Animation-Entertainment and Game Art Design, AAS 1

Total Page:16

File Type:pdf, Size:1020Kb

Animation-Entertainment and Game Art Design, AAS 1 Animation-Entertainment and Game Art Design, AAS 1 Animation-Entertainment and Game Art Design, AAS The Associate of Applied Science Degree in Animation provides instruction for creating animation, 3D modeling and special effects for applications such as animated shorts, movies and games. Fundamental drawing skills, design concepts and the development of entertainment media assets will be covered. Courses in game art assets and level design will give students an employment advantage in the ever-growing game industry. Depending on individual choices and talents, students who complete the Animation program should be prepared for employment as an animator, a game art creator, a 3D visual artist, and/or a special effects artist. (Major Code 2630; State CIP Code 10.0304) • Animation Program web page (http://www.jccc.edu/academics/credit/animation/) Associate of Applied Science Degree First Semester CDTP 135 Desktop Photo Manipulation I: Photoshop 1 ANI 122 Digital Rendering for Animation* 3 ANI 125 Introduction to 2D Animation* 3 ANI 150 Introduction to 3D Modeling and Game Art* 3 ART 130 Drawing I 3 ENGL 121 Composition I* 3 Total Hours 16 Second Semester ANI 220 CG Environments and Animation 3 ANI 245 Character Animation* 3 ANI 258 Game Level Design* 3 ART 231 Life Drawing I* 3 Humanities Elective ^ 3 Communications Elective ^ 3 Note: ENGL 122 is recommended Total Hours 18 ^ See all AAS general education electives (http://catalog.jccc.edu/degreerequirements/associate-applied-science/) Third Semester ANI 255 Advanced Animation and Effects* 3 ANI 270 Visual Effects and Compositing* 3 ANI 130 Motion Graphics and Effects* 3 ANI 235 Character Modeling and Rigging* 3 BUS 121 Introduction to Business 3 Total Hours 15 Fourth Semester ANI 260 Animation Capstone* 3 ANI 210 Digital Sculpting* 3-4 or CIS 142 Beginning Programming using Python ANI 275 Animation Career Preparation* 3 Science and/or Math Elective^ ^ 3 Social Science and/or Economics Elective ^ 3 Total Hours 15-16 2 Animation-Entertainment and Game Art Design, AAS ^ See all AAS general education electives (http://catalog.jccc.edu/degreerequirements/associate-applied-science/) Total Program Hours: 64-65.
Recommended publications
  • Arts, Entertainment, and Recreation
    Arts, Entertainment, and Recreation SCOPE The Arts, Entertainment, and Recreation sector (sector 71) includes a wide range of establish- ments that operate facilities or provide services to meet varied cultural, entertainment, and recre- ational interests of their patrons. This sector comprises (1) establishments that are involved in producing, promoting, or participating in live performances, events, or exhibits intended for pub- lic viewing; (2) establishments that preserve and exhibit objects and sites of historical, cultural, or educational interest; and (3) establishments that operate facilities or provide services that enable patrons to participate in recreational activities or pursue amusement, hobby, and leisure time interests. Some establishments that provide cultural, entertainment, or recreational facilities and services are classified in other sectors. Excluded from this sector are: (1) establishments that provide both accommodations and recreational facilities, such as hunting and fishing camps and resort and casino hotels are classified in Subsector 721, Accommodation; (2) restaurants and night clubs that provide live entertainment, in addition to the sale of food and beverages are classified in Subsec- tor 722, Food Services and Drinking Places; (3) motion picture theaters, libraries and archives, and publishers of newspapers, magazines, books, periodicals, and computer software are classified in Sector 51, Information; and (4) establishments using transportation equipment to provide recre- ational and entertainment services, such as those operating sightseeing buses, dinner cruises, or helicopter rides are classified in Subsector 487, Scenic and Sightseeing Transportation. Data for this sector are shown for establishments of firms subject to federal income tax, and sepa- rately, of firms that are exempt from federal income tax under provisions of the Internal Revenue Code.
