Monday, April 24, 2017

Finals Checklist for Monday, May 1, 2017


For the last day of class and finals that follows, you will be asked to turn in completed versions of the art you have been making this semester! I'm looking for a specific set of sequences from each of you, and have detailed my expectations below! 

Overview: You are turning in the following:

  • one video of 18 seconds of your final project
  • one video of your solo film's progress to date.
  • one video of your group project
  • one video of your individual contributions to your group project
  • two folders: each with animatics, designs, and concepts from each project!
  • One link to a place that you are showcasing your current work online! If you need a refresher in doing this, refer to this link.


Solo Project:
  • minimum of 18 seconds of quality animation.
    • cleaned up line art and backgrounds.
    • refined animation and storytelling.
    • visuals for the 18 seconds of your film should be consistent, be it black and white, greyscale with shadow, or full color. craftsmanship is important!
    • add a title card and credits to your film
    • create a document that outlines a strategy for completing your film outside of this semester. (what would you do next?)
      • use what you learn in your group assignment to help you strategize future projects!
      • any extra content produced beyond this improves your grade
  • You will turn in two versions:
    • one file marked "lastname_f_solo18" which highlights only the animation sequences you want me to grade.
    • one file marked "lastname_f_solofilm" which showcases your entire film to this date. this is the one that should have a title screen and credits created.
  • You will turn in all of your development sketches and designs with your work as well for review and final grading.

Group Project:
  • Animation should be cleaned up!
  • Shots should be painted!
  • Title card and credits!
  • In your group project, the story should be fully told, and the sequences should be complete!
  • The test for your final is taking what you currently have with your group project and turning it into a finished film within the time allotted! What you decide to keep/cut, revise is part of the process!
  • When you turn it in, you will turn in 3 files:
      • one file with the completed film in it.
      • one file with your individual contributions to the project named "lastname_groupsequence"
      • animatics and sequences you have produced in the meantime.


I will grade based on the following:
  • Craftsmanship: Clean line art, clear environments, polished drawings.
  • Clarity of Animation and Storytelling: Movement and flexibility of the characters. The legibility and communication of their actions on screen. The quality of their performance towards the story told.
  • Cinematography: Shot choice, character and environment placement, composition.
  • Audio production: Your film has a soundscape that is produced!
  • Final cut and visual production: Have you turned your animation sequence into a film production? Are the pieces in place to make it complete?
  • Design and preproduction: I will be checking for your animatics and your design sheets. These are important for you to have and keep! I'll look at the quality and clarity of drawings, as well as layouts for your scenes!
As mentioned before: anything produced beyond the minimum that I am looking for counts as extra credit!

Wednesday, April 5, 2017

Group Projects Have Begun! (Reminders for Monday)

Hey everyone! As you know, there is a document on the server that has a full breakdown of what we're doing. This blog becomes more of a list of reminders for you, and any video resources you may need.

For now: Here's a reminder of the list of things you want to create for Monday! Go down the list, do each one, and you're on schedule as a group.  Remember to work together on these!


  1. Select Groups
  2. Exchange Contact Information - Make sure to give me a copy!
  3. Brainstorm Project Ideas!
  4. Plan a day to meet together as a group this week to work on your group project!
  5. As a team: Produce the following
    • Storyboards and Animatic (can be rough, as long as the story is told and timing is right!)
    • Tentative design documents! (models, environments, etc.)
    • Schedule for the rest of the semester! You can use my template if you so choose.
  6. Bring everything to class to review Monday!

Have a great week everyone! I'm looking forward to seeing what you make! =D

Monday, April 3, 2017

Homework for Wednesday! (All students must be present for class!)

Welcome back everyone!  We had an interesting Monday, didn't we? Today, you began your first foray into collaborative animation production!

I gave everyone a packet to read, which is located in the "AN225-Combined" folder on the server! We went through it in class. Read it at home to know what we will be doing, what you're responsible for from now until the end of the semester, and how I will help you complete your projects!

Secondly, use this time to get in contact with people you may be interested in working with! Share ideas, and listen to others!  If you have gotten this far without knowing each other, I've provided the one bit of public information: (School emails for each student) on the server to help you contact people who were absent.  If you were not here on Monday, it is your job to contact both me and students in the class to understand what we will do Wednesday!

In class on Wednesday, we will share ideas for collaborative projects, and finalize groups! If you missed today, you still have time to work with a group. All groups are not finalized until Wednesday during the middle of class! (Groups will all be confirmed at the same time!)

See you Wednesday! Review the packet on the server, read it, and sign it for me!

Have a nice day!

Notes on the collaborative art process!

These are tips for maximum success when creating art as a team!

One of the important facets of artistic creation is the collaborative environment. Everyone must gain the important skill of being able to work with others!  It gives you new points of view for problem solving, and a chance to work on something much larger than an individual could produce in that time. Learn from each other, be willing to teach when necessary, and make something awesome!

Here are some tips to make the collaborative process easier and more enjoyable. 
Begin reviewing the following information and we will discuss on Wednesday!

1. Allocate responsibilities!
Every member is good at something. Spending 30 minutes in the beginning making a list of what everyone is good at, will help the group succeed in the long run!

2. Check in every two days as a group with progress updates!
You should not tackle this assignment with an “everyone do their part, we’ll put it together in the end” attitude.  Instead, create a list of small, objective-based goals that will help you see your project through to the end! Check in can be done in different ways:  In person, over facebook, during a skype call, in an email chain (hitting REPLY ALL) is your best friend! Or by phone! Get them digits, yo!

3. Create a schedule!
Design a timeline that has, at minimum the following milestones!
  1. Story finalized! (do you need a script written? it may help!)
  2. Vocals recorded!
  3. Music begins production!
  4. All sound recorded!
  5. All sound effects created!
  6. Music is completed and ready to test!
  7. Audio mixing begins!
  8. In-Progress Track is fully mixed and ready to test!
  9. Final mixing is completed and ready to test!
  10. Music is revised!
  11. Final adjustments complete!

Those are clear objectives that help you make artwork within a group setting. Any large jobs should be broken up into smaller groups.  To help you better function, be willing to help someone with one part of their work with the added notion that that person helps you with your work as well!

