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Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection -
Photo Journalism, Film and Animation
Syllabus – Photo Journalism, Films and Animation Photo Journalism: Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Need and importance, Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). subject of photo picture sources, Photojournalists are able to enjoy a working environment that gets them out from behind a desk and into the world. -
Animação De Personagem 3D: Expressão Facial
209 ANIMAÇÃO DE PERSONAGEM 3D: EXPRESSÃO FACIAL 3D CHARACTERS ANIMATION: FACIAL EXPRESSION LA ANIMACIÓN DE PERSONAJES 3D: EXPRESIÓN FACIAL José Carlos Miranda * ([email protected]) RESUMO Durante os últimos anos, emergiu um interesse crescente em animação 3D de caracteres e expressões faciais. EsTe facto está relacionado com a nova participação de actores virtuais em televisão, cinema e indústrias de jogos interactivos, entre outros. Nestes casos, o objectivo principal é criar personagens virtuais que simulam o corpo e todos os detalhes de movimento do rosto, da forma mais realista possível. Neste artigo é efectuada uma revisão dos métodos mais usados na animação 3D. O método base do esqueleto é o mais utilizado para criar os movimentos principais, como o andar, por exemplo; os métodos base de mistura de formas são usados para criar deformações mais subtis. Em áreas que exigem um maior controlo e realismo, como alguns músculos do rosto, é possível adicionar camadas de deformação. Normalmente, curvas de NURBS ou grelhas de FFD são usadas para realçar algumas características do rosto. Os vários métodos têm vantagens e desvantagens. Assim, a melhor solução é combinar as diferentes técnicas. Palavras-chave: Animação de personagem, Objectos de Deformação, Transformação, Animação do esqueleto, Expressão Facial. ABSTRACT During the last years a growing interest in 3D animation of characters and facial expressions has emerged. This is related with the new participation of virtual actors in television, cinema and interactive games’ industries among others. In these cases, the main goal is to create virtual characters that simulate body and all the facial movement details, in the most realistic possible way. -
Slides for Students
SLIDES FOR STUDENTS The Effective Use of Powerpoint in Education GARY D. FISK SLIDES FOR STUDENTS The Effective Use of Powerpoint in Education GARY D. FISK Blue Ridge | Cumming | Dahlonega | Gainesville | Oconee Copyright © 2019 by Gary D. Fisk All rights reserved. No part of this book may be reproduced in whole or in part without written permission from the publisher, except by reviewers who may quote brief excerpts in connections with a review in newspaper, magazine, or electronic publications; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other, without the written permission from the publisher. Published by: University of North Georgia Press Dahlonega, Georgia Printing Support by: Lightning Source Inc. La Vergne, Tennessee Book design by Corey Parson. ISBN: 978-1-940771-43-4 Printed in the United States of America For more information, please visit: http://ung.edu/university-press Or e-mail: [email protected] CONTENTS 0 Introduction vii 1 Presentation Software 1 2 Powerpointlessness 14 3 Educational Effectiveness and Student Perceptions 32 4 Avoiding Death by Powerpoint 53 5 Design for Emotion I 67 6 Design for Emotion II 84 7 Design for Sensation 100 8 Design for Perception I 117 9 Design for Perception II 135 10 Design for Attention 156 11 Design for Cognition I 170 12 Design for Cognition II 190 13 Design for Behavior 213 14 Technology Choices 232 15 Tips and Tricks for Slide Presentations 247 16 A Classroom Presentation Example 264 17 The Bright Future of Powerpoint in Education 292 A Appendix A 307 B Appendix B 310 C Appendix C 314 0 INTRODUCTION The creative spark that motivated this book was the observation that powerpoint presentations sometimes fail to produce a positive impact on student learning. -
Module Und Lehrveranstaltungen Nach Semestern Ausführliche Fassung
Studium und Lehre Module und Lehrveranstaltungen nach Semestern Ausführliche Fassung WS 2012 Studiengang: BA Kun Stand: 26. Okt. 2012 - 18:55 Diese Liste enthält alle die den Modulen zugeordneten Lehrveranstaltungen des Studiengangs - geordnet nach Semestern in absteigender Reihenfolge und innerhalb eines Semesters nach Modulen. ab Seite Module und Lehrveranstaltungen im WS 2012 1 Module und Lehrveranstaltungen im SS 2012 26 Module und Lehrveranstaltungen im WS 2011 53 Module und Lehrveranstaltungen im SS 2011 72 Module und Lehrveranstaltungen im WS 2010 98 Module und Lehrveranstaltungen im SS 2010 121 Module und Lehrveranstaltungen im WS 2009 140 Module und Lehrveranstaltungen im SS 2009 167 Module und Lehrveranstaltungen im WS 2008 182 Module und Lehrveranstaltungen im SS 2008 198 Module und Lehrveranstaltungen im WS 2007 202 26.10.2012 18:55:09 Mod_VV_lang_INTEGR 1/207 Module und Lehrveranstaltungen im WS 2012 BA Kun KUG 101 # 01 BA Kun KUG 101 KUG101 Einführung in die Kunstgeschichte 6 LP O gültig für PO 2007-02-28 Fach/StR: H Fach/StR: N BA Kun KUG 101 # 01 S-3 Einführung in die kunsthistorischen Methoden 3 LP E. Leuschner Interpretationsübungen zur Kunstgeschichte bis ca 1800 (PO 2007:Einführung in die kunsthistorischen Methoden) Interpretation art history until 1800 WS 2012 3 05 0 021 ::38891:: •D• 16.10.2012 Di 18:00-20:00 LG 3/HS 112 In diesem Kurs sollen die Studierenden durch mündliche Beiträge oder selbstverfasste Kurztexte Methodenwissen für das Beschreiben und Interpretieren von Kunstwerken des in KUG 101#01 behandelten Zeitraums nach Kriteren wie Material, Stil, Aussage/Bedeutung und kulturelle Kontexte erwerben. In this course, students will develop and sharpen their interpretative skills by describing and analysing works of art from the period covered by course KUG 101#01 according to criteria such as artistic technique, style, meaning and cultural contexts. -
