Book Cover Exhibition

I did not study graphic design and I am eager to learn more about it and to familiarise myself with different aspects of it which would be applicable to teaching. This work is from a mini exhibition completed by second year graphic design students in college. I really like the hand drawn aspect to this work and the variety of interpretations of the different books. One aspect of these designs that I really like and had not considered when writing my scheme was the illustrations inside the book and the actual creation of a physical book. The uniform size of the books and the use of the same paper works well together and gives the books/designs a nice sense of uniformity where the actual designs differentiate the work. The brief for this project is quite interesting also and using actual real life projects as a starting point for a brief is a great idea.

The Basics of Graphic Design

Dictionary.com defines graphic design as “the art or profession of visual communication that combines images, words, and ideas to convey information to an audience.” It  is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. Graphic design is found in every aspect of our life as visual communication. Below are just some examples of the work done by a graphic designer:

• Logos
• Websites
• Advertisements
• Book/CD/DVD Design
• Brochures
• Billboards
• Product Packaging
• Posters
• Magazine and Newspaper Layout

Graphic Design
Graphic design is the process of creating the appearance of a publication, presentation, or web site in an attractive, logical manner. When done successfully, it attracts attention, adds value to a message, enhances readership and readability, simplifies, organizes, provides selective emphasis, and creates unity.


Steps in the Graphic Design Process:

• Analyze the audience.
• Determine the purpose of your message.
• Decide where and how your message will appear (whether it will be a printed publication, presentation, or web site).
• Establish goals.
• Organize text and graphics.
• Choose an appropriate format and layout.
• Select appropriate typefaces, type sizes, type styles, and spacing.
• Add and manipulate graphics.
• Organize text and graphics.
• Proofread
• Refine and fine-tune.

Creating Effective Layouts


Layout Guidelines

A layout is the arrangement of type and graphics on a printed publication, presentation, or web site. A good layout should serve the purpose intended by the designer, organize the information and graphics in order to create a visual path for readers to follow, and attract the attention of readers. There's no one right way to create a good layout.

General Guidelines for Layouts:

• Determine the purpose of your publication, presentation, or web site before you begin your layout.
• Establish the primary message you want to present and plan your layout around it.
• Choose an appropriate type of media (web page, presentation, printed book, newsletter, or brochure, etc.) and a size.
• Identify the target audience, then write and design the publication, presentation, or web site keeping this audience in mind.
• Consider their interests, reading levels, background, etc.

Organizing Layouts

Good layouts are easy to follow and provide clear reader cues to help readers easily find their way through a publication, presentation, or web page. If readers have to work at finding their way through a publication, they probably won't read it. Arrange and emphasize your information to make your message as clear as possible. Decide what you want the reader to see or read first and position it accordingly, then decide what you want the reader to read or see next. Continue arranging and emphasizing the information until you have included everything. The quality of your layout determines how quickly your readers will be directed through the publication and how fast they will be able to read it.

Guidelines for Organizing Layouts:

• Use different sizes of type for different elements.
• Establish a hierarchy of type sizes for headlines, subheads, text, etc. and be consistent with formatting. (All headlines should be formatted alike, all subheads should be formatted alike, all text should be formatted alike, etc.
• Make the most important element you want your readers to see the largest and the least important element the smallest.
• Use rules (lines) to separate information into groups.
• Use different weights of type.
• Use white space for design purposes in your publication.
• Position important information in the upper left corner. The upper left corner is usually read first. Place a box around important information.
• Call attention to lists of items by placing bullets in front of them.
• Use colored or reversed type (white type on a dark background) to separate or emphasize.

Capturing the Readers' Attention

Information must be noticed before communication takes place. It has to stand out from the crowd by being different from what is around it. Before you decide how to grab your readers' attention, you should consider who will read it and where it will be seen. Your design should be suitable for your audience and appropriate for its environment.

Guidelines for Capturing the Readers' Attention:

• Enlarge a graphic or photo of something small, so it will cover a large area.
• Tilt an image or a block of type at an angle.
• Surround a small element, such as a block of type or a graphic, with lots of white space.
• Use bright colors for publications, presentations, or web sites that will be viewed in dark or gray environments.
• Use a solid black area or a large white area in your design.
• Crop an image in an unusual way.
• Set important information in an atypical way, such as in a distinctive font.

