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ART
480 Computer Graphics II
(modeling
in 3D)
Spring
2012
CSULA
Professor
Jim Ovelmen
jim@jimovelmen.com
Jim.Ovelmen@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 HoursM/W 4pm-6pm, PhoneExt.
3-4033, Course Length10 weeks + finals day,
Meeting TimeM/W 1:30-4:00pm,Class LocationFA
225, Term/YearSPRING 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
This
course introduces aspects and methods for achieving high-quality 3D models
both organic and inorganic. Major emphasis of this class will be put on
the creative output of the student via the tools learned and projects
assigned. Moreover, the course aims toward the comprehensive use of techniques
in Maya to create meaningful 3D sculptures and environments with expressive
content. The class will be structured around increasingly challenging
projects around practical topics, and a final focusing on the human head.
Lectures will focus on the tools and principles of surface construction
as well as characteristics involving materials, textures, lighting, and
more. Related topics may include intro to rendering: HDRI rendering, Final
Gather, ambient occlusion, radiocity, and 2D rendering techniques.
PREREQUISITES:ART
380, Computer Graphics I
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.
Most of these assignments are, of course, to be done exclusively outside
the hours of class time.
The
expecation 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 3D modeling. I have listed
recommendations of texts and URLs for further study. I will also distribute,
handouts, images, and other reference materials to supplement your studies.
STUDENT OUTCOMES.
-be
able to think, plan and work creatively and comfortably with 3D modeling
tools, and display expressive choices and technical proficiency.
-apply
industry standard modeling techniques of correct quad-based topology
-posses
a versatility in different modeling strategies including Polygon, NURBS,
and Subdivisional
-create
high quality texture maps with UV layout coordinates with precision on
models
-create
both high quality inorganic and organic referenced models, including the
ability to create anatomical models based on reference which are "on-model".
-predict
and build the topology (muscle)flow for characters which anticipate future
pipeline events such as blend shape animation.
-obtain
a comfort with the node-based structure and inter-dependancy in Maya;
and have a strong knowledge of its context and workflow for creating models.
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STUDENT
RESOURCES
MODELING
MUDBOX,
ZBRUSH
Kittleson, Joan of Arc, Stop Staring,
Ear layout, Box modeling, Spline Method, etc..
SURFACING
NORMAL
MAPPING:
Ben
Cloward, Cody
Sargent, BAAAAM!
tutorial, Game-Artists.net
TEXTURES,
MUDBOX:
some
texture, more textures
what
is Mudbox?
MudboxandMaya?,
MudboxBasicsAndWacomPen,
NORMALMAPSinMudbox,
MUDBOX_1of_4,
MUDBOX_2_of4,
MUDBOX_3_of_4,
MUDBOX_4_of_4,
RETOPPINGdetailinMUDBOX
FREE RIGS
http://www.meshfactory.com,
http://www.turbosquid.com, http://www.3dcafe.com,
http://www.linefour.com
ie:
McCainModel.zip,
McCainMode.mb
PROFESSIONAL CG SITES:
http://highend3d.com
(Creative Crash)
http://www.awn.com
www.cgchannel.com
  
