Monday, August 31, 2009
American Slavery Memorial - Call for Proposals!
UNC Charlotte and its School of Architecture are hosting a student ideas competition for an American Slavery memorial. “Manifestations of Memory” was started as a thesis project last year, and now we are looking to get submissions from students across the country on how a slavery memorial may look. The top 5 designs will be presented by the designers at a symposium and exhibition in the spring of 2010 in front of all the jurors for the competition and a guest jurist yet to be determined. This will be held at UNC Charlotte. There will also be a traveling exhibition of the designs and as well as a publication. This is a great short design project that can be used for a studio or seminar class. The website for the competition is www.asmcompetition.com . If you have any additional questions, please feel free to email the project’s coordinator, Natasha Creticos at ncreticos@gmail.com.
Monday, August 24, 2009
Saturday, August 22, 2009
Syllabus Quiz
Note that you may only take this quiz once. Taking it more than once constitutes cheating and a breech of academic integrity.
Link: http://www.proprofs.com/quiz-school/story.php?title=syllabus-quiz_1
Password: syllabusquiz
Note that when you are done, the score will not be correct (I need to assign bonus points since it will not grade the question that asks for your name.)
How to create a very simple webpage.
1) Create a folder in which all of your files will be kept. Call this folder "ARTM3103".
2) Place inside this folder your .swf files from your projects and, when applicable, the generated .html files as well.
3) Open Dreamweaver
4) File>New...>Blank Page (HTML)
5) Site>New Site>
Fill in "Site Name" with "You Name ARTM3103"
Local Root Folder - Browse for the folder "ARTM3103" you just created.
Leave all else blank for now.
6) On the page, type your name, the class, the semester.
7) Save this page as "index.html" inside the ARTM3103 folder.
8) Type "Project 1".
9) Select the words "Project 1" and look to the Properties Inspector at the bottom. Where it says "Link", type in the name of your first project file. (For example, "project1.swf" or "heatherproj1.swf". This must be typed exactly as your file is named. There should be no spaces or special characters. If there are, rename the file in your desktop and then change the name.
10) Select the words of your name on the page and the where it says "Link" in the properties inspector, type "mailto:yourusername@uncc.edu".
11) Save this. Follow the instructions on the post about uploading webpages to upload the index.html and .swf files to your UNCC web space. This system is buggy, so if the files wont upload, try again later.
Labels:
creating webpages,
dreamweaver,
publishing webpages
Publishing Webpages (From UNCC Student Computing)
Publishing Web Pages
Find out what you need to build a simple web page and upload it to your H:\ drive. Go tohttp://webpages.uncc.edu/~username/pagename.html to view your web pages.
To publish your web pages on the University network:
- Copy your web files to the public_html folder on your H:\ drive.
- Create the public_html folder if it doesn't exist.
- Go to http://webpages.uncc.edu/~username/pagename.html to view your page.
Student web space in the H:\ drive's public_html folder does not support dynamic page formats such as ASP, CGI, JSP or servlets. There are no plans to provide support for these formats in the immediate future.
Learn more about creating web pages with HTML, Microsoft FrontPage or Macromedia Dreamweaver by accessing E-Training.
Friday, August 21, 2009
Public Domain
Generally, you are required to create all of your own images, video and sound. After all, you're an artist! An creative content creator! Nevertheless, there are times when it is necessary or desirable to appropriate material.
In this class, you will be permitted to appropriate material ONLY if it is in the Public Domain and if the project assignment permits it. Figuring out if work is in the Public Domain can be tricky, but it's important to learn to recognize this work. Below, I've included links where you can find Public Domain material.
If you appropriate any material, when you post it to the blog you must note the URL (the link) to the source. If you are not sure if an image is really in the Public Domain, ask me.
Please keep in mind, that just because somebody on the internet claims a work is in the Public Domain, it MAY NOT BE. For example, if somebody scans a magazine cover from last year, posts it online and says it's public domain, that's simply not true. And YOU the user would be legally liable. Just keep that in mind.
Here's some good links to help you figure out what is and isn't in PD:
And here are a few favorite sources of Public Domain materials, but there are many other resources on the internet. (The Wiki page is a good place to look for other PD sites.)
http://www.archive.org (large resource of public domain images, text, video, sounds, etc!)
The Commons (Flickr's Public Domain source of historical photos.)
Lost and Taken (A designer's personal contribution to the world of texture images. Please not that not all images on this site are actually public domain. He states in the blog posting which images are.)
Wikepedia Images (Wikipedia's collection of PD images. Also many GREAT links to other public domain image sources.)
Project Gutenberg (Collection of text and images associated with text of works gone into the public domain.)