The Elements of Design

When creating a new layout, you should begin with the basic elements of design: line, shape, texture, space, size, value, and color. These basic elements can produce many different layouts depending on how they're used.

Line

Line is any mark connecting two points. Many different types of lines appear everywhere. Look around you and you'll see lines that are straight, curved, squiggly, thin, fat, and dotted.

Lines can be used to:

• Organize information.
• Highlight or stress words.
• Connect pieces of information.
• Outline a photo or set it off from other elements.
• Create a grid. (A grid is the underlying structure of a page.)
• Create a chart or graph.
• Create a pattern or rhythm by drawing many lines.
• Direct the reader's eye or create a sense of motion. (Create a sense of action by using a diagonal line.)
• Suggest an emotion.

Shape

Anything that has height and width has shape. Unusual shapes can be used to attract attention. There are basically three types of shapes. Geometric shapes, such as triangles, squares, rectangles, and circles, are regular and structured. These shapes work very well as building blocks for graphic design. Natural shapes, such as animals, plants, and humans, are irregular and fluid. Abstracted shapes, such as icons, stylized figures, and graphic illustrations, are simplified versions of natural shapes.

With shape you can:

• Crop a photo in an interesting way, such as in an oval.
• Symbolize an idea.
• Make a block of text more interesting by setting the text into a shape.
• Create a new format.
• Highlight information. You could add a screened or tinted shape to highlight important information.

Texture

Texture is the look or feel of a surface. You can add richness and dimension to your layouts with texture. Visual texture creates an illusion of texture on a printed publication or web page. Patterns, such as the images printed on wrapping paper, are a type of visual texture. Tactile texture can actually be felt. Printed publications can be printed on textured paper that readers can feel.

Texture can be used to:

• Give a printed publication, presentation, or web page a mood or personality.
• Create contrast for interest.
• Fool the eye.
• Provoke emotions.
• Create a feeling of richness and depth.

Space

Space is the distance or area between or around things. Space separates or unifies, highlights, and gives the eye a visual rest.

Space can be used to:

• Give the eye a visual rest.
• Create ties between elements.
• Highlight an element.
• Put a lot of white space around something important to call attention to it.
• Make a layout easy to follow.
• Make type as legible as possible.

Graphic Design Tip:

White space (the absence of text and graphics) is vital to graphic design. The key is to add just enough white space so the eye knows where to go and can rest a bit when it gets there. You can control white space in the following location: margins, paragraph spacing, spacing between lines of text, gutters (the space between columns), and surrounding text and graphics.

Size

Size is how large or small something is. Size is very important in making a layout functional, attractive, and organized. It shows what is most important, attracts attention, and helps to fit the layout together.

Size can be used to:

• Show which element is the most important by making it the largest.
• Make all elements easy to see.
• Attract attention.
• Contrast two elements to create interest.
• Establish a consistent look throughout a printed publication or web page.

Value

Value is the lightness or darkness of an area. Think in terms of the spectrum from black to white and the many shades of gray in between. Each shade on this spectrum has a value, from the very lightest to the very darkest. Value separates, suggests mood, adds drama, and creates the illusion of depth.

Value can be used to:

• Lead the eye across a page, such as running a dark to light graded area in a background.
• Create a pattern.
• Give the illusion of volume and depth by adding shading to an area.
• Create an image of lightness or darkness.
• Make a layout dramatic with large areas of dark or light shading.
• Emphasize an element.
• Make objects appear to be in front of or behind each other.

Color

Color in layouts can convey moods, create images, attract attention, and identify objects. When selecting colors for a publication or a web page, think about what you want the color to do and what is appropriate for your purpose.

Color can be used to:

• Highlight important elements such as headlines and subheads.
• Attract the eye.
• Signal the reader where to look first.
• Create an image or a mood.
• Tie a layout together.
• Organize.
• Group elements together or isolate them.
• Provoke emotion.

The Psychology of Color
Color		Associations
	Reds	Energy, Passion, Power, Excitement
	Oranges	Happy, Confident, Creative, Adventurous
	Yellows	Wisdom, Playful, Satisfying, Optimistic
	Greens	Health, Regeneration, Contentment, Harmony
	Blues	Honesty, Integrity, Trustworthiness
	Violets	Regal, Mystic, Beauty, Inspiration
	Browns	Easiness, Passivity
	Blacks	Finality, Transitional Color

The Principles of Design

The principles of design help to determine how to use the design elements. There are four principles of design: balance, emphasis, rhythm, and unity. These principles of design help you to combine the various design elements into a good layout.

