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Using Typography and Iconography to Express Emotion
Using typography and iconography to express emotion (or meaning) in motion graphics as a learning tool for ESL (English as a second language) in a multi-device platform. A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Anthony J. Ezzo May, 2016 Thesis written by Anthony J. Ezzo B.F.A. University of Akron, 1998 M.F.A., Kent State University, 2016 Approved by Gretchen Caldwell Rinnert, M.G.D., Advisor Jaime Kennedy, M.F.A., Director, School of Visual Communication Design Amy Reynolds, Ph.D., Dean, College of Communication and Information TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................... iii LIST OF FIGURES ............................................................................................ v LIST OF TABLES .............................................................................................. v ACKNOWLEDGEMENTS ................................................................................ vi CHAPTER 1. THE PROBLEM .......................................................................................... 1 Thesis ..................................................................................................... 6 2. BACKGROUND AND CONTEXT ............................................................. 7 Understanding The Ell Process .............................................................. -
Latest Strata Design 3D Cx 7 2017 and Torrent Techxilus
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Columbia Photographic Images and Photorealistic Computer Graphics Dataset
Columbia Photographic Images and Photorealistic Computer Graphics Dataset Tian-Tsong Ng, Shih-Fu Chang, Jessie Hsu, Martin Pepeljugoski¤ fttng,sfchang,[email protected], [email protected] Department of Electrical Engineering Columbia University ADVENT Technical Report #205-2004-5 Feb 2005 Abstract Passive-blind image authentication is a new area of research. A suitable dataset for experimentation and comparison of new techniques is important for the progress of the new research area. In response to the need for a new dataset, the Columbia Photographic Images and Photorealistic Computer Graphics Dataset is made open for the passive-blind image authentication research community. The dataset is composed of four component image sets, i.e., the Photorealistic Com- puter Graphics Set, the Personal Photographic Image Set, the Google Image Set, and the Recaptured Computer Graphics Set. This dataset, available from http://www.ee.columbia.edu/trustfoto, will be for those who work on the photographic images versus photorealistic com- puter graphics classi¯cation problem, which is a subproblem of the passive-blind image authentication research. In this report, we de- scribe the design and the implementation of the dataset. The report will also serve as a user guide for the dataset. 1 Introduction Digital watermarking [1] has been an active area of research since a decade ago. Various fragile [2, 3, 4, 5] or semi-fragile watermarking algorithms [6, 7, 8, 9] has been proposed for the image content authentication and the detection of image tampering. In addition, authentication signature [10, ¤This work was done when Martin spent his summer in our research group 1 11, 12, 13] has also been proposed as an alternative image authentication technique. -
Brian Paint Breakdown 1.Qxd
Digital Matte Painting Reel Breakdown Brian LaFrance Run Time: 2 Minutes 949-302-2085 [email protected] Big Hero 6: Baymax and Hiro Flying Sequence Description: Lead Set Extension Artist. helped develop sky pano from source HDR's, which fed lighting dept. 360 degree seaming of ocean/sky horizon, land, atmosphere blending. Painted East Bay city. Made 3d fog volumes in houdini, rendered with scene lighting for reference, which informed the painting of multiple fog lay- ers, which were blended into the scene using zdepth "slices" for holdouts, integrating the fog into the landscape. Software Used: Photoshop, Maya, Nuke, Houdini, Terragen, Hyperion(Disney Prop. Rendering software) Big Hero 6: Bridge Description: Painted sky, ground fog slices and lights, projected in nuke. Software Used: Photoshop, Maya, Nuke, Terragen, Hyperion Big Hero 6: City Description: Painted sky, moving ground fog clouds. Clouds integrated into digital set using zdepth "slices" for holdouts, integrating fog into the landscape. Software Used: Photoshop, Maya, Nuke R.I.P.D.: City Shots Description: Blocked out city compositions with simple geometry, projected texture onto that geometry. Software Used: Photoshop, Rampage (Rhythm and Hues Prop. Projection software) The Seventh Son: Multiple Shots Description: Modeled simple geom, sculpted in zbrush for balcony shot, textured/lit/rendered in mental ray, painted over in photoshop, projected onto modeled or simplified geometry in rampage. Software Used: Photoshop, Maya, Mental Ray, Zbrush, Rampage Elysium: Earth Description: Provided a Terragen "Planet Rig" to Image Engine for them to render views of earth, as well as a large render of whole earth to be used as source for matte painting(s). -
