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  • DigiPen Fall 2006 Grades

    Edit: Yay, I got all my grades!

    Due to the power outage, getting my grades has been delayed. I was supposed to have all of the grades by midnight of December 20th, but at that point I only had two. I recently got two more, which leaves me bald of two classes still. Here’s my grades so far:

    Animation 101 – Intro to Animaton – B
    Film 115 – Film History – B
    Art 115 – Art History – B
    English 116 – Storytelling – B
    Art 101 – The Language of Drawing – B+
    Biology 100 – Visual Perceptions – B+

    So far I’ve got a rather solid B (3.0) average. I really don’t know what I’m going to get in Bio or Art 101. But if I had to guess… I’d say a B in both.

    And with my last two B+s, I’ve now got a 3.09 GPA.

  • Bunch of Stuff Happened

    It’s probably best to order things chronologically rather than categorically for this post. It’s a long story that lasts about five days. I’ll see if I can condense it into less than five days of reading.

    It all started on Thursday, December 14th. “High wind warnings” were on the news, saying winds would get up to 80-90mph with 130mph gusts. Silly me didn’t realize quite how serious this is. If these numbers don’t mean much to you (and you haven’t been watching the news), then this is enough wind to knock over many, many trees. And when trees fall down, they land on things. Like power lines. And cars. And roads. And houses. But back to the story at hand.

    I showed up at DigiPen campus around 4pm, I think. My plans were to mat mount the final project for Art 101 so I could turn it in before 5pm the next day, when it was due. Then I would work on animation. I’d expected the power to go out, as I’d brought some flashlights.

    When I arrived at school, there were signs posted at every corner that the school was closing at 10pm instead of midnight due to the high winds warning.

    After I left, it was only slightly gusty. I took the “back road” home, like I usually did, because even at 10pm traffic is decently heavy and moving around 50mph through Bellevue. Besides, the back road was a straight shot to my house, and the freeway went in the opposite direction for a bit before turning my way.

    The back road was already littered with tree branches. It was fun to dodge them, and felt a bit like a video game. Then something above me went SHAZAM! and all the lights on the street went out. The scariest part of the drive was when a few cars were coming in the opposite direction so I was effectively blinded, and my car a puddle I didn’t see and sprayed water off the side of the road. Normal enough, except the puddle didn’t end. After the three cars had passed me, I could see the end of the “puddle” about 50m further up.

    The last exciting thing about the back road was when I was halfway home. The sky lit up briefly with this beautiful blue and purple explosion in the distance. I was sure it was the power at my house. Fortunately, it was all the power just before my house. Unfortunately, that meant the streetlight were out, and traffic in the Seattle area is notoriously bad not because of the sheer amounts of people, but because the people suck at driving. So no one had no idea that a downed traffic light means you’re supposed to behave like it’s a stop sign. And no one knew the proper way to handle a six lane, four way intersection as a stop sign, either. I’ll admit, it’s a little daunting, but if you face it logically you don’t have a problem.

    The power didn’t go out until an hour or so after I got home. I spent that night doing general maintenance. I cleaned the dust out of Goliath, this webserver, I put a new PSU in the internet gateway box (which had a faulty fan for the past year or so and required external cooling), and I took the last of the good pieces out of my downed main computer (namely, the CPU) and put it into my secondary machine. So I’m still down to one desktop computer, but it’s almost as good as my best one was. I also did a little general cleaning around my desk. The rest of the night was spent drawing some Trivium comics.

    So the power went out Thursday night. Friday morning at something before 7am I get a call from my good friend xcXEON wondering how things were and if everything was ok. I told him we were out of power, but otherwise fine. I was out of touch. I don’t normally watch the news — I’d heard about the strong winds from my brother, and probably then only because I live in the same house as him. The scope of power outages and damage was much larger than I thought it was, which is why he’d thought it important enough to call me. I enjoyed talking to him, it had been a while, but then I had to get ready and go to school. I had a final project to turn in, and an animation to redo so I could try to up my grade in Animation 101. I had my friend check www.schoolreport.org to make sure DigiPen wasn’t closed, got up and headed out.

