Books by sahra kunz
O manual "Introdução ao Desenho: princípios, materiais e exercícios" surge da vontade de sistemat... more O manual "Introdução ao Desenho: princípios, materiais e exercícios" surge da vontade de sistematizar os processos inerentes à aprendizagem inicial do Desenho. Parte da experiência em aula ao longo dos últimos anos, e da tentativa de resolução dos problemas e hesitações encontrados naqueles que são inexperientes no Desenho.
Pretende-se, assim, apresentar os princípios básicos do Desenho, tais como: as razões pela qual esta atividade é tão difícil de iniciar ou retomar; as considerações e processos que são habituais para o seu sucesso ou insucesso; os materiais introdutórios para a sua prática, tais como a grafite, as esferográficas e canetas, suportes e materiais auxiliares; e propostas de exercícios com um grau de dificuldade crescente, que permitam uma aprendizagem autónoma e gradual do Desenho.
Apesar de ter sido concebido tendo em mente os alunos da Escola das Artes da Universidade Católica Portuguesa, acredita-se que este manual possa servir a todos os que desejem iniciar a prática do Desenho.
by Paula Tavares, Sónia Oliveira, Beatriz Herraiz, Sungeun(Jemma) Kang, Anja Tolar, Mariana Sampaio, Hans-martin Rall, Carol MacGillivray, Roderick Mills, sahra kunz, Constança Araújo Amador, Sara Madureira, and Cyril Lepot PREFACE
“These three fields require a high degree of collaboration with
artists, producers, sto... more PREFACE
“These three fields require a high degree of collaboration with
artists, producers, story editors, directors, programmers, and
any number of other people in both the executive and creative
ends of the business.This is most emphatically true for animation
and games. Depending on the project, you will receive
notes and feedback from any variety of people. In animation,
from story editor, producers, more producers, the producer’s
pet sitter, maybe a toy executive—whoever is allowed to have a
say. In comics, primarily the editor, but your artist must feel
that he or she is an integral part of a team, not a hired hand.
In games, you might get feedback from anyone on the design
team—publisher, producer, designers, programmers, animators,
and so on.”
Christy Marx, in the preface of her book Writing for Animation,
Comics and Games, pg. xix.
We open our book of proceedings with the words of Christy Marx,
mainly because CONFIA 2013 - International Conference on
Illustration and Animation aims to be synonymous with plurality,
multiplicity and interdisciplinarity. Our teamwork and above all
our passion are ever present in CONFIA’s areas of focus: illustration
and animation.
We started with the need to build critical mass around the subjects
we research and teach in our educational institution - graphic
design, illustration and animation in graduate and postgraduate
programs - and today, we are proud to present another edition of
CONFIA. It is very important that this opportunity serve as a moment
for reflection and questioning, as it is not possible to understand
illustration and animation in a contemporary world without
thinking of the strong growth experienced by both fields in recent
years. Their ability to adapt everyday to new visual languages,
mainly due to the constant pressure exerted by constant technological
developments, is also a key factor. Both illustration and
animation have been showing strong signs of being autonomous,
inside the broader areas of art and technology. We therefore believe that these two collaborative subjects have shown that
there is a wide space for discussion and a vast field for research
practice. Indeed, this international conference represents a meeting
point for researchers from around the world, with speakers
from all continents joining us this year. As we write these words,
we are already certain that the second edition of CONFIA will be
successful for two reasons: first, the high quality of the papers we
received, and second, the multiplicity of activities carried out by
the authors in the present edition.
The conference features a wide range of specialists, lecturers,
researchers and illustration and animation artists, who are often
active in both theory and practice, which makes the debate and
the quality of proposals richer. We go from theory to practice and
then return to theory. This translates into the 45 selected papers
in this publication, covering a variety of broad subjects such as
drawing/illustration, animation and art theory. The content discusses
specific areas of knowledge including traditional drawing,
contemporary drawing, graphic illustration, information graphics,
editorial illustration, illustration for children, character design,
comics & graphic novels, scientific Illustration, 2D and 3D animation,
animation for video games, character animation, animation
for virtual and augmented reality, animation in interactive media,
motion graphics, sound and animation, linear storytelling, creative
writing, visual culture, interactive storytelling, narrative and
non-narrative animation illustration and animation pedagogy and
authorship in animation and illustration.