Balance

Balance is an equal distribution of weight. In terms of graphics, this applies to visual weight. Each element on a layout has visual weight that is determined by its size, darkness or lightness, and thickness of lines. There are two basic approaches to balance. The first is symmetrical balance which is an arrangement of elements so that they are evenly distributed to the left and to the right of center. The second is asymmetrical balance which is an arrangement of unlike objects of equal weight on each side of the page. Color, value, size, shape, and texture can be used as balancing elements.

Symmetrical balance can communicate strength and stability and is appropriate for traditional and conservative publications, presentations, and web sites. Asymmetrical balance can imply contrast, variety, movement, surprise, and informality. It is appropriate for modern and entertaining publications, presentations, and web sites.

To create balance:

• Repeat a specific shape at regular intervals, either horizontally or vertically.
• Center elements on a page.
• Put several small visuals in one area to balance a single large image or block of text.
• Use one or two odd shapes and make the rest regular shapes.
• Lighten a text-heavy piece with a bright, colorful visual.
• Leave plenty of white space around large blocks of text or dark photographs.
• Offset a large, dark photograph or illustration with several small pieces of text, each surrounded by a lot of white space.

Rhythm

Rhythm is a pattern created by repeating elements that are varied. Repetition (repeating similar elements in a consistent manner) and variation (a change in the form, size, or position of the elements) are the keys to visual rhythm. Placing elements in a layout at regular intervals creates a smooth, even rhythm and a calm, relaxing mood. Sudden changes in the size and spacing of elements creates a fast, lively rhythm and an exciting mood.

To create rhythm:

• Repeat a series of similarly shaped elements, with even white spaces between each, to create a regular rhythm.
• Repeat a series of progressively larger elements with larger white spaces between each for a progressive rhythm.
• Alternate dark, bold type and light, thin type.
• Alternate dark pages (with lots of type or dark graphics) with light pages (with less type and light-colored graphics).
• Repeat a similar shape in various areas of a layout.
• Repeat the same element in the same position on every page of a printed publication such as a newsletter.

Emphasis

Emphasis is what stands out or gets noticed first. Every layout needs a focal point to draw the readers eye to the important part of the layout. Too many focal points defeat the purpose. Generally, a focal point is created when one element is different from the rest.

To create emphasis:

• Use a series of evenly spaced, square photographs next to an outlined photograph with an unusual shape.
• Put an important piece of text on a curve or an angle while keeping all of the other type in straight columns.
• Use bold, black type for headings and subheads and much lighter text for all other text. Place a large picture next to a small bit of text.
• Reverse (use white type) a headline out of a black or colored box.
• Use colored type or an unusual font for the most important information.
• Put lists you want to highlight in a sidebar in a shaded box.

Unity

Unity helps all the elements look like they belong together. Readers need visual cues to let them know the piece is one unit-the text, headline, photographs, graphic images, and captions all go together.

Unify elements by grouping elements that are close together so that they look like they belong together. Repeat color, shape, and texture. Use a grid (the underlying structure of a page) to establish a framework for margins, columns, spacing, and proportions.

To create unity:

• Use only one or two typestyles and vary size or weight for contrast throughout the publication, presentation, or web site.
• Be consistent with the type font, sizes, and styles for headings, subheads, captions, headers, footers, etc. throughout the publication, presentation, or web site.
• Use the same color palette throughout.
• Repeat a color, shape, or texture in different areas throughout.
• Choose visuals that share a similar color, theme, or shape.
• Line up photographs and text with the same grid lines.

Design Problems to Avoid

Try to avoid these design problems:

• Tombstoning - Avoid parallel headlines, subheads, or initial caps in adjacent columns. Tombstones are created when headlines or other highlighted type items appear next to each other in adjacent columns. A reader faced with tombstones on a page may have difficulty deciding what element to examine first. Solutions include changing the alignment of the columns, changing the layout of the page, or editing the text in one column so headlines are staggered.
  
• Trapped white space - Avoid holes in the middle of publications. Trapped white space occurs when a hole appears between a headline and an adjacent graphic, or when an article is too short to fill the column down to the next headline. Solutions include adjusting the size of the graphic to fill the hole or adjusting the text so that the white space falls at the bottom of the column.
  