RIGGING (ANZOVIN)
http://www.anzovin.com/products/tsm2maya.html
MEL SCRIPTING
basic
MEL
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SUGGESTED
TEXTS AND SUPPLIES.
Exploring
3D Modeling with Maya 7 , by P. Beckman
and S. Wells Thompson Delmar LearningISBN 1-4180-1612-8-
Learning
Maya 7, The Modeling & Animation Handbook,
Alias Systems Corp.ISBN: 1-894893-873-
Digital
Lighting and Rendering, by Jeremy Birn
New Riders Press ISBN: 0-321-31631-2
ANIMATION
TEXTS
-Timing
for Animation,
by Harold Whitaker and John Halas, Focal Press ISBN 0-240-51714-8
-The
Illusion of Life,
Disney Animation Walt Disney Productions ISBN 0-7868-6070-7
-The
Animator’s Reference Book
, Les Pardew & Ross WolfleyThompson Course Technology, USBN 1-59200-675-2
-The
Animators Survival Kit, by Richard Williams, Faber, ISBN 0-571-20228-4
-Cartoon
Animation, by Preston Blair, Walter Foster, ISBN 1-56010-084-2
-Understanding
Comics, Scott McCould, ISBN 0-06-097625-X
-Character
Animation in 3D, Steve Roberts, Focal Press Visual Effects and Animation
ISBN 0-240-51665-6
REQUIRED
SUPPLIES.
USB
Flash Drive (1 GIG recommended)
External Hard
Drive, (mac formatted). At least 80 gigs
Large Sketchbook,
graph paper, pencils, markers, and other drawing
materials,
Sculpting material
(optional) may include: formable wire, clay or "sculpy"
GRADING
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COURSE
OUTLINE (SUBJECT TO CHANGE) |
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 MONDAY
Maya
Basics
·
Interface layout, and logic (images here are not
latest Maya version):
grid,
interface, channel
box, attribute editor, commandline,
helpline, modules
, hotbox, layer
editor, manipulators, outliner,
panel layout, pivot,
quicklayout, shelf,
statusline, toolbox,
move tools, shortcuts,
·See
through the 3D camera space and the orthogonal views.
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Cartesian properties (xyz)
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Navigating around the virtual world and camera control
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Manipulating objects. (move, rotate, scale)
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Displaying object wire, shadeModeling basics
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 WEDNESDAY
Maya
Basics (cont.)
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Primitive geometry and pre-defined content
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Moving an object’s pivot
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Polygon intro
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Selecting order, and duplicationHierarchy
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Understanding hierarchy, dependency and the workflow of Maya
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grouping, parenting, and the Hypergraph
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Class Exercise: Model and Navigate
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Class Exercise: Create a Tree, Extrude face/edge of a box,
Extrusion on a curve
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 MONDAY
MARTIN
LUTHER KING HOLIDAY -NO CLASS
(the
below itesm will be covered on Wednesday)
Maya
Basics (cont.)
·
Object and component mode
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Manipulating polygon surface components (vertex, edge, face)
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Extruding a face, edge, etc. (keep faces together, or not)
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NURBS objects and their components (hulls, lines, CVs)
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NURBS and Polygon comparison, show tesselation differences.
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Trimming NURBS, and use of Make Live
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Pick masks: prioritizing and masking· The Outliner:
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 WEDNESDAY
Maya
Basics (cont.)
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Drawing and manipulating NURBS curves
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Using simple curves to create custom objects (extrude, loft, etc)Rendering
Basics
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Lighting intro (point, directional, spotlight, etc)
lighting explained
types
of lighting
low
key/high key
three
point lighting
shader
examples
· Hypershade
and Shading intro
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 MONDAY
MIDTERM PROJECT
: VIRTUAL MOBILE is assigned
DUE:
Monday,
Week 6
(image
on left, for definition purposes only)
mo·bile
a piece of kinetic sculpture having delicately
balanced units constructed of rods and sheets of metal or other material
suspended in midair by wire or twine so that the individual parts can
move independently, as when stirred by a breeze.Compare to stabile.
I
want you to start with a collection of FOUND OBJECTS, model them individually,
then desgin them into a virtual hanging mobile sculpture. You can use
lights if you wish to create a chandelier-like piece as well, it's up
to you. Moreover, in the tradition of Alexander Calder, create a piece
that looks like it could actually balance itself in gravity. (more
info on kinetic sculpture)

found
objects
HERE
ARE THE STEPS FOR THIS PROJECT
1)
Spend at least one full day collecting small objects..you
could go on a nature walk and collect leaves, rocks, stones, bark, pine
or seedling cones, shells, broad grass samples, etc. Then you could
go and search for junk items, metal, wood, simple toys, harwares, stuff
in a junk drawer...
..all
items you can fit easily into your hand...make sure you have a large
amount of diversity of items. You may if you want collect any manmade
items, dicarded or trashed, but again, only if it looks completely safe,
and permitted. DO NOT go to anyplace dangerous, CSULA holds no liability.
2)
Collect all a wide variety of portable found items, that you
can put in a bag and bring back to lab or home to begin to make organic
models.
3)
choose at least eight of the most interesting forms among the object
and make sketches of them in front and side views. Take these drawings
and scan them into Maya and use as building plans for you model.
4)
You may also DIRECTLY SCAN some of the flat surface and texture
of your object. You are to not only to model these objects as faithfully
as possible, you will contribute color, bump, tranparency, and any other
texture maps needed to give full richest and similitude to your objects.
Using efficient quad-polygon and/or NURBs techniques, you are expected
to make professinal level models as well as believable textures and
High quality lighting. (using global illumination /
mental ray)
5)
After all eight of you objects are modeled and textured, you
are to arrange these mutiple objects into a MOBILE, or VIRTUAL HANGING
SCULPTURE that connects all the peices together. you can incorporate
lights as well to make you piece like a chandelier or any creative interpretation
Your
project can have a social message as well if you wish, warning against
overconsuption, but the content, message, and the creativity
is up to you.
6)
SPECS:
this project (following the file tree below) as instructed,
and render at least 3 different views, at a resolution size
of at least 3K each.
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 WEDNESDAY
Modeling
and Materials
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Intro to 3D typology: Further surface construction via curves to create
NURBS surfaces
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shading and lighting continued: materials, different types of lights,
and aspects of surface appearance.
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Lighting and the properties of rendering, tesselation, raytracing. Depthmap
and raytraced shadows. Emulating realistic lighting without using Raytracing.
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More Poly tools: split polygon, split edge ring, cut faces, merging,
etc.
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Polygons, Collapse edges, Merging Verticies
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Subdivision modeling· Polys to subD conversions
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New features since 2008: when you hit 1,2,3 on a selected polygon, acts
like a SubD.
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Materials further: 2D and 3D textures
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texture maps further: color, bump, displace, transparency, etc.
HOMEWORK:
modeling and lighting a variety of simple forms.
other
assigments similar to this one

