motion graphics syllabus art and digital mediajasonsussberg.com/mograph_syllabus.pdf · digital art...

C O U R S E D E S C R I P T I O N

R E Q U I R E D T E X T

R E Q U I R E D M A T E R I A L

This is an introductory course in motion graph-ics utilizing digital video and various graphics file formats. The course includes lectures, screenings, critiques and lab studio. Projects will cover best practices in animation and visual effects in broadcast design, film titles video design and effects. The course will utilize industry standard visual effects software includ-ing After Effects, Motion and Flash.

Creating Motion Graphics with After Effects, 5th Edition, Fifth Edition: Essential and Advanced Technique. By Chris and Trish Meyer

External Hard Drive (50 gigs should be fine). Flash Drive (4 gigs or more).

Motion Graphics Syllabus Spring ‘11 Art and Digital MediaArtDM140

R E C O M M E N D E D T E X T

G R A D I N G

After Effects CS5 Visual Effects and Composit-ing Techniques. After Effects: The Missing Manual. Designing with Type.

Assignments 50% | Final Project 30% | Participa-tion (critique + attendance) 20% | Bonus 5%

creativecow.com, motionographer.com, eduard tufte, informationisbeautiful.com

H E L P F U L R E S O U R C E S

Instructor: Jason SussbergPhone: 831-345-1960E-mail: [email protected]

Office Hours: M/W 4-6pm

Location: A-303

Class Mtg: M/W 3:30-4pm

W E E K O N E 1 / 2 4 & 1 / 2 6

Course overview, Motion Graphics, Visual Effects, design principles, where are we going?Screening: Man With a Movie Camera

Digital Art Project Assigned (due week 3)

Introduction and Ch. 1 (CMG). Manovich PDF

Motion Graphics Syllabus Spring ‘11 Art and Digital Media

R E A D I N G

A S S I G N M E N T

W E E K T W O 1 / 3 1 & 2 / 2

After Effects interface and palettes. Interfacing with digital software. Vector Art vs. Bitmap Art.Screening: Georges Méliès Shorts

None.

Chapter 2. Naomi Klein PDFR E A D I N G

A S S I G N M E N T

W E E K 3 2 / 7 & 2 / 9

Early pioneers in Motion Graphics (Cohl), Motion graphics best practices, Exploring tools in AE.

Digital Art Project Due. Critique

Chapter 3 and 6R E A D I N G

A S S I G N M E N T

W E E K 4 2 / 14 & 2 / 16

Type, Typography in After Effects. Design vs. Art.Screening: David Carson Documentary

Type Project Assigned.

Type PDF. Chapter 21. R E A D I N G

A S S I G N M E N T

W E E K 5 - 2 / 2 1 & 2 / 2 3

Advanced Layers, KeyFraming and BasicScreening: The Fleischer Toons

Animation, Rotoscoping.

Continue Type Project.

Chapters 4, 5, 34.R E A D I N G

A S S I G N M E N T

W E E K 6 - 2 / 2 8 & 3 / 2

Frame-by-frame

Animation. Cell animation.Avant guarde cinema.Screening: Man Ray, Hans Richter, Harry Smith,

Type Project Due. Critique!.

Chapter 7R E A D I N G

A S S I G N M E N T

W E E K 7 - 3 / 7 & 3 / 9

Masking, Motion Masks.Screening: Fernand Leger, Marry Ellen Bute

Motion Logo and Background Project


A S S I G N M E N T

W E E K 8 - 3 / 14 & 3 / 16

-

Chapter 18 and 19.R E A D I N G

A S S I G N M E N T

Compositing, Nesting, Pre-composing sequences.

None

ArtDM140



Location: A-303


W E E K 9 - 3 / 2 1 & 3 / 23


R E A D I N G

A S S I G N M E N T

W E E K 1 0 - 3 / 28 & 3 / 30

R E A D I N G

A S S I G N M E N T

W E E K 1 1 - 1 0 / 2 6 & 1 0 / 2 8

Final Cut Pro Overview,

Archival Remix, History of Reappropriation.Screening: Remix and Right-Wing Donald

PDF: Lessig on History and Media.R E A D I N G

A S S I G N M E N T

W E E K 1 2 - 4 / 4 & 4 / 6

Green Screen, Color Keying, Compositing!Screening: Star Wars and Forest Gump

Remix Project Rough Cut.

Chapter 27 R E A D I N G

A S S I G N M E N T

W E E K 1 3 - 4 / 11 & 4 / 1 3

Introduction to Expressions and scripting in After Effects ☺

Expressions Skill Share Assignment!


