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aimstaff

David Atkinson
david.atkinson@rmit.edu.au
9925 1707

Jeremy Parker
jeremy.parker@rmit.edu.au
9925 2994

John Power
john.power@rmit.edu.au
9925 2994

Matthew Riley
matthew.riley@rmit.edu.au
9925 2994

Robyn Blake
robyn.blake@rmit.edu.au

9925 2994

Kate Cawley
kate.cawley@rmit.edu.au

9925 2994


assignedprojects2008



Required Submissions for the following courses:

Storytelling COMM2172 (scriptwriting) 12 CP
Concept Development COMM2168 (various production assignments)12 CP
Collaborative Studio Practice COMM2351 (team project) 12 CP
Individual Studio Practice COMM2352 (minor project) 12 CP


Assignments:

Script Writing:
see script writing assignments

Note: Scriptwriting assignments comprise 100% of your marks for the course, Storytelling

Animation:
see animation notes

Cut-Out Animation - (compulsory)
Design a paper cut-out character or object consisting of at least one articulated part. Try not to be too figurative. Symbolic or stylised characters have greater potential for play as the audience has fewer expectations as to how they should move. The cut-outs will be 'back-lit' to produce silhouettes. This form of abstraction and the speed and immediacy of the cut-out technique will help you better focus on the aims and objectives of this exercise which are: to gain an understanding of the frame by frame animation process; to discover through play and experimentation, how you can use small packets of time to make things move in different ways; to use and put into practice some of the basic principles of animation; to attempt some characterisation and story-telling; to become familiar with the advantages and disadvantages of the 'straight-ahead' animation method.


Note: This project comprises 20% of your mark for the course, Collaborative Studio Practice

Notes: Online
Cut Outs
Due date: 5.00pm Friday 7 March (depending on resources)

Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Metamorphosis - hand drawn animation - (compulsory)
Design a monogram of your initials. This will be the starting point of your sequence. Now design some object or creature that you associate with your personality. These two drawings will become your 'key-drawings' which map out the start and end points of your sequence. Create a magical transformation between these drawings using about 10-15 drawings. This exercise will give you practice in the use of traditional animator's tools - pegs bars, punched paper and field guides. This project will be completed on paper.

Notes: Online
Metamorphosis

Due date: 5.00pm Thursday 13 March
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Key Pose - drawn animation - (compulsory)
Choose a physical action and try to represent this in at least two key-pose drawings that illustrate the extremes of that action. You might also choose to develop drawings that show a character going through a change of its emotional state. You may also choose to inbetween these poses to discover more about depicting weight, gravity and inertia.

Notes online:
Pose to Pose animation
Key Pose Project

Inbetweens
Due date: 5.00pm Thursday 13 March
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Cyclic Animation - a walk or locomotion cycle - (compulsory)
Choose a physical action and try to represent this in at least two key-pose drawings that illustrate the extremes of that action. You might also choose to develop drawings that show a character going through a change of its emotional state. You may also choose to inbetween these poses to discover more about depicting weight, gravity and inertia.

Notes online: Cyclic Animation and Walk Cycle Project
Due date: 5.00pm Thursday 20 March
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Choose 1 from the additional assignments listed below:

Lip Synchronisation Animation -
(optional)
Script a single amusing, weird or dark line of dialogue and make your character deliver this in a memorable fashion which takes into account the performance encoded within the recording of your voice talent. Audition and direct your voice talent to get the kind of qualities you are looking for. Use a head and shoulders or head to waist view of your character. Think very carefully about the design of your character and the way facial expressions can tell us something about its personality and its mood. Try and work at least three different poses into your animation which expressively use body language, hand gestures and eyes to convey the meaning of the dialogue.

Notes online: Lip Sync and Lipsync Project
Due date: 5.00pm Friday 23 May
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Pixillation - (optional)
Notes online: Pixillation
Due date: 5.00pm Friday 23 May
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Experimental (Alternative) Animation - (optional)
Notes online: Paint-on-Glass
Due date: 5.00pm Friday 23 May
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Claymation / Tabletop Animation - (optional)
Notes: Online
Table-top Animation
and Claymation "The Audition"
Due date: 5.00pm Friday 23 May
Assigned by: David Atkinson
david.atkinson@rmit.edu.au


Note: animation assignments form part of your marks for the course, Concept Development

The Digital Image:

Use AfterEffects to create a 10 second animation via digital compositing.

All compositions need to be pre-composited in Photoshop. Your animation must have at least one element imported from either a Flash file or from video footage and needs to demonstrate an understanding of:

- nested compositions
- animating layers
- masking
- transparencies (light/darkness)

Submission Specifications:

Your project is to be delivered in a folder containing the AfterEffects project file and all other supporting files. Please also include a Quicktime movie of the above project rendered to 320x 240 pixels.

