Selected Courses on Digital Art-UOWM

31 Δεκεμβρίου 2016

Filed under: NOTES FOR DAIII,NOTES ON ANIMATION,Uncategorized — admin @ 09:02

5 Νοεμβρίου 2016

Match moving



30 Οκτωβρίου 2016


Filed under: NOTES ON ANIMATION,Works in the course — admin @ 13:18



23 Σεπτεμβρίου 2014

Watch as 1000 years of European borders change timelapse map

Filed under: NOTES ON ANIMATION,ΑΝΑΚΟΙΝΩΣΕΙΣ — admin @ 21:25

no video

12 Ιανουαρίου 2014



Abita from Shoko Hara on Vimeo.

20 Δεκεμβρίου 2013


Filed under: NOTES ON ANIMATION — admin @ 07:36

Discussions of animation often involve concepts of metamorphosis, anthropomorphism, transmogrification, fantasymimesis , the polymorphous perversity of bodies, its oddness and absurdity. Cartoon animation has an amorphous, elastic quality that allows forms the freedom to move and change–ordinary objects transform magically, movement is synchronized to music, and inanimate objects become humanized. Metamorphosis was a founding concept of animation, beginning with early French animator Emile Cohl, and is commonly used for fantastic or comic effect. Likewise, transmogrification is one of the advantages of working in animation rather than in live action. Animated figures are not grounded in actual physicality–they transform at the whim of the animator. [18]

2 Μαΐου 2013

ANIM.2D/3D-sculpture-aptics-vision/sem7 aptics-screen based art-sculpture-blender

Filed under: NOTES ON ANIMATION,NOTES ON SOUND ART — admin @ 20:49
Directed by Hayao Miyazaki | 1986

This sublime adventure fantasy, replete with proto-steampunk imagery, touchingly conveys a message of ecological awareness. A young girl drops from the sky and lands in the arms of orphan Pazu—and not a moment later they’re on the run from a shadowy government agency and a band of pirates, both after the magic crystal she possesses. The chase leads them up and into the clouds to the floating airship Laputa, an overgrown fortress inhabited by gargantuan, dilapidated robots.

The film tells the story of Chronos, the personification of time and the inability to realize his desire to love for a mortal. The scenes blend a series of surreal paintings of Dali with dancing and metamorphosis. The target production began in 1945, 58 years before its completion and was a collaboration between Walt Disney and the Spanish surrealist painter, Salvador Dalí. Salvador Dali and Walt Disney Destiny was produced by Dali and John Hench for 8 months between 1945 and 1946. Dali, at the time, Hench described as a “ghostly figure” who knew better than Dali or the secrets of the Disney film. For some time, the project remained a secret. The work of painter Salvador Dali was to prepare a six-minute sequence combining animation with live dancers and special effects for a movie in the same format of “Fantasia.” Dali in the studio working on The Disney characters are fighting against time, the giant sundial that emerges from the great stone face of Jupiter and that determines the fate of all human novels. Dalí and Hench were creating a new animation technique, the cinematic equivalent of “paranoid critique” of Dali. Method inspired by the work of Freud on the subconscious and the inclusion of hidden and double images. 
Dalí said: “Entertainment highlights the art, its possibilities are endless.” The plot of the film was described by. Dalí as “A magical display of the problem of life in the labyrinth of time.” 
Walt Disney said it was “A simple story about a young girl in search of true love.”

Its roots “anima” and “animus” are Latin for breath,soul, and mind.”
Discussions of animation often involve concepts of
>>ανθρωπομορφισμό anthropomorphism
>>ριζική μεταμόρφωση transmogrification

>> απο τους νόμους του φυσικού πεδίου.
>>μίμηση mimesis
>>πολυμορφικό παραλογισμό των σωμάτων
the polymorphous perversity of bodies

>>παραδοξότητα και παραλογισμός.