Super
Fast 3DAnim Overview
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 MONDAY
UV
texture creation and placement
Laying
out UVs on polygon figure
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Box modeling techniques: begin with half of a Poly cube (open).
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Outputting UV maps· Mapping methods for geometryPaint EffectsCamera
Properties
box
modeling, (subdiv Proxy) instance setup
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Box model a basic head, using edge loops, and Instance duplicate; upon
finish Mirror Geometry and merge both parts. (all edge verts. flush
to the "0" line, before mirror,) (trans tools settings set
to WORLD, retain component spacing OFF, discreet move OFF)
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 WEDNEDAY
UV
texture creation and placement (cont.)
·
Basic approaches to customized Photoshop textures for Polygonal Models
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Film format/aspect ratio, composing the camera
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Film format/aspect ratio, composing the camera· Changing lenses,
focal length, and Action Safe/Title safe areas· Depth of field
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basic projection/normal mapping, 2D/3D placement node. 2D/3D map descriptions
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 MONDAY
Other modeling
methods:
Duplicate
Special for quick complexity, but be careful..
  
bump/displacement
mapping

normal
mapping:
Ben
Cloward, Cody
Sargent, BAAAAM!
tutorial,Game-Artists.net
MUDBOX
and NORMAL MAPPING:
what
is Mudbox?
MudboxandMaya?,
MudboxBasicsAndWacomPen,
NORMALMAPSinMudbox,
MUDBOX_1of_4,
MUDBOX_2_of4,
MUDBOX_3_of_4,
MUDBOX_4_of_4,
RETOPPINGdetailinMUDBOX
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 WEDNESDAY
TEXTURES
some
texture
more
textures
-in Animation
Menu, try using Deformers
-Animation>Deform>Non-Linear
Deformers: bend, flare, sine, squash, twist, wave, etc.
-----------------------------------------------------------------
use front/side/top
view images for accuracy, i.e:
 
