- I would like to do research on UWF's Building 4, the Science and Engineering Building. The reason for choosing to research this building is mostly because of the strangely shaped architecture and the number of students that frequently go to this building's classrooms. The kind of final project I want to make is a digital drawing, creating meaning out of Building 4's architecture by exploring many different floors and observing/surveying various people talking about anime, manga, and video games. I will not need anything but the Print Lab of Building 82's Room 62 for creating a 19 x 22 inch printed poster using the WACOM drawing tablets.
- I will gather information from:
- 1. Observe how much the educational subject is talked about in labs.
- 2. Observe the number of people who are talking or have something about anime, manga, video games.
- 3. Survey people about their favorite anime, manga, video game.
- 4. Ask whether they will continue to consume anime, manga, and video games.
- 1. "United States : UWF S New Science & Engineering Building Opens Door to the Future." Tendersinfo News, 2010. EBSCOhost, login.ezproxy.lib.uwf.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsgbe&AN=edsgcl.217057915&site=eds-live.
- 2. Justicia-Galiano, M. Jose, et al. "Math Anxiety and Math Performance in Children: The Mediating Roles of Working Memory and Math Self-Concept." British Journal of Educational Psychology, no. 4, 2017, p. 573. EBSCOhost, doi:10.1111/bjep.12165.
- 3. "Coding for Racetrack Memories." 2017 IEEE International Symposium on Information Theory (ISIT), Information Theory (ISIT), 2017 IEEE International Symposium on, 2017, p. 619. EBSCOhost, doi:10.1109/ISIT.2017.8006602.
- 4. Shanes, Eric. Salvador Dalí. Parkstone International, 2014. EBSCOhost, login.ezproxy.lib.uwf.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=818701&site=eds-live.
- 5. ARSLAN, Doğan. "Transforming Art Image into Design in the Example of Salvador Dali's Artworks." ["SALVADOR D ALİ'NİN ESERLERİ ÖRNEĞİNDE SANAT İMGESİNİN TASARIMA DÖNÜŞTÜRÜLMESİ"]. Electronic Journal of Social Sciences, vol. 15, no. 57, Spring2016, pp. 472-486. EBSCOhost, doi:10.17755/esosder.60074.
- 6. . Trans Tech Publications, 2016. International Journal of Engineering Research in Africa. EBSCOhost, login.ezproxy.lib.uwf.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=1442947&site=eds-live.
Sunday, March 25, 2018
Saturday, February 24, 2018
I worked on my six animations with a recent program I bought called Clip Studio Paint. This editing software is very similar to Photoshop, except it focuses its tools/elements based on anime, manga, and illustrations. The way animations are developed is very similar to Photoshop in terms of timeline, although it does not have the easy simplicity of making movement as Photoshop. At first, I did start out with importing images and editing for animating. With the later animations, I decided that I want to make manual animation that would mimic the motion of anime mouth flaps.
Although my drawing skills obviously need major improvement, slowly figuring out how to animate manually was a very fun challenge in of itself. It made me want push myself more and meet the high standard anime usually reach. Associating my animations for my HTML project, I am VERY excited to use this program and Photoshop to create an HTML website unlike any other. That is, is if my proposal for the website gets approved.
Saturday, February 17, 2018
The lessons with Photoshop gave me a strong appreciation for the editing program. Thanks to the tools Tasmuth has taught, it motivated me to come up with several ideas for the Chimera Project. With the complexity of options, I wanted to make posters that root purely out of expressing my personal tastes to the class. My Chimera Project revolved around the Japanese culture in general. Creating ideas was easy because all I had to do was figure out what part of the culture should be utilized to give viewers a unique type of fear.
The one I am particularly proud of is the one poster with the Slenderman. That combined elements of a monster with body parts and clothing of popular sister characters in anime. Adding the faraway perspective and train track background, and it gave the poster the most notable reactions from the students. When it came to class criticism, I agreed with most of the advice given, except with the unity advice. I personally made each poster on a case-by-case basis. While they all share a similar Japanese theme, the approach to them is different enough so that each could be criticized separately. Had I separated the posters farther from each other, I feel the critique the students took would have been far different and took a more fair analysis, with less critique on overall unity of all works.
What I want to do for the HTML project is create a network of web-pages that link to all major parts of Japanese subculture. With unique Japanese genres like shonen, shoujo, seinen, harems and types of animated character Japanese media fans are attracted to like lolis, moe, and sisters, I have a large pot of potential to utilize and freely create what I want in my HTML pages. Learning how to code via HTML Bracket was really fun. Once I got the hang of how brackets and code operated, a whole slew of ideas came about, resulting of me thinking about the idea of using Japanese subculture.
Wednesday, January 31, 2018
In memory of Chuck Poynter, user and GIF maker:
Chuck Poynter is an important part of the reason animated GIFs became a social phenomenon during the late 1990s. His gif of the "Dancing Girl" introduced users to the capabilities of gifs using complex animation in body movement. While I cannot understand what made the "Dancing Girl" gif mesmerizing to the older generation, I can understand from an evolutionary perspective with modern gifs having smoother quality in animation and presentation. Compared to the "Dancing Girl" gif, it shows how far the community progressed in animation quality with Chuck Poynter's gifs laying the main foundation of a high quality animated gif.