Labels:
appropriation,
copyright,
public domain
Thursday, August 20, 2009
Wednesday, August 19, 2009
Campus Computing
A few points to help you this semester with campus computing:
1) Besides the Macy 106 and Rowe 285 labs, Barnard 105 (open 24/7) has most design software used in this course, plus scanners, printers nd DVD-RW drives.
2) Storrs 230 (also open 24/7) is available to students in the College of Art + Architecture
3) There is additional free web-based software training available to UNCC students. Log into http://ninernet.uncc.edu/tools/skillport with your NinerNet account. Besides tutorials on Adobe software and other software providers, you are also able to search and read software reference books on-line, including the Dummies series! (Sweet!)
1) Besides the Macy 106 and Rowe 285 labs, Barnard 105 (open 24/7) has most design software used in this course, plus scanners, printers nd DVD-RW drives.
2) Storrs 230 (also open 24/7) is available to students in the College of Art + Architecture
3) There is additional free web-based software training available to UNCC students. Log into http://ninernet.uncc.edu/tools/skillport with your NinerNet account. Besides tutorials on Adobe software and other software providers, you are also able to search and read software reference books on-line, including the Dummies series! (Sweet!)
Labels:
campus computing,
computer labs,
software tutorials
Saturday, August 15, 2009
Project 1 - Morphology (Straight Ahead Animation)
Project Description
You will create what is called a "straight ahead" animation. That is, you will draw a long series of images, one after another, gradually figuring out how the animation is changing as you go along. You will start with a randomly assigned line drawing (teapot, beetle, salt shaker, etc.). Imagine what the polar opposite of this object might be. If your object is animate, consider inanimate, if it is sharp and spiky, consider soft and spongy, if it is organic, consider inorganic, etc. In your sketchbook draw this object and then draw what it will morph into. You will then redraw this object in Flash using ONLY black, white or gray (your background, likewise, may also be either black, white or gray). Use either the brush tool (scratchier, more organic drawing tool) or the pen tool (more exact and precise). You may change the drawing to fit your own particular drawing style and aesthetic interests, however, it must still be at least loosely recognizable as the original object. Using onion skinning, you will continually redraw this object, very slowly and gradually changing and evolving it into it's opposite. Finally, this object must also be moving across the stage from left to right (or right to left), so you must consider how you your object will locomote (if it is a salt shaker, for instance, it can't simply slide... perhaps it hops and then it hops and turns into a bunny!) It must start and end off the stage, so that it plays as a continuous loop.
This animation will be on a stage of 550 x 400 pixels wide at 12 frames per second. The animation must be between 5 and 10 seconds long (that's between 60 and 120 total frames!).
Hints for success:
• Find an example of the object if you can and keep it with you to draw from observation.
• CRAFTSMANSHIP is critical in animation. Work slowly but steadily.
• Think about the personality of your object and try to express that through its movement.
• Avoid too much small detail; focus more on expressing the nature of the object through movement.
Schedule
The assigned Lynda.com readings must be done by the beginning of class. I strongly recommend taking notes and covering all the readings over the weekend. You are encouraged to watch the other videos not assigned. There may be a quiz at the start of class to verify that you have completed this critical work. Quizzes may or may not be open notebook.
8/26 Flash CS 3 Professional Fundamentals
3. Using the Drawing and Color Tools>all headings
4. Animating in Flash>all headings
9/7 No Class
9/9 Project 1 Critiques
HW - Work on Project 1
Examples:
Hoogerbrugge
Presstube
You will create what is called a "straight ahead" animation. That is, you will draw a long series of images, one after another, gradually figuring out how the animation is changing as you go along. You will start with a randomly assigned line drawing (teapot, beetle, salt shaker, etc.). Imagine what the polar opposite of this object might be. If your object is animate, consider inanimate, if it is sharp and spiky, consider soft and spongy, if it is organic, consider inorganic, etc. In your sketchbook draw this object and then draw what it will morph into. You will then redraw this object in Flash using ONLY black, white or gray (your background, likewise, may also be either black, white or gray). Use either the brush tool (scratchier, more organic drawing tool) or the pen tool (more exact and precise). You may change the drawing to fit your own particular drawing style and aesthetic interests, however, it must still be at least loosely recognizable as the original object. Using onion skinning, you will continually redraw this object, very slowly and gradually changing and evolving it into it's opposite. Finally, this object must also be moving across the stage from left to right (or right to left), so you must consider how you your object will locomote (if it is a salt shaker, for instance, it can't simply slide... perhaps it hops and then it hops and turns into a bunny!) It must start and end off the stage, so that it plays as a continuous loop.
This animation will be on a stage of 550 x 400 pixels wide at 12 frames per second. The animation must be between 5 and 10 seconds long (that's between 60 and 120 total frames!).