Primitivo B Felias
PRIMITIVO B. FELIAS III Address:348-D Chico St.,Cembo Makati City Mobile number: 09215341851 [email protected] Objective: A position in the art/design department where my skills can be utilize in accomplishing tasks and solving problems. To be in a company that will help me grow as a person and an employee, to provide quality service and share my skills and knowledge to colleagues, and learn from them as well, for the betterment of the team and the company. Skills Computer Literate (Adobe Illustrator, Adobe Photoshop, Adobe Premiere, Adobe After Effects, Adobe Audition, Adobe Flash, MS Powerpoint, Blender 3D software, Garage Band, Bryce 3D software, MakeHuman 3D, 3D Studio Max, Microsoft Movie Maker, Realflow 3D, Sculptris 3D, Mixcraft 5) Digital Video Editing, 3D Modeling and Basic Animation, Sound Editing, Digital and Manual Photography, Graphics Design and Illustration, Motion Graphics Design/Compositing, Flash-Base Web Design, GUI Design, Photo Manipulation, Basic Action Scripting, Flash Animation, Theater Actor, Singer, Dancer and can work with minimal supervision. Online Portfolio http://primefelias.daportfolio.com/ Online DemoReel http://www.youtube.com/watch?v=GBh5w-UGld8 Educational Background College: University of the Philippines Bachelor of Fine Arts major in Visual Communications Year Graduated: 2008 Secondary: Araullo High School Year Graduated:2004 Elementary: Nasipit Central Elementary School, Agusan del Norte Year Graduated: 2000 Work-Related Experiences DATE COMPANY POSITION May 23, 2011-present Holy Cow! Animation AFX Compositor/Digital Artist March 30, 2011- July 2011 Buko Graphics Studios Freelance 3D Concept Artist March 21, 2011 – May 11, 2011 BigFish International Inc. (Motion)Graphic Artist Unit 1804 Jollibee Plaza, Emerald Ave., Ortigas Sept. -
By Marlo Steed [email protected] Faculty Of
by Marlo Steed [email protected] Faculty of Education, University of Lethbridge, 4401 University Dr., (403) 329-2189 Paper presented at the ATACC conference, Mission Possible: Surpassing Our Past Success, March 15 - 17, 2001, Jasper Park Lodge, Jasper, Alberta 1. Introduction This paper suggests that 3D tools may have a place as a learning and teaching tool for students and instructors in a variety of disciplines. Visual-spatial forms of expression require new skills, critical perspectives, and may foster fresh insight and understanding. 3D images and animations have long been the purview of professionals who had expensive equipment and sophisticated software. Recent advances in technology make super- computer architecture available at affordable prices for educators. 3D software requires considerable computing power and hefty memory requirements to model and render complex scenes. Current computers now have that kind of memory and power. Another advance has been a recent announcement by Strata Inc., making available a free version of a sophisticated 3D modeling and rendering application, Strata 3D. It is a watered down version of a professional package (Strata 3D pro) but still has incredible possibilities. This now makes it feasible for students to do sophisticated 3D modeling and rendering. However, why would such a tool have educational value? 2. Spatial learning There is value in seeing a process rather than hearing or reading about it. Video and pictures have been a traditional way to address this. This article introduces a new set of tools that can be used to portray concepts through 3D visualization. From a constructivist perspective, students build their knowledge. -