Due date: 5.00pm Monday 28 April
Assigned by: Yeap Heng Shen
heng-shen.yeap@rmit.edu.au


Note: digital image assignments form part of your marks for the course, Concept Development


Web
see interactive project assignments

Web Portrait/Representation

Project Brief
identity, self, other, portrait, account, characterization, depiction, image, perspective, difference, model, picture, description, portrayal, profile, silhouette, simulacrum, vignette, archetype, effigy, impression, simulation, likeness, comparison, clone, semblance, copy, replica, interpretation,  persona, status, motive, characterisation, disposition, peculiarity, sameness, connections, temperament, analogy

Method
You are to create a web ‘Portrait’ or ‘Representation’ .Your task is to create an online representation that consists of making a HTML and/or Flash web ‘page’.

It can be a detailed description or a looser impression.
Think about ‘representation’ beyond the obvious and predictable.  Identify peculiar, perhaps unexpected points of interest. Consider what could be engaging ideas about the self, others, authorship and identity that work in an online environment. The project is not about ‘information’ or ‘function’. It is not about creating a ‘portfolio’. Think of it as a personal, more intimate space. Don’t just provide information, create an experience.

Consider how the portrait can be an extension and reflection of one’s interests, influences, intent, memories, ideology. Think how you could obscure, magnify, dramatize content. How does the representation connect with others? How can you make it interesting and relevant to an audience? What are the most engaging means to express yourself/others in an online form?

Adhere to the advice of Joseph Campbell: "Follow your bliss."

Motive

  • To examine the Internet as an environment for self-authorship, representation and the expression of ideas.
  • To develop skills and methodologies for realizing future web-based  works.
  • To highlight some conceptual and aesthetic aspects of designing for the web.

Medium
Use HTML (Dreamweaver) and/or Flash.
This project is not about technology or what programs you use,  it is how strong your idea is and how well it is communicated. Very simple HTML content can be used cleverly to communicate an idea with little program expertise necessary. It could be entirely created using simple HTML or Flash or a combination of both.

"Delaware's conceptual use of bitmaps, horizontal scrolling, scale and repetition, proves that you don't need to use the latest software in order to create an engaging user experience. In a time when most of us abandon what's outdated in favor of the latest products...there's still room for experimenting with HTML fundamentals." - Yvan Martinez (www.fake-i-d.com) referring to Delaware's website (http://www.delaware.gr.jp/)

Materials
Ideology, interests, agenda, personality. memory, observations etc reflected through your choice of sound, image, text, interactivity, animation in an online form.

Due Date: Monday 21 April

Submit online to the AIM server. See other notes for password, user login etc. Important: from the ‘portrait’ provide a link to the personal blog.

Deliverables
One ‘web portrait’ uploaded to the AIM server that contains a link to a personal blog.

Suggestions:

BE TRUE TO THE FORM.
Ask yourself, "Am I taking advantage of the web's  characteristics?" If your idea can exist as a drawing, a video, a still image etc you have misunderstood the project. Your idea shouldn't make sense in any other medium except for the web. Keep in mind this is not a digital image or illustration exercise, the project is not about creating a laboured, static image. Instead convey an idea that recognises the subtleties of online text, space, movement, animation and sound. It
may be a mix of these elements or you may choose to just focus on one or two. Your response could be entirely sound based for example. Consider the non-linear attributes of the web – ideas and devices that are responsive, dynamic, reactive, transitional.
Your response should communicate an idea that recognizes the distinctiveness and idiosyncrasies of the online form.

“Creativity is really about working within the constraints of a project and really making something work. Often, there are a ton of limitations placed upon designs. You have to work with these limitations so that they dissolve away or become an asset as opposed to a liability. This requires a level of ingenuity and creative thinking on the part of a designer.” - Matthew Owens, Designer VolumeOne

IT IS ABOUT YOUR IDEA, NOT THE SOFTWARE
Demonstrate your conceptual capabilities, not how well you can use Photoshop, Flash or Dreamweaver. You only need a basic understanding of the software to create an engaging response. Consider a clever use of simple devices. It will not be a lack of software knowledge but the lack of a strong idea that could result in a poor response to the project. In making the project, keep the software side of things to within your own capabilities – make something you can make yourself.

BUILD AN EXPERIENCE, NOT A WEB PAGE
You are building an experience, not building a  ‘web page’. Move away from page/print metaphors and consider how the medium can be used more dynamically. The project is not about ‘information’ or ‘function’ so don‘t be conservative content wise.

MAKE IT AS DISTINCT AS YOU ARE
Avoid something we are already overly familiar with. Try and present distinctive work that reflects peculiarities, differences and uniqueness.

JUST BECAUSE IT HAPPENED TO YOU DOESN’T MAKE IT INTERESTING
Consider how your response is relevant and interesting to an audience, not just you.

YOU HAVE AN AUDIENCE, TAKE ADVANTAGE OF IT
Many people will visit your web project through the main AIM site, so take advantage of the audience you will have with a strong piece of work.