    Bad idea. The first road I tried was blocked by half a dozen downed trees. (Ok, only three were visible, but I bet there were more further down) After going through a dozen intersections with broken stoplights, I finally made it to DigiPen after only a little over an hour. Not like it meant much. The doors are electronically sealed, and there was no power. A random programmer and I took a walk around the block to gawk at all the pretty damage from downed trees. Later, the head of facilities showed up and told all the people milling around the sign that said “DigiPen’s closed” that the finals will be rescheduled, and the final project that’s due will be turned in at the start of next semester. I asked about www.schoolreports.org and he said they’d managed to leave a message for them around 8am. The cell phone lines were jammed, and there was probably a downed tower or two.

    I was not looking forward to driving home. Against my better judgement (I claim curiosity), I took the freeway home. I noticed a few cars by the side of the road as traffic crawled along and wondered why they were there.

    A few places started getting power restored during the day. The first ones were the stores and malls. Makes you wonder. A gas station or two got power, and then I noticed something a little scary. There were only one or two gas stations in the area that had power. The line of cars wrapped around the block.

    The night, my dad informed me he was out of gas. Completely empty, and maybe only enough to drive to the gas station. I told him since I was going to be up late working on drawing Triviums, I’d take his car out at around 11pm and gas it up.

    Another bad idea. There was one gas station with gas left (the others had their lights of with “no gas” signs in the driveways) and the line was still around the block. I managed to make it home, and left a note for my dad to take my car, since it still had half a tank.

    Saturday, my friends I’m working on Booster Logic with called me and said their power was back, and that I could stay with them until mine came back.

    I left out two events. One was a trip to a church Christmas dinner party where I brought my phone charger and charged it while I was eating, and the other was a trip to Bellevue Square Mall where I picked up the Playstation 2 game Disgaea: Hour of Darkness. I got lucky. The game’s rare, and the Gamestop at the mall just happened to have ae copy when I was there.

    So when I got the invite from my friends, I packed up my PS2, Disgaea, Shadow of the Colossus (another great game), a change of clothes, my clothes for church, and left. My dad wasn’t interested in taking a free shower for some reason, so he stayed behind in our dark, cold house that was starting to smell a lot like burnt candles.

    The next couple days were a blur. Disgaea is awesome. I felt no guilt, as the power was out at my house and all my plans revolved around the internet (which they didn’t have yet). Been a long time since I’ve played a game for more than an hour or two without feeling guilty that I should be doing something else more important.

    I called my mom about halfway through to see how they were fairing at home. Turns out my dad had tried to light a fire and hadn’t put it far enough back in the fireplace. Nothing burnt down, but the entire house was filled with smoke. It still smells, and probably will for weeks. They also got invited to stay at someone else’s house, but for some reason my dad had declined them again. I’ve been taught that doing good deeds is all well and good, but denying other people the good deeds they want to do isn’t actually very nice. I don’t think anyone ever taught him that. Or maybe he just really needed his special matress for his back, since it’s so bad. Who knows. (I’m rather certain he doesn’t read this, and my mom isn’t tactless enough to tattle-tale on me, so I should be safe in questioning his sanity here.)

    So the last thing of note that happened was this: I woke up this morning at around 10am to the sound of my phone ringing. My brother was calling to let me know that the power had come back on, and that he wanted to make the internet work, but the power buttons on the router wasn’t working. I let him know it wasn’t broken, and I’d just flipped the switch on back, but I’d prefer he wait for me to get home and get everything working.

    I started packing up and I noticed the end of the extension cord that I unplugged my phone from wasn’t glowing green. I checked, and the cable modem/router wasn’t lit up. Oh noes, I thought. What have I done! Then I noticed that the red light on my PS2 wasn’t lit up, and I realized the power was out.

    So I packed up, came home, turned on my computers with only minor issues, and here I am.

    Now if you’ll excuse me, I need to get those Triviums I drew inked, or this Christmas Special will never go live.