“animation” –
“the act of producing ‘moving 
the technique, by means of which 
movement is given,
on film, to a series of 
(esp. for an animated cartoon)”

animated cartoons
φαίνεται σαν να έχουν 
τη θεωρία του 
για Ασυνέχεια 
στο χρόνο και στο χώρο
projected silhouettes, and
real objects,
colored gases and smoke,
Hand-drawn animation films are made by
painting or
attaching items directly onto a film’s surface without the use of a camera.

computer animation


1.       Pre-Production
1.1.           Introduction
1.2.           Storyboarding
1.3.           Character and Model Design
1.4.           Sound Design
1.5.           Technical Tests
1.6.           Production Scheduling
2.       Modeling Basics
2.1.           Introduction
2.2.           Polygonal Modeling
2.3.           Splines and Patches
2.4.           Coordinate Systems
2.5.           Viewing Windows
2.6.           Geometric Primitives
2.7.           Transformations
2.8.           Common Modeling Techniques
2.9.           Hierarchies
2.10.       Booleans and Trims
2.11.       Basic Deformations
3.       Rendering Basics
3.1.           Introduction
3.2.           The Camera
3.3.           Lights
3.4.           Surface Characteristics
3.5.           Shading Algorithms
3.6.           Rendering Algorithms
3.7.           Background Images
3.8.           Surface Texture Mapping
3.9.           Solid Texture Mapping
3.10.       Final Rendering
4.       Animation Basics
4.1.           Introduction
4.2.           Keyframing
4.3.           Interpolations
4.4.           Parameter-curve Editing
4.5.           Dope Sheet Editing
4.6.           Forward Kinematics
4.7.           Inverse Kinematics
4.8.           Motion Paths
4.9.           Shape Deformations
4.10.       Camera Animation
4.11.       Animating Lights and Surface Properties
4.12.       Pose-based Animation
5.       Advanced Modeling
5.1.           Introduction
5.2.           Virtual Sculpting
5.3.           Digitizing Techniques
5.4.           Procedural Modeling
5.5.           Stitched Patches
5.6.           Subdivision Surfaces
5.7.           Displacement Mapping
5.8.           Hair and Fur
5.9.           Paint-based Modeling
5.10.       Higher-level Primitives
6.       Advanced Rendering
6.1.           Introduction
6.2.           Atmospheric Effects
6.3.           Fractals
6.4.           Lighting Subtleties
6.5.           Advanced Texturing
6.6.           Texturing Polygons
6.7.           Background Shaders
6.8.           Non-Photorealistic Rendering
6.9.           Reflection Maps and Environment Procedures
6.10.       More Rendering Algorithms
6.11.       Rendering for Output
7.       Advanced Animation
7.1.           Introduction
7.2.           Animated Fillets
7.3.           Limits and Constraints
7.4.           Metaballs
7.5.           Expressions and Driven Keys
7.6.           Motion Dynamics: Principles, Rigid Bodies
7.7.           Soft-Body Dynamics
7.8.           Particle Systems
7.9.           Cloth Dynamics
7.10.       Motion Capture
7.11.       Camera-Motion Mapping
7.12.       Character Rigging: Movement Controls
7.13.       Character Rigging: Deformation Controls    
7.14.       Facial Animation                                      
7.15.       Non-Linear Animation
8.       Post-Production
8.1.           Introduction
8.2.           Compositing
8.3.           Editing





2-3 έτος2D και 3D animation και montage, τεχνικές stop motion, pixellation κ.α.
  1. Σχέδια κλειδιά κίνησης και ενδιάμεσα, οργάνωση του χρόνου.
  2. Το ανθρώπινο περπάτημα
  3. Το ανθρώπινο τρέξιμο και το τρέξιμο στα τετράποδα, εναλλαγή ποδιών
  4. Κινήσεις σε τροχιά
  5. Κινήσεις με φτερά πουλιά, μυθολογικές φιγούρες κλπ
  6. Οι 12 βασικές αρχές του animation
  7. Τεχνικές του animation. Επέκταση χρήσης animation και live action
  8. Τεχνικές stop motion, pixellation
  9. Εργαλεία για την δημιουργία 2D και 3D μοντέλων