    [Show full text]
  • DVD/Video Game Entertainment System
    DVD/Video Game Entertainment System Owner's Manual wireless input .mp3 RES R integrated SURROUND SOUND VIDEOGAMES s SATELLITE Table of Contents Getting Started ......................................................................................................................................................................................................................... 4 Switching On, Lowering and Adjusting the Screen, Finding the Remote Control Buttons You Need, Listening Over the Vehicle Speakers Introduction .............................................................................................................................................................................................................................. 6 Discs Played ............................................................................................................................................................................................................................ 7 Changing Display Settings, Using the Dome Lights ................................................................................................................................................................ 8 Using the Remote Control ........................................................................................................................................................................................................ 9 Basic Remote Control Buttons .............................................................................................................................................................................................
    [Show full text]
  • Stock Market Game DECA Competition
    KNOWLEDGE AND SKILLS DEVELOPED Participants will demonstrate knowledge and skills needed STOCK MARKET GAME to address the components of the project as described in the STOCK MARKET GAME SMG content outline and evaluation forms. Participants in the SIFMA Foundation Stock Market Game develop and manage a virtual investment Participants will also develop portfolio of stocks, bonds, and mutual funds. The Stock Market Game is conducted via the internet many 21st Century Skills, in the and allows DECA members to test their knowledge and skills against other DECA members in an online following categories, desired competition. Each participating team manages all aspects of the portfolio including asset selection, buying by today’s employers: and selling. The goal of the competition is to increase the value of the portfolio. • Communication and During the course of the Stock Market Game, participants will: Collaboration • develop investment strategies based on expectations of growth, diversification and stability • attempt to avoid the pitfalls of market decline, mergers and overextension • Creativity and Innovation • Critical Thinking and EVENT OVERVIEW Problem Solving It is the responsibility of the advisor and participating teams to familiarize themselves with the Rules of The • Flexibility and Adaptability Stock Market Game. Rules are accessible through a link on the home pages of the team portfolio and in the Teacher Support Center. • Information Literacy In addition to the general rules of the Stock Market Game, DECA advisors and their teams should be aware of • Initiative and Self-direction the following: • Leadership and • This event consists of a written document describing the investment project and the oral presentation.
    [Show full text]
  • Introducing the Game Design Matrix: a Step-By-Step Process for Creating Serious Games
    Air Force Institute of Technology AFIT Scholar Theses and Dissertations Student Graduate Works 3-2020 Introducing the Game Design Matrix: A Step-by-Step Process for Creating Serious Games Aaron J. Pendleton Follow this and additional works at: https://scholar.afit.edu/etd Part of the Educational Assessment, Evaluation, and Research Commons, Game Design Commons, and the Instructional Media Design Commons Recommended Citation Pendleton, Aaron J., "Introducing the Game Design Matrix: A Step-by-Step Process for Creating Serious Games" (2020). Theses and Dissertations. 4347. https://scholar.afit.edu/etd/4347 This Thesis is brought to you for free and open access by the Student Graduate Works at AFIT Scholar. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AFIT Scholar. For more information, please contact [email protected]. INTRODUCING THE GAME DESIGN MATRIX: A STEP-BY-STEP PROCESS FOR CREATING SERIOUS GAMES THESIS Aaron J. Pendleton, Captain, USAF AFIT-ENG-MS-20-M-054 DEPARTMENT OF THE AIR FORCE AIR UNIVERSITY AIR FORCE INSTITUTE OF TECHNOLOGY Wright-Patterson Air Force Base, Ohio DISTRIBUTION STATEMENT A APPROVED FOR PUBLIC RELEASE; DISTRIBUTION UNLIMITED. The views expressed in this document are those of the author and do not reflect the official policy or position of the United States Air Force, the United States Department of Defense or the United States Government. This material is declared a work of the U.S. Government and is not subject to copyright protection in the United States. AFIT-ENG-MS-20-M-054 INTRODUCING THE GAME DESIGN MATRIX: A STEP-BY-STEP PROCESS FOR CREATING LEARNING OBJECTIVE BASED SERIOUS GAMES THESIS Presented to the Faculty Department of Electrical and Computer Engineering Graduate School of Engineering and Management Air Force Institute of Technology Air University Air Education and Training Command in Partial Fulfillment of the Requirements for the Degree of Master of Science in Cyberspace Operations Aaron J.
