Animation

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This class is essentially an intense cinematography class exclusively given over to beginning 16mm film production. All shooting is done on film. Camerea, lighting, mise-en-scene, camera language, figure placement, film- stocks, and exposure reading are a few of the areas that will be of special concern. We will not be dealing with sound or with editing; those are areas of study that have their own classes, and those important areas of the filmic process will be covered with the kind of attention they deserve in those courses. Of course, we will come to appreciate, through studying finished films, how to anticipate and prepare our ideas for editing and sound in the way we construct and handle the shooting of the work. Students at this level will be exposed to potential finishing paths that will impact editing and completion issues. Students will be required to participate in several in-class assignments. In addition, each student will undertake the shooting of a personal project to be critiqued at the end of the term.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This course is an introduction to the concepts and processes utilized in the production of artworks with digital animation tools. A variety of techniques are explored for modeling, surface description, image mapping, lighting simulation, computer graphics in desktop video, installation, and print forms. This is a prerequisite for advanced computer animation.

This Class introduces students to the design, construction, and filming of 3D-puppet animation. Students build puppets, construct sets, and film their work either digitally, or on 16mm film. Students learn to build armatures and puppets, practice pose-to-pose movement, replacement animation, and work on set design. In the second half of semester, students present storyboards for a final project that involves sets, puppets, and shooting two minutes of frame by frame animation. During this time framing, micro-cinematography, and camera movement are covered. Sound is optional.

This course introduces methods of animating to a soundtrack and the relationship between dialogue, voiceover, sound and image. Animating to logged audio, students learn the most normative pipeline for creating animated images. Advanced camera movements and digital 2-D animation with backgrounds are also covered. Students complete weekly assignments that build toward a final project, an animation with sync sound.

This course addresses various animation techniques and materials, analogue and digital. Students work with different drawing materials, cut-outs, cameraless animation, under the camera destructive and constructive animation, and compositing images in Flash and Photoshop. Expanding on skills developed in Animation I, students create more painterly and material looking work.

Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended.

This is a production class that will focus on idea development for time based media, through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, performance, and animation will learn classical and experimental ways to negotiate these thechniques as an integral part of the production of time based works. The final project for this class will be a loose-leaf volume containing treatment, storyboards and research scrapbook for a major work. This volume will be used for idea develpment and presentation of your project to collaborators, granting agencies, fellowship organizations and most importantly you, the maker.

This class is inspired by Johannes Itten's radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This course will examine the relationship between graphic design and time-based mediums such as film, video, television and the internet. Students will choose from film, video, performance or text sources to create time-based sequences which activate text and imagery. The process will begin by developing 2D storyboards which will then be translated into motion graphics concepts and formats. Students will be introduced to motion-based computer graphics sequences, extending their capabilities as graphic designers into the realm of 4D.

This course examines how the moving image communicates, combining theory, skills labs, and studio creations. Students are introduced to the major critical theories of how moving images communicate, create narrative, and transmit information. The course moves, semi-historically, through concepts of animation, framing, sequence and montage, materiality in moving media, live-video, and interactivity. Students learn basic techniques of stop-frame animation, video editing, live-effects, and compositing.

This class is a survey of alternative animation, primarily from the United States, Canada and Europe, with some work from Asia. We look at this work in relationship to experimental work in film, video, performance and installation. Students write two papers for the class - one at midterm and a final. Students are exposed to a world of cinema that is vital though often ignored in discussions of contemporary Cinema. We will see works by Jim Dine, Tony Oursler, Red Grooms, Robert Breer, Larry Jordan, Susan Pitt, Jan Svankmajor, Caroline Leaf, Janie Gieser and William Kentridge, to name a few. Readings for the class address ideas about manipulation of sculptural objects, puppetry, narrative and allegory, the real and the unreal.

This class is a survey of alternative animation, primarily from the United States, Canada and Europe, with some work from Asia. We look at this work in relationship to experimental work in film, video, performance and installation. Students write two papers for the class - one at midterm and a final. Students are exposed to a world of cinema that is vital though often ignored in discussions of contemporary Cinema. We will see works by Jim Dine, Tony Oursler, Red Grooms, Robert Breer, Larry Jordan, Susan Pitt, Jan Svankmajor, Caroline Leaf, Janie Gieser and William Kentridge, to name a few. Readings for the class address ideas about manipulation of sculptural objects, puppetry, narrative and allegory, the real and the unreal.