4. Brainstorm ideas!  
Go one by one, across the entire group 4 or 5 times.  Pick a person to take notes, and write down every idea everyone has first!  Ask each other why the idea came to mind, and what quality scenarios could be made from the idea.  (The question mentioned just now is what you call an OBJECTIVE question. It gets you thinking in terms of specific goals, and not open-ended thoughts that often end with everyone going "I don't know...")

Sift through each idea with pro and cons lists and see what sticks from each idea! Find a way to incorporate something that everyone likes to create a piece that is greater than the sum of it’s parts!

5. Take turns leading and following when working together!  
If you have an idea, be willing to share it! But make note that you may be working with someone in your group who is usually more on the quiet side. Because of this, be willing to periodically ask the members of your group one of these simple questions:

"What do you think?  How can we get this done?  Do you think there is a better way?  What would you do differently?"

This encourages group participation and encourages critical thinking on all ends of the process!

6. The goal of collaborative art making is twofold: Make incredible art, and have a good time doing it.  

Follow the steps above to make the experience an enjoyable one!

7. Clear Objectives 2:

Be sure to have a goal for all class periods! Someone should take notes of all ideas mentioned.

8. COMMUNICATE!
Before you do anything else, make a list of everyone’s contact information. Emails, phone numbers, instant messengers, and even Facebook addresses if need be.  Once you have an idea you’re happy with, you need to make time during the week to meet together to make epic sound projects!

If you find that you’re having problems, nip it in the bud and talk it out early!  Be cordial, and try to avoid hostile language.  Be mindful that your idea of natural speaking patterns may not be the same as someone’s else. If you make controversial jokes, like to use excessive four-letter language or the like, make sure everyone else in your group is cool with it.  Yes, we're an art school, but you never know. It’s better to check early.

If you often have medical issues, or something unavoidable that you feel may cause you to leave from a collaborative session early, talk with everyone ahead of time.  The best thing you can do is communicate!

Make note of email chains! Start an ongoing conversation with your group mates and make use of the "Reply All" button!

UTILIZE facebook or skype for group conversation when not in class!

If you find that you have a dispute and you need a mediator outside your group, that is what I am here for. Let me know of the problem early, before it becomes much larger! (note: if you feel like you're on the verge of speaking with hostility and a few 4 letter words, stop, take a breather, and come back to the situation when you've calmed down.)

9.  Find each other's strengths!
Everyone, EVERYONE, is good at something.  And part of the collaborative process is finding out what someone else can do, that is done much better than you!  Being open and honest about this makes it easier for you to learn new strategies for alleviating your greatest weaknesses, while helping someone else do the same!  Be open, ask questions, and be willing to ask each other about processes you have yet to try!

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One of the important facets of artistic creation is the collaborative environment. Everyone must gain the important skill of being able to work with others!  It gives you new points of view for problem solving, and a chance to work on something much larger than an individual could produce in that time. Learn from each other, be willing to teach when necessary, and make something awesome!

Monday, March 20, 2017

AUDIO PRODUCTION NOTES! =D

Definition of Sound:  vibrations that travel through the air or another medium and can be heard when they reach a person’s or animal’s ear.
Definition of Audio: sound, especially when recorded, transmitted, or reproduced.
Definition of Noise: intense sounds that we may hear and interpret as uncomfortable or confusing. (perhaps measured by the difficulty of listening and/or hearing.)
Listening: to give one’s attention to a sound. (My definition: to give one’s attention to AND INTEPRET A SOUND)
Hearing: The faculty of perceiving sounds. (To identify whether or not a sound exists, or to sense it.)

When we listen to a sound, we give it meaning.  The science of utilizing sounds for the sake of art comes from making sure the meaning we intend the sound to have, is interpreted as such by our audience.  We may have options for interpretation, but the core of our sound should be interpreted as we intend to communicate properly.

One can make the argument that there exists music that is listened to, and music that is heard.

From physics.tutorvista.com: Properties of Sound Waves
A sound wave is defined as: A traveling wave which is an oscillation of pressure transmitted throughout a solid, liquid, or gas, composed of frequencies within the range of hearing.

Sound waves are produced through a VIBRATING OBJECT. Anything from a guitar string, to the rumble of a solid object, a speaker, to our own vocal chords.

The sound below: Is considered a transverse wave. The peak areas showcase where the particles of the sound collect most. This wave is considered a mechanical wave, meaning it needs something to bounce off of to function properly, be it air particles or something else.  The vertical midpoint of every wave is considered it’s rest position.  The way it would move if there was no disturbance in it.






Crest:  Maximum amount of upward displacement.
Trough: Maximum amount of negative displacement.

A sound wave that travels through the air is considered a longitudinal wave. It appears like a slinky or spiral, moving back and forth, and yet towards a specific direction. Air molecules of the wave are moving parallel to the direction of the wave itself.





Amplitude: The maximum amount of displacement of a particle from its rest position. Or, the distance from midpoint to maximum. The link below calls it “rest to crest.”

Fun fact: The idea tagline “In space, no one can hear you scream.” Is not just a tagline from Ridley’s Scott’s Alien. It is technically true.  Space exists in a vacuum, meaning the absence of air particles. Because nothing exists within it, you technically could not hear anything in space.  The only way for you to interpret sound would be via the vibrations of another object. So, for you to hear someone, you need to A) touch that person, or B) have a special method of transmitting and receiving sound from that individual.

Frequency: How often the particles of the medium vibrate when a wave passes through the medium. Frequency is measured as the number of back and forth vibrations of a particle through a medium per unit of time.  We measure this through HERTZ,( Hz) where one complete vibration in one second is equal to 1Hz.

The HUMAN EAR can hear a range of frequencies ranging from 20Hz to 20000Hz.

Differences in pitch are created via greater frequencies.  We can measure volume with the following parameters:
Sound Pressure
Sound Intensity
Amplitude!

The louder the volume, the more intense the amplitude of the sound.  Think of a stretching rubber band that pops under the pressure. A loud sound, (something we can call a sting in audio production) functions the same way, a method of popping the noise. Or for our ears, popping our ears.

We measure intensity in decibles(dB).

When it comes to materials, density, tension, and length will determine a different pitch, and quality of sound.

We often want to create “headroom” for our audio, so that it may rise and fall naturally, like sounds do in real life.  Often time, a sound that gets too loud will cause “Clipping” a popping noise, much like the description of amplitude above. Clipping can damage audio systems and speakers, including our ears!

In this class, our safety zone for our audio will occur at -12 db.

