A Strange Course of Photography

What do we mean when we say we have made an experience?
How to photograph and photo-retouching of food images to follow the rules of its archetypes.
The experiences in my life I have always held for me jealously. It was a bit ‘my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc… But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc…

We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it’s the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.

Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And ‘where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy.

Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced.

There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes.

Infinitely complex or evolved?- Digital photography

I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.

I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography.

As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries.

The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today’s cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.

The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age.

For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.

E ‘can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E ‘possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret…

Of consciousness and colours Geometry

But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little ‘annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it’s not something you eat, is not money, and above all is not science, and therefore, what is the use?

I disapprove totally.

As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I’ve only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It ‘a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity.

You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today.

Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. – natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience?

The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience.

It ‘a little’ how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history?

Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit ‘as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness.

It ‘s a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author’s message, contains the meanings aware that the author himself wanted to impress in his work.

We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that’s it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning. That is so simple and that’s all.

A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It ‘very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a “conscience.” If we can find our passion when we work we reload, rather than if we do something we do not like, we consume.

One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is.

Understanding the Rules of Composition in Photography

With the advent of the mobile phone and tablet, everyone seems to be taking photographs, and for many people all they want is a record of a holiday or family event or a special moment in their lives which they are happy to share with their friends and perhaps to look at some years later when it will bring back a fond memory of times past.

Some of us however want to take their photography one step further and turn it into a hobby which we can develop and improve. So we dispense with our point and shoot camera and stop using our phones and invest in a reasonably decent camera. Personally, although I had been taking pictures for almost 50 years, I only took it up as a serious hobby in 2010 when I purchased a Panasonic DMC-FZ38 prior to visiting Kenya on my first Safari.

To begin with, I looked at the 128 page manual, hardly understood a word, so set the camera to auto and went off on safari. I took some great photos but it was only after I joined a local camera club and started to learn about the art of composition that I began to actually look through the lens and think about what I was doing, instead of simply pointing the camera at an object and pressing the shutter.

Like me, I suspect that many new photographers get confused, or even totally put off, by such things as focal length, ISO, aperture, shutter speed, focusing, exposure, etc., etc., and while I believe that it is very useful to understand the more technical elements, I do believe that the most important element for a new photographer to get to grips with, is Composition. All digital camera manufacturers spend a large amount of time and money on software to help the user get the correct camera settings to capture that shot and, as I did initially, if you set your camera on auto, the vast majority of time you will get technically good results. However the one thing that no camera is able to do, no matter how much money you have spent buying it, is compose a photo that is attractive to the eye.

So what do I mean by Composition? Putting it into its very basic form, composition can be said to be the way to create a photo that is aesthetically pleasing to the viewer. Sounds simple doesn’t it? Google “composition in photography” and you come up with such results as:-
20 Composition Techniques That Will Improve Your Photos:
10 Top Photography Composition Rules
9 Top Photography Composition Rules You Need To Know
18 Composition Rules For Photos That Shine
5 Elements of Composition in Photography
5 Easy Composition Guidelines
The 10 rules of photo composition (and why they work)
12 Rules for Effective Composition in Photography: etc., etc.!

While you will undoubtedly learn by reading all of those articles, (and I would suggest that you do in time), I will concentrate on a few simple rules that I follow. Before I go further, while some of these are called rules, remember rules are there to be broken. What I am trying to do is to encourage you to think about what you are trying to achieve when looking through the viewfinder. I will start then with something that you have probably already come across:-

The Rule of Thirds.

Basically, if you imagine a photo divided into thirds, both horizontally and vertically, the main subject of the image should be where a vertical line cross a horizontal one.

Many modern cameras allow you to place a grid in the viewfinder which can be used to place the object where two lines intersect. While we are talking about the Rule of Thirds, it is generally best to place the horizon on one of the thirds, rather than in the centre of the frame, dependent on whether the main points of interest are in the sky or on the ground.

Leading Lines

These lead the viewers eyes into the picture either to the main subject or on a journey through the whole of the picture. Examples of leading lines could be a path wandering through the image, a fence line, a meandering road or a stream or river.