Hints for success:
• Find an example of the object if you can and keep it with you to draw from observation.
• CRAFTSMANSHIP is critical in animation. Work slowly but steadily.
• Think about the personality of your object and try to express that through its movement.
• Avoid too much small detail; focus more on expressing the nature of the object through movement.
Schedule
The assigned Lynda.com readings must be done by the beginning of class. I strongly recommend taking notes and covering all the readings over the weekend. You are encouraged to watch the other videos not assigned. There may be a quiz at the start of class to verify that you have completed this critical work. Quizzes may or may not be open notebook.
8/26 Flash CS 3 Professional Fundamentals
3. Using the Drawing and Color Tools>all headings
4. Animating in Flash>all headings
HW - In sketchbook, have your rendering of the original object, what it will transform into, and at least three sketches of the objects mode of locomotion.
8/31 Flash CS 3 Professional Fundamentals
16. Publishing & Exporting>Understanding publishing options, Using Flash and html, Exporting an animated gif
HW - Work on Project 1
8/31 Flash CS 3 Professional Fundamentals
16. Publishing & Exporting>Understanding publishing options, Using Flash and html, Exporting an animated gif
HW - Work on Project 1
9/2 Project 1 - Mid Critiques
HW - Work on Project 1
9/7 No Class
9/9 Project 1 Critiques
HW - Work on Project 1
Examples:
Hoogerbrugge
Presstube
Labels:
Frame by frame,
project 1,
Straight Ahead Animaton
Syllabus
ARTM 3105 – 001
ANIMATION INTERACTIVITY
Fall 2009, MW 8:00-10:50, Macy 106A
Professor Heather D. Freeman
Office Hours: Rowe 253 MW 11:30-12:30
Telephone: 704-687-0184 • hdfreema@uncc.edu
www.EpicAnt.com
www.PersonalDemons.org
COURSE CONTENT
This course will introduce students to 2-D digital animation and interactivity. Students will learn the tools, techniques, and software used in the creation of animation and interactive multimedia, especially media creation for Internet, CD-ROM and DVD distribution. Students will consider the nature of animation and how it relates to other time-based media (film, television, video, the web, CD-ROMS, video games, installation art, performance, etc.) and how animation functions in the plastic art world. Emphasis will be placed on displaying on the integration of traditional media (such as frame-by-frame animation) with digital media to achieve interactivity and automation of simple tasks. The prerequisite course is ARTM 2105. This course must be completed with a grade of C or better before taking this ARTM 3103 – Animation and Interactivity.
COURSE OBJECTIVES
Animation and interactivity has a rich history in transforming both high art and popular culture. Students will employ Macromedia Flash and other software to produce their own works of digitally originated animation. Furthermore, students will: • learn how to use the computer as a tool for the creation of technically and creatively refined animations. • transcend preconceived notions of the function and form of animation in order to explore how this medium can be utilized as a tool for creative art-making • understand the use of Flash’s vector-based drawing tools, animation techniques, and interactive symbol functions. • create inventive and original 2-D animation using techniques including pixilation, rotoscoping, tweening and collage among others. • critically analyze artworks in and out of class production that (re) define and/or (de) construct the concept of animation and interactivity. • develop refined interface solutions for interactive navigation and narrative.
COURSE FORMAT
In- and out-of-class assignments, in-class demonstrations and quizzes will be employed to familiarize students with the software and hardware. Following this, specific projects will be assigned which require the application of this software for creative output and animations will be viewed to stir the creative juices. Quizzes will assess students’ acquisition of this information. This is a three-credit studio course that meets six hours per week. You must be prepared at the beginning of each class for work under my supervision. You must also dedicate a significant number of hours outside of class time each week to properly acquire the material and complete project assignments.
CRITIQUES
Critiques, when we meet to look at finished work, are especially important classes. On the day of critique, students are expected to be ready at the start of class to show their work. Students are expected to share their ideas, observations and beliefs in critique and will be graded in part on their participation. Missed critiques will drop the project by a letter grade. A missing project will warrant an automatic failure on that project; it is always better to show something incomplete than nothing at all.
EVALUATION
Your over-all grade will be determined by the four projects, in- and out-of-class exercises, homework and quizzes less missed classes. Projects will be graded on:
• Originality of content and concept
• Execution (clarity of your concept’s delivery)
• Technical presentation
• Overall presentation and craftsmanship
• Effort and Experimentation
All work in this class must be original. Violation of this is considered plagiarism and the university code of student academic integrity will be enforced (please visit http://www.legal.uncc.edu/policies/ps-105.html for the entire code). Students have the responsibility to be familiar with and observe the requirements of The UNCC Code of Student Academic Integrity. This code forbids cheating, fabrication or falsification of information, multiple submission of academic or artistic work, abuse of facilities and equipment, and complicity in academic dishonesty. The normal penalty is zero credit on the work involving dishonesty and further substantial reduction of the course grade. Appropriation of images, video or sounds will only be permitted when assigned in this course.