• Claustrophobic pages - Always provide sufficient white space (breathing room) around columns of text. Claustrophobic pages result when columns of text crowd each other and the edges of a page. Solutions include increasing the size of the margins on the page and adding more white space around individual elements.
  
• Whispering headlines - Headlines should be significantly larger, and often bolder, that the text they introduce. Gray pages result when there's not sufficient contrast between headlines and text. Whispering headlines fail to attract attention to the text they introduce.
  
• Similar typefaces - Strive for maximum contrast when using more than one typeface on a page or within a publication. When using different typefaces for headlines and text, go for contrast. Avoid typefaces that are similar in appearance (style, size, and weight).
  
• Underlining - Underlining undermines readability. Try to use boldface type or italic type instead of underlining. More than a few underlined words cause visual clutter and confusion. Also, it takes more time for readers to separate the words from the horizontal lines.
  
• Widows and orphans - Watch for widows and orphans, which can cause unsightly gaps in text columns. A widow is a syllable, word, or less than one-third of a line isolated at the bottom of a column, paragraph, or page. An orphan is a word isolated at the top of a column or page.
  
• Buried heads and subheads - Avoid headlines and subheads isolated near column bottoms. Buried headlines and subheads are followed by only one or two lines of type at the bottom of a page. This is not only unsightly, but also distracting. The reader's concentration may be broken by the jump to the top of the next column. Solutions include editing text or using uneven column bottoms.
  
• Box-itis and rule-itis - Avoid overusing boxes and rules. Too many bordered elements on a page lead to overly compartmentalized pages. This can easily occur in newsletters if you use a box to frame each page, then add internal boxes around elements such as nameplates, mastheads, pull-quotes, sidebars, and the table of contents.) The result is a busy effect that interferes with easy reading.
  
• Jumping horizons - Start the text the same distance from the top of the page throughout a document. Jumping horizons occur when text columns start at different locations on a page. The up and down effect is annoying to the reader and creates an unprofessional appearance.
  
• Excessive spacing after punctuation - Avoid placing two spaces after a period at the end of a sentence. Two spaces following periods are needed for typewritten text. But in desktop-published type, the extra space creates large holes between sentences, which is especially noticeable in justified type.
  
• Floating heads and subheads - Be sure headlines and subheads are closer to the text they introduce than to the preceding text. The impact of a heading is weakened if it isn't immediately clear which text it belongs to.
  
• Unequal spacing - Strive for consistent spacing between elements. Pay particular attention to the space between:
  • Headlines in relation to the top and side borders and headlines and text
  • Subheads and text
  • Captions and artwork
  • Artwork and text
  • Column endings and bottom margins
    
• Exaggerated tabs and indents - Default tabs and indents in word-processed files should be altered to be proportionate with the type size and column width. The first lines of paragraphs are often indented too deeply.
  
• Cramped logos and addresses - Sometimes a firm's logo, address, phone number, and other buying information are difficult to read because they're treated as if they were squeezed in with the other information. To avoid this, place the logo first and other important information on the page first, then build the document around them.
  
• Too many typefaces - Avoid a large mixture of typefaces, type sizes, and weights. Discipline yourself to use the minimum number of typefaces, type sizes, and weights necessary to organize your information and create a hierarchy of importance. Each variation in type slows the reader down.
  
• Irregularly shaped blocks of body copy - This makes type harder to read. Flush left type is the easiest to read. Lines without a consistent starting point take more time to read and may cause readers to lose their place as they read.

Taken from http://www.online.tusc.k12.al.us/tutorials/grdesign/grdesign.htm

Mind Mapping

Mind mapping was not an entirely new concept for me but I have never really used it before. I decided to research it a little to familiarise myself fully with the concept before I decided to use it in the classroom. I really like the  visual quality of mind mapping and I feel it could be useful in exploring ideas in all areas of visual art and art history and not solely Graphic Design.

Mind mapping is a highly effective way of getting information in and out of your brain. Mind mapping is a creative and logical means of note-taking and note-making that literally "maps out" your ideas.
All Mind Maps have some things in common. They have a natural organizational structure that radiates from the center and use lines, symbols, words, color and images according to simple, brain-friendly concepts. Mind mapping converts a long list of monotonous information into a colorful, memorable and highly organized diagram that works in line with your brain's natural way of doing things. 
One simple way to understand a Mind Map is by comparing it to a map of a city. The city center represents the main idea; the main roads leading from the center represent the key thoughts in your thinking process; the secondary roads or branches represent your secondary thoughts, and so on. Special images or shapes can represent landmarks of interest or particularly relevant ideas. 
The Mind Map is the external mirror of your own radiant or natural thinking facilitated by a powerful graphic process, which provides the universal key to unlock the dynamic potential of the brain.