In such a diverse context, we are pleased to have as guest
keynote speakers Professor Paul Wells of Loughborough University,
director of the Animation Academy, and Professor Martin
Salisbury of Anglia Ruskin University, with extensive research
experience in animation and illustration, respectively - which
strengthens the link between research and practice in the resulting
academic debate.
So with the mission of discussing these issues, challenges, opportunities
and trends related to everything from tradition to the
constant new developments and applications, the overall objectives
for the conference were achieved and now lie in the readers’
hands: to present new ideas, new technological developments that
fulfill the requirements of the market and practical,
state-of-the-art solutions; to provide guidance for further research
and development; and to strengthen the bridge between research
and practice.
Welcome to CONFIA 2013
Paula Tavares and Pedro Mota Teixeira
Polytechnic Institute of Cávado and Ave, Portugal
by leonor hungria, Eduarda Novo, Mariana Viana, Daniel Cruz Brandão, Joana Costa, Dária Salgado, Marta López, Birgitta Hosea, Glória Maria Lourenço Bastos, Vitor Carvalho, Manuela Rocha, Marta Alexandra Cruz Madureira, Tiago Rodrigues, Rita Carvalho, Stuart Medley, Paula Tavares, Blanca Lopez, sahra kunz, Manuel Albino, Daniel Silvestre, María Carmen Lorenzo Hernández, Eduardo Faria, Jorge Teixeira Marques, Jason Kennedy, Isabel Trigueiros, Miquel Alcaraz, Adriana Navarro Álvarez, Eliane Gordeeff, Susan Hagan, Catarina Silva, and Jorge Pereira
Bookmarks Related papers MentionsView impact
Peter Beyls is an interdisciplinary artist who’s been developing computer software as an artistic... more Peter Beyls is an interdisciplinary artist who’s been developing computer software as an artistic statement since the early seventies. His work is situated in the broad field of Generative Art and constitutes a hybrid of drawings, films, interactive installations and audio-based work. The present publication provides an in-depth overview of his career spanning nearly four decades. Six well-known contributing scholars address a number of specific issues, ideas and methodologies underpinning his work. Beyls’ work is contextualised in terms of today’s artistic and scientific tendencies. Many illustrations provide evidence of a diverse yet coherent body of work.
Talks by sahra kunz
Teaching Documents by sahra kunz
Thesis Chapters by sahra kunz
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Books by sahra kunz
Pretende-se, assim, apresentar os princípios básicos do Desenho, tais como: as razões pela qual esta atividade é tão difícil de iniciar ou retomar; as considerações e processos que são habituais para o seu sucesso ou insucesso; os materiais introdutórios para a sua prática, tais como a grafite, as esferográficas e canetas, suportes e materiais auxiliares; e propostas de exercícios com um grau de dificuldade crescente, que permitam uma aprendizagem autónoma e gradual do Desenho.
Apesar de ter sido concebido tendo em mente os alunos da Escola das Artes da Universidade Católica Portuguesa, acredita-se que este manual possa servir a todos os que desejem iniciar a prática do Desenho.
“These three fields require a high degree of collaboration with
artists, producers, story editors, directors, programmers, and
any number of other people in both the executive and creative
ends of the business.This is most emphatically true for animation
and games. Depending on the project, you will receive
notes and feedback from any variety of people. In animation,
from story editor, producers, more producers, the producer’s
pet sitter, maybe a toy executive—whoever is allowed to have a
say. In comics, primarily the editor, but your artist must feel
that he or she is an integral part of a team, not a hired hand.
In games, you might get feedback from anyone on the design
team—publisher, producer, designers, programmers, animators,
and so on.”
Christy Marx, in the preface of her book Writing for Animation,
Comics and Games, pg. xix.
We open our book of proceedings with the words of Christy Marx,
mainly because CONFIA 2013 - International Conference on
Illustration and Animation aims to be synonymous with plurality,
multiplicity and interdisciplinarity. Our teamwork and above all
our passion are ever present in CONFIA’s areas of focus: illustration
and animation.