Three Dimensional Visualization of Fire Spreading Over Forest Landscapes Brian Williams Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 12-2008 Three Dimensional Visualization of Fire Spreading Over Forest Landscapes Brian Williams Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Agriculture Commons Recommended Citation Williams, Brian, "Three Dimensional Visualization of Fire Spreading Over Forest Landscapes" (2008). All Theses. 492. https://tigerprints.clemson.edu/all_theses/492 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. THREE DIMENSIONAL VISUALIZATION OF FIRE SPREADING OVER FOREST LANDSCAPES A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Science Forest Resources by Brian John Williams December 2008 Accepted by: Dr. Bo Song, Committee Chair Dr. William Conner Dr. Chris Post Dr. Victor Shelburne i ABSTRACT Previous studies in fire visualization have required high end computer hardware and specialized technical skills. This study demonstrated fire visualization is possible using Visual Nature Studio and standard computer hardware. Elevation and vegetation data were used to create a representation of the New Jersey pine barren environment and a forest compartment within Hobcaw Barony. Photographic images were edited to use as image object models for forest vegetation. The FARSITE fire behavioral model was used to model a fire typical of that area. Output from FARSITE was used to visualize the fire with tree models edited to simulate burning and flame models. -
Plugs 'N Pixels
plugs-n-pixels IMAGE CREATION, MANIPULATION & EDUCATION Learn Strata 3D CX with Chris Tyler Page 3: Strata 3D CX s t Page 4: Strata Foto 3D In this issue of Plugs ‘N Pixels we take at look at the latest n Page 5: Carrara 6 in 3D applications, as well as recent releases in the 2D post- Page 6: Quidam 2 processing arena. Strata 3D expert Chris Tyler offers training on e t Page 7: PhotoTools Pro the pro level, while fine-art photographer and master marketer Alain Briot contributes an article to help you sell your work. n Page 8: Color Efex Pro 3 Once again we display the work of our Featured Artists. Please o Page 9: GMX - PhotoPainter send an email and tell me what you’ve been up to creatively! c Page 10: Exposure 2 Page 11: Image Doctor 2 f Page 12: Adjust o Page 13: Portraiture Page 14: Alain Briot e l Page 15: Marketing Mastery b Page 16: Chris Tyler a Page 17: Laura Haskell t Page 18: Sam Gray Page 19: PhotoshopCAFE Page 20: Closing Artwork ISSUE #11 Layout created in ACD Canvas X Final PDF by Acrobat 9 Pro Text and images by Mike Bedford (except as noted) WEBSITE: www.plugsandpixels.com EMAIL: [email protected] Cover image created with Carrara 6 (background composite) and Quidam (manga girl). This page created with Terragen 2, Knoll Light Factory and onOne Photo Tools Pro (top half); Carrara 6 (bottom half). www.plugsandpixels.com/christyler.html Training by Chris Tyler •See more of Chris’ work with Strata 3D on page 16• Strata 3D CX 5.5 is a cross-platform 3D imaging application that offers tight integration with Adobe Photoshop CS3 Extended. -
Science Fiction Artist In-Depth Interviews
DigitalArtLIVE.com DigitalArtLIVE.com SCIENCE FICTION ARTIST IN-DEPTH INTERVIEWS THE FUTURE OCEANS ISSUE ARTUR ROSA SAMUEL DE CRUZ TWENTY-EIGHT MATT NAVA APRIL 2018 VUE ● TERRAGEN ● POSER ● DAZ STUDIO ● REAL-TIME 3D ● 2D DIGITAL PAINTING ● 2D/3D COMBINATIONS We visit Portugal, to talk with a master of the Vue software, Artur Rosa. Artur talks with Digital Art Live about his love of the ocean, his philosophy of beauty, and the techniques he uses to make his pictures. Picture: “The Sentinels” 12 ARTUR ROSA PORTUGAL VUE | PHOTOSHOP | POSER | ZBRUSH WEB DAL: Artur, welcome back to Digital Art Live magazine. We last interviewed you in our special #50 issue of the old 3D Art Direct magazine. That was back in early 2015, when we mainly focussed on your architectural series “White- Orange World” and your forest pictures. In this ‘Future Oceans’ themed issue of Digital Art Live we’d like to focus on some of your many ocean colony pictures and your recent sea view and sea -cave pictures. Which are superb, by the way! Some of the very best Vue work I’ve seen. Your recent work of the last six months is outstanding, even more so that the work you made in the early and mid 2010s. You must be very pleased at the level of achievement that you can now reach by using Vue and Photoshop? AR: Thank you for having me again, and thank you for the compliment and feedback. I’m humbled and honoured that my work may be of interest for your readers. To be honest, I’m never quite sure if my work is getting better or worse. -
Signed Distance Fields