Symmetry

To demonstrate that the rules are no more than guidelines, the next one contradicts the Rule of Thirds. If your image is symmetrical, then it could benefit from being centred either on the horizontal, or vertical centre line. This works particularly well for reflections

Rule of Space

This rule is talking about giving the subject in the photo, space to move into the frame. This particularly applies to animals and vehicles. The object should have the most space in front of it, and not be right up to the edge of frame, giving it nowhere to go.

Rule of Odds

Generally speaking, it is thought that photos with an odd number of subjects is more visually appealing and natural looking than those with an even number, where the viewers eyes may flick around the image, unsure of where to settle. I tend to use the rule of odds particularly if taking a close up of flowers or the like.

I hope that I have given you a brief insight into composition and that when you next look through your viewfinder you will at least stop and think for a few seconds at what you are looking at and how the shot may be improved. But just remember, these rules, and all the others you will come across, are simply guide lines to help you go in the right direction, they are not railway tracks that you have to stick to rigidly. Finally I will end with the words of Pablo Picasso – “Learn the rules like a pro, so you can break them like an artist.”

What to Take and Save Money On a Photographic Holiday

What equipment should I take on holiday is a common question. The simple answer is what are you going on holiday to try to photograph. For example if going on safari you are going to need a long telephoto lens this will make sure you keep your distance from some potentially dangerous wild animals this will help you to get close up while keeping your distance.

A 24-70mm can be used for a multitude of situation they are also convenient and normally light weight so as not to add too much to you baggage allowance and cover virtually any situation you may come across. A tele converter can be useful and not as costly as a telephoto lenses.

If you don’t already own a battery grip this could save time and trouble especially in those isolated spots. Most battery grips now a days will take normal batteries of course, you’ll need to check your grips instructions. Because when traveling weight will play a crucial part of since you are limited by the airlines.

Make sure your camera bag is airline friendly and that you can carry it onto the plane, the last thing you want is to check in your camera bag, get to your destination to find you camera bag is somewhere else in the world. Make sure to pack an international travel plug adaptor so that you can charge batteries use your laptop or just charge the iPod.

Since most of us don’t have small laptops it may be worth taking a portable hard drive or one which has a viewer such as Multimedia Storage Viewers these can be quite expensive though. A circular polarising filter can be handy when shooting skies and helping reduce reflections on glass or water. These are light weight so won’t add too much to your final bag weight. Don’t forget a light tripod such as a gorilla pod you need this for sharp images when shooting in low light such as dawn or dusk or even after dark.

It may be worth using the bath scales to check your bags weight. Check your limits on the air carrier’s web sites as you don’t want to pay excess baggage as it can be quite expensive.

One of the main things to remember is pack only what you need. Read up on the location you are traveling to check out how to access hard to reach places what time is best suited to photographing. Google earth before you go is great for checking out routes and finding good viewpoints Once at your destination check out the local postcards they often show the normal tourist locations but often have locations of much lesser known places.

House swapping is now becoming more popular it’s a good way to stay somewhere cheap, if you have a house in a good location.

Most importantly have fun and enjoy the rest remember don’t take any work with you unless you’re a pro photograper.

John Hutchison has been a professional photographer on and off since 1981, he gained an LBIPP in 1990 from the British Institute of Professional Photographers so he has first hand experience! He worked for a newspaper for over 12 years dealing with flat copy and digital images.

How 3D Animation Video Helps in Improving the Animation World

Animation magic has ushered in a revolution of sorts in the world of advertising, marketing, promotion, media and entertainment. This seamless technology has induced life into visuals, creating a canvas that is both engaging and entertaining. The world over, animation continues to fire imaginations.

The technology has been evolving over time with newer developments enabling superior control and rendering of frames and visuals getting more life-like. There has been a significant improvement in 3D animation also. Though most of us discern these developments through the latest games and movies, other areas from aircraft design to weather forecasting are reaping the benefits from integrating 3D animation with virtual reality and simulation techniques.