GRADE BREAKDOWN
Project 1: 20%
Project 2: 20%
Project 3: 20%
Project 4: 20%
Quizzes/Homeworks: 10%
ActionScript Exam: 10%
less missed/late classes
GRADE SCALE
A 100-90%
B 89-80%
C 79-70%
D 69-60%
F 59-0%
*There will no extensions on projects, no extra credit works, and no resubmissions.
INCOMPLETES
Incompletes are given for documented medical problems and serious situations. If for some reason you find that you cannot complete the requirements of the course, your best option is to withdraw.
SPECIAL ACCOMMODATIONS
Students with disabilities requiring accommodation in this course should contact Disability Services in Fretwell 230 and bring appropriate documentation to the instructor.
ATTENDANCE POLICY
Attendance will be taken promptly at 8:00. If you come to class late, please let me know so that I know you attended. You are allowed a total of three absences. For any class you are absent, you will receive a grade of zero for any in-class-assignments, quizzes, homework or projects for that day. Each additional absence after the three will result in a letter grade reduction of your final grade. Two lates equals an absence. Leaving early twice equals an absence. It is your responsibility to keep track of your own attendance. For example, if you are earning a B, but missed three classes and were late twice, that would drop the final grade to a C. This is non-negotiable and there is no extra-credit in this course. Class experience is an important part of the learning process. The course work is demanding and it builds upon every class. I expect you to come to class and to work to the best of your ability with a positive attitude.
REQUIRED TEXT AND MATERIALS
• Lynda.com texts. $38.00 for the semester. Go to http://www.lynda.com/edu-media/studentlogin.asp and enter the class code 08152009C9794.
• USB Flash Drive, 128 MB capacity or greater (an iPod or portable hard drive compatible with Mac OSX is also fine).
• Headphones (when working with sound). Walkman-style headphones are fine.
• Sharpie Permanent Marker (for labeling CDs).
• Sketchbook, no larger than 7” x 10” (you should carry this with you everywhere you go and keep track of your ideas!)
SUGGESTED TEXT AND MATERIALS
• Reinhardt, Robert. Macromedia Flash Bible. Visual, (use the latest edition).
• Galore, Janet. Flash MX Design for TV and Video. Wiley, 2003.
• Digital camera and tripod
LAB MATERIALS CHARGE
There is a $15 lab fee for this class. This covers consumables like CD-ROMS and should be paid during the first week of classes.
BACKING UP AND SAVING
Be sure to always back up your files to a USB Flash Drive, a Fire wire Drive, or a CD-ROM or DVD. If you plan on using a USB drive on a PC, make sure the drive is Mac formatted. Never rely on school computers as your primary backup. Always keep backups on USB drives and CD-ROM. Never work directly off a USB drive. Always copy the data to the workspace first and work from that copy. Then, save the revised version back onto the USB drive or burn another CD. If you lose or mutilate your data, you will have to make up the work. In addition, and I cannot stress this enough, ALWAYS BACK UP YOUR WORK, EVERY DAY. There is nothing quite so frustrating as spending hours on a project, finding out your file is corrupt, and it cannot be opened. Especially when this happens five minutes before the critique. ALWAYS BACK UP. If you lose your work, you are responsible and will not be given any grace period for re-doing your work. AGAIN, ALWAYS BACK UP YOUR WORK, EVERY DAY. DO NOT RELY ON THE COMPUTERS IN THE LAB FOR BACKUP.
KEEPING A SKETCHBOOK
• Some homework assignments will be recorded in your sketchbook.
• Take it with you everywhere; make it your best friend and confidant.
• If you have a spare moment, 30 seconds, noodle in it.
• Bring it with you to every class.
• Sketch out multiple solutions to visual problems before you start the actual project!
• Write in it, draw in it, and collect photos and clippings in it, whatever you can cram in there.
BLOG
We will use this blog as a discussion board and to post works in progress for feedback. Please be sure to check this group often for updates and information.
CONCERNS AND COMMUNICATIONS
If you have any concerns about the class, how you are doing, how I am teaching it, any personal conflicts that are making your life difficult in relation to this course, or if you’d just like to talk about art, feel free to e-mail me, utilize my office hours or to schedule another time to meet! If you’re shy about any given matter, you can always leave me a note in my mailbox in the Art Department main office. I am really excited to work with you all and look forward to a fun, challenging and rock ‘n’ roll semester!