    [Show full text]
  • Turkish German Muslims and Comedy Entertainment CURRENT ISSUES in ISLAM
    Turkish German Muslims and Comedy Entertainment CURRENT ISSUES IN ISLAM Editiorial Board Baderin, Mashood, SOAS, University of London Fadil, Nadia, KU Leuven Goddeeris, Idesbald, KU Leuven Hashemi, Nader, University of Denver Leman, Johan, GCIS, emeritus, KU Leuven Nicaise, Ides, KU Leuven Pang, Ching Lin, University of Antwerp and KU Leuven Platti, Emilio, emeritus, KU Leuven Tayob, Abdulkader, University of Cape Town Stallaert, Christiane, University of Antwerp and KU Leuven Toğuşlu, Erkan, GCIS, KU Leuven Zemni, Sami, Universiteit Gent Turkish German Muslims and Comedy Entertainment Settling into Mainstream Culture in the 21st Century Benjamin Nickl Leuven University Press Published with the support of the Popular Culture Association of Australia and New Zealand University of Sydney and KU Leuven Fund for Fair Open Access Published in 2020 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Benjamin Nickl, 2020 This book is published under a Creative Commons Attribution Non-Commercial Non-Derivative 4.0 Licence. The licence allows you to share, copy, distribute and transmit the work for personal and non- commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: B. Nickl. 2019. Turkish German Muslims and Comedy Entertainment: Settling into Mainstream Culture in the 21st Century. Leuven, Leuven University Press. (CC BY-NC-ND 4.0) Further details about Creative Commons licences
    [Show full text]
  • ENGL 864* Topics in Modernism IV: Modernism in Literature, Arts, and Entertainment
    ENGL 864* Topics in Modernism IV: Modernism in Literature, Arts, and Entertainment This is a draft syllabus. While texts are unlikely to be added, I am still working on whittling down the readings to an optimum amount per week, so a couple here or there may be subtracted or designated optional. This course will take us on a whirlwind tour across the jagged landscapes of modernist innovation, both avant-garde and popular—taking in literary fiction, poetry, drama, pulp genres (crime, horror, science fiction), comic strips and books, visual arts and architecture, music and dance. Our starting point will be current debates about the scope and meaning of the term modernism, followed by an exploration of its diverse formal experiments and social and intellectual concerns in the first half of the twentieth century. Evaluation is based on weekly micro-analyses, a seminar presentation, a research prospectus (ungraded) and a research paper. Schedule 1. Introduction, Part 1: Music (What Is Modernism?) Criticism: Ross, The Rest is Noise 36-49, 60-66, 80-85, 130-170 Art: Listening to: Schoenberg, Stravinsky, Debussy Listening to: Jelly Roll Morton, Duke Ellington, Louis Armstrong, Bessie Smith, Billie Holiday 2. Introduction, Part II: Dance (What Is Modernism?) Criticism: Childs, Modernism Introduction and ch. 1 Friedman, “Definitional Excursions” Rohman, “Nude Vibrations” McBreen, “Gender Bending in Harlem” (on Nugent’s Salomé series) Art: Viewing: Graham, Heretic (4m); Baker, Siren of the Tropics (excerpt); Ellington, Symphony in Black (10m); Nazimova, Salomé (74m) Yeats, “Nineteen Hundred and Nineteen” 3. Fine Arts (What Is Modernism’s Object of Representation?) Criticism: Childs, Modernism ch.