Introduction of 3D Animation

To put simply, 3D animation is the three-dimensional representation of various elements. The technology allows an element to be modeled with such finesses it resembles a real physical object. A filmmaker can use the same camera angles on the rendered graphic as they would have in real life – front, back, sides, above, below, i.e. from every angle. They can also use different lighting environments to highlight unique textures and supplement the visuals with additional data to create realistic frames for use in longer films. The beauty of 3D is that the visuals can mesh seamlessly with live video streaming.

Benefits of 3D Animation

• 3D animated videos provide spatial awareness and give a sense of reality.
• Great way of conceptualizing ideas that are yet to take a realistic form.
• Helps in creating visually appealing and pleasant elements
• Easier to communicate about things and their interrelationships with the world as intended.
• Can reproduce events that are difficult to show or expensive to recreate in a real world environment.
• Unlimited possibilities to show things that cannot be depicted through photographs or 2D animation.

Scope of 3D Animation

The highly accessible and versatile technology has a wide range of users from individuals and small businesses to large conglomerates and institutions. The technology is crucial for long-term planning as its versatility allows people to preview a realistic rendering of how the elements being discussed will perform in real life situations. From providing a spatial rendering of an impending cyclone to the efficiencies that can be generated from a new engine, the technology can be used for various applications.

Sectors Where 3D Animation Technology Can Be Used

There are various sectors and industries where the technology can make a difference. It can be used for advertising, marketing, corporate films, cartoons, gaming, educational programs, in the entertainment industry and for the media sector. Corporates can explain the benefits of a product from concept to installation. The software industry can use it to show how a technology can work both at the front and back end. The construction sector can create animated videos on buildings, floor plans and other civil infrastructure to show how a concept will look once executed. People can also use 3D technology for effective education and training programs, customer presentations and in websites. Specific industries such as advertising, mining and gaming regularly use this technology for internal operations and external customer engagement.

This versatile communication medium can produce outstanding results in short span of time. Using creative storyboard blended with innovative imagery,we can create a whole new world that is close to reality. The technology is expected to soon become an integral part of the corporate world and create new frontiers for end user engagement.

5 Tips for Effective Exaggeration

At the heart of successful animation lie 12 principles. One of these is exaggeration, which refers to the act of taking certain elements and stretching them beyond the realm of normal. All animation requires some sort of exaggeration, even animation that strives to be realistic, because it is exaggeration that makes animation come alive, appeal to audiences, and add comedic relief to otherwise intense scenes. Poorly executed exaggeration, however, can detract rather than add to the appeal and impact of an animated work. As a result, effective exaggeration requires careful work by the traditional animation studio. Following are a few tips for successfully using exaggeration in any animated production.

Exaggerate The Most Important Elements.

The first step in creating effective exaggeration is to choose which elements to exaggerate. The key when making this decision is to remember that exaggerated elements will get the most attention from viewers. Therefore, the element you choose will change the way the viewer understands the scene. As a result, you need to choose the elements that are most important for understanding the scene.

For instance, if you are animating a scene in which a character is sailing, you may decide that the waves’ movements are most important and exaggerate those. On the other hand, you may decide that the character’s reaction is most vital, and, therefore, focus on their facial features. In the first instance, the viewer learns about the environment in which the character is sailing, while in the latter, the viewer learns about the personality of the character. Making the right choice will allow you to create exaggeration that contributes to rather than detracts from your work.

Know What Your Goals Are.

Once you decide which elements to exaggerate, you will need to decide how much exaggeration to use. In order to make this decision, you must have a clear idea of what you hope to achieve with the exaggeration. Exaggeration can be used in a number of different ways. For instance, you can use it to add fluid motions that make the animation look more realistic. On the other hand, you can use it to create caricatured movements that add comedy, or that add personality and appeal.

Each of these goals, however, requires a slightly different use of exaggeration. Take, for instance, the sailor discussed above. If you desire a realistic look, you may choose to slightly exaggerate his facial expressions. However, if you wish to interject humor, you may use extreme exaggeration to give him comedic facial expressions. The right choice will be the one that best contributes to your overall goals for the scene.