The five essential characteristics of Mind Mapping:

• The main idea, subject or focus is crystallized in a central image.
• The main themes radiate from the central image as 'branches'.
• The branches comprise a key image or key word drawn or printed on its associated line.
• Topics of lesser importance are represented as 'twigs' of the relevant branch.
• The branches form a connected nodal structure.

Taken from http://www.mindmapping.com/

Tony Buzan is the inventor of Mind Maps, the revolutionary thinking tool used by over 250 million people to help them unleash their mental potential. He is the world's leading authority on the brain, learning and memory.

This clip, provided by MacGrercy Consultants (www.macgrercy.com) shows you the basics of how to make a mind map. The intention is to show you the main points to get you started.

Art History French Romanticism Scheme

Art History French Romanticism Scheme for 5th and 6th years.

http://www.docstoc.com/docs/118679860/Art-History-Romanticism-scheme

Photographing Sculptures

Good photography can transform the visual impact of a sculpture in print. It is also a necessary tool when documenting personal and students work.Today we did some photograph work in the seminar room which advised us about the different techniques of photographing an object and how to use light and the correct camera settings.


Set your camera's ISO to its lowest native setting (this will ensure optimal image quality).
Set your camera's highest synchable shutter speed (you'll want to eliminate as much ambient light as possible).
Set your camera's white balance manually, as that generally creates pleasing colours with flash.
Set your aperture to between f/5.6 and f/11 - you'll want good depth of field and sharpness, but have some flexibility for controlling the light getting to the sensor.
Set all your flash triggers so they are all on the same channel.
Start with your flashes at 1/2 power. Do some test shots, watch your camera's LCD and histogram, and vary your flash power and aperture to get the light level right. Try not to bring your flash power up to full (1/1) power, as this will eat through batteries faster, and cause slower recycling times.

 

Adjusting the light can dramatically changes the effects in the photograph because of the change in shadows and angles.

Print - Lino Printing

1st year lino printing schemes and some examples of the work produced:

http://www.docstoc.com/docs/118526386/Lino-Printing-scheme

Painting - Self Portrait in the style of Shepard Fairey

5th and 6th year self portrait scheme and some examples of the work produced:

http://www.docstoc.com/docs/118526534/Painting-self-portrait-in-style-of-Shepard-Fairey-Scheme

Drawing and Painting - Outdoor Landscape

2nd year out of doors painting scheme and some examples of the work produced:

http://www.docstoc.com/docs/118525339/Drawing-Painting-Scheme

Animation and Film

Visual Literacy

• 21st century society increasingly

mediated by images, still and moving.

• Importance of critical media literacy

• Being able to read and write - Being

able to read and create

Photography

‘Writing with light’

Film Studies

• Develops critical thinking skills

• Develops critical media literacy/visual

literacy skills

• Fosters appreciation for filmmaking as an

art form

• Creates awareness of intertextuality

Film as a Complement

Film can be useful tool for supporting study

of:

A particular visual artist

Vincent Van Gogh

Vincent Van Gogh: Lust for Life (1956)

Michelangelo

Michelangelo: The Agony & the Ecstasy (1965)

Edvard Munch

Edvard Munch: Edvard Munch (1974)

Frida Kahlo

Frida Kahlo: Frida (2002)

Johannes Vermeer

Dir. Peter Webber Johannes Vermeer Emily Kriel

Johannes Vermeer

Tom Hunter

Jacques Louis David – The Death of Marat

Vik Muniz

Robert Capa

Film as a Complement

Film can be a useful tool for supporting study

of:

A specific art form

Street Art

Banksy

Banksy

Shepard Fairey

Shepard Fairey

Shepard Fairey

Shepard Fairey

Shepard Fairey

Salvador Dali

Spellbound (Alfred Hitchcock, 1945)

Escher

Inception – Dir. Christopher Nolan

Film as a complement

• Painting

• Sculpture

• Photography

• Illustration

• Graphic Design

• Street Art

Film Studies

The study of film can be viewed from three

different perspectives:

• Film as a language

• Film as a historical cultural document

• Film as an art form

“Placing on stage”