    [Show full text]
  • Module-9 Background Prose Readings COMEDY and TRAGEDY
    Module-9 Background Prose Readings COMEDY AND TRAGEDY What is comedy? The word ‘Comedy’ has been derived the French word comdie, which in turn is taken from the Greeco-Latin word Comedia. The word comedia is made of two words komos, which means revel and aeidein means to sing. According to Oxford Advanced Learner’s Dictionary, comedy means a branch of drama, which deals with everyday life and humourous events. It also means a play of light and amusing type of theatre. Comedy may be defined as a play with a happy ending. Function of Comedy Though, there are many functions of comedy, yet the most important and visible function of comedy is to provide entertainment to the readers. The reader is forced to laugh at the follies of various characters in the comedy. Thus, he feels jubilant and forgets the humdrum life. George Meredith, in his Idea of Comedy, is of the view that comedy appeals to the intelligence unadulterated and unassuming, and targets our heads. In other words, comedy is an artificial play and its main function is to focus attention on what ails the world. Comedy is critical, but in its scourge of folly and vice. There is no contempt or anger in a comedy. He is also of the view that the laughter of a comedy is impersonal, polite and very near to a smile. Comedy exposes and ridicules stupidity and immorality, but without the wrath of the reformer. Kinds of Comedy 1. Classical Comedy Classical comedy is a kind of comedy, wherein the author follows the classical rules of ancient Greek and Roman writers.
    [Show full text]
  • Art Expression; *Imagery; Myths, Symbols, Or Stereotypes. Symbols Have Been Used As Instruments Literature To
    DOCUEENT RESUME ED 137 840 CS 501 619 AUTHOR. Busby, Linda J. -TITLE Myths, Symbols, Stereotypes: The ArtiSt end the Mass Media. PUB DATE Dec 76 NOTE 25p.; .Paper presented.at the Annual Meeting of the Speech Communication Association (62nd, San Francisco, December 1976) EDRS PRICE MF-$0.83 HC-$1,67 Plus Postage. DESCRIPTORS Art Apprecation; *Art Expression; *Imagery; literature; *Mass Media; *Mythology; Social Influences; *Stereotypes; *Symbolism; Television; Values IDENTIFIERS *Popular Art ABSTRACT Every form of communication involves the use Of . myths, symbols, or stereotypes. Symbols have been used as instruments to measure artistic works-, from film to painting, from high literature to television'programs. Stereotypes are communication short-Cuts which allow communication to engert*T images without.the use of full description by the atist. Myths oedur in communication as the synthesis of a cultural history conveyed in majoritv:valnes and beliefs. Both high art and popular art utilize these images, but the ways that popular art uses them are affected direCtly by structure, social worth, and social mobility. High culture is'less to be limited in its utilization of .these images than is mass . culture because high art functions with fewer social restraints. Physical restraints on artistic output become obvious'when comparing creative techniques used in various media. Content can be viewed in terms of the physical and Social structure oi the medium, but there is also an important structural consideration in a work of popular . art itself. Most observers of popular art define the inherent structure of that art as formulaic. By more carefully examining these images in popular art, we can learn more about values in sbciety and, - about the various audiences to:whom a particular kind of popular art appeals.
    [Show full text]
  • Competition Versus Cooperation: the Sociological Uses of Musical Chairs*
    NOTES THE CHAIRS GAME- COMPETITION VERSUS COOPERATION: THE SOCIOLOGICAL USES OF MUSICAL CHAIRS* SUSANR. TAKATA Universityof Wisconsin,Parkside MY TEACHINGAPPROACH is not traditional techniques to use in my classes, I acciden- "lectures-and-quietly-take-notes"where stu- tally came across one in Robert Fulghum's dents are the passive recipients of knowl- Maybe (MaybeNot): Second Thoughtsfrom edge. In recent years, I have become in- a Secret Life (1993:117-21). As an ice- creasingly interested in active student- breaker in his high school philosophy involved, process-based learning. Yvone classes, he presented two versions of musi- Lenard reminds us that "Learningis messy. cal chairs. The first version is the one we Performance is neat,"' which reflects the are all familiar with, but the second version initial struggles that occur when studentsare has one rule change that demonstrates the problem solving or grasping a new sociolog- value of cooperation. I use the same ap- ical concept. Founded on the principles of proach as Fulghum, which emphasizes com- cooperative learning (Johnson, Johnson, and petition versus cooperation, but I have ex- Holubec 1991), the taxonomy of learning panded the focus of this teaching technique (Bloom 1956), divergent production to include the application of a variety of (Guilford 1967), and affect (Hall 1959), the sociological concepts. The Chairs Game is Chairs Game demonstrates how students an excellent active learning tool, which be- learn about competition versus cooperation comes the focus of class discussions as well as a variety of sociological concepts throughoutthe semester. This technique ap- and theories. This process does not occur plies to a wide variety of courses within neatly or in a straight line progression.