Retain The Essence of The Exaggerated Elements.

As soon as you decide to exaggerate an element, you are no longer bound by the strict parameters of reality. However, in order for your exaggeration to retain its appeal, it must still have some connection to reality. If it does not, the object or character being exaggerated will become confusing to viewers, who will no longer be able to mesh what they see on the screen with the basic rules of reality to which they are accustomed.

For instance, say you choose to exaggerate the facial features of the character sailing on the boat. If you remove all identifying elements from the face in order to twist it into a complete caricature of fear or surprise, or delight, you will lose the essence of the character design. The viewer will no longer be able to identify or connect with them. As a result, when exaggerating any animated element, a good rule of thumb is to take what is already there as far as expressions, physical features, or emotions, and exaggerate those elements. By doing so, you increase the appeal of the scene for viewers instead of detracting from it.

Create Balance.

Even though viewers of animation expect to see exaggeration and fantasy, they also want to keep one foot in reality. As a result, another key to effective exaggeration is to create balance within the scene. You can do so by only selecting a few elements in each scene to exaggerate. The rest of the elements must remain more natural and realistic. Doing so will avoid an absurd or disturbing look that will leave viewers confused or dismayed with your work.

For instance, if you exaggerate your sailing character’s facial features, you should refrain from exaggerating their other physical features. If you choose to exaggerate the movement of the waves, you may need to refrain from exaggerating the character’s facial features too. With a balanced scene, you draw the viewer’s attention to the elements they need to see, and keep them grounded enough in reality to enjoy the exaggerated elements.

Keep Your Project Appealing.

Finally, when using exaggeration in your animated production, you will need to maintain appeal. Appeal is a fairly subjective, yet crucial, element to animation. It is what makes even a villain a character the viewers will enjoy watching. Making mistakes in the steps discussed above can result in a loss of appeal. For instance, if you use too much exaggeration, viewers will be less likely to enjoy the animated production.

As a result, the last question you must ask yourself is how the exaggeration contributes to the scene’s overall appeal. It may fit all the criteria above, yet detract from the overall entertainment value. On the other hand, you may find that pushing the boundaries a bit yields a bolder look and greater appeal. As a result, exaggeration, as with any element of animation, requires careful crafting in order to achieve the most powerful and appealing work of art possible.

Exaggeration is an effective way to bring your animation to life, whether you are doing video game animation, advertising animation, or a feature length film. By exaggerating the most important elements, knowing what you want to achieve, retaining the essence of the exaggerated elements, creating balance, and keeping your project appealing can help you to create truly effective exaggeration in your animated art.

STEAM Careers – Visual Effects Animator

Who is a Visual Effects Animator?

A visual effects animator is a professional that’s responsible for special effects in films. Now interestingly, they focus on the special effects that cannot be added during the live action shoot. For example, a lot of times, the green screen is used when shooting actors in the studio.

The actual, exciting background we see in the movie however is inserted later. Similarly, these professionals are also responsible for actually creating entire characters. As such all they use is computer software programs to create these entities and integrate them in the film. These characters can be so lively that they can also interact with live action characters.

Remember the dinosaurs and the Anaconda in those blockbuster movies? Well that’s what the visual effects animators can do! Thus the TV shows, commercials, films and other such projects actually become more realistic and exciting.

Background Education / Training

Though it may be safely said that you do not require a formal study to be a visual animator, they certainly train themselves hard and create a strong background in multimedia art and animation. Most of them actually work a other artists and work on their story telling and aesthetic skills for long before they actually realize their dream of being a visual effects animators.

It is usually recommended that professionals interested in this career study arts, fine arts, photography or similar art related fields. Some of them actually go for higher specializations in visual media and visual effects eventually. The ability and training to use computer software with speed is highly valued as a skill.

Work Environment

Most of these professionals spend a lot of time in an office using their computers and animation software. However, those that work with larger media agencies and film studios may actually travel to document, understand and watch the actual filming happen, for research and development.