Wednesday, March 8, 2017

Have a Great Spring Break! Homework and Prep Below:

Have a great spring break everyone! Despite our hiccup on Monday, we are well on our way to producing excellent films by semester's end! Today began a new adventure into the world of audio! This is a chance to expose you to another part of our production, and give you ideas and strategies to produce content for your film! In addition to these sites, check the following for additional resources for audio!

http://freesound.org
https://incompetech.com
http://newgrounds.com
Also, google search "Royalty Free Music" and check out https://creativecommons.org/licenses/ to learn more about the options you have for producing audio!

Here is what you need to do to prepare for next week:

1. Continue working on your solo film!
2. Bring to Class all items needed for producing foley audio and recording!
for those of you who will have voice actors, plan for them to record the wednesday we get back from Spring break!
3. Bring a collection of ideas for producing a short collaborative film!
4. Read pages 1-55 of "Your Career in Animation!"
5. AS A REMINDER:  A $100 deposit is REQUIRED to use audio outside of class! That deposit also grants you access to the locker our Sound Lab equipment is stored in.  No deposit makes it much HARDER for you to record audio in this class!

To get proof of your deposit (or if you already had one from Jill's class) go to the business office. Pay $100 and mention it's for your animation department deposit. If you have already paid, ask for a copy of your receipt.  Bring your receipt to me in either case, and you're covered!

--------------------------------
Notes from class today:
--------------------------------

BASIC HOTKEYS FOR AUDIO PRODUCTION:

COMMAND + K: BASIC KEYBOARD
SPACEBAR: PLAY and PAUSE
COMMAND + T: SPLIT AUDIO BY PLAYHEAD
“M”: MUTE TRACK
“S”: SOLO TRACK

CLICKING CONTROLS:
Click the bottom of a bar and drag: Change size.
Click the top right of a bar and drag: LOOP
Hold option, click bottom of bar and drag: Change Speed.

SOFTWARE LOOPS and track colors::
GREEN: MIDI
BLUE: AUDIO
  • GREEN ONES CAN BE ADDED TO EVERYINSTRUMENT IN LOGIC/GARAGEBAND!
  • audio tracks DOES NOT CHANGE instrument type.

Note: LAYERS IN AUDIO PROGRAMS ARE CALLED “TRACKS”

LEVELS: VOLUME OF AUDIO COMING OUT OF SPEAKER… BEFORE WE CHANGE IT.

NOTE: Always try to balance audio to a range of -12db.  (balancing creates “HEADROOM”

EXTRA CREDIT ASSIGNMENT: MIX AND MATCH LOOPS AND SOUND EFFECTS TO CREATE A SMALL AUDIO TRACK! PLAY IT IN CLASS ON MONDAY AFTER SPRING BREAK FOR EXTRA CREDIT ON YOUR NEXT ASSIGNMENT!


Future discussion: mixing audio, building tracks, what to do, where, and when!

Monday, February 27, 2017

Notes about Class Today

A few housekeeping notes:

#1 Place your homework from Wednesday in the MIDTERMS FOLDER! Your Drawing assignment is due by 12:00 Midnight!
#2 Start compositing your film! I would like to see a current cut of your film by the end of class Wednesday, in addition to the amount of your film that is due!
#3 Review the posts below this one to see everything that is due tomorrow for midterm grading! Next class, you will have a workday, and I will take time to review all of the content you have created so far!

If you were absent, please email me soon and give me an update on your progress. Keep me in the know of how you're doing so I can best know how to help you! Have a nice day everyone! =D

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NOTES FROM ZARK'S PRESENTATION TODAY ARE BELOW!
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Value: Reality: Process:

Goal of career services: Find and lay out early possibilities for you!

  • internships: you have 6 credits towards your degree.
  • Value of real world experience
    • Resume
  • Unfortunate parts of reality:
    • Entry level jobs also ask you to have experience.
    • How do acquire that?
      • Multiple possibilities: Internships are one option of it.
      • Knowing that the option is out there, you are able to take a couple internships in college so you can have a couple positions in businesses on your resume before you leave college. (generate your own experience)
  • Best case scenario:
    • Doing a few jobs for different people gives you more options and more experience!
    • 10 years post graduation: all the people who did internships advanced faster.
    • Doing internships show others what you’re able to do and give you more opportunities to advancement.
  • Other Facet of Reality: Boost your professionalism.
    • An internship is a step up for helping you with your creative skills and professional development.
    • It’s an educational way for you to refine your professionalism outside of school.
  • SUPPLY / DEMAND:
    • Student: Really demand for learning animation schools.
    • Unfortunate side: Memphis TN, No animation industry.
    • Despite that reality, there are opportunities!
      • What is a creative way around getting industry experience.
      • Look at the skills it takes to be an animator:
        • Editing
        • storytelling
        • narrative
        • drawing
        • storyboarding
        • 4-dimensional layout and construction
        • (Working with time-based media)
        • Prototyping
        • Sound acquisition and editing!
        • Character design
        • Environment design
        • texturing.
      • These skills are sub components: Any one of these skills are applicable as an animator. They are also useful as an artist outside of animation!
      • What places are this used:
        • Tv production
        • Design and Layout in Architecture
        • Storytelling:
  • Example: Previous students who worked with Zark.  Bryce Organization:
    • Hired animators to design potato chips.
    • Why hire animators with industrial space?
      • There is a need for visual innovation and creative thinking in EVERY facet.
      • More Importantly: The Company HAS A NARRATIVE THAT NEEDS TO BE TOLD.
      • That’s important for having animators.
    • GETTING THE STORY RIGHT IS THE MOST IMPORTANT PART for that organization!
    • Storytelling is a HUGE skill that is highly marketable to everyone!
  • Zark gets asked for 3 things:
    • Graphic Designs
    • Shoot and Edit Video
    • Code for the Web.
      • Being able to do even two of these increase your options! 
      • There are opportunities to travel. Leave memphis, and score internships and animation positions!
      • While you are here, however, take advantage of what you have, and the options you have to boost your skills for the time that comes to make your work stronger!
  • Consider these 2 things:
    • Develop a sense of where you want to work.
    • What makes you you?
      • What makes you unique?
    • What do you need to apply?
      • 1. You need a resume! A good resume!
        • An extensive resume is not expected, but you want to have as much work experience you can.
        • Resume says something about your education, work experience, 
      • Portfolio!
        • Elevator pitches!
          • A short description of who you are and what you do!
  • Build a sense of opportunities and build a profile for yourself!
  • Job and internship: Scout the opportunity. Build the profile, write the cover letter that blends your experience, etc!
  • IN CAREER DEVELOPMENT:
    • Carrie Brooks, and Becca Hart.
  • Build steps towards your full narrative!
    • Revise your resume
    • Work on your ability to write cover letters!
    • Show prototypes of your portfolio, resume, and cover letter, to me, jill, etc!
    • Who has a website with some of their content on it?
  • What can we do to build a sense of opportunities to come up with a list of options and places to help improve your skills!
  • GPA 2.6 or waiver, with 45 Credit Hours completed!
  • What was the process of application like for internships?
  • College: Come to college to know things.
    • Leave college to apply them.
    • What we appreciate a lot of: Initiative and hustle!
  • For everyone to push yourself forward:
    • Know what you want to do, where you want to do it, and start looking for ways to do it.
    • Find a stepping stone to help build towards it.
    • If you have a vision of where you would like to be, it will help you get to where you want to go.