ANIMATION INTERACTIVITY
Fall 2009, MW 8:00-10:50, Macy 106A
Professor Heather D. Freeman
Office Hours: Rowe 253 MW 11:30-12:30
Telephone: 704-687-0184 • hdfreema@uncc.edu
www.EpicAnt.com
www.PersonalDemons.org
COURSE CONTENT
This course will introduce students to 2-D digital animation and interactivity. Students will learn the tools, techniques, and software used in the creation of animation and interactive multimedia, especially media creation for Internet, CD-ROM and DVD distribution. Students will consider the nature of animation and how it relates to other time-based media (film, television, video, the web, CD-ROMS, video games, installation art, performance, etc.) and how animation functions in the plastic art world. Emphasis will be placed on displaying on the integration of traditional media (such as frame-by-frame animation) with digital media to achieve interactivity and automation of simple tasks. The prerequisite course is ARTM 2105. This course must be completed with a grade of C or better before taking this ARTM 3103 – Animation and Interactivity.
COURSE OBJECTIVES
Animation and interactivity has a rich history in transforming both high art and popular culture. Students will employ Macromedia Flash and other software to produce their own works of digitally originated animation. Furthermore, students will: • learn how to use the computer as a tool for the creation of technically and creatively refined animations. • transcend preconceived notions of the function and form of animation in order to explore how this medium can be utilized as a tool for creative art-making • understand the use of Flash’s vector-based drawing tools, animation techniques, and interactive symbol functions. • create inventive and original 2-D animation using techniques including pixilation, rotoscoping, tweening and collage among others. • critically analyze artworks in and out of class production that (re) define and/or (de) construct the concept of animation and interactivity. • develop refined interface solutions for interactive navigation and narrative.
COURSE FORMAT
In- and out-of-class assignments, in-class demonstrations and quizzes will be employed to familiarize students with the software and hardware. Following this, specific projects will be assigned which require the application of this software for creative output and animations will be viewed to stir the creative juices. Quizzes will assess students’ acquisition of this information. This is a three-credit studio course that meets six hours per week. You must be prepared at the beginning of each class for work under my supervision. You must also dedicate a significant number of hours outside of class time each week to properly acquire the material and complete project assignments.
CRITIQUES
Critiques, when we meet to look at finished work, are especially important classes. On the day of critique, students are expected to be ready at the start of class to show their work. Students are expected to share their ideas, observations and beliefs in critique and will be graded in part on their participation. Missed critiques will drop the project by a letter grade. A missing project will warrant an automatic failure on that project; it is always better to show something incomplete than nothing at all.
EVALUATION
Your over-all grade will be determined by the four projects, in- and out-of-class exercises, homework and quizzes less missed classes. Projects will be graded on:
• Originality of content and concept
• Execution (clarity of your concept’s delivery)
• Technical presentation
• Overall presentation and craftsmanship
• Effort and Experimentation
All work in this class must be original. Violation of this is considered plagiarism and the university code of student academic integrity will be enforced (please visit http://www.legal.uncc.edu/policies/ps-105.html for the entire code). Students have the responsibility to be familiar with and observe the requirements of The UNCC Code of Student Academic Integrity. This code forbids cheating, fabrication or falsification of information, multiple submission of academic or artistic work, abuse of facilities and equipment, and complicity in academic dishonesty. The normal penalty is zero credit on the work involving dishonesty and further substantial reduction of the course grade. Appropriation of images, video or sounds will only be permitted when assigned in this course.
GRADE BREAKDOWN
Project 1: 20%
Project 2: 20%
Project 3: 20%
Project 4: 20%
Quizzes/Homeworks: 10%
ActionScript Exam: 10%
less missed/late classes
GRADE SCALE
A 100-90%
B 89-80%
C 79-70%
D 69-60%
F 59-0%
*There will no extensions on projects, no extra credit works, and no resubmissions.
INCOMPLETES
Incompletes are given for documented medical problems and serious situations. If for some reason you find that you cannot complete the requirements of the course, your best option is to withdraw.
SPECIAL ACCOMMODATIONS
Students with disabilities requiring accommodation in this course should contact Disability Services in Fretwell 230 and bring appropriate documentation to the instructor.
ATTENDANCE POLICY
Attendance will be taken promptly at 8:00. If you come to class late, please let me know so that I know you attended. You are allowed a total of three absences. For any class you are absent, you will receive a grade of zero for any in-class-assignments, quizzes, homework or projects for that day. Each additional absence after the three will result in a letter grade reduction of your final grade. Two lates equals an absence. Leaving early twice equals an absence. It is your responsibility to keep track of your own attendance. For example, if you are earning a B, but missed three classes and were late twice, that would drop the final grade to a C. This is non-negotiable and there is no extra-credit in this course. Class experience is an important part of the learning process. The course work is demanding and it builds upon every class. I expect you to come to class and to work to the best of your ability with a positive attitude.