Their hours are often long and they can be commonly seen working in tight deadlines, on weekends and nights. A lot of them are self-employed and freelance or consult.

The industries that conventionally used to employ them were motion pictures, film industry and video game companies, but of late media agencies, larger YouTube channels, companies that create content for schools, companies that create DIY projects for school and even digital marketing agencies employ them. A lot of content development companies employ animators to create ad videos or films for their clients.

Salary

If it wasn’t exciting enough to transport people to a fantasy / realistic world using art and technology, the salary is lucrative. While disregarding the top-notch in the industry who earn in millions, even the junior animators earn good amounts as they freelance and / or get employed full-time. The more credentials and portfolio you have, the better your earning potential is.

What Is the Role of Animatronics?

Animatronics is a process of building mechanized puppets or full-size costumes that resemble animals, dinosaurs, or other imaginary creatures, and made to look quite lifelike. The idea behind animatronics was first created by Disney Studios back in the 1950s for use in some of their early films. Plus, it is possible to combine the mechanized movements with other special effects in an attempt to create the more convincing look and a greater level of realism.

In addition to using this technology in the film studios it is a common sight in many of the popular theme or amusement parks, which many feature birds or other creatures in special shows to entertain guests.

What features are involved?

Animatronics can vary significantly with basic to very complex designs. The most basic animatronics are built with basic sound recording features and have the ability to make one or two simple movements. For the more advanced designs it is possible to include software that can complete specific moves, and can even be remotely controlled. On the most complex designs the engineers will create the costumes using the latest special effects technology that includes realistic skin, highly flexible joints, and lifelike actions or sounds.

The creation process starts with a designer sketching out the ideas on paper. Once the initial concept is created, the engineering team will provide detailed plans to start on the construction of a scale model which is known as a maquette. If this first concept is approved, it is possible to move on to the full-scale model which includes the built-in electronic controls and moving parts. The design team finishes the model using special paints, materials and textures in order to create the realistic looking skin.

Many of the animatronics rely on LEDs, servos, and connecting wires to help create the realistic sound effects. Creating the costumes with the servo connectors is great for plenty of reasons, including the wide availability of these components and the relatively low-cost to use. Plus, it is possible to use connect sensors in certain projects to help benefit from the convenience of wireless control.

Future of animatronics

The future of animatronics is still very strong, but because of the time and cost involved in creating the full-size models, many film studios rely on computer animation to help with special effects. There are still many companies that have the sole purpose of creating animatronics for entertainment purposes, such as use in theme parks or amusement parks.

5 Tips for Creating an Effective Whiteboard Animation

Whiteboard animations require many innovative ideas, careful decisions and gutsy implementations. Developing a script and the entire pre-production planning stage before the creation of any type of creative work is one of the most important things that one must ensure to work on. Below are a few important tips for an effective whiteboard animation. These tips will enable you to create a great impression in the minds of your audiences and fans.

1. A great script is a must

As far as whiteboard animations are concerned, an average script will not do much favor to you. You need a great script and a one that can help you to create a major impression in the minds of the people or your audiences to keep it simple. Your story must be bought to life in an extraordinary manner.

2. Having a believable flow

Just like it happens in real life, your whiteboard animation should have a story line that is quite distinct in the middle, beginning as well as ending. This means that the videos should be short in order to keep the attention of the audiences. Your story must be told in such a manner that does not take very long to unfold so that the viewers can get a grasp of what you are exactly saying.

3. Having a powerful imagery

Powerful imagery and dynamic illustrations are always at the heart of a successful whiteboard animation. This means that one should ideally spend most of the time creating the images for the whiteboard presentations.

4. A captivating audio

Soundtrack is the heart of a film and same goes to a whiteboard animation. The audio tracks should be captivated in such a manner that they are able to create a very positive impression in the minds of the viewer or a normal audience. There are also a lot of character voice- overs that should be extremely believable and dynamic and this means that they should enhance and not detract from your work.

