ART 378 Art & Motion Tuesday Section Winter 2013 CSULA Professor Jim Ovelmen jim@jimovelmen.com @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/YearWINTER 2012 |
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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) | |||||||||||||||||||||||||||
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intro glass-shooter
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glass-shooter
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These are the final requirements of Project #1:
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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
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Research Assignment |
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Research Assignment |
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set-shooter
After Effects
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progress presentation of Project#2 A presentation of project #2 is to be given by all groups to receive feedback, style, editing, and technique. This feedback is to be used to improve work with time to make revisions. The most wholistic presentation should be given to allow the best feedback. Your 10% of your grade (for The Final Presentation) will be measured upon how your team utilized the feedback given to you today. continue to work on project #2
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FINALS WEEK (week 11) Present FINAL PROJECT Project #2 is due on FINALS DAY: TUESDAY, March 19, at 4:20pm |
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| ASSESSMENT PROCEDURES
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).
Your participation will be evaluated using the following criteria:
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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
Participation % 10 Artist Report/Museum Visit %10 Project#1 %20 Project #2 %50 Final Presentation %10
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
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ALL ASSIGMENTS ARE DUE AT THE BEGIINING OF CLASS. CLICK THE CALENDAR BELOW FOR ALL DUE DATES |
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