REQUIRED TEXT AND MATERIALS
• Lynda.com texts. $38.00 for the semester. Go to http://www.lynda.com/edu-media/studentlogin.asp and enter the class code 08152009C9794.
• USB Flash Drive, 128 MB capacity or greater (an iPod or portable hard drive compatible with Mac OSX is also fine).
• Headphones (when working with sound). Walkman-style headphones are fine.
• Sharpie Permanent Marker (for labeling CDs).
• Sketchbook, no larger than 7” x 10” (you should carry this with you everywhere you go and keep track of your ideas!)
SUGGESTED TEXT AND MATERIALS
• Reinhardt, Robert. Macromedia Flash Bible. Visual, (use the latest edition).
• Galore, Janet. Flash MX Design for TV and Video. Wiley, 2003.
• Digital camera and tripod
LAB MATERIALS CHARGE
There is a $15 lab fee for this class. This covers consumables like CD-ROMS and should be paid during the first week of classes.
BACKING UP AND SAVING
Be sure to always back up your files to a USB Flash Drive, a Fire wire Drive, or a CD-ROM or DVD. If you plan on using a USB drive on a PC, make sure the drive is Mac formatted. Never rely on school computers as your primary backup. Always keep backups on USB drives and CD-ROM. Never work directly off a USB drive. Always copy the data to the workspace first and work from that copy. Then, save the revised version back onto the USB drive or burn another CD. If you lose or mutilate your data, you will have to make up the work. In addition, and I cannot stress this enough, ALWAYS BACK UP YOUR WORK, EVERY DAY. There is nothing quite so frustrating as spending hours on a project, finding out your file is corrupt, and it cannot be opened. Especially when this happens five minutes before the critique. ALWAYS BACK UP. If you lose your work, you are responsible and will not be given any grace period for re-doing your work. AGAIN, ALWAYS BACK UP YOUR WORK, EVERY DAY. DO NOT RELY ON THE COMPUTERS IN THE LAB FOR BACKUP.
KEEPING A SKETCHBOOK
• Some homework assignments will be recorded in your sketchbook.
• Take it with you everywhere; make it your best friend and confidant.
• If you have a spare moment, 30 seconds, noodle in it.
• Bring it with you to every class.
• Sketch out multiple solutions to visual problems before you start the actual project!
• Write in it, draw in it, and collect photos and clippings in it, whatever you can cram in there.
BLOG
We will use this blog as a discussion board and to post works in progress for feedback. Please be sure to check this group often for updates and information.
CONCERNS AND COMMUNICATIONS
If you have any concerns about the class, how you are doing, how I am teaching it, any personal conflicts that are making your life difficult in relation to this course, or if you’d just like to talk about art, feel free to e-mail me, utilize my office hours or to schedule another time to meet! If you’re shy about any given matter, you can always leave me a note in my mailbox in the Art Department main office. I am really excited to work with you all and look forward to a fun, challenging and rock ‘n’ roll semester!
Friday, August 14, 2009
Rough Schedule
subject to change
8/24 Introduction to Class
8/26 Project 1 (Devolution - "Straight Ahead" Animation)
8/31 Project 1
9/2 Project 1
9/7 No Class
9/9 Project 1 Critiques
9/14 Project 2 (Animating to Sound - Tweens and Frame by frame)
9/16 Project 2
9/21 Project 2
9/23 Project 2
9/28 Project 2
9/30 Project 2
10/5 Project 2
10/7 Project 2 Critiques
10/12 No classes
10/14 Project 3(Body Transformed - Interactivity and Navigation)
10/19 Project 3
10/21 Project 3
10/26 Project 3
10/28 Project 3
11/2 Project 3
11/4 Project 3
11/9 Project 3 Critiques
11/11 Project 4 (Narrative Effect - Open Project)
11/16 Project 4
11/18 Project 4
11/23 Project 4
11/25 No Classes
11/30 Project 4
12/2 Project 4
12/7 Project 4
12/9 Project 4 Critiques
12/14 Final Exam 8:00-10:30 TBA
8/24 Introduction to Class
8/26 Project 1 (Devolution - "Straight Ahead" Animation)
8/31 Project 1
9/2 Project 1
9/7 No Class
9/9 Project 1 Critiques
9/14 Project 2 (Animating to Sound - Tweens and Frame by frame)
9/16 Project 2
9/21 Project 2
9/23 Project 2
9/28 Project 2
9/30 Project 2
10/5 Project 2
10/7 Project 2 Critiques
10/12 No classes
10/14 Project 3(Body Transformed - Interactivity and Navigation)
10/19 Project 3
10/21 Project 3
10/26 Project 3
10/28 Project 3
11/2 Project 3
11/4 Project 3
11/9 Project 3 Critiques
11/11 Project 4 (Narrative Effect - Open Project)
11/16 Project 4
11/18 Project 4
11/23 Project 4
11/25 No Classes
11/30 Project 4
12/2 Project 4
12/7 Project 4
12/9 Project 4 Critiques
12/14 Final Exam 8:00-10:30 TBA
Recommended Websites
Online Artworks/Galleries/Designers