5. Concentrate on the background music

Background music can also be described as an essence to your whiteboard animation. This is because the viewers will be able to connect emotionally to your content. This means that the will be able to create a great memory as far as your animation is concerned and as a viewer this is what we require. It is one of the important things to remember.

Illustration Techniques for Designers

There are several techniques or styles of making an illustration. Each of these techniques has its distinctive process and media specially used for creating the illustration. The graphic artist must therefore familiarize himself well with a particular technique before adopting and using it for the production of a graphic design product. Examples of some of the techniques in illustration are:

1. Pen and wash- This illustration technique involves the drawing of the outlines of the illustration in pencil. Ink is used to go over the drawn outlines in pencil. When it is dried, a small quantity of the ink is diluted with water in a lighter tone. Brush is used to apply the paint at the darker areas of the drawing. The painted areas are washed to create various tones to bring out the forms of the illustration. The outlines are made stronger by the use of pen lines. It is used for catalogues, village and market scenes, fashion design magazines, book covers etc.

2. Pen and ink- This is the use of pen and ink to draw the outlines of the drawing and using any of the shading methods to bring out the forms in the drawing. It is used for illustrations in books, newspapers and magazines.

3. Flat colour painting- In this technique, the colours are painted flat with no gradation in tone. The edges of the sections of the painted drawings are sharp and distinct, setting the difference in the various parts of the drawing. It is used for illustrations in story books, road signs, greeting cards etc.

4. Realistic painting- This is the drawing of objects to show great details as they actually appear in nature. It is used for advertisement, fashion magazine and illustrations in books.

5. Silhouette- This is the creating of the outlines of a drawing in pencil and filling the inner part uniformly with black paint or ink. Silhouette drawings do not show details just the outlines that define the objects are shown. They are used for road signs, package symbols, illustrations in fashion magazines etc.

6. Cartooning- This is the creation of humorous or satirical figures with exaggerated forms. This illustration technique is used for illustrating children books, newspapers, magazines etc.

7. Photography- This is the taking of shots of real objects and scenes by the use of a camera. It gives the exact likeness of the objects and scenes. Photographs are used for posters, magazines, newspapers etc.

Vector Art Techinque

Vector Art is a technique, which means art created with vector-based programs. Vector art basically uses dots, lines, and curves. Vector programs take note of the relationship between these elements. This allows images created to vary their scale without losing quality or pixelating. In comparison, pixels lose quality when they are raised above 100% of their size.

Popular vector programs are Illustrator, Freehand, Corel Draw, and Flash. Almost everything created with these programs is considered as vector work. I say “almost” because there are exceptions to each rule. If your vector work combines vector images with raster images, I’m afraid that it is no longer a vectorial work (and consequently does not belong to the Vector Gallery).

For example: to finish your vectorial work, you think that your work is missing something, and you put it in Photoshop to give it a small texture, trying to complete it more. At that moment it is no longer a vector work, and you should upload it to “Digital art> Mixed Media”. In the same way, if you take the rasterized texture and put it in Illustrator by applying a layer style, nor would it be a vector work.

As this texture cannot be increased by over 100%, it makes your vector technically useless after raster images in original size. Do not even think that you cannot add textures to your vector work. Many of these programs come equipped with samples of detailed patterns, textured brushes, even with “Live Trace”, which as its name indicates, traces raster images and converts them into vector graphics.

Reiterating and ensuring there is no confusion, here is a list with programs generally considered as raster-based: Photoshop, Painter, MS Paint and a great free alternative, Gimp. Basically, everything created with this program is considered rasterized image. A few of these programs are able to create images with points, lines, and curves, just as a vector program would do.

The same Photoshop can make images based on vectors, however, they are usually considered “vexel” because vexel artists usually include brush strokes on their images (for hair, etc.).

Speaking of brushes. Just because you have downloaded and installed a set of brushes for Photoshop (or any other raster image program) that has the word “vector” in its title, it does NOT mean that your work is vectorial. These brushes come in various sizes, and no matter what resolution you apply them, they can never be increased above 100% of their size without losing quality.