  • My Animations – Fall 2006

    These are the animations I’ve made for Animation 101 at DigiPen.

    Edit: I am including links to my unlisted/private versions I put up on Google Video so they can easily be seen any time and any place. The dixv avis are below.

    http://video.google.com/videoplay?docid=3061544535842370130 – Bouncing Ball
    http://video.google.com/videoplay?docid=817870938005487690 – The Beast (Inbetween Only)
    http://video.google.com/videoplay?docid=-8956344487598838048 – Floursack
    http://video.google.com/videoplay?docid=1534687071570096214 – Effects – Splash
    http://video.google.com/videoplay?docid=-628925158489199123 – Mr. Generic Walk
    http://video.google.com/videoplay?docid=7234690906684692788 – Mr. Generic Run http://video.google.com/videoplay?docid=-5366979854963548521 – Lift and Throw

    http://stickman.mach5.org/temp/ball_divx.avi (70KB)
    http://stickman.mach5.org/temp/beast_divx.avi (230KB) (Inbetween Only)
    http://stickman.mach5.org/temp/floursack_divx.avi (250KB)
    http://stickman.mach5.org/temp/splash_divx.avi (580KB)
    http://stickman.mach5.org/temp/walk_divx.avi (330KB)
    http://stickman.mach5.org/temp/run_divx.avi (500KB)
    http://stickman.mach5.org/temp/lift_and_throw_divx.avi (430KB)

  • Imitation Trivium

    First, I believe I’ve fixed the problem with people impersonating me on the miniforum. If the name’s not red, it’s not me.

    Second, the guy who posted in my name saying more Triviums were coming soon wasn’t entirely wrong. I might as well tell those few people that read this what my plans are.

    I had an idea for a Christmas storyline last Christmas, but I didn’t realize it was Christmas until about a week beforehand, which is why we saw this comic out of the blue. School takes a whole lot out of me. And while responsible me says that I should get a job and make a few bucks over Christmas break, I’m not sure I want to wear myself out any more. I also want to just sleep. But, what I really want to do is that Christmas storyline for Trivium that’s been hanging over my head for a year.

    So nothing’s in stone, but we’ll see what happens. Remind me to post news now and then if you’re curious what’s going on. I always hate it when things I like just die quietly and never give me an update about what’s going on. Even “oops, I’m a lazy bum,” on a comic is better than silence.

  • DigiPen’s Goals

    DigiPen makes some pretty outrageous claims. One of the ones that stuck with me is their goal for our graduation. They expect us to graduate as colleagues — co-workers of equal standing. I rather like that, because it means I won’t have any problems being useful on a job. It does mean this is gonna be a hard road, though.

    The other thing they talk about is a bit derogatory to other colleges, but makes sense. They say the people that graduate from other college programs at a “colleague” level are people that are succeeding in spite of the system, and not because of the system. They’re the people that spend every free moment they have drawing. Remember back when I said people learn something either to fit into a group or to become an expert? They’re the people that are learning something to become an expert — always finding new ways to challenge themselves instead of doing what they’re good at, or learning well enough just to get a passing grade. DigiPen claims that the difference between DigiPen and other colleges is that they hold everyone to the level of those that succeed in spite of their college programs.

    That’s why my college can beat up your college.

  • Missing School and Pencils

    I was unable to go to school yesterday. I have two classes on Wednesdays. Biology 100 was canceled because the art dean, the great Abbott Smith, had some presentation in San Fransisco or something. So I emailed my Animation 100 professor and told him I wouldn’t be showing up and asked him to tell me the subject of today’s lesson so I could grab the notes from someone else.

    At 7pm I was able to check my email again.

    Subject: ANI 101 C Canceled 11-1-06

    Professor Francoeur will not be able to make it to class today, and therefore, ANI 101 C at 11am has been canceled.

    Please pass this message on to your friends in this class in case this email does not go through.

    Thank you,
    Lindsay Jones
    Student Services Coordinator

    If there was a day not to be able to go to school, then today was it.