Note: web and interactive media assignments form part of your marks for the course, Concept Development


Interactive

see interactive project assignments

Choose 1 from the additional assignments listed below:

Open
Develop an interactive flash piece based on one or more of some the properties of interactivity - feedback, input/output, time, immersion, randomness, participation, adaptively.
This is an open project with the content largely driven by you. As a starting point, explore ideas based that are non-linear, reactive, dynamic, responsive, and/or temporal. The user should be encouraged to actively work with the content, re-combining, mixing and juxtaposing elements.

Consider how devices such as clicking, zooming, drops, dragging, scrolling etc can be employed to explore and investigate your content. Consider how shape, size, colour, layers, audio, texture, orientation, light etc can be made dynamic and variable to convey your idea.

Physics
You are to create an interactive work using Flash that uses physics, gravity, kinematics and motion as its primary feature/s.
Consider how weight, acceleration, collision, velocity, force, momentum, magnetism, elasticity could be harnessed to create an engaging experience. You may attempt to simulate 'real-world' physics or attempt a more exaggerated approach.
Consider what you are trying to convey with the movement - is it to convey character? is it to give the appearance of 'life' to something?

The content is up to you, you may give an object/s physics, define some properties or behaviours to a sprite, create an interface, create a small 'game', a playful interactive toy, a particle system, or develop a more experimental piece.

Generative
Generative work is generated, composed, or constructed through computer software algorithms. It refers to any art practice where the artist uses a system, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy to or resulting in a complex work of art (Philip Galanter)
However do not think of generative art as exclusively about the software, it is part of a much broader range of strategies and methodology.

Using the provided FLA files as a basis, create your own system of generative art work. It may compose a static image or result an animated, moving piece of work. As a creator you will set up the initial parameters as a framework that will result in numerous and random iterations.
Consider properties (form, colour, movement, composition, scale, light, transparency, size, behaviour etc) that are changeable and how they can best contribute to the experience. How can you use randomness without the result becoming entirely arbitrary? What variation and diversity is available? How much control does the 'creator' or 'user' have? Consider the interplay between your artistic voice and control and the seemingly haphazard or random outcomes. Unexpected conjunctions, anomalies, or formations may offer surprise to a viewer but to what extent do you influence and frame the content as well?
Encourage a user to spend time with the work, to keep using it, to keep interacting. Don't just consider the form alone, what is it beyond the form that you are trying to convey?
While you may use the provided actionscript files as a basis, you are expected to extend and develop this further and give it your own voice and interpretation. Take these as starting points and build and adjust for own purposes.

XML
Using XML, develop an interactive piece that uses external data to contribute, structure or influence its content and behaviour.
The ability to load external data to another source is a very significant device for interactive and online work. Content that can be changed or influenced in response to different inputs can help to create a very dynamic system. It can help separate content and the presentation/form, making it easier to manipulate the content and display it differently.
Consider how you can creatively use the input of text to form an experience. The content is up to you - it may be used as a part of an interface, it may be used in a more experimental way, it is up to you.

Date Due: End of Semester (however if students would like earlier feedback then please submit before then)

Note: web and interactive media assignments form part of your marks for the course, Concept Development

Real-Time Project:

Due date: Take advice from lecturer
Assigned by: Jeremy Parker
jeremy.parker@rmit.edu.au


Note: the realtime 'room' project forms part of your marks for the course, Concept Development

Collaborative Team Project:

"The Hope of Ruins"

9.30am Monday 14 April
Project Brief. Introduction of the Collaborative Team Project . A presentation of the brief and the aims and objectives of the project. An explanation of the various roles of teams and individuals. Also meet the Executive Producers. The Concept Team will develop the actual production brief.

5.00pm Wednesday 16 April
Nominate your preferred role for the collaborative project and put your role into the nomination box.


4:30pm Thursday 17 April
Production roles are allocated

10.00am Monday 21 April
First Production Meeting - project commences. Regular production meetings are held throughout

4.00pm Thursday 22 May
Deadline and public launch of Collaborative Project

Note: This team project comprises 80% of your marks for the course, Collaborative Studio Practice

For the 2008 Collaborative project web page 'The Hop of Ruins', <click here>
For the 2007 Collaborative project web page 'Tera Transeo', <click here>

Minor Project:

1.30pm Tuesday 8 April
Minor Project Brief

12.00 noon Tuesday 15 April
Screening of past minor projects

9.30am Wednesday 7 May
2.30am Thursday 8 May
Ideas Workshops

9.30am Monday 12 May
Script Hand in

9.30am Tuesday 20 May
Minor Project Pitch

9.00am
Monday 2 June
Pre-production Animatic Epoc

5pm Friday 27 June
Due date

Note: The Minor Project comprise 100% of your marks for the course, Individual Studio Practice