http://www.internationaldigitalart.com/links.html
http://uiah.fi/art2/art2_194/homepage.html
http://www.transmag.org
http://www.adaweb.com/home.shtml
http://www.thing.net
http://www.somewhere.org/
http://www.pictoplasma.com/
http://www.post-videoart.com
http://delvemagazine.com/
http://www.furtherfield.org/
http://www.dam.org
http://www.bitforms.com
http://www.atmo.se
http://midwest.org.uk
http://www.baseboard.net/
http://www.planetpixel.de
http://www.learningtoloveyoumore.com
http://www.bornmagazine.com
http://www.visibletheory.com
http://www.romaingruner.com
http://www.mindstorm.com
http://www.charlottewebdesign.com
http://www.cpwad.com
http://www.lobo.cx
http://www.gmunk.com
http://www.plotdev.com
http://www.stockholmdesign.com
http://www.arne-maynard.com
Museums, Galleries, Centers
http://www.whitney.org/artport
http://www.diacenter.org/
http://on1.zkm.de/zkm/e/
http://www.rhizome.org
http://mitpress2.mit.edu/e-journals/Leonardo/home.html
http://www.franklinfurnace.org
http://www.diacenter.org
http://www.artingeneral.org
http://www.paulkasmingallery.com
http://www.thirdplacegallery.org
The Strange and Curious
http://www.homestarrunner.com
http://www.heavy.com
http://www.happytreefriends.com
http://www.zombo.com
http://www.giantrobot.com
http://www.irational.org
http://www.brawnyman.com/innocentescapes/indexbroadband.html
http://www.foundmagazine.com
http://www.woostercollective.com
Art Supplies/Resources
http://www.1001freefonts.com
http://www.fontface.com
http://www.digitalartsupplies.com
http://www.inkjetartsupply.com
http://www.illustratorworld.com
http://www.instructables.com
Individual Artists
http://www.laurieanderson.com
http://www.alessandrobavari.com
http://www.billviola.com
http://www.michaelrees.com
http://www.muttkingdom.com/murphy
http://www.stelarc.va.com.au
http://www.riverbed.com/artworks/
http://www.cremaster.net/
http://www.fantabiography.com
http://www.maggietaylor.com
http://www.dynamodesign.com
http://www.raaf.org
http://people.cas.sc.edu/edwardsj/
http://www.eboy.com
http://www.destroyrockcity.com
http://www.margotknight.com
http://www.bermuda.ch/bureaudestruct
http://www.camilleutterback.com/
http://www.hoogerbrugge.com/
UNCC Graduates
http://www.studiobanks.com
http://www.kheavy.com
http://www.silentuproar.com
http://www.internationaldigitalart.com/links.html
http://uiah.fi/art2/art2_194/homepage.html
http://www.transmag.org
http://www.adaweb.com/home.shtml
http://www.thing.net
http://www.somewhere.org/
http://www.pictoplasma.com/
http://www.post-videoart.com
http://delvemagazine.com/
http://www.furtherfield.org/
http://www.dam.org
http://www.bitforms.com
http://www.atmo.se
http://midwest.org.uk
http://www.baseboard.net/
http://www.planetpixel.de
http://www.learningtoloveyoumore.com
http://www.bornmagazine.com
http://www.visibletheory.com
http://www.romaingruner.com
http://www.mindstorm.com
http://www.charlottewebdesign.com
http://www.cpwad.com
http://www.lobo.cx
http://www.gmunk.com
http://www.plotdev.com
http://www.stockholmdesign.com
http://www.arne-maynard.com
Museums, Galleries, Centers
http://www.whitney.org/artport
http://www.diacenter.org/
http://on1.zkm.de/zkm/e/
http://www.rhizome.org
http://mitpress2.mit.edu/e-journals/Leonardo/home.html
http://www.franklinfurnace.org
http://www.diacenter.org
http://www.artingeneral.org
http://www.paulkasmingallery.com
http://www.thirdplacegallery.org
The Strange and Curious
http://www.homestarrunner.com
http://www.heavy.com
http://www.happytreefriends.com
http://www.zombo.com
http://www.giantrobot.com
http://www.irational.org
http://www.brawnyman.com/innocentescapes/indexbroadband.html
http://www.foundmagazine.com
http://www.woostercollective.com
Art Supplies/Resources
http://www.1001freefonts.com
http://www.fontface.com
http://www.digitalartsupplies.com
http://www.inkjetartsupply.com
http://www.illustratorworld.com
http://www.instructables.com
Individual Artists
http://www.laurieanderson.com
http://www.alessandrobavari.com
http://www.billviola.com
http://www.michaelrees.com
http://www.muttkingdom.com/murphy
http://www.stelarc.va.com.au
http://www.riverbed.com/artworks/
http://www.cremaster.net/
http://www.fantabiography.com
http://www.maggietaylor.com
http://www.dynamodesign.com
http://www.raaf.org
http://people.cas.sc.edu/edwardsj/
http://www.eboy.com
http://www.destroyrockcity.com
http://www.margotknight.com
http://www.bermuda.ch/bureaudestruct
http://www.camilleutterback.com/
http://www.hoogerbrugge.com/
UNCC Graduates
http://www.studiobanks.com
http://www.kheavy.com
http://www.silentuproar.com
Suggested Reading
Bayles, David and Orland, Ted. Art and Fear: Observations on the Perils (and Rewards) of Artmaking. Santa Barbara, Capra Press, 1997.