We started with the need to build critical mass around the subjects
we research and teach in our educational institution - graphic
design, illustration and animation in graduate and postgraduate
programs - and today, we are proud to present another edition of
CONFIA. It is very important that this opportunity serve as a moment
for reflection and questioning, as it is not possible to understand
illustration and animation in a contemporary world without
thinking of the strong growth experienced by both fields in recent
years. Their ability to adapt everyday to new visual languages,
mainly due to the constant pressure exerted by constant technological
developments, is also a key factor. Both illustration and
animation have been showing strong signs of being autonomous,
inside the broader areas of art and technology. We therefore believe that these two collaborative subjects have shown that
there is a wide space for discussion and a vast field for research
practice. Indeed, this international conference represents a meeting
point for researchers from around the world, with speakers
from all continents joining us this year. As we write these words,
we are already certain that the second edition of CONFIA will be
successful for two reasons: first, the high quality of the papers we
received, and second, the multiplicity of activities carried out by
the authors in the present edition.
The conference features a wide range of specialists, lecturers,
researchers and illustration and animation artists, who are often
active in both theory and practice, which makes the debate and
the quality of proposals richer. We go from theory to practice and
then return to theory. This translates into the 45 selected papers
in this publication, covering a variety of broad subjects such as
drawing/illustration, animation and art theory. The content discusses
specific areas of knowledge including traditional drawing,
contemporary drawing, graphic illustration, information graphics,
editorial illustration, illustration for children, character design,
comics & graphic novels, scientific Illustration, 2D and 3D animation,
animation for video games, character animation, animation
for virtual and augmented reality, animation in interactive media,
motion graphics, sound and animation, linear storytelling, creative
writing, visual culture, interactive storytelling, narrative and
non-narrative animation illustration and animation pedagogy and
authorship in animation and illustration.
In such a diverse context, we are pleased to have as guest
keynote speakers Professor Paul Wells of Loughborough University,
director of the Animation Academy, and Professor Martin
Salisbury of Anglia Ruskin University, with extensive research
experience in animation and illustration, respectively - which
strengthens the link between research and practice in the resulting
academic debate.
So with the mission of discussing these issues, challenges, opportunities
and trends related to everything from tradition to the
constant new developments and applications, the overall objectives
for the conference were achieved and now lie in the readers’
hands: to present new ideas, new technological developments that
fulfill the requirements of the market and practical,
state-of-the-art solutions; to provide guidance for further research
and development; and to strengthen the bridge between research
and practice.
Welcome to CONFIA 2013
Paula Tavares and Pedro Mota Teixeira
Polytechnic Institute of Cávado and Ave, Portugal
Talks by sahra kunz
Teaching Documents by sahra kunz
Thesis Chapters by sahra kunz
Pretende-se, assim, apresentar os princípios básicos do Desenho, tais como: as razões pela qual esta atividade é tão difícil de iniciar ou retomar; as considerações e processos que são habituais para o seu sucesso ou insucesso; os materiais introdutórios para a sua prática, tais como a grafite, as esferográficas e canetas, suportes e materiais auxiliares; e propostas de exercícios com um grau de dificuldade crescente, que permitam uma aprendizagem autónoma e gradual do Desenho.
Apesar de ter sido concebido tendo em mente os alunos da Escola das Artes da Universidade Católica Portuguesa, acredita-se que este manual possa servir a todos os que desejem iniciar a prática do Desenho.
“These three fields require a high degree of collaboration with
artists, producers, story editors, directors, programmers, and
any number of other people in both the executive and creative
ends of the business.This is most emphatically true for animation
and games. Depending on the project, you will receive
notes and feedback from any variety of people. In animation,
from story editor, producers, more producers, the producer’s
pet sitter, maybe a toy executive—whoever is allowed to have a
say. In comics, primarily the editor, but your artist must feel
that he or she is an integral part of a team, not a hired hand.
In games, you might get feedback from anyone on the design
team—publisher, producer, designers, programmers, animators,
and so on.”
Christy Marx, in the preface of her book Writing for Animation,
Comics and Games, pg. xix.
We open our book of proceedings with the words of Christy Marx,
mainly because CONFIA 2013 - International Conference on
Illustration and Animation aims to be synonymous with plurality,
multiplicity and interdisciplinarity. Our teamwork and above all
our passion are ever present in CONFIA’s areas of focus: illustration
and animation.