    Also, I really need to update my site now that I’m learning things. Basic drawing tutorial stuff, probably centered around Gimpystick’s section. One of the things I want to add is a little discussion I had with a friend about the basic of basic drawing materials. Oh, hey! I can add a wiki for that! That could be fun.

    Pencils: There are multiple types of pencils. Remember those bubble tests in high school where the teacher is all, “Use a number 2 pencil?” Pencils range from high “H” pencils, to high “B” pencils. H counts down to zero, and B counts up from zero, making a scale like this: 2H, 1H, HB, 1B, 2B. Kinda like the BC and AD year systems. There are some other letters in the middle where 1H and 1B meet, but I’m going to avoid those to avoid confusion.

    Now, I wouldn’t go out and buy a set of 9H to 9B pencils, though you could if you wanted. Generally, if you’re starting out, you just want to play with one type of pencil so you don’t confuse yourself. You can ask yourself three questions to find out which range of pencils to look at.

    Do you like darker or lighter lines? B pencils are darker, and get darker heading towards higher numbers. H pencils are lighter, and get lighter headering towards lower numbers.

    Do you like sharpening your pencil? B pencils wear down a lot faster since the graphite is softer. What, you thought you got a darker line without cost? H pencils are harder, so the graphite doesn’t wear away as much and you don’t have to buy new ones as often.

    How hard do you normally press when drawing? If you press hard, you’ll probably want to lean closer to the Hs. If you press very lightly, you’ll want to lean closer to the Bs. This makes it easier for you to vary the weight of the line by pressing harder or lighter.

    With that in mind, go out and buy a set of pencils, or a sampling of pencils. Say 4H, 2H, HB, 2B, and 4B. Wear them all down drawing pretty pictures and find out which one you’re more comfortable with. I doubt just drawing on a sample paper in the store will tell you too much about which ones you want — you’ll want to draw a whole picture or two with them. Your tastes may also change over time. I prefer low Bs, myself.

    Erasers: First, if you use a Pink Pearl, stop. You’re only hurting yourself. Go buy an Artgum or some white brand. You’ll never go back.

    Second, ever heard of a kneeded eraser? It’s kind of like Silly Putty. You can mold it to erase detailed areas. And since it’s not quite as effective as a real eraser you can rub it across the entire page to “knock back” a picture or a second of it. It’s useful for erasing guide lines while keeping the darker finished lines.

    Pencil Sharpeners: There are hand-held electric pencil sharpeners. I recommend them. Hand-sharpening pencils takes too long and is boring. And it compounds your frustration with the lead breaks. Also, I’ve only ever seen one (and it’s really old), but “Auto-Stop” sharpeners are awesome as they don’t eat your pencil down to nothing — they “auto-stop” once the pencil is sharp.

    There’s a little more to pencil sharpeners than just electric or non, though. Some pencil sharpeners expose more of the graphite and others sharpen it really tightly. Depending on if you prefer more surface area for drawing with the edge of the graphite, or if you use a type of lead that breaks a lot, you may want pencil sharpeners that behave differently.

    If you get a small hand-held sharpener, get multiple. You’ll lose them. Trust me.

  • DigiPen Classes, Spring 2007

    I’m all signed up for Spring 2007 at DigiPen! Yay! It starts sometime in January (this one ends December 15th). Now I just have to make it through the rest of this semester without failing any classes. The hard part isn’t learning everything and getting all the work done. The hard part is finding time to learn everything and get all the work done.

    Here’s my schedule. I was one of the few, it seemed, to sign up at this hour of the morning (right when it opened) so I expect I’ll get all my classes. I have Friday totally free, and finally have Monday available to hang out with my church friends.