Wednesday, February 22, 2017

NOTES FROM TODAY'S CLASS:

*note* if you missed class today, we did an in-class exercise that you would need to make up!  Take the time to find one of your classmates and ask about what was covered. Take notes, recreate our assignment, and get caught up to get proper credit! We talked about some great strategies for the next stage of your film!*

These were the notes below on new animation techniques!  I didn't mention this in class, but part of this exercise was to get you to notice the extra character in the scene that has a life, has an attitude, and a personality WITHOUT ME DRAWING A SINGLE DRAWING OF THEM.  Suprised? =D

APPEAL:  (THAT EXTRA 10%)
  • What creates Appeal? (Examples)
    • Exaggerated movements
    • Hand gestures (clear)
    • Facial Expressions
    • Posture (BodyLanguage)
    • How a character communicates.
  • Appeal is a vehicle for ANTICIPATION!!!

How do you contextualize other people’s experiences in your own artwork?

YOU DON’T.
  • find what’s relatable in your own experiences first
  • observe others in action, language, and communication
  • use space to add intensity!

ANTICIPATION (Where to add it and when)
  • Another way to describe this:  Making one drawing do the work of ten!
  • Your goal in this class REVEALED:  Create drawings and art that enhances your ability to communicate with others!  Make precise drawings that correctly conveys a single moment with the most clarity!
  • If you can do a single drawing in your entire film that does that, mission accomplished!
  • If you can do one, you can do ten, a hundred, a thousand! =D

SQUASH AND STRETCH
  • common uses:
    • #1 Flexibility - When your character makes contact with something or takes up less space!
    • #2 When the character takes up more space or increases it’s speed!

RHYTHM: Manipulating drawings in your art to be enhanced by the medium of TIME.

  • to do so: Look at the drawings before and after the drawings in your in-class example!

Homework for Mon, Feb 27th & Wed, March 1st:

Monday:

Next week, we will begin our exploration of post production methods! I realize you have a lot to accomplish in your films, but remember that these are working projects, meaning we can stack goals, and use the art you've created to learn new techniques!

To do so, I need you to accomplish the following:


  • Render videos of every scene you have accomplished. Also have a rendered video of your animatic.
  • Make a list of audio that you think your scene will need.  The week after next will be our audio production week!
  • Create tentative color palettes swatches for your character and environment! The easiest way to do this is to draw your characters and environment in a separate ToonBoom file, or screenshot your art and import it into a new file, but as long as the end result is a clean digital image, I'm okay with you using other software like photoshop, illustrator, and the like.
  • You can use this link to get a reminder on how to select swatches and paint your art!


In addition to this, I want you to produce the following:

Based on our in-class instruction, I want everyone to follow these SIX steps:

  1. Make a list of these 5 emotions: Joy, Rage, Confusion, Desperation, and Determination.
  2. Draw some sketches on what you think would be appealing drawings for these 5 emotions!
  3. Take your best sketches and use them to direct a friend to act out these poses for you!
  4. Photograph your friend, and draw 5 cleaned-up black and white drawings of these poses! That means ink these drawings traditionally or digitally! Go for realism with animated, dynamic posing that is clear and easy to read!
  5. Be sure to capture their likeness to the best of your ability, as well as the clothing they are wearing!
  6. (It goes without saying, but lots of clothing that hides the body will make this project harder to do and will make your drawings weaker. If you are drawing people wearing lots of body-hiding clothing, I will expect you to capture the drapery with accuracy!)
  7. Bring the photographs, and scanned versions of these drawings to class! I will have a folder for you on the server named "OBSERVATION_DRAWINGS" to add them to!


Extra credit for anyone that does a realistic version of each person and a caricatured version (the caricatured version is extra credit!)

This is to help you boost your appeal and animation posing skills

FOR WEDNESDAY:

On Wednesday, I will need a sample of your work-in-progress film to grade for midterms! I'll use the weekend to give you an overall performance report of your skills, what you do well, what you need to work on, and where to go from there!

In the MIDTERMS FOLDER, I will need the following:


  • Your Animatic.
  • Your Storyboards.
  • Black and White, Cleaned Up, Finalized Environment and Character Designs.
  • 18 Seconds of Clean, Cleaned-Up Key Animation!
    • Please remember that the original goal for this project was for everyone to be able to produce 18 to 24 seconds of quality, compelling, animation!  I realize projects are at the 30 second range due to pauses, holds, and the like. This is fine! Animation is a process, and this project is designed to have a milestone for the class, and a larger milestone for you to reach outside of it. Turn in your 18 seconds on Wednesday, and you're good to go... for now. ;) This is your chance to catch up and get ahead of the game! Do your best!



Monday, February 20, 2017

Class Cancelled this Monday, 2/20/17!

Hello Everyone,

I hope everyone is doing well! I regret to inform everyone that classes are cancelled today. Please refer to your MCA email for reasons why, and what you should do in the meantime. Your class's part of that message is below.  I look forward to seeing everyone on Wednesday!


But what does this mean for you? Well, consider today a workday. In each of my respective classes, you are working on a much larger project. This gives you time to refine what you currently have and start working on much more improved artwork!

Below are strategies for you to stay caught up and move forward in each class!