I find it interesting that back in the 1990's, designers were against the concept of GIFs. This is somewhat understandable, as I can imagine that GIFs were compared to other forms of art. Considering the sprite quality of GIFs back then, these probably did not mesh well with old website design. I believe the main reason that there were discriminators was because people were very comfortable having still images on websites. Because of how new the concept of GIFs was at the time of creation, people would probably find GIFs distracting because of how they distract website readers with animation.
Digital Materiality of GIFs:
As obvious as it is how animated GIFs are widely used for meme communication and reaction, what I found the most interesting was how GIFs put users into limits that encourage creativity. The article states that GIFs were not meant to be used for animation, yet the social booming of gifs changed its intended purpose. Considering the many elements such as visual quality, looping, FPS, and choosing scenes to create by hand, I can see why GIFs have a unique playful factor. It is much like how gamers experiment heavily and create a large community with level editors in games.
A Brief History of Animated GIF Art:
What makes this article interesting is not the history of iconic GIFs made through generations, but the blogs and websites created made for "GIF art". It seemed while Twitter and Tumblr were the top dominant dogs where people posted the most GIFs, many groups were born to dedicate on posting quality, unique GIFs. I would imagine that these blogs that have disappeared over the years because of these website's obscure nature. With people utilizing GIFs for fan-art and reacting, creating original GIFs made for art seemed like an unusual idea to people who know about the blog's very existence.
What the "low tech" method of GIFs represents to me is encouragement. The limitations of what can be done in this file type and the easy accessibility of creating through the internet allows any person of any calibur to experiment the wondrous joy of creating engrossing animation. Because of the limited amount of things to keep in mind in the process of GIF making and people wanting to impress others through sharing their favorite reactions in brief scenes of media, it creates a looping cycle itself that will give GIFs a longer legacy and lasting popularity for years to come.
Friday, January 26, 2018
Monster Poster #1: Sislenderman
The concept of this monster poster came from the thought of combining the best elements of sisters in anime and putting them into a monster. In the most anime, sisters are most controversially seen for their incestuous relationship with their brothers. The technical process comes from cutting the body parts so that the accessories and clothes could match the Slenderman. The hair in particular was the most difficult, but it was cut easily thanks to the Magic Wand tool.
Monster Poster #2: Kappamurai-youkai
The concept of this monster came from my huge love for Japanese folklore with the creatures of youkai. I wanted to give this monster a terrifying look, yet be wacky at the same time. Generally, the methods I used to make this was through constantly putting objects from the front to the back of the layer of the kappa. The face and head were the most fun, as it the decorated facial parts helped give the monster a defining sense of wackiness.
Monster Poster #3: Vampiric Eyes of Terror
The concept of this monster came from one of my favorite vampiric anime characters of all time, Shinobu from Monogatari. Because she already is terrifying as a vampire, I wanted to make her more creepier by adding elements of scary arms, eyes and tentacles around her head and legs. The key thing about this work is how the eye balls stare at the viewer. By overlapping layers with the eyes and tentacles, it provokes feelings of fear.
Thursday, January 18, 2018
To note the importance of the implied changes from wetroom/darkroom photography to digital process, we need to look back on two historical photos. The first photo being looked into is “Dead Soldiers at Antietam, 1862”. The method of editing in this photo was not by manual enhancers, but rather the photographer moving the actual bodies around to create the emotional tension. “Le Baiser de l’Hôtel de Ville, 1950” is another photo that was manipulative, but the method was not by actually editing. Rather, the problem was a big misunderstanding when the kiss, in reality, was practice for a play. Before digital editing was possible, I believe the implications stated in this article were photos mainly manipulated through staging, acting, and taking many photos in an out of context manner.
Digital process then came along in the early 2000s, where you could manipulate a photo's color scheme, rotation degree, and cropping. Most of these options were made for visually better composition. The manipulative aspect of today's photography comes in the form of programs like Photoshop, where you can change the appearance or add additional things to the photo that did not originally appear. The real changes made from wetroom/darkroom photography to digital processes are accelerated pacing of creating manipulative photos and the outside matter, where journalists can easily show documentation of the actual event happening. With modern resources like the internet, people around the world can participate in inspecting photos. However, people mainly do this through overreaction. As a result, these scary mishaps can lead to greatly misleading information, influencing journalists to speak of their own opinion very dramatically without the professionalism to write objectively as possible for their news article. Today's digital processing of manipulative photos can cause major chaos due to the accessibility of users gathering many pieces of information on the internet. Such chaos can lead to major consequences for the journalist.
The accuracy of the assumptions for the photography changes is close, based on the multiple photos of evidence and explanations given in The New York Times article. My assumptions are based on what I observe and research on today's news articles on the internet. By comparing the slower process speed of old photography explained in the article to the acceleration of news articles online, it is easy to understand what major changes of photo editing for journalism have been made. Take video game leaks to give a personal example. Although this is technically not photography, users around the internet today create fake lists of new games or pictures that closely matches an upcoming video game's graphics for the Nintendo Switch to build false expectations and hype for the audience. Eventually, these video game leaks are revealed to be fake by the creator. Compare that to the time length it took for people realize that the Rosa Parks bus photo was staged in from 1955 to 2005, it is clear that the speed of creating manipulative photos is the major change implied in this article.