      Monday Tuesday Wednesday Thursday
    09:00 AM        
    09:30 AM        
    10:00 PM        
    10:30 PM        
    11:00 PM   BIO 150 ART 151  
    11:30 PM        
    12:00 PM ART 125     BIO 150
    12:30 PM        
    01:00 PM        
    01:30 PM        
    02:00 PM   ANI 151 ANI 125 ANI 151
    02:30 PM        
    03:00 PM        
    03:30 PM        
    04:00 PM        
    04:30 PM        
    05:00 PM        
    05:30 PM        
    06:00 PM        
    06:30 PM        
    07:00 PM     FLM 151  
    07:30 PM        
    08:00 PM        
    08:30 PM        
    09:00 PM        
    09:30 PM        
    10:00 PM        

    And the classes:

    ANI 125 – Acting for Animation
    Credits: 3
    Description: An animator’s ability to express attitude, thought, and emotion through body language is a fundamental skill necessary for success. Therefore, the focus of this course is to present tools and techniques for translating thoughts and feelings into specific gestures and actions. The course introduces students to the history of acting in the theater, animation, and film. Students will explore the basic fundamentals and differences of acting for the stage, film, and animation through a series of acting exercises and problems. Special emphasis will be given to classical method acting.

    ANI 151 – Advanced Animation – Theories and Techniques II
    Credits: 3 (5)
    Instructor: Tony White
    Description: In ANI 151 students will continue to explore and exercise the concepts and techniques of classical animation through a series of assignments. The exercises in this course will be considerably more demanding than those completed in ANI 101 as they will be longer and will require more refinement, subtlety, and creativity. There will also be a greater emphasis on character development — the expression of personality, mood, thought, and attitude through motion and posing.

    Notes: Looks like they pulled the same thing as in ART 101. Conventually, ART 101 is 3 credits, so they only charged us for three, but the class is really a 5 credit class. I’m really looking forward to being taught by Tony White.

    ART 125 – Tone, Color, and Composition
    Credits: 3
    Instructor: BJ Becker
    Description: This course continues to build upon students’ abilities to draw by explornig the nature and use of tone, color, and composition in drawnig. It emphasizes methods of creating tone, using luminance as an organizational element, and critical thinking. Additionally, the course will introduce students to a variety of classical tonal systems and tonal illusions including atmospheric perspective, sculptural modeling, basic direct lighting, lighting position relative to viewpoint, light intensity, local value, and reflectivity. Students will then explore the artistic use of color. The course will cover systems and traditions of organizing hue and saturation and will examine methods of building from tonal preliminary studies. Students will also explore classical forms of compositional organization such as symmetry, asymmetry, golden mean, and figure-ground relationships.

    ART 151 – Basic Life Drawing
    Credits: 3
    Instructor: Alica Rossano
    Description: This course introduces students to the challenges of drawing the human form for animation. Students will examine life drawing for animation in addition to methods for attaining these goals. The course will emphasize capturing skeletal structure, muscle form, emotion, and gesture. Using clothed and nude models of both genders, students will learn to apply lessons in anatomy to the figure, significantly expanding their understanding of human kinetics and structure. Additionally, students will practice extrapolating basic human life drawing and strategies to other animals.

    BIO 150 – Human Muscular, Skeletal, and Kinetic Anatomy
    Credits: 3
    Instructor: Chuck Wood
    Description: This course explores the skeletal and muscular structures of the human body. Students will learn to identify skeletal and muscular forms from both live models and anatomical references. Additionally, students will consider terminology, structural arrangement, and kinetic function. The course will give special emphasis to adapting this knowledge to the needs of artists and animators.

    Notes: Dr. Wood looks just like Santa Claus.

    FLM 151 – Visual Language and Film Analysis
    Credits: 3
    Instructor: Jim “Jimbo” Johnson
    Description: Animation is ultimately “film making,” and animators should learn from the many classics on how to effectively bring various film production elements together. Students will review several films and study how the relationships between scripts, cameras, lighting, sets, production design, sound, acting, costumes, props, directing, and production lead to successful visual stories. They will also examine the fundamental theories underlying visual storytelling. Understanding the creative processes utilized by these influential filmmakers will provide insight into how students may improve their own animations.

    Notes: Professor Johnson has been a little difficult for me to follow in FLM 115 (History of Filmmaking), but I expect the visual language of film will be easier for me to follow than the history.

