Dave Final Reflection and Animation

So this class has been a complete blast for me. I have always been interested in learning all the things that were presented to me in this class, and every week gave me a new opportunity to immerse myself in a different form of media. The final project really wrapped everything up, from utilizing storytelling through video and other visual effects, to creating assets in photoshop. The whole process took a very long time, and most of the time was spent creating the assets. However, the second most amount of time spent was on fine tuning all the different effects and movements that were present in my animation. Although Seal Clubbers Convention (my animation) didn’t have any fancy camera movements or a complicated storyline, it did rely on sound effects and visual effects to tell the simple story of seal clubbers being sucked in a hell elevator. The hardest part was setting keyframes down and determining how  to move and  animate the individual characters of the story in order to give them a bit more personality. The elevator monster’s tentacle movements were easy to manipulate via the puppet tool, but the elevator door opening had to have perfect timing to give it the satisfying feel that is has right now. The individual stickmen had to be given different animation to give them a bit more personality as well, and even now I am looking into changing it up a bit more to reduce the repetitive nature of the stickmen themselves. This animation was the best way to wrap up everything I have learned in the class, and looking back at the beginning of the semester, I have come a long way. Here it is, enjoy:

Chloe, June, and Dave Rough Cut

So this is a really really rough rough cut of our video project. It wasn’t a terribly hard video to shoot since most of it is from the first person perspective of the camera man, but some of the effects were a little hard to figure out, such as moving Herman around at the end. Some of the clips are kind of filler and can be replaced with new footage if need be. Lighting was easy, and using the camera was easy because of a lot of prior experience with photography. Some of the problems that are still apparent are less than satisfactory transitions, sound that’s too quiet or too loud, and some mistakes present in the frame; but despite all that, this short film has heart, and in the end, isn’t that what counts? The answer is no. That’s why this is a rough cut.

A response to everything being a remix

The notion that there is hardly any originality left in work today does not astound me at all. It is very common for artists and designers to find inspiration from works that have taken from other works and so and so forth. The reason why I am so unfazed by the massive amounts of borrowing, stealing, and inspiring that art has on people is because I hold a great interest in one a style of music that is steeped in “remixing” songs. Jazz, a style of music that has evolved throughout the 20th and 21st century, has it’s roots in the taking of old songs and putting a new twist on them. “My Favorite Things” from the Sound of Music has been covered by John Coltrane; “Autumn Leaves” has been covered time and time again by many different jazz artists. Jazz artists tend to take pop music from culture, and then sequentially change and morph the song in order to suit how they want to speak through it. The same basic ideas are present in the new version of the song, but the artist’s voice is placed into it in order to give the work a new meaning. Everything being a remix is totally fine, however blatant plagiarism and theft is another matter all together. If the work isn’t given any more value by refinement or remixing, then it shouldn’t be treated as such. It is simply theft and that’s that. Nothing that we see is truly original, but I think that human beings have enough common sense to differentiate between a work that is a direct copy or work that is simply steeped in inspiration from other works.




In this comic we went for a depiction of a stickman entering an alternate world in a painting, a world filled with color and detail. We storyboarded the comic first and tried to go for many different concepts, such as another person pushing the stickman off the cliff instead of a hand, and the comic becoming realistic once the borders reformed after he fell. Instead we went for a more simplistic route and kept the stickman motif throughout while reserving the detailed bits for the inside of the painting. Unlike traditional comic book style, we opted for the frames to be disconnected so that we could introduce the man being pushed out of the frame in the later frame. The whole comic was constructed vertically so that the viewer can have an easier time viewing the passage of time and to also help out the comic in terms of the minimalist style with lack of dialogue. Overall, we wanted to do something that isn’t usually done and that’s to literally break the fourth wall and make our character get pulled into a new dimension, and then abruptly poked out back to his original home.

A Response to Scott McCloud

As I was reading this, I felt a growing appreciation that a comic book such as this has been produced and has been widely appreciated around the world. The reason for this is that this book accomplishes something that is very important, and that is legitimizing comics as a form of art in today”s rapidly modernizing society. It wasn’t too long ago where comics were seen as something that would simply pass the time of kids, and soldiers that were being shipped off to war. It wasn’t seen as something that was to be widely appreciated by all ages and genders everywhere, but as the art form evolved, it’s demographic also started to widen as well. When comparing the first comics, you see simple panels and stories, things that would be easy to understand to the young reader. Nowadays comics utilize the techniques that are presented in Scott McCloud’s book, and even more techniques that aren’t even presented in his book. Of course I am slightly biased because I like comic books as well, and I would sit in the library for hours reading all the comic books that they had available.

Dave Photoshop



We went a little bit off the deep end in terms of absurdity. In this photo we have tweaked some Chinese propaganda to make it Super Lehman propaganda instead. Chairman Mao’s face was cut from the middle and then expanded to become an omnipresent figure in the background, with further pictures of Mao praising his people. But we also have superman with Lehman’s face that we placed in the middle, wearing a queen Elizabeth hat for further added absurdity.

On The Rights of Molotov Man

My initial reaction to this article was to agree with the photographer wholeheartedly and to write a post about why the photographer is definitely in the right for going against the decontextualizing of her photograph. However, thinking more about it I realized that what the artist did was definitely not something that was in the wrong. What drove her to create her painting was not some obscene goal to decontexualize an important movement, but a jolt of inspiration that caused her paintbrush to move across her canvas.

The photograph itself holds much historical relevance and it’s context and social and political goals are definitely important, but what the photographer, Susan Meiselas, seems to forget is that art has the effect of inspiring other people, whether this is the original artist’s intention or not. Susan’s photograph was moving enough to cause another artist, specifically Joy Garnett, to be inspired and to try to recreate and recapture the feel of the original piece. Joy’s new piece should be seen as a brand new work of art, with a different set of goals and intentions that it hopes to achieve and Meiselas should know that once a piece of art is out in the public, whether it be a photograph or painting, that it is now free to inspire and move the public to build off of that work.

A Response to Walter Benjamin


Picture of website




And my code:

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<h1 id=”head1″>The Evolution of Art</h1>
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<p id=”paragraph1″>The Work of Art in the Age of Mechanical Reproduction provided many insights to the evolution of the purpose of art in western media. Although it provided insights on how art can be seen as distracting or immersive, I find Walter’s work to be severely outdated when put in relation to contemporary thought on the art of filmmaking and photography.
Another issue is that the problem isn’t with the introduction of photography and filmmakking into the artworld, it’s a problem with society moving towards rapid and fast paced consumption of art in a consumerist sense.</p>

<p2 id=”paragraph2″>In my own opinion I find the argument in The Work of Art in the Age of Mechanical Reproduction to be severely flawed when placed in the context of modern photography and filmmaking. There is time to concentrate on a film or photograph, and to start to become completely immersed in the process. Fine-art photography and digital manipulation have come to show that photographs can reveal hidden depth or show more depth than originally thought. The message of seeing beyond the frame is often used in the context of BOTH photography and traditional painting. As for film, the contemporary film maker(depdending on the style) like to use setting shows to establish the background of the story or to show the wonderful cinematography that is produced nowadays. The author states that these forms of art are tyrannical in nature, meaning that they force us to only view what the artist wants us to view, but I argue that with concentration, contemplation and reflection there can be much more meaning found beyond the frame, especially in terms of modern filmmaking and photography. </p2>




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