revisiting
TEXTURES and their placement:
-Projection,
Normal, Procedural: a 2D or 3D placement node is created.
-the variety
of maps you can create: color, transparency, bump, displacement, diffuse,
specular, incandescent, normal map, and on and on..
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 MONDAY
MIDTERM
PROJECT (Virtual Mobile) is DUE today
FINAL PROJECT
: SELF PORTRAIT / ALTER EGO is assigned
DUE:
on Finals Day
-More on
UV texture mapping, redo the demo once again of facial layout.
·
Lighting: realistic sources, multiple sources, soft shadows
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Raytracing, reflection, and refraction· Qualities of light, mental
ray materials and photons: Cuastics
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Basic Special Effects on surfaces, Paint Effects, particles,
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more on Box Modeling, modeling to reference.
·
basic demo of the "Soft Modification Tool"
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importing and using image planes for reference
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setting up and using refererence, the importants of good flat reference,
good line-art often is the most useful, ie: line
art example, but you can use photos too if you manipulate them well
in PS.
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setting up "plumb lines"
of the front and side view in Photoshop in a layer. Or, if you draw
or trace your image, use Graph Paper.
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basic intro to "Poly-to-Poly" modeling method, using front
and side reference, · Point
layout
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Organic Modeling Concepts: Muscle Flow,
Uniformity, Quad Topology
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Customize your Marking Menu
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UV Texture Editor, very basic intro
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Simple demo of painting a face in Photoshop to follow UVoutput.
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 WEDNESDAY
Use
of Photoshop in texture map creation, import UVout into a layer in PS,
painting on above layers with less% of Fill.
-Modeling
demo, starting again with Poly-toPoly sconstruction of the eye, building
in edge rings, showing strategy of point layout
-converting
the eyes and surrounds to SudDiv, using tools to sculpt, and back to
Polys again, (make sure to set to "Verts" in conversion Options)
-benefits
in modeling in SudDivs,: slect edge(s) under eye, and inset crease (SubdivSurf>full
crease edge)
-show kinds
of errors one can get with converting Polys to SubDivs: what are nonmanifold
geometry? and lamina faces? you can correct these in Mesh>Polygon
Cleanup
-show the
usefulness of Mesh>Sculpt Geometry Tool (works with Poly or SubDivs)
-show the
SOFT MODIFICATION, red feedack shows influence: *also in: Modify>Transformation
Tools>Soft Modification Tool, OR, Animation>Deform>Soft Modification
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Building a Face (Poly-to-Poly method),
online
tutorial
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Building a Face (another step by step), tutorial
·point
layout with
Z-brush
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Making Normals Soft or Hard: Edit Polygons>Normals>Soften/Harden*
*also can
"conform" Normals if the are not homogenous
· Ear
layout, Ear
Model Tutorial, Modeling
a Hand

FINAL PROJECT
is
assigned: CREATE A 3D MODEL OF YOUR OWN HEAD..
create a 3D head closely based on photo-references to match as closely
as possible to refererce. They modify the head, style, look, or appearance
of the head that provides an alter-ego or a much different yet perhaps
hidden side of yourself. (due Finals Week)Proposal and sketches for
FINAL PROJECT assigned (due Week 6)
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 MONDAY
BELOW
IS THE CRITERIA FOR THE Final Project
1)The standard
and quality of model, textures, lighting must be very high (matching
the most rigorous evaluation grading cirteria (in blue below) the "head"
must have proper topology, and UV texutre maps of color, bump, specularity
maps, etc, where necessary.
2)The film
should reflect a SINCERE ATTEMPT BY THE STUDENT TO COMMUNICATE an imaginative
new identity(potential)through the model, whether that be a specialized
object, environment, world or character.
3)The piece
must have an idea of what target viewer, group, or audience would this
piece be produced for.
4)You must
have at least FOUR, 3K renders of your final model, with high-end texture,
lighting, etc. UV texture mapping is expected on at least one or more
of your surfaces. Either realistic or specialized lighting is expected
in your scene which clearly defines a strategic lighting situation.
5)You must
show efficient level of modeling skill in Polygon, NURBS and/or SubDs
6)The model
should give the impression of STYLE, a graphic or aesthetic strategy
used by the artist. The design/sketch approval phase will dictate
most of this.
7)You must
follow the file tree specifications when turning in all of the Final
Project Content
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 WEDNESDAY
this
special topic will by demonstrated for interested students
· Caustics
and Global Illumination · mental ray lights
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Proposal and sketches for FINAL PROJECT are due
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 MONDAY
this
special topic will by demonstrated for interested students:
·
NURBS patch modeling (facial model), direct conversion to SubD’s
image lighting,
ambient occlussion, mental ray
HDRshop
shader
examples
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 WEDNESDAY
continue working on Final
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 MONDAY
this
special topic will by demonstrated for interested students:
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Toon Shaders, Ramp Shaders, vector Renders, and otherwise 2D-shaders
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Basic Character Rigging: getting your model into different poses
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 WEDNESDAY
continue working on Final
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|  MONDAY
· Consultation
on last leg of production: proper format, media, specs and content delivery
FINAL PROJECT
to be completed and turned in on designated due date on Finals Day of
the 11th week. Student presentations will be prepared for Finals, where
classmate critique and discussion will end the course.
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 WEDNESDAY
continue working on Final
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| GRADING |
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| 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 howmework 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
The learning curve in Maya is steep, 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 on time for. The expectation
here is similar. You will be considered absent one class period for
every three tardies. (more than five minutes late)
Missing 5 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.
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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 and Technical Competency
the Model
*Staging and Strength of the Design
*Quality of Lighting
*Appeal and treatment of Surfaces
*Creativity and Content
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
Attendance %
5
Attendance %
5
Homework
%10
Midterm Project %30
Final Project
% 50
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 realted 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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