AN225: Continue working on your film. Post your schedule and any sequences you have completed to the "2_20 animation and schedules" folder.  I'll review the schedule for completing your film, and give you feedback on your work!  Ideally, this will be the start of the second week of animation production for some of you, and week 2.5 for others.  

By weeks end, everyone wants to have 12 seconds to half of their film animated! Remember to focus primarily on having STRONG key animation. On Wednesday, we'll talk anticipation, squash and stretch, as well as appeal! I have an example for you that should help you find new strategies for animating characters to the best of your ability!


Note: We will start talking audio soon, so please start making a list of sounds and sound effects you think you will need for your film! Please do not hesitate to reach out to me if you have any questions at all about developing your animation!


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For anyone who is interested in staying caught up and receiving feedback, post snapshots, videos, or samples of what you're working on to the server, email me questions, and I'll be happy to review it and send you an email today. Otherwise, I look forward to seeing everyone on Wednesday!

For anyone who has content they want me to review for the career fair, please post it to the server, and send me an email letting me know what to look for.

For those of you that have scheduled a meeting with me on Monday, that meeting is now cancelled. I'll work some things around to hold meetings during lunch Wednesday as well as my office hours to make up for it. Message me if you need to schedule for another time.

For those of you that would've come to class without your homework today, consider yourself extremely lucky. ;) Use this amazing gift to catch up, write yourself a note to remember all of your art, designs, and materials, and be willing to work extra hard to iron our any wrinkles in your own personal art and production process! We have 3 weeks before spring break, a week and a half before Midterms, and a really good opportunity to finish the first half of the semester in a really good spot. Happy Monday, and work hard, everyone!

Good luck! 
-Shaw

Wednesday, February 15, 2017

Notes on Workflow:

Workflow Notes from Today, Feb 15th
___________________________________________________

HOMEWORK: Make a PRACTICAL, MANAGEABLE schedule to accomplish making your film by Wednesday, March 8th!
  • build this schedule week by week! What will you accomplish every week that will lead to you finishing your film?
    • Think of this in terms of seconds of animation, scenes you’re building, or shots you are completing. (Seconds of animation is the best choice for this, as it is VERY specific!)
    • Continue working on your animation this weekend!

When building a schedule for your film: Use this terminology:
  • define the terms FINISHED vs COMPLETE.
  • finished denotes that your film no longer needs improvement. This is similar to perfection, a mostly unattainable goal.
    • Instead think of the term, COMPLETE. That is, being able to come up with an idea for a work of art, produce it in a specific amount of time, and have the end result communicate exactly what you want to convey upon production’s end!
  • You want to COMPLETE your stories! Have a minimum you want to produce that still accomplishes every goal of your work of art! To do this, create a LIST of the following:
    • Have all key animation, drawn and cleaned up. (all actions accounted for)
    • Have all beats (changes in action) accounted for.
    • Your Strategy for doing so:
      • Make a list of every action you have in your story!
      • Make a sub list of the MINIMUM number of drawings you need for each action!
        • This lets you pick which shots you want to work on, and spend the majority of your time improving your drawing skills!
      • Show your work to each other During this process! It will help you and the other person learn more about your individual workflow!
    • Have all of your key animation fully colored!
    • Make time for a week of Audio and Post production of your story! We will make time in-class for you to learn how to do this, so plan accordingly!
  • As you continue working, begin keeping track of how long it takes you to animate a sequence!
    • You can make these notes by action,
    • …by scene…
    • …or by 6-second sequence!
  • Use a stopwatch, or make a written note of the time as you’re working to help with this process!



AS AN ADDITIONAL NOTE FOR STUDENTS: For those wanting some additional help to work out some of their challenges with managing stress during school, the first of an 8-week series of Stress Management Seminars starts on Thursday, February 16th, from 7:00 - 7:50!

Monday, February 13, 2017

Hotkeys Reminder:

A reminder of hotkeys to speed up your workflow during our workdays this week!


HOTKEYS REMINDER:

A. BASIC TOOLS:

Select Tool: Hold Command or Option + S
Brush Tool: Option + B
Paint Bucket Tool: Option + I
Dropper Tool: Option + D
Eraser Tool: Option + E
SELECT EVERY STROKE OF THE SAME COLOR:
  “Command + Shift + A”

(HOLD DOWN ANY KEY TO TEMPORARILY SELECT THAT TOOL!)

B.  Navigation:

Zoom in and Out: 1 and 2
Next/Previous Drawing: F and G keys.
Next/Previous Frame:  “.” and “,”
Turn Canvas:  Hold Option and Command + Left Mouse Button
Re-center Canvas: Shift + M

C. Exposures (Drawing Timing)

Extend exposure (increase timing of current drawing): 
  • first option: Click the frame you want to extend your drawing to and hit F5.
  • second option: Click the drawing itself, hit F5, and type the frame number you want to extend your drawing to.

Increase Exposure: “-“ and “+” keys.
Create new drawing between existing drawings:
  • Drawing ——> Create empty drawing, or “Option + Shift + R”

Duplicate Drawings:

  • Drawing — — > Create Duplicate drawing or “Option + Shift + D”

Wednesday, February 1, 2017

Homework for Monday!

Please be advised! We did a very important in-class exercise today on cinematography that will greatly help your shot selection abilities, thereby giving you more drawing options in your films!  Everyone who was in class today received full credit upon completion.  If you were absent, acquire information from a student in class about our drawing assignment BEFORE Monday, and produce your version of our exercise for credit!  This was an assignment we worked on together as a group. You have the choice of working solo, or working together.
  • Design your characters! I need a black and white model sheet for the characters in your story! (one model sheet per character!)
  • Design your environments! I need one illustration for each environment you showcase in your story!
  • Produce an animatic in storyboard pro, export out the movie, and have it ready to show at the beginning of next class!
  • Bring your storyboards, your animatic, your storyboard pro file, and any designs for your movie to class!
  • On Thursday afternoon, the blog will be updated with video demonstrations of what we will cover next in class! Watch them this weekend if you want to stay ahead!
  • RECORD REFERENCE FOOTAGE FOR YOUR SHOTS! Record yourself or a friend doing every action in your scene!  Bring this to class on Monday!
Today we are going to review shot types and camera techniques for storytelling, while continuing work on designing your story! The first half of the class is a review on cinematic storytelling, and the second half will be about designing your story!