A S S I G N M E N T

W E E K 1 4 4 / 2 5 & 4 / 2 7

Time-remapping, temporal processing.

Remix project due! Final Project Assigned.

Chapter 28

R E A D I N G

A S S I G N M E N T

W E E K 1 5 5 / 2 & 5/4

Computer Animation and the Future of MoGraph.Screening: Peter Whitney.

Final Project Pitches Due.

R E A D I N G

A S S I G N M E N T

W E E K 1 6 - 5 / 1 1 & 5 / 13

Stabilization and Motion

Tracking

Final Project. Continued.

Chapter 13, 14, 15

R E A D I N G

A S S I G N M E N T

Historical overview of film titles, Screening: Saul Bass Doc. Pablo Ferro Clips

Logo&BG Due! FilmTitle Project Assigned.

Remix Project Assigned, Film Title Project Due.

Film Titles PDF

Transfer/Blending modes.

Continue Film Titles

Chapter 9

ArtDM140

Chapter 29, 30

Camera and 3D Space, Lights



Location: A-303


W E E K 1 7 - 5 / 16 & 5 / 18

Particle System Generator.Trapecode!

Final project roughcuts Due.


R E A D I N G

A S S I G N M E N T

W E E K 1 8 - 5 / 23 & 5 / 25

Final project critiques

Final project

None!R E A D I N G

A S S I G N M E N T

T e x t p r o j e c t : P r o j e c t 1 z z

Using the Type tool in AfterEffects, create a typography project that uses the aesthetic formal elements of type to articulate a broader concept. Consider the typeface, leading, kerning, spacing and color when executing your project. NOTE- Animation must be motivated by the content (don’t just scramble itto statisfy the assignment). Form=Content☺.

A n i m a t e d l o g o & B G : P r o j e c t 2

Animate a vector logo that you design (be inventive, creative and fresh!). Create a dynamic and visually entic-ing moving logo that incorporates an introduction, looping body and outro. The logo should be placed in an equally compelling and visual back-ground with motion as well. Project must incorporate frame blending and motion blur. Consider using blending modes and dynamic textures.

O p e n i n g T i t l e s f o r F i l m : P r o j e c t 3

Liberate your inner Saul Bass! Create a title sequence (with titles, lower 3rds, etc.) for a film (real or imag-ined). The sequence should incorpo-rate video elements along with vector art. The text, textures and vector art should eloquently parallel the film’s plot and act as an artistic analogue to the film as a whole. Production must adhere to best practices in lighting, rule of 3rds and photography. Layout and organization is especially impor-tant!



Location: A-303

ArtDM140

Animate a quote (1-4 sentences)from a film, book or timeless cliche.

None!

Digital Art: Project 0 r

Using only AfterEffects, Create a work of digital art without motion. Treat thethe software as a static photo editor.Use only motivated effects.

Class Mtg:

M/W 3:30-4pm


E x p r e s s i o n s S k i l l s h a r e : P r o j e c t 5

Presentations will be an informal skill sharing exercise for yourself and classmates. Research a piece of expression code that you will present to class. Expres-sion script can be found in your textbook or on-line in the various forums (creativecow.com, motionographer.com, www.ehow.com). Presentations should be no longer than 7 minutes. Please provide working files and bitmaps/vector images for the class to follow along.

F i n a l M o G r a p h P r o j e c t : P r o j e c t 6

“Any sufficiently advanced technology is indistinguishable from magic.” Arthur C Clark. “The Future: it’s all we got!” Gregory Benford.For this final project, use the various tools and techniques in AfterEffects (green screen, effects, 3-D space, textures, particle generators, etc.) to create a 3-5 minute film set in a future world. The future is impossible to know, thus your future worldcan be anything—a utopia, dystopia, or any boring ole quotidian future (make it as mundane, absurd, blasé or fantastic as you’d like!). Project must be developed in consultation with me through the following: com-pletion of detailed storyboards and a pithy pitch presented to the class (NOTE- Pitches shouldn’t exceed 5-7minutes). Consider purpose, audience, and research required for implementation of the project. Project will first be executed in FCP as a rough cut (sans effects and AfterEf-fects) and critiqued by the class before completion in AfterEffects.

F o u n d F o o t a g e R e m i x : P r o j e c t 4 z z

Using a piece of found footage or audio as a base, creatively create a work of art that builds on the past! Utilizing the tools and possibilities in AfterEffects, incorporate the found footage into a complex new film using photographs, typography, vector art and effects. Use mostly archival-- more than 80% must be a reimagining, adaptation, remixing or elaboration on the found footage.

ArtDM140



Location: A-303


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