FNDLuisa
Friday, 24 April 2015
Pre-Assessment Review
Pre-Assessment Review of Project
Proposal Realisation
Name: Luisa Jane Charles
Project proposal Title: Immersion
Context
Project Proposal
1.1 How are you using a range of
critical and contextual perspectives within the
development of your personal proposal? Give examples
As a starting point for my
project proposal, I looked at a range of sources to give me inspiration and
help contextualize the ideas I already had. It began with looking at artists
working in similar media to that I am interested in to see what they do, how
they do it, and how I could be influenced by it. I collected videos of these
and put them on my ‘Bigger Picture’ page of my blog, for example, the ‘De Re
Gallery’ by Gretchen Andrew, and ‘Seeing I’ by Mark Faird. On each video I
wrote about these things (what and how they do things, and how it may influence
my work), as well as critically evaluating the good and bad points of each to
help me understand what I would count as success in my own work, and also
speculated why they may be doing what they are doing. I went through a similar
process whilst looking at the aesthetic context of the visual style I am
proposing to achieve, collecting videos relating to the styles I am exploring,
(such as imaginary environments, and merging 2D and 3D) and writing about the same
points in reference to these. In order to help me understand the historical
context of my ideas, I’ve created and continuously updated a timeline of the
major events relating to virtual reality, interactive art, 3D cinema, etc.
1.2 How are you using detailed
analysis and evaluation to clarify the development of your person project
proposal? Where is it evidenced?
Give examples.
For most of my contextual
studies, I have taken a critical perspective and evaluated my sources, and in
the same way I am critical about my own work and ask for others’ critical
opinions on my work. For example, to help develop my project proposal, I pitched
it to a group of my peers and tutors in a petcha kutcha style presentation that
can be found on the ‘Reflective Blog’ page of my blog. I received criticism on
my proposal, which allowed me to improve it, and critically evaluated my pitch
myself. Similarly I have been critically evaluating each piece I complete on my
reflective blog, and looked into my previous work from other stages of the
course to find contextual links within my own learning. From my first draft of
my project proposal I developed a checklist of the different elements I would
like my outcome to satisfy. I turned this list into a small graphic that allows
me to very quickly and efficiently quantitatively evaluate each idea I have,
which in turn allows me to develop my project proposal. As well as this I am
writing a detailed analysis of each in order to fully evaluate my work and
proposal in a qualitative way, to make sure I am being critical about my work
in both a broad, summative way, and in a more fine-tuned, captious way.
Finally, to fully clarify the development of my proposal I have been keeping
record of the drafts I have gone through before settling on my final proposal,
and analyzing and evaluating each draft to ensure my proposal is as detailed
yet concise and accurate as possible.
Research
Primary and
secondary
2.1 How are you using
wide-ranging and in-depth research to support the development of your personal
project? Give examples
My research comes from a wide
variety of sources, covering multiple angles. Apart from my initial contextual
research for starting to develop my project proposal, my first research took
the form of primary research, expressed through photography. As seen on the
‘Practical Work’ page of my blog, I researched interesting and unfamiliar
environments to help inspire me into how to create a believable imaginary
environment. I turned these photographs into photo sets, organizing those into
general landscape photography from England, and city and other photography from
Berlin and Warsaw. Other primary research took the form of experimentation with
possible materials, methods, and softwares, for example: light up paper houses
test piece; blender and unity test pieces; testing out Google cardboard and
oculus rift; and, user input test pieces with wii remotes, internal UI, and
leap motion. This helped me to learn about my media much more quickly and
in-depth than if I had just read up on it. I also critically evaluated work I
had completed previously in the course in the same way I evaluated secondary
sources so that I could get as much out of it as I could. As well as taking a
hands-on approach, I researched my software’s and methods by finding online
tutorials and tips pages that can be found referenced in my bibliography. By
doing both primary and secondary research into the technical side of my
project, I widened my knowledge early on and could go more in-depth with my
learning. Though much of my aesthetic research revolved around contemporary
artists working with technology, I widened my research by looking at classical
paintings. This helped me fulfill my aims to merge traditional art with
contemporary technology, explore both 2D and 3D work, and look further back
into the historical context of my work. As further historical research, I created
a timeline of the key events relating to multiple aspects of my project,
allowing me to have in-depth research of a wide range of topics, over a wide
timescale in an easy to understand way. I also did research into the aesthetics
and form of other people’s work, looking at a range of different techniques and
styles in order to get an as wide view of current work as possible, whilst
still keeping it focused on my projects aims, and I did an in-depth analysis of
each to ensure I got as much out of my research as possible.
2.2 How are you using analytical
and evaluative skills to develop a range of creative solutions? Give examples
I am analyzing and evaluating
each and every piece of research I undertake, both primary and secondary, in
multiple ways. Each piece of secondary research on artists’ visual style or
media is analyzed and ‘reverse-engineered’ so I can work out how they did what
they did, and why (where