For this weekend: keep in mind that, in revising your story, Framed Ink chapter 3 is an excellent resource. It gives a variety of tips for choosing the best shots for your story!

Notes for class today:
When dealing with cinematography, camera work needs to be designed in the same way that we design the look and feel of our characters and environments!


Ultimately, the purpose of camera angles is to find ways to capture the best action occurring within the story!
  • To do so, we have to understand one very important, fundamental rule of storytelling:  The camera is meant to FOLLOW the action of the characters and props within the story, not the other way around.
  • Most rookie mistakes with storytelling think of filmaking as a series of "cool camera angles" as opposed to living breathing characters!
  • So when you are creating shots for your story, and camera angles for your story, try this:
    • Figure out where your characters are supposed to go first.
    • Then, figure out which camera angles will best tell the story second!
    • Our in-class exercise will help with this today!
STORY PROMPT: Our explorer is trying to sneak into a dungeon. Inside the dungeon is a treasure chest. Inside the treasure chest is a diamond. Our hero sneaks into the dungeon room, opens the chest with a key from his/her pocket, and secures the treasured diamond! Our hero leaves before anyone notices!

Monday, January 30, 2017

IN-CLASS Research Exercise and HW for Wednesday:

HOMEWORK NOTE: For those that were absent today, complete the following exercise below to stay caught up with class. 

  • On Wednesday, we will talk cinematography and Chapter 3 of Framed Ink. 
  • Bring the index cards of your stories back to class, as well as your huge folder of images created from the steps below!  Begin developing character and environment designs for your story.  
  • Note: BRING ALL 3 STORIES!  I WILL ALSO TAKE UP YOUR ANIMATICS FROM LAST WEEK'S IN-CLASS EXERCISES!!


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TODAY'S IN-CLASS EXERCISE
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Today, we create a huge list of inspirations and resources of artists and art periods to use as research for our short films! The best way for us to communicate clearly in our art is by increasing our awareness of the variety of options we have as artists!


STEP 1: List (Make 2 Lists!)

List # 1: A collection of formal visual elements in your story that you are searching for/interest you!
  • Examples: Sharp Angles, Thick Lines, Pastel Colors, Various Color Schemes, Shape Relationships, Light or Heavy Shadows, etc.
  • No formal element of drawing is too small! It is these little details that help us discover new approaches to art-making!
List #2: A collection of thematic devices you are looking to add to your story: 
  • This includes: Genre, mood, pacing, storytelling devices, etc.
  • Examples: Genre Lists (Comedy, Drama, Slice of Life), Story Pacing (Fast-Paced, Slow and Plodding, Etc.) Any ties to other periods in storytelling (Film Noir, Silent Films, Shadow Puppetry, Etc.)

STEP 2: Create: A giant folder for your ideas! 
  • Create a folder called “Visual Design” and open Google.com.  Use Google.com to search for anything, and everything that fits into your lists!

STEP 3: Search for Art Outside of Animation:
3 Art Periods/Movements/Styles throughout history.
3 Artists that meet the criteria for the elements of your story
  • Note: The elements you find can all be different!
Our goal: Break our story idea into a lot of small, tangible, elements that we are interested in using.  This does not mean that every element we select we use, but we want to go through the process of identifying elements of our story’s look and feel that we see in other works of art.  By looking outside of our current understanding of art and animation, we can find new avenues to search within!


STEP 4: Search Within Animated Works:
  • Create a list of 3 of our personal favorite animated works.
  • Use google to find the names of the creators and designers/concept artists on their show.
  • Make a list of three (3) of those artists.  From there, see if you can find any information on their inspirations.  (In short, what artists inspired your favorite artists?)
STEP 5: Combine:
  • From your folder of visual research, list of artists, and artistic approaches, make four(4) combinations of artistic paradigms to apply to your personal work! You will spend this week, using these paradigms to arrive at a visual look and feel for your story that best fits the narrative you are creating! Mix and match elements inside and outside of the world of animation for best results!
  • A lot of the best new approaches in the world of animation come from an awareness of everything that has been created before.  
STEP 6: Create:
  • Design your characters and environments based on your research!  We have created a lot of options for ourselves by having multiple story choices as well as multiple visual approaches to take. From this point, you want to spend the rest of the week narrowing down your options!

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As I mentioned in class, this method of searching for new inspirations and the inspirations of the artists you admire helps you push yourself much farther as an artist as you would otherwise! Yes, it is a difficult process. However, doing so makes us much stronger overall!  Keep working hard! =D

Wednesday, January 25, 2017

Homework for Monday Jan 30, 2017:

A. Create 3 ideas for your first full short film!  Use the same techniques we have used in the first couple weeks of class!  Remember the parameters of your story are the following:


  • Runtime: 20 - 30 seconds. Full color. (we will have three weeks of focused key-animation time, in addition to everything else so plan accordingly for environments, dialogue, etc.)
  • design your characters (sketches are fine for now, but add color!) and create a sample model sheet! We will fully design your story throughout next week! (part of that process will be drawing our characters multiple times!)
  • design your environment and create a couple model sheets for this too!
  • Each idea should be created with 12 index cards, just like we have already done! Put some thought into these, and do not settle on your best idea!
  • Your character must solve a problem! It is up to you to choose the problem you feel is best

B. Read Chapter 2 of framed ink! Chapter 2 will give you a list of shot types you can use to better tell your story!  (Do not go shot, crazy. Pick the ones that work best!)  Browse Chapter 3 to find a lot of uses for common shot types!


D. (Due Wednesday:)  Take the 12 panels of you other two stories, put them each into storyboard pro, and turn them into animatics!  To save time, you do not have to redraw them.  As long as you have put them in and timed them out, this is fine. I want to give you credit for the three stories you have created, and keep them as a marker for your progress so far!

Monday, January 23, 2017

Homework for Wed 1/23/17: An Introduction to Storyboard Pro!

For Wednesday, flesh out one of your stories in Storyboard Pro!  Export an animatic for the beginning of class! We will watch everyone's animatics at the beginning of next class! Please bring your 12 original panels to view in addition to your animatic!

A. Bring your other two stories to class Wednesday. We will use the other stories you created for our next exercise: "Principles of Storytelling!"  Think of this question:  "How do we make a story better?"

B. Click this Link to View a Video Tutorial for Storyboard Pro! You need your MCA email address to access.

C. Read Chapter 1 of Framed Ink! It serves as a really good prelude to the way we will approach storytelling this semester!