 Διαδραστική σύνθεση εικόνας σε πραγματικό χρόνο 

  1. Εισαγωγή στην σύνθεση εικόνας με βάση το Processing
  2. 2d και 3D γραφικά με Processing
  3. Βασικές διαδραστικές τεχνικές με Processing
  4. Επικοινωνία με άλλες εφαρμογές μέσω OSC
  5. Aναγνώριση εικόνας και κίνησης από κάμερα μέσω Processing
  6. Εισαγωγή στον προγραμματισμό συνθεσης εικόνας με openFrameworks
  7. Επικοινωνία μεταξύ λογισμικών ήχου και εικόνας σε πραγματικό χρόνο


  1. Εισαγωγή στις αρχές της ψηφιακής σύνθεσης ήχου
  2. Εισαγωγή στον προγραμματισμό ήχου με SuperCollider
  3. Τεχνικές σύνθεσης 1: προσθετική σύνθεση
  4. Μουσικές δομές 1: Εισαγωγή στα patterns
  5. Περιβάλλουσες καμπύλες (Εnvelopes)
  6. Βασικές τεχνικές διάδρασης και Γραφικά εργαλεία διάδρασης
  7. Tεχνικές σύνθεσης 2: Φίλτρα και αφαιρετική σύνθεση
  8. Eργασία με προηχογραφημένα ηχητικά δείγματα (Samples)
  9. OSC και επικοινωνία με άλλες εφαρμογές
  10. Τεχνικές σύνθεσης 3: FM, Wavetables, Granular Synthesis, Physical Modeling, Spectral Modeling

10 Απριλίου 2013

sound 33-sight-motion

Sight Sound Motion
Chapter 6 – The 2D Field: Area
Screen Space: fixed borders that defines the new aesthetic characteristics
• Aspect ratio: relationship of screen width to screen height
• Horizontal orientation
• Standard ratios
• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)
• Digital / HDTV – 16×9 (5.33×3 or 178:1)
• Standard wide screen of motion pictures (5.33×3 or 1.85:1)
• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
• Wide-screen – format of most U.S. films
• Framing
• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height
does not emphasize one dimension over another
• works well with close-ups
• 16×9 frame
• have to pay more attention to the peripheral pictorial
• Changing the Aspect Ratio
• Matching aspect ratio
• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones
• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)
• Cutting, stretching, squeezing
• Secondary Frames
• Masking – blacking out both sides of the screen (ex. D.W. Griffith –
• Multiple screens
• Moving camera
• Object size > context
• Knowledge of object
• Relation to screen area
• Environment & scale
• Reference to a person
• Image size
• Size constancy – we perceive people and their environments as
normal sized regardless of screen size
• Image size & relative energy

• Requires constant psychological closure
• Facilitating Closure – low definition image is helpful only if it facilitates,
rather than inhibits, closure
• Proximity – when similar elements lie in close proximity to one
another we tend to see them together
• Similarity – similar shapes are seen together
• Continuity – once a dominant line is established its direction is not
easily disturbed by other lines cutting across it
Vectors – directional forces that lend our eyes from one point to another (force
with direction & magnitude)
• Vector Field – combination of vectors operating within a single picture field;
picture field to picture field; picture sequence to picture sequence; screen to
screen; on screen to off screen events
• Vector Types
• Graphic Vector – stationary element that guides our eyes in a certain
• Ambiguous direction
• Index Vector – points in a specific direction
• Vector Magnitude – determined by screen direction, graphic mass, perceived
object speed
• Z-axis vector: points toward or away from the camera
• The larger the graphic mass in motion, the higher its vector magnitude
• The faster the speed of an object the higher its vector magnitude
• Vector Directions
• Continuing Vectors – point in the same direction
• Converging Vectors – point toward each other
• Diverging Vectors – point away from each other
Chapter 8 – Structuring the 2D Field: Interplay of Screen Forces
Stabilizing the Field Through Distribution of Graphic Mass & Magnetic Force
• Graphic Weight
• Dimension
• Shape
• Orientation
• Location
• Color
• Hue
• Saturation
• Brightness
• Screen Center – most stable position of an object
• Off Center – the more the object moves off center the greater its

31 Δεκεμβρίου 2012

Clarisse iFX
Ένα καινούριο πρόγραμμα που φαίνεται να έχει πολλά από τα χαρακτηριστικά που λείπουν από τη σημερινή μεθοδολογία-διαδικασία στη δημιουργία 3d.


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