    [Show full text]
  • In-Game Advertising Measurement Guidelines
    In-Game Advertising Measurement Guidelines Released September 2009 IAB In-Game Advertising Measurement Guidelines These Guidelines have been developed by the IAB In-Game Ad Measurement Working Group with guidance from the IAB Games Committee. About the IAB In-Game Ad Measurement Working Group: The IAB In-Game Ad Measurement Working Group worked to develop a transparent methodology that will support growth and stability in the industry as advertisers will have consistent and reliable metrics across various providers. Key Contributors: 2KGames Extent PointRoll Activision Google Range Online Atlas IAC Real Networks Deloitte IGA SkyWorks Double Fusion IGN Sony Playstation Dynamic Logic IM Services THQ Electronic Arts Jogo Media Ubisoft Ernst & Young Microsoft Unicast About the IAB Games Committee: The mission of this committee is to articulate the value of gaming as an advertising platform. A full list of Council member companies can be found at: http://www.iab.net/games_committee IAB Contact Information: IAB Ad Technology Team [email protected] 116 East 27th St 7th Floor New York, NY 10016 © 2009 Interactive Advertising Bureau - 2 - IAB In-Game Advertising Measurement Guidelines Table of Contents: 1. Scope and Applicability of these Guidelines ........................................................................................ 4 2. Glossary ................................................................................................................................................... 4 3. Measurement Definitions and Other Metrics
    [Show full text]
  • Rules of Play - Game Design Fundamentals
    Table of Contents Table of Contents Table of Contents Rules of Play - Game Design Fundamentals.....................................................................................................1 Foreword..............................................................................................................................................................1 Preface..................................................................................................................................................................1 Chapter 1: What Is This Book About?............................................................................................................1 Overview.................................................................................................................................................1 Establishing a Critical Discourse............................................................................................................2 Ways of Looking.....................................................................................................................................3 Game Design Schemas...........................................................................................................................4 Game Design Fundamentals...................................................................................................................5 Further Readings.....................................................................................................................................6
    [Show full text]
  • NOT JUST a GAME Featuring Dave Zirin
    MEDIA EDUCATION FOUNDATION STUDY GUIDE NOT JUST A GAME Featuring Dave Zirin Study Guide Written by SCOTT MORRIS please visit www.mediaed.org/wp/notjustagame for updated materials & resources 2 CONTENTS Note to Educators ………………………………………………………………………………………3 Program Overview ……………………………………………………………………………………...4 Pre-viewing Questions …………………………………………………………………………………4 Introduction ……………………………………………………………………………………………...5 Key Points …………………………………………………………………………………………5 Questions for Discussion & Writing …………………………………………………………….5 Assignments ………………………………………………………………………………………6 In the Arena ……………………………………………………………………………………………..7 Key Points …………………………………………………………………………………………7 Questions for Discussion & Writing …………………………………………………………….8 Assignments ………………………………………………………………………………………9 Like a Girl ………………………………………………………………………………………………10 Key Points ……………………………………………………………………………………….10 Questions for Discussion & Writing …………………………………………………………...12 Assignments …………………………………………………………………………………….13 Breaking the Color Barrier ……………………………………………………………………………15 Key Points ……………………………………………………………………………………….15 Questions for Discussion & Writing …………………………………………………………...15 Assignments …………………………………………………………………………………….16 The Courage of Athletes ……………………………………………………………………………..18 Key Points ……………………………………………………………………………………….18 Questions for Discussion & Writing …………………………………………………………...19 Assignments …………………………………………………………………………………….20 3 NOTE TO EDUCATORS This study guide is designed to help you and your students engage and manage the information presented in this video.
    [Show full text]