    So this semester I’m down to 18 credits (+2 “free” ones) from 20 credits (+2 “free ones”). The workload is expected to increase, though.

    And I’m going back to bed.

  • Exploiting Human Eye Security Vulnerabilities

    I want to talk about a subject that’s very big and very complicated. But also very, very fun. I’m going to explain how to make simple yet effective pictures, and how to get the viewers of your art to see the point you want to get across. First, I’ll talk about Lateral Inhibition, or “how your eye doesn’t see.” Second, Simultaneous Contrast, or “how your eye sees.”

    Preface and Stuff
    But before I talk about the what, I want to ramble about the who and why.

    I’m currently attending DigiPen. The Art Dean is currently the famous Abbott Smith, who is a very respectable fellow.

    Abbott (who’s kind enough to let the art students call him by his first name) spoke about opinions a little while back. He said there are four things you can look for when someone gives their opinion.

    1. How much experience backs the opinion?
    2. What education backs up the opinion?
    3. What skills back up the opinion?
    4. What do they put up for collateral?

    This works wonders on the internet, too. Next time ol’ h4x0r577 blogs on the Space and says something, think about these questions. (Disposable identities are great for “high-collateral” opinions)

    The information I’m giving here is from Abbott Smith, the Associate Dean of Arts at DigiPen: Institute of Technology, an accredited college.

    To be honest, at first I felt guilty about sharing this education. I’m paying $380 per credit to take classes at DigiPen. Everyone but two of the art teachers have masters, some have doctrates. Of the two people without Masters, one has run his own animation company for 20 years, and the other was a special effects animator (read: fire, water, smoke, explosions, etc) at Disney for 15 years. I’ve heard them speak, I’ve seen them animate, and they know their stuff.

    Then I realized people that read this are getting it as it was understood by a student. Also, very few people read this. Of those that do, probably only one will actually take the knowledge and apply it. For the one person that will use it, you’re the reason I’m writing this.

    Lastly, there are a few things in this that seem a bit odd, or don’t quite fit into place. Rather than question them and try to produce my own theories, I’m going to present them as they were given to me. Even if they are incorrect in some way, they’re correct enough that the job will get done properly by using them.

    Lateral Inhibition
    I’m going to be talking about your eye and how it works in this section. If you don’t wanna hear about it, know this: What you “see” is not exactly what’s there. Your eye (not your brain, your eye) amplifies and suppresses certain bits. Ok, you can skip ahead now.

    This is a rough side cut of your eye. The stuff we care about is labeled.

    The basic mechanics of the eye are thus: Light goes in the front, does a bunch of stuff we don’t care about for the purposes of this explanation, and hits the retina wall. The retina wall processes the light (and modifies the data) and sends it along the optic nerve to the brain where you can process what you’re looking at.

    The modification of the data in the retina is what we want to talk about. Specifically what’s called Laterial Inhibition. So let’s draw a picture to see what happens in the retina.

    This is a simplified view of the retina layer. Light hits the receptors, the receptors pass on info to the cells above them, who pass on into to the cells above them, that have a long string that joins up into the “optic nerve.”

    The Horizontal and Amarcine cells do not actually relay information. They monitor the two junctions on the communication line. If there is very little information, they release chemicals that destroy the information before it gets passed on. If there is a lot of information, they release duplicates of that information. Again: Very little information? Squash it. Lots of information? Duplicate it.

    This graph doesn’t explain compression. There are about 10 light receptors to every middle cell. And there are about 10 top cells for every middle cell. So our brains only receive 1/127th of the information our physical eye sees. That’s why we have the Amarcine and Horizontal cells — to squelch the too-little-to-matter information, and to amplify when changes are there.

    So what does this mean to us in useful terms? Here, have a picture:

    If you look closely, you’ll notice that the left and the right side of each band is a different value. See it? Actually, they’re all solid values, but our eye sees them as gradients. What the Horizontal and Amarcine cells are enhancing is contrast relationships. The signal says, “This is brighter than this,” and the Amarcine cell says, “Yeah, and more!” and we end up seeing one side darker than it is, and one side lighter than it is, making it appear as a gradient.