Further Graphics Ray Marching and Signed Distance Fields Alex Benton, University of Cambridge – [email protected] 1 Supported in part by Google UK, Ltd GPU Ray-tracing Ray tracing 101: “Choose the color of the pixel by firing a ray through and seeing what it hits.” Ray tracing 102: “Let the pixel make up its own mind.” 2 GPU Ray-tracing 1. Use a minimal vertex shader (no transforms) - all work happens in the fragment shader 2. Set up OpenGL with minimal geometry, a single quad 3. Bind coordinates to each vertex, let the GPU interpolate coordinates to every pixel 4. Implement raytracing in GLSL: a. For each pixel, compute the ray from the eye through the pixel, using the interpolated coordinates to identify the pixel b. Run the ray tracing algorithm for every ray 3 GPU Ray-tracing // Window dimensions vec3 getRayDir( uniform vec2 iResolution; vec3 camDir, vec3 camUp, // Camera position vec2 texCoord) { uniform vec3 iRayOrigin; vec3 camSide = normalize( cross(camDir, camUp)); // Camera facing direction vec2 p = 2.0 * texCoord - 1.0; uniform vec3 iRayDir; p.x *= iResolution.x / iResolution.y; // Camera up direction return normalize( uniform vec3 iRayUp; p.x * camSide + p.y * camUp // Distance to viewing plane + iPlaneDist * camDir); uniform float iPlaneDist; } // ‘Texture’ coordinate of each // vertex, interpolated across camUp // fragments (0,0) → (1,1) camDir in vec2 texCoord; camSide 4 GPU Ray-tracing: Sphere Hit traceSphere(vec3 rayorig, vec3 raydir, vec3 pos, float radius) { float OdotD = dot(rayorig - pos, raydir); float OdotO = dot(rayorig -
Motion Graphic Design
the pictorial composition designing in space There are many ways that pictorial compositional “The painter’s canvas was too limited for me. I space has been interpreted, constructed, and deployed have treated canvas and in motion graphics compositions. Innovative creative wooden board as a build- ing site, which placed the strategies have given designers the potential of over- fewest restrictions on my coming the homogeny of the fixed rectangular frame constructional ideas.” —El Lissitzky 7that has been associated with conventional film and television production. Space and Composition Principles of Composition Constructing Space Summary 00:00:00:07 Assignments 215 The Pictorial Composition Space and Composition: An Overview Space is interpreted through the prism of composition—in this case, The formal aspects of pictorial pictorial (versus sequential) composition. Spatial composition is the composition can be compared to the grammar of a language. In blueprint from which elements are organized. In painting, it describes writing, good literature and poetry the two-dimensional canvas. In graphic design, it is the viewing area of is about organization, sentence a poster or an interface. In motion graphics, it describes the environ- structure, and style, as opposed to ment containing the action—the frame. just words and subject matter. Through history, artists have explored different types of space because of its affinity with the content they are trying to express. Primitive space (or flat space), for example, is characterized by a flat surface that has little or no depth or perspective and is devoid of three dimensions. Utilized by many early and untrained artists, it often has a decorative quality, emphasizing pure design, flat colors, and repetitive patterns. -
Visual Arts, B.A., Digital Art and Design Concentration Eastern Connecticut State University
1 Visual Arts, B.A., Digital Art and Design Concentration Eastern Connecticut State University Campus contact for this program: Professor Anne Dawson, [email protected] Professor Gail Gelburd, [email protected] Once you complete the CSCU Pathway Transfer Degree: Art Studies, A.A., the following requirements remain at Eastern Connecticut State University for you to complete the Visual Arts, B.A., Digital Art and Design Concentration. You should meet with your campus contact for this program before registering for courses to ensure that you select the correct courses and the best order for taking them. For admission to ECSU’s Visual Arts Concentration in Digital Art and Design: Students interested in the digital art and design concentration are required to submit a portfolio for admission to the program after completing the two Digital Art Techniques courses: ART 122 (or CC equivalent) and ART 124. The portfolio will include 10 samples of the student’s work (two examples each from Illustrator, InDesign, Photoshop and Dreamweaver and two samples from either Drawing I or 2-Dimensional Design). Portfolios must be carefully prepared according to guidelines available in the Visual Arts Department office. Portfolios must be submitted and program admission approved before students can enroll in 300-level design courses. Grades of less than 2.0 (C) will not count toward the major. General Education Requirements: 12-18 credits Link to course options for general education Cultural Perspectives: ART 225 or ART 271 3 credits Applied Information