Note: Below is a list of hotkeys for Storyboard Pro!



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RECAP OF TODAY
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In class, we looked at everyone's stories, while making sure they meet three basic standards of our first storytelling exercise:

1) Is it interesting? (To make this question objective, does it generate interest by having the character end up in a position, place, or state of being that is different from where it began?)

2) Camera: Is the story in a single camera angle and single camera shot to push the acting ability?

3) Story: Is the problem solved by story's end?

After this, we had a review of storyboard pro, where we recapped how to take the storyboards you created via index cards, import them into Storyboard Pro, and draw over them to continue fleshing out your story!


As always, please remember to contact your classmates for additional information concerning any classes you miss, and any information. I am available via email for any additional questions!  =Dmshaw@mca.edu

Wednesday, January 18, 2017

Homework for Monday!

For your first assignment (that is really a warm up if we're honest)...

Buy a pack of index cards. 4" x 6" is fine!
Then repeat this process 3 times:

  • Create a small, 12-panel story and illustrate the actions thereof! (In this case, "panels" refers to the number of index cards you use.)
    • Story:  _________ picks up a REALLY HEAVY OBJECT and carries it across the screen.
  • Answer this problem: How does _______ pick up the heavy object?
    • To do so, please show the CHANGES in ACTION in each drawing! Make sure you use all 12 panels! No more, no less!
    • PLEASE DO NOT SWITCH CAMERA ANGLES! USE ONLY ONE SHOT TYPE: (wide shot)
  • Keep in mind the RULE of thirds when you work on this! Please give your character enough room to move around!
  • Design a simple environment for each of your 3 scenarios!
  • PLEASE SCAN EACH INDEX CARD AS A SEPARATE IMAGE AND BRING YOUR IMAGES TO CLASS ON MONDAY!

Have a great week! If you have any questions, remember to contact me at mshaw@mca.edu  =D

Welcome to AN225! =D

Course# DM225: 2D Animation 1
Location: Mac Lab 4
Instructor: Michael Shaw
Time: Monday and Wednesday 9AM - 11:30AM, 4:00PM - 6:30PM
Contact: mshaw@mca.edu
Office Hours:  MONDAY and WEDNESDAY: 6:30PM - 8PM


COURSE DESCRIPTION:
Welcome to DM 225!  This class is an intermediate course in animation production. Each week we will focus on a different part of the production process and build towards creating a polished web portfolio and 2 short animated film of exceptional quality.  The class is geared to refine your current animation abilities while enhancing the traditional drawing and technical software skills you already have.  This is done through emphasizing the more nuanced parts of animation production: Design and Layout.  We will spend time researching different artists and jobs in the industry to have a firm understanding of best practices in a professional animation studio setting.  To better facilitate this, the course is divided into two halves: The first half is a short 18-24 second animation of your choosing, where we spend a week learning each stage of the production process. The second half is group oriented, where you jump into groups to produce a 30-second animation that refines all of the skills you learned in the first half.


Methods of Study – The Flow of Class is as Follows:
Class Readings:
Each topic we cover in class will have an accompanied reading or video that provides more information and instructions on the current study.  These readings are meant to give you means to practice in-class content on your own!

Interactive Demonstrations:
The best way to learn how to animate is to practice hard, and see how others animate!  This semester will have many interactive demonstrations on making quality animated works.  Each demonstration will be on an individual topic that you will be able to integrate into your current animation skill-set! Some of these demonstrations will be on individual concepts (like animating water) which will make it much easier to navigate unseen hurdles during the film production process!

Projects:
Each week, you will be given an assignment to accomplish that will investigate the possibilities of story and visual development of an animated film. The purpose of these assignments is to prove that the process of making a film is not magic, but a series of calculated steps that help you hone in and further develop your creativity.  You will be able to combine each assignment into a professional portfolio by semester’s end, and have all the tools needed to begin applying for internships, and exploring new content that piques your interests!

Fields of Study Include:
I.  Animation Exercises and Practice: Flexibility, Weight Distribution, Performances, Volumetric Animation Effects, and more!
II. Conceptual development and preproduction:  Visual Storytelling Research, Layout, Environment Design, Character Design, Story Design
III. Pitch Season: Pitching your short film in a class jury to be green-lit to production.
IV. Production: Producing an animated film as a team, gaining experience in the different job duties of an animation artist.
V. Post-Production/Compositing:  Utilizing school facilities and technologies to complete and refine your animated film.
VI.  Career research:  (Interspersed throughout the semester in every assignment.) This includes internship research, your value as an animation artist, creating portfolio content, demo reels, submitting to film festivals, and more!


DEPARTMENTAL OUTCOMES:
Students will demonstrate the capability to organize and present concepts verbally.
Students will demonstrate the capability to organize and present concepts audibly. 
Students will produce evidence of an understanding of the methods of audio production.
Students will be able to coherently communicate the content their audio productions.
Students will demonstrate the time management skills necessary to complete the entire sound creation process.
Students will demonstrate the capability to effectively publish their audio production via the web, and integrate it into their current body of work.

PROFESSIONAL OUTCOMES:
Students will demonstrate the ability to write an artist statement.
Students will demonstrate the ability to document their work.
Students will demonstrate basic computer/software literacy applicable to their field.
Students will demonstrate the ability to give a public presentation about their work.
Students will demonstrate the ability to research to stay current in their field.
Students will demonstrate basic knowledge of communication etiquette in their field.
Students will demonstrate the ability to work collaboratively.

-------Assignments and Requirements ------
You are required to attend class everyday, on time.  We will start class @ 4:20 every day, unless otherwise noted.  As with the Student Handbook, students who misses 6 days of class will fail the course.  This will be strictly enforced. Prior to this event, any student that must miss a day needs to notify me ahead of time, long before the start of class.  Anyone who wonders into class at least 30 minutes after class begins will be considered absent for the rest of the day. 4 absences result in a loss of one letter grade. Three tardies equate to one absence. If you miss, you must catch up on assignments via consulting other students first, and myself via email. I reserve the right to notify students ahead of time for any day that MUST NOT BE MISSED due to course content be it finals, assessments, midterms, or other coursework.