    And if none of that made sense, you’ll just have to take my word for the second half. What we actually see is an enhanced or suppressed version of what’s really there.

    Simultaneous Contrast
    Simultaneous contrast is the set of art rules we can get out of lateral inhibition. They’re very, very useful when communicating in the visual language. Simultaneous contrast comes in three types.

    1. Infinite Scale
    Threshold for this scale is 2x in each dimension. Go above it for something to be “bigger,” and below it for the difference to be surpressed.
    Examples of an infinite scale include size and time. Things can be infinitely large or infinitely small.

    2. Finite/Absolute Scale
    Threshold for this scale is 20% of the scale.
    Examples of a finite scale include value (black to white) and saturation. (Note that absolute scales on a computer different for every monitor. As such, this example sucks.)

    3. Circular Scale
    Threshold for this scale is:
    0-60 degrees is suppressed.
    60-120 degrees is actual.
    120-180 degrees is amplified.

    Examples of a circular scale are limited to the color wheel.

    This logic is useful when you’re picking colors or values for a picture you’re making. For example, in Bambi they had lower values for the backgrounds. When they added the characters, they used higher values, breaking the 20% threshold and making them stand apart.

  • From School, With Love

    I’m trying to get a “cheat sheet” made up for school. Despite how it sounds, it’s more for studying. There’s a lot of memorization that has to be done, and having all that stuff in one place so I don’t have to sift through a bunch of notebooks to find it all would be handy.

    These lists and items aren’t very useful alone, but knowing what they mean (each one has a paragraph if not a book of knowledge associated with it) completely changes the usefulness of it.

    Just to give you an idea, I figured I’d dump a couple of the lists I’m supposed to have memorized onto this page.

    Five Skills of Drawing
    Perception of Edges
    Perception of Spaces
    Perception of Relationships
    Perception of Lights and Shadows
    Perception of Gestalt
    — plus advanced levels
    Drawing from Memory
    Drawing from Imagination

    The Six Drawing Systems
    Construction (structural)

    Φ = 1.618…
    φ = 0.618…

    Six Ways to Start a Drawing
    Perimeter First
    Geometric Primitives
    Value Pattern/Light and Dark

    Three Ways to Finish a Drawing

    Abbott’s Five P’s of a Professional

    Abbott’s Five Step Design Process
    1. Inspiration
    2. Research and Exploration
    3. Refinement
    4. Polish
    5. Presentation

    Marking Material Categories
    Pressure Sensitive

    Substrate Material Categories


    Professor Becker’s Design Elements

    Disney’s Twelve Principles of Animation
    Squash and Stretch
    Straight Ahead Action and Pose to Pose
    Followthrough and Overlapping Action
    Slow-in and Slow-out
    Secondary Action
    Solid Drawing

    Color Components

    Simultaneous Contrast
    Infinite Contrast (2x Each Dimension)
    Absolute/Finite Contrast (20% of the Scale)
    Circular Contrast (0-60 Suppress, 120-180 Amped)

    Vision Ranges
    Foveal – 2 degrees
    Parafoveal – 10 degrees
    Near Peripheral – 60 degrees
    Horizontal Peripheral – 180 degrees
    Vertical Peripheral – 130 degrees

    TSTA = Theory, Strategy, Tactics, Application

    The Scientific Method
    1. Study existing knowledge
    2. Identify a hole of interest
    3. Observe
    4. Form a hypothesis
    5. Devise experiments that isolate the variables
    6. Prove or reject hypothesis
    7. Publish hypothesis as theory
    8. Scientific community replicates
    9. Theory integrated with existing knowledge

    Human Eye Rods and Cones Ratio
    Rods 200
    Long 12
    Medium 6
    Short 1

    Visual Elements of Art
    Shape and Mass
    Time and Motion

    The Principles of Design
    Unity and Variety
    Balance (Symmetrical and Asymmetrical)
    Emphasis and Subordination
    Proportion and Scale