Links to the Past User Research Rage 2
ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Leslie Bishko the Uses and Abuses of Cartoon Style in Animation
Animation Studies – Vol.2, 2007 Leslie Bishko The Uses and Abuses of Cartoon Style in Animation Introduction “Cartoon style” in animation broadly refers to animation design and movement that adheres to the 12 Principles of Animation, defined and developed at the Disney Studios. The Principles evolved through trial and error, by observing motion on-screen and noting what aspects of animated movement served the believability of the characters. To this day, the 12 Principles of Animation are known by all animators and used as a benchmark for good animation. Yet, these principles are not complete movement concepts. They influence specific movement patterns that are often applied without consideration of their effects, resulting in characterization that lacks authenticity. Viewers have come to expect that animated character performances portray the illusion of a living being. As a determining factor for believability in animation, authenticity functions on two levels. First, we suspend our disbelief and engage with the character; there is no question of the character’s aliveness. Second, through characterization, we experience an authentic being whose inner intent is communicated outwardly, and made unmistakably clear. Originating from the roots of 20th century modern dance, Laban Movement Analysis (LMA) is a conceptual framework for the observation, description and interpretation of human movement that offers a robust movement vocabulary. Where Animation Principles can potentially impose a specific style of animated movement, LMA is style-neutral and therefore excels at articulating components of style. Additionally, LMA addresses the relationship of intent to action, an innovative feature that aids us in the observation of authenticity which the Animation Principles lack. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
Cinema in Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’
Cinema In Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’ Manuel Ramos Martínez Ph.D. Visual Cultures Goldsmiths College, University of London September 2013 1 I declare that all of the work presented in this thesis is my own. Manuel Ramos Martínez 2 Abstract Political names define the symbolic organisation of what is common and are therefore a potential site of contestation. It is with this field of possibility, and the role the moving image can play within it, that this dissertation is concerned. This thesis verifies that there is a transformative relation between the political name and the cinema. The cinema is an art with the capacity to intervene in the way we see and hear a name. On the other hand, a name operates politically from the moment it agitates a practice, in this case a certain cinema, into organising a better world. This research focuses on the audiovisual dynamism of the names ‘worker’, ‘factory’ and ‘people’ in contemporary cinemas. It is not the purpose of the argument to nostalgically maintain these old revolutionary names, rather to explore their efficacy as names-in-dispute, as names with which a present becomes something disputable. This thesis explores this dispute in the company of theorists and audiovisual artists committed to both emancipatory politics and experimentation. The philosophies of Jacques Rancière and Alain Badiou are of significance for this thesis since they break away from the semiotic model and its symptomatic readings in order to understand the name as a political gesture. Inspired by their affirmative politics, the analysis investigates cinematic practices troubled and stimulated by the names ‘worker’, ‘factory’, ‘people’: the work of Peter Watkins, Wang Bing, Harun Farocki, Danièle Huillet and Jean-Marie Straub. -
Fiche Pédagogique
Comment engager une classe dans un film ? Comment préparer une classe au visionnement du film choisi, mettre les élèves en appétence ? Quels prolongements pédagogiques envisager ? Princes et princesses, de Michel Ocelot, France, 2000 Couleur. Durée : 1h10 Synopsis Dans un cinéma désaffecté, deux enfants, un garçon et une fille, imaginent des aventures. Chaque conte se déroule en un lieu et un temps différents : - « La Princesse des diamants » : le monde du merveilleux avec une princesse ensorcelée et un prince devant trouver tous les diamants d'un collier pour la délivrer. - « Le Garçon des figues » : en Égypte ancienne, au temps des pharaons, un jeune paysan offre à une reine-pharaon des figues qui ont mûri miraculeusement l'hiver sur son figuier. - « Le Château de la Sorcière » : au Moyen Âge, un jeune homme affronte une sorcière qui s'avère moins redoutable que ses assaillants. - « Le Manteau de la vieille dame » : au Japon pendant la période Edo, dans l’univers du peintre Hokusaï, un voleur veut dépouiller une vieille femme de son manteau précieux. - « La Reine cruelle et le montreur de fabulo » : dans un univers de science-fiction, comme une projection en l’an 3000, des prétendants doivent se soumettre à une épreuve fatale pour épouser une reine. - « Prince et Princesse » : au Moyen Âge, un prince et une princesse s'embrassent et se transforment en animaux. Ce court métrage aborde la dualité masculin-féminin. Ombres chinoises, Film d’animation, Contraste, Théâtre d’ombres, Conte, Couleur, Mots clés Espace du cinéma/espace du conte, Niveaux de fiction : cinéma et fiction dans la fiction, Alternance de séquences : mise en abyme, Silhouettes Le titre Emettre des hypothèses sur le titre « Princes et Princesses » (emploi du pluriel).