----Turning in Assignments -----
Each Assignment will be due on a scheduled date, given at the beginning of the assignment.  Often, this will be the day before the class, to give students time to listen to, and review other students’ work.  Part of your grade will be your review of the creations of your peers. We will remain objective throughout, even when we are delving into content that goes beyond our personal taste.  When it comes to late assignments, assignments will drop a letter grade each day they are late. After 3 days, I will not accept your assignment.

Supplies: (you will be required to keep a blog for this class!)
1)    1 ream of 10f Ingram Bond Animation Paper and 1 plastic peg bar (for those of you who elect to work traditionally) Additional paper can be purchased for $35.00. Notify me ahead of time, in case we need to order more.
2)    Folder and Notebook for taking notes. You are required to keep track of your notes. You will also be required to turn in your sketches for review from time to time, so be sure to keep your sketchbook on hand during class!
3)    $100 Deposit to check out audio equipment. Upon completion of the class, or the major, you will receive this deposit back. This single deposit can count for multiple classes within the department.

44)    External Hard Drive: Can purchase online and use with other classes. If you already have it, great! If not, it’s an investment that can last you long beyond your undergraduate career.  The Computers primarily use USB 3.0 connections. The hard drives listed below are examples, compatible with mac and PC, but require formatting to go cross-platform.
Western Digital Brands:
3TB My Book |  http://tinyurl.com/HD4mac
3TB My Book Essential | http://tinyurl.com/HD4win
5)    Light Box: You will need to purchase a lightbox for your animated projects! Below are a few very cost effective options for you to use! You need something big enough to cover a piece of 10f paper, or 8.5” x 11”
Huion L4S: 12.20" x 8.26"
Huion 17" With Angled Surface (drawing area is the same)ME456 Tracer: A4 Size (9" x 12")

6)    TEXTBOOKS:
The Animator's Survival Kit, Expanded EditionA Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators - Richard Williams ($25.00) Keep in mind there are many places to order this book!
Your Career in Animation: How to Survive and Thrive - David B. Levy ($14.46)  http://www.amazon.com/Your-Career-Animation-Survive-Thrive/dp/1581154453
7)    Pencils, tablets, erasers, etc!  For those that draw traditionally, it may help to obtain a pack of non-photo blue and blue pencils for sketching characters and drawings!

GRADING:

Each assignment will be awarded a grade based on the following rubric. Plus(+) and minus(-) will denote more or less intricate mastery of objectives.  Students will be allowed to turn in higher-quality versions of their projects midterm for a higher grade.

Group assignments will be graded on individual achievement, and group achievement.  Both grades count 50% of any group assignment.

A - Excellent.  Assignment objectives are completed above and beyond the course requirements to great effort and great success.  Technical and conceptual skills are on display in a masterfully coherent manner with clean craftsmanship.

B - Proficient. The assignment completed demonstrates most mastery of the skills presented, and objectives are completed beyond course goals. Much effort, and a clear and concise direction shines through the final result. There are still a few issues that can be pushed further.

C - Competent.  The assignment completed demonstrates relative mastery of the skills presented, and objectives are completed to average sufficiency.  Assignments are successful, and craftsmanship and technical skills are on display -- All are completed at an average level.

D - Deficient.  The assignments completed are missing demonstrations of the skills presented, and/or required objectives have yet to be completed. There are conceptual and technical flaws and hurdles that have not been overcome.

F - Failure.  The majority of the project is either not completed, and/or objectives for assignment are not met.

Final Grades will be based on a comprehensive average of all of your projects, as well as midterm and final milestones for blog upkeep.

*Your blog upkeep factors into your grades for each major assignment handled out of class.*

Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. I can not grade what does not exist!  You are solely responsible for the security of your files. Your files are not 100% secure on the server or computer. You should have multiple copies on multiple sources at all times. No files are safe unless backed up to 3 locations. (Example: Personal hard drive or flash drive, school network, personal computer, or web service.  Note: you can store work on dropbox. We will discuss cloud storage.)

HEALTH and SAFETY PRECAUTIONS

As more and more work, education and recreation involves computers, everyone needs to be aware of the hazard of Repetitive Strain Injury to the hands and arms resulting from the use of computer keyboards and mice.  This can be a serious and very painful condition that is far easier to prevent that cure once contracted, and can occur even in young physically fit individuals. Paul Marxhausen - visit his site below.
            http://eeshop.unl.edu/rsi.html
            http://www.mydailyyoga.com/yoga/rsi.html


DEPARTMENT AND LAB POLICIES:
Immediately submit an online tech request to report any problems with a lab computer or printer. 
Main MCA computing info site = mca.edu/labs -- go here for answers to frequently asked questions and online tutorials for MCA specific technologies.
No Food or Drinks in Lab.
Keep the Lab Clean. Dispose of all trash -- Paper scraps, old media etc.
Leave your workstation in an orderly fashion. All materials left on the desktop will be deleted. Organize files within the documents folder on your account. Delete your trash from your desktop and trash bin. 
Back up work to an external source. Remember files are only safe if they exist in 3 separate locations. MCA servers are not to be considered secure and used only for temporary storage.  
Log Out of your workstation prior to your departure. Upon your departure, the chair should be pushed in. Your monitor, keyboard and mouse should be placed in their proper positions.

Copyright
You must receive copyright permission for all non-public domain media used in your film projects. Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org/. Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use.

Accommodations for Students with Disabilities
Students with a special learning need are encouraged to let their instructor know at the beginning of the course. Reasonable accommodations (such as extended time for exams, readers, scribes, and interpreters) are provided on an individual basis as determined by documented need. It is the student’s responsibility to provide authorized documentation to Student Affairs or Achievement Center Support Staff as early in the semester as possible.


Course Content and Title IX Reporting


Students should be aware that information disclosed to faculty (whether through assignments or as a personal disclosure) that indicate experiencing sexual harassment, abuse, or violence while a student at Memphis College of Art, requires that your instructor as a “mandatory reporter” disclose this information to Student Affairs staff to ensure students’ safety and welfare are addressed. Student Affairs staff will contact you, and/or those involved, to make you aware of accommodations, remedies, and resources available at Memphis College of Art.
EPA MANDATE:
Memphis College of Art students and faculty are required to follow the      standards detailed in the "EPA (Environmental Protection Agency) Materials Handling Protocols - September 2007"

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Below is a calendar of topics for the semester. *This is subject to change, based on class performance, unforeseen events like inclement weather, etc.*