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INFORMATION to USERS This Manuscript Has Been Reproduced INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter face, while others may be from an y type of computer printer. The qnaliQr of this reproduction is dependent upon the quali^ of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inproper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manusciipt and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the badt of the book. Photogr^hs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 INFORMAL COMPUTER-ART EDUCATION: A FOCUS ON THE ART AND HISTORICAL IMPACT OF COMPUTER GENERATED SPECIAL VISUAL EFFECTS AND THE PEDAGOGY OF THE ARTISTS WHO CREATE THEM PROFESSIONALLY IN THE SAN FRANCISCO BAY AREA PRODUCTION COMPANIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Garth Anthony Gardner, B.A., M.A. ***** The Ohio State University 1995 Dissertation Committee: Approved by Dr. Noel Mayo Dr. Anthony Scott Dr. Don Krug Dr. Midori Kitagawa-DeLeon Department of Art Education UHI Number: 9544568 UMI Microform 9544568 Copyright 1995, by OMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Garth Gardner 1995 For Hyacinth and Philip Gardner 11 ACKNOWLEDGMENTS It is with my greatest and most sincere pleasure that I welcome this opportunity to extend my gratitude to those who have made this document a reality. Primarily, I would like to extend my deepest appreciation to Dr. Noel Mayo for his encouragement, motivation, and support throughout my most difficult times at The Ohio State University and for guiding me through the process. I am deeply indebted. Gratitude is also due to the Department of Art Education faculty. Dr. Anthony Scott co-advised and offered his guidance, knowledge, and criticism throughout the entire preparation of this document. Dr. Don Krug offered his insights into the area of nonacademic art education and provided the key concepts for the foundation and design development of the research methodology. Dr s. Arthur Efland and E. Louis Lankford contributed through their lectures and advice. The Department of Art faculty member. Dr. Midori Kitagawa-DeLeon provided technical expertise in the practical areas of computer graphics. I also thank former instructor Reudy Leeman for his dedication to teaching throughout his year at The Ohio State University's Advanced Computing Center for the Arts and Design. Thanks are also due to Professor Charles Csuri for his overwhelming support and suggestions and to the other pioneers and educators whose contributions have added significantly to the body of this document. To the many corporate trainers, training practitioners, and practitioners of the San iii Francisco Bay Area digital effects production company, who contributed generously as my needs arose, thanks for responding to my numerous requests for additional information. Thanks to the marketing staff at these companies who assisted in arranging the initial appointments and interviews with the effects artists. To my former professors Susan Morrison and Jane Veeder, thanks for their knowledge and direction. To my countryman Kurt Shade and the Caribbean Students Association; Nicholas Banks and the Office of the Eminent Scholar of Art and Design Technology; my friends and colleagues at the Department of Art Education and the Advanced Computing Center for the Arts and Design, thank you all for the support and words of wisdom. My appreciation to my many assistants, Mauva B., Jennifer M., Christtina P., Rina, Linda H., Barbara W., and Muge, for taking the time out of their busy schedules to ensure that this document met the various deadlines in the stages of its preparation. To my brother Gary and best friend Michelle, thank you both for your continued love, support, and advice. To my father—my former boy scout commissioner, high school wood work teacher, current chief advisor—and to the rest of my family, I offer my love and gratitude. To all of these people and to the others who have gone unnamed I express my deep appreciation. IV VITA 199 2........................................................................ B.A., San Francisco State University, San Francisco, California 1992-1993............................................................... Instructional Technologist, Thesis Project, San Francisco State University, California 1992-Presen.......................................................... t Freelance Animation and Instructional Technology Consultant, San Francisco, California, and Columbus, Ohio 199 3........................................................................ M.A., Department of Instructional Technology, San Francisco State University, San Francisco, California 1993-199...............................................................5 Teaching Associate, Computer Animation and Graphics, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Art Education. Computer Animation and Graphics; Traditional Animation; Special Visual Effects for Film and Television; Instructional Technology. V TABLE OF CONTENTS ACKNOWLEDGMENTS........................................................................................... iii VITA.............................................................................................................................V LIST OF TABLES........................................................................................................x LIST OF PLATES........................................................................................................ xi CHAPTER 1................................................................................................................. 1 INTRODUCTION PROBLEM...................................................................................................................1 Background of the Problem........................................................................ 1 Statement of the Problem/Research Question......................................... 6 PURPOSE OF THE STUDY..................................................................................... 14 LITERATURE REVIEW.......................................................................................... 16 METHODOLOGY......................................................................................................16 Rationale.......................................................................................................... 20 A ssum ption...................................................................................................22 The Design.......................................................................................................22 Teacher................................................................................................25 Student................................................................................................26 Pioneer................................................................................................26 An Exemplary Study to Present the Various Methodological D im ensions....................................................................................................29 An Interpretation................................................................................31 Documentation.............................................................................................32 Limitations.....................................................................................................33 SIGNIFICANCE OF THE STUDY.......................................................................... 34 CHAPTER I I ...............................................................................................................37 THE EARLY YEARS Antecedents.....................................................................................................37 Birth and Development of Traditional Visual Effects............................37 Traditional Visual Effects in Film The Development of the Tools and Techniques........................43 Frame by Frame Stop-Motion Development.............................................................52 vi Early Concepts of Animated Drawings.....................................................60 Muybridge and M arey...................................................................................65 Two-Dimensional Animated Film Effects...............................................66
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