Mise en Scène

Mise en Scène

• Camera

– Framing, focus & character position

• Lighting

– Mood, atmosphere, emotion

• Setting

– Location / era

• Costume and make-up

– Clothing / props

Camera

• Shot size / Framing / Composition

• Angles

• Focus

Shots

What we see on the screen is

framed by the camera in

different ways

Wide Shot

Mid Shot

Close up

Extreme Close up

Angles

High Angle Shot

High Angle Shot

Low Angle Shot

High Angle Shot

Low Angle Shot

Focus

• Shallow focus

• Deep focus

Shallow Focus

Deep Focus

Lighting

• Mood

• Atmosphere

• Emotion

Lighting

Bladerunner (Ridley Scott, 1982)

Lighting

Night of the Hunter (Charles Laughton, 1955)

Setting

• Location

• Era

• Genre

The Road (Dir - Charles Laughton, 2011)

Minority Report – Dir. Steven Spielberg

GENRE

Colour

Colour

Hero (Zhang Yimou, 2002)

Hero (Zhang Yimou, 2002)

Colour

Hero (Zhang Yimou, 2002)

Colour

Hero (Zhang Yimou, 2002)

Colour

Hero (Zhang Yimou, 2002)

Colour

The Last Emperor

Dir: Bernardo Bertolucci

Pan’s Labyrinth (Guillermo Del Toro, 2006)

Costume and Props

• Clothing

• Make-up

• Props

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

Pirates of the Caribbean - The Curse of the Black Pearl

2008

Fantasy films have proved to be popular with all ages, as reflected in

the success of films such as Harry Potter and the Order of the

Phoenix , The Chronicles of Narnia (The Lion the Witch and the

Wardrobe), and The Pirates of the Caribbean series.

Describe and discuss one scene from one of the above films,

referring to costume, make-up, scenery /location, special effects

and camera work.

And

Discuss briefly how the typography used in the title and credits

reflects the subject matter of the film you have chosen.

Illustrate your answer

Costume and props

The Red Balloon (Albert Lamorisse, 1956)

Camerawork

Lighting

Scenery / Location

Costume

Make-up

Colour

Sound

Editing

Film Journal Film: _____________________

Dir. : _____________________

Year: ____________________

Notes:

Film Journal Film: _____________________

Dir. : _____________________

Year: ____________________

Approaching the Leaving Certificate Film Studies Question

ART (Including Crafts) Ordinary and Higher

Level Courses

“The course should be as broadly based as that

for the Intermediate Certificate.”

Leaving Certificate Art Syllabus

2006

Describe and discuss the visual qualities of a film of your choice

shot on location in Ireland, or a film with an Irish theme.

Refer in your answer to location, costume and makeup,

camera work, lighting and colour.

And

Describe how the qualities you have discussed combine to

set the scene and the atmosphere of the film.

Use sketches to illustrate your answer.

Kisses (Lance Daly, 2008)

Camerawork

Lighting

Scenery / Location

Costume

Make-up

Colour

Sound

Editing

Film Journal Film: _____________________

Dir. : _____________________

Year: ____________________

2009

Recent animated films from the studios of Pixar and

Dreamworks, such as Shrek, Finding Nemo, Ratatouille and

Wall-E, have proved to be very popular.

Discuss this statement with reference to two scenes from

one of these animated films.

And

Discuss briefly the film-making techniques that make these

scenes so visually appealing.

Use sketches to illustrate your answer.

Wall E

Toy Story 3

Practical Film Methodologies

Short Films

Trailers

Credit Sequences

TITLE

SEQUENCE

&

CREDITS

GENRE

MOOD

STYLE

THEMES

Mad Men

Classic Ads

Concept Storyboard

Storyboard

Logo Explorations

Logo Explorations

North by Northwest

Catch Me If You Can

Oceans Eleven (1960)

www.artofthetitle.com

TRAILERS

Gears of War – Trailer

Assasins Creed Brotherhood – Trailer

Assasins Creed – TV Ad

• Reverse Storyboarding

• Storyboard a trailer for film/TV show/game

• Digital Storyboarding

– animatic

Gorillaz – Clint Eastwood. Music Video animatic

Gorillaz – Clint Eastwood. Music Video

• Storyboards

– trailers, in game cinematics, ads

• Character design

• Mood boards

• Concept Art

Assasins Creed – Concept Art

Assasins Creed – Concept Art

Advantages over creating live action videos.

