are possible involving visiting related exhibits, films, museums, specific research, attending relevant shows or conferences, or related study, etc. Such points are limited and per the instructor's discretion
ALL ASSIGMENTS ARE DUE AT THE BEGINNING OF CLASS.