Beckley, Bill and Shapiro, David. Uncontrollable Beauty: Toward a New Aesthetics. New York, Allworth Press, 1998.
Bolter, Jay David and Grusin, Richard. Remediation: Understanding New Media. Cambridge/London, MIT Press, 2000.
de Oliveira, Nicholas, Oxley, Nicola, and Petry, Michael. Installation Art. London, Thames and Hudson Ltd./Smithsonian Institution Press, 1994.
Gibson, William. Neuromancer. Ace Bookes, New York, 1984.
Greene, Rachel. Internet Art. London,Thames and Hudson, 2004.
Hall, Doug and Fifer, Sally Jo. Illuminating Video: An Essential Guide to Video Art. San Francisco, Aperture/BAVC, 1990.
Johnson, Harald. Mastering Digital Printing. Muska & Lipman, 2004.
Klanten, R. Ed. Trigger. Die Gestalten Verlag,
Kurzweil, Ray. The Age of Spiritual Machines: When Computers Exceed Human Intelligence. Penguin, 1999.
McCloud, Scott. Reinventing Comics: How Imagination and Technology are Revolutionizing an Art Form. Harper, 2000.
McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge/London, MIT Press,1997.
Meggs, Philip B. A History of Graphic Design. John Wiley and Sons, 1998.
Paul, Christiane. Digital Art. London,Thames and Hudson, 2003.
Schminke, Karen. Digital Art Studio: Techniques for Combining Inkjet Printing and Traditional Artist's Materials. Watson-Guptill Publications, 2004
Stiles, Kritine and Selz, Peter. Theories and Documents of Contemporary Art. Berkeley, University of California Press, 1996.
Beckley, Bill and Shapiro, David. Uncontrollable Beauty: Toward a New Aesthetics. New York, Allworth Press, 1998.
Bolter, Jay David and Grusin, Richard. Remediation: Understanding New Media. Cambridge/London, MIT Press, 2000.
de Oliveira, Nicholas, Oxley, Nicola, and Petry, Michael. Installation Art. London, Thames and Hudson Ltd./Smithsonian Institution Press, 1994.
Gibson, William. Neuromancer. Ace Bookes, New York, 1984.
Greene, Rachel. Internet Art. London,Thames and Hudson, 2004.
Hall, Doug and Fifer, Sally Jo. Illuminating Video: An Essential Guide to Video Art. San Francisco, Aperture/BAVC, 1990.
Johnson, Harald. Mastering Digital Printing. Muska & Lipman, 2004.
Klanten, R. Ed. Trigger. Die Gestalten Verlag,
Kurzweil, Ray. The Age of Spiritual Machines: When Computers Exceed Human Intelligence. Penguin, 1999.
McCloud, Scott. Reinventing Comics: How Imagination and Technology are Revolutionizing an Art Form. Harper, 2000.
McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge/London, MIT Press,1997.
Meggs, Philip B. A History of Graphic Design. John Wiley and Sons, 1998.
Paul, Christiane. Digital Art. London,Thames and Hudson, 2003.
Schminke, Karen. Digital Art Studio: Techniques for Combining Inkjet Printing and Traditional Artist's Materials. Watson-Guptill Publications, 2004
Stiles, Kritine and Selz, Peter. Theories and Documents of Contemporary Art. Berkeley, University of California Press, 1996.
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