We started with the need to build critical mass around the subjects
we research and teach in our educational institution - graphic
design, illustration and animation in graduate and postgraduate
programs - and today, we are proud to present another edition of
CONFIA. It is very important that this opportunity serve as a moment
for reflection and questioning, as it is not possible to understand
illustration and animation in a contemporary world without
thinking of the strong growth experienced by both fields in recent
years. Their ability to adapt everyday to new visual languages,
mainly due to the constant pressure exerted by constant technological
developments, is also a key factor. Both illustration and
animation have been showing strong signs of being autonomous,
inside the broader areas of art and technology. We therefore believe that these two collaborative subjects have shown that
there is a wide space for discussion and a vast field for research
practice. Indeed, this international conference represents a meeting
point for researchers from around the world, with speakers
from all continents joining us this year. As we write these words,
we are already certain that the second edition of CONFIA will be
successful for two reasons: first, the high quality of the papers we
received, and second, the multiplicity of activities carried out by
the authors in the present edition.
The conference features a wide range of specialists, lecturers,
researchers and illustration and animation artists, who are often
active in both theory and practice, which makes the debate and
the quality of proposals richer. We go from theory to practice and
then return to theory. This translates into the 45 selected papers
in this publication, covering a variety of broad subjects such as
drawing/illustration, animation and art theory. The content discusses
specific areas of knowledge including traditional drawing,
contemporary drawing, graphic illustration, information graphics,
editorial illustration, illustration for children, character design,
comics & graphic novels, scientific Illustration, 2D and 3D animation,
animation for video games, character animation, animation
for virtual and augmented reality, animation in interactive media,
motion graphics, sound and animation, linear storytelling, creative
writing, visual culture, interactive storytelling, narrative and
non-narrative animation illustration and animation pedagogy and
authorship in animation and illustration.
In such a diverse context, we are pleased to have as guest
keynote speakers Professor Paul Wells of Loughborough University,
director of the Animation Academy, and Professor Martin
Salisbury of Anglia Ruskin University, with extensive research
experience in animation and illustration, respectively - which
strengthens the link between research and practice in the resulting
academic debate.
So with the mission of discussing these issues, challenges, opportunities
and trends related to everything from tradition to the
constant new developments and applications, the overall objectives
for the conference were achieved and now lie in the readers’
hands: to present new ideas, new technological developments that
fulfill the requirements of the market and practical,
state-of-the-art solutions; to provide guidance for further research
and development; and to strengthen the bridge between research
and practice.
Welcome to CONFIA 2013
Paula Tavares and Pedro Mota Teixeira
Polytechnic Institute of Cávado and Ave, Portugal
3D animation films have traditionally been rendered using pre-rendering engines, a time consuming and expensive process that usually requires the use of multiple computers rendering at the same time (render farms), renders which may need to be repeated if the results are not ideal.
Videogames, on the other hand, are reactive applications where the player may have different possible courses of action that will generate distinct results. In those cases, it is necessary that the engine waits for the player’s input before it calculates the following frames. To allow for fast calculations in real time, 3D game developers use game engines that incorporate real time rendering methods which can generate images much faster than the pre-rendering engines mentioned above.
To be able to generate a large number of frames per second, there must be an optimization of the entire scene, in order to reduce the number of necessary calculations. That optimization is created by using techniques, practices and tools that are not commonly used by animation cinema professionals.
Due to that optimization necessity, videogames always had a lower graphic quality than that of animated films, where each frame is rendered separately and takes as long as necessary to obtain the required result.
Physically Based Rendering (PBR) technology is one of the methods incorporated by some rendering engines for the generation of physically accurate results, using calculations that follow the laws of physics as it happens in the real world and creating more realistic images which require less effort, not only from the artist but also from the equipment. The incorporation of PBR in game engines allowed for high graphic quality generated results in real time, gradually closing the visual quality gap between videogames and animated cinema.
Recently, game engines such as Unity and Unreal Engine started to be used – mostly by the companies that created the engine, as a proof of concept – for rendering 3D animated films. This could lead to changes in the animation cinema production methods by the studios that, until now, have used traditional pre-rendering methods.