Allows students to create scenes that would be impractical, dangerous or

unaffordable in real life.

Students do not need expensive film equipment such as cameras or lights.

Students working solo or in small groups can create large scenes without

needing a large cast of actors.

Why animation rather than video?

Flickbook

ZOETROPE

Zoetrope

• Traditional

– Cell Animation

• Stop Motion

– Claymation

– Puppetry

• Computer

– 2D & 3D

Spirited Away – Dir. Hayao Miyazaki

Claymation

• uses figures made of clay to

create stop-motion animation.

• The figures may have a wire

frame inside of them, that can

be moved in order to pose the

figures.

• Examples: Wallace and Gromit

Morph

Shit Robot: ‘Losing my Patience’ – Dir. Fergal Brennan

Gulp! (Worlds Largest Stop Motion) – Dir. Sumo Science

Dot (Worlds Smallest Stop Motion Animation) – Dir. Sumo Science

Puppet Animation

• Uses stop-motion puppet figures in

a constructed environment

• The puppets generally have a wire

frame inside of them to keep them

still and steady.

• It allows them to move their limbs

and joints.

• Examples The Nightmare Before

Christmas (1993), Corpse Bride

(2005), Coraline (2009)

Fantastic Mr. Fox – Dir. Wes Anderson

Coraline – Dir.

King Kong VW Commercial – Dir. David Allen

Alice – Jan Svankmajer

Alice – Dir. Jan Svankmajer (1988)

iMotion HD App for iPhone (free)

3D

• Digital models created in a

computer programme

• Models are given a digital

armature or skeleton.

• 3D simulations can be made of

many things such as fur, water,

smoke, fire etc.

• Special effects in movies & ads

• Examples: Toy Story, Shrek,

Wall-E

Motion Capture

• the process of recording the

actions of human actors and

• using that information to animate

digital character models in 3D

• Using specially designed suits.

• Initially invented in Scotland

• Used in Military, entertainment,

sport and film

• Examples: Polar Express (2004)

2011

The success of Pixar Animation Studios is firmly fixed on the

understanding that the animated world should be based on the

real world.

Discuss this statement with reference to any one of Pixar’s

productions, such as Toy Story 1, 2 and 3, The Incredibles,

Monsters Inc, Wall-E and Up.

And

Discuss briefly two film-making techniques that make these

films so visually attractive.

Illustrate your answer

Wall E

Moviestorm

• Students have access to a large variety of sets, props and costumes, and are

not limited by what the school can provide or what they can find at home.

•

• They can work in a variety of locations, including both home and the

classroom, so do not require studio space.

•

• Using a complete animation tool like Moviestorm removes the need for having

several different software packages to handle the different parts of film-making.

Moviestorm

What you will need:

• Software

• istopmotion

• Animator DV

• Windows movie maker

• imovie

• Camera

• Webcam

• DSLR

• iPhone / cameraphone

Process:

1. Brainstorm ideas

2. Write a script

3. Create Storyboard

4. Assign roles

5. Shoot!

• Each second of animation is made up of 25 separate frames.

• Don’t be too ambitious with the duration of the film

• Aim for completing 2 – 4 seconds per 40min class.

• Each second of animation is made up of 25 separate frames.

• Don’t be too ambitious with the duration of the film

• Aim for completing 2 – 4 seconds per 40min class.

12 frames = 1/2 second

Considerations:

1. Time consuming

2. Requires hardware and software

3. Technical knowledge

4. Can be disappointing if project not completed

Process:

1. Brainstorm ideas

2. Write a script

3. Create Storyboard

4. Assign roles

5. Shoot!

Main film roles:

• Producer

• Director

• Writer

• Cinematographer / Camera Operator

• Sound Operator

• Editor

• Cast

• Short Documentary

• Short Film

• Recreate a scene

• Trailer

• Music Video

• TV Ad

IFI Education

www.ifi.ie/education

Screenings, workshops, study guides

Fresh Film Festival

www.freshfilmfestival.net

FIS – Films in Schools

www.fis.ie

Study Guides

www.filmeducation.org (UK)

Moviestorm

www.moviestorm.co.uk (3D animation)

Offset – Graphic Design

www.iloveoffset.com

Ripping clips

4 Media DVD Ripper

http://www.mp4converter.net/dvdripper-

win.html