Students dissect, expand, subvert, and critique computer games to develop new hybrid forms of interactive art. Beyond alluring graphics and fast reflexes, computer games often operate as stories, as simulations, or as social events. Screenings and examples in class analyze the language and structure of computer games, and the ways artists can use them to manifest new content. Technical workshops introduce methods of hacking games, building interactive artworks with game engines, and deploying them on both PCs and virtual reality environments.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This class is essentially an intense cinematography class exclusively given over to beginning 16mm film production. All shooting is done on film. Camerea, lighting, mise-en-scene, camera language, figure placement, film- stocks, and exposure reading are a few of the areas that will be of special concern. We will not be dealing with sound or with editing; those are areas of study that have their own classes, and those important areas of the filmic process will be covered with the kind of attention they deserve in those courses. Of course, we will come to appreciate, through studying finished films, how to anticipate and prepare our ideas for editing and sound in the way we construct and handle the shooting of the work. Students at this level will be exposed to potential finishing paths that will impact editing and completion issues. Students will be required to participate in several in-class assignments. In addition, each student will undertake the shooting of a personal project to be critiqued at the end of the term.

This class is essentially an intense cinematography class exclusively given over to beginning 16mm film production. All shooting is done on film. Camerea, lighting, mise-en-scene, camera language, figure placement, film- stocks, and exposure reading are a few of the areas that will be of special concern. We will not be dealing with sound or with editing; those are areas of study that have their own classes, and those important areas of the filmic process will be covered with the kind of attention they deserve in those courses. Of course, we will come to appreciate, through studying finished films, how to anticipate and prepare our ideas for editing and sound in the way we construct and handle the shooting of the work. Students at this level will be exposed to potential finishing paths that will impact editing and completion issues. Students will be required to participate in several in-class assignments. In addition, each student will undertake the shooting of a personal project to be critiqued at the end of the term.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. Prior enrollment in FILM 2003 is recommended.

This course is an introduction to the concepts and processes utilized in the production of artworks with digital animation tools. A variety of techniques are explored for modeling, surface description, image mapping, lighting simulation, computer graphics in desktop video, installation, and print forms. This is a prerequisite for advanced computer animation.

Students learn a wide range of post-production digital techniques for 2D animation, compositing (layering, collaging), and creating visual effects for video productions. Students produce projects that incorporate manipulated still images, animation, desktop video, and audio. Those who are intrigued by this kind of image manipulation will find the capabilities of the software dynamic and inspiring. Screenings and analysis focus on the use of such techniques in the world of video art, television, and film.

This Class introduces students to the design, construction, and filming of 3D-puppet animation. Students build puppets, construct sets, and film their work either digitally, or on 16mm film. Students learn to build armatures and puppets, practice pose-to-pose movement, replacement animation, and work on set design. In the second half of semester, students present storyboards for a final project that involves sets, puppets, and shooting two minutes of frame by frame animation. During this time framing, micro-cinematography, and camera movement are covered. Sound is optional.

This course introduces methods of animating to a soundtrack and the relationship between dialogue, voiceover, sound and image. Animating to logged audio, students learn the most normative pipeline for creating animated images. Advanced camera movements and digital 2-D animation with backgrounds are also covered. Students complete weekly assignments that build toward a final project, an animation with sync sound.

This course addresses various animation techniques and materials, analogue and digital. Students work with different drawing materials, cut-outs, cameraless animation, under the camera destructive and constructive animation, and compositing images in Flash and Photoshop. Expanding on skills developed in Animation I, students create more painterly and material looking work.

Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended.

This is a production class that will focus on idea development for time based media, through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, performance, and animation will learn classical and experimental ways to negotiate these thechniques as an integral part of the production of time based works. The final project for this class will be a loose-leaf volume containing treatment, storyboards and research scrapbook for a major work. This volume will be used for idea develpment and presentation of your project to collaborators, granting agencies, fellowship organizations and most importantly you, the maker.

Students dissect, expand, subvert, and critique computer games to develop new hybrid forms of interactive art. Beyond alluring graphics and fast reflexes, computer games often operate as stories, as simulations, or as social events. Screenings and examples in class analyze the language and structure of computer games, and the ways artists can use them to manifest new content. Technical workshops introduce methods of hacking games, building interactive artworks with game engines, and deploying them on both PCs and virtual reality environments.

This class is inspired by Johannes Itten's radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This course will examine the relationship between graphic design and time-based mediums such as film, video, television and the internet. Students will choose from film, video, performance or text sources to create time-based sequences which activate text and imagery. The process will begin by developing 2D storyboards which will then be translated into motion graphics concepts and formats. Students will be introduced to motion-based computer graphics sequences, extending their capabilities as graphic designers into the realm of 4D.

This course examines how the moving image communicates, combining theory, skills labs, and studio creations. Students are introduced to the major critical theories of how moving images communicate, create narrative, and transmit information. The course moves, semi-historically, through concepts of animation, framing, sequence and montage, materiality in moving media, live-video, and interactivity. Students learn basic techniques of stop-frame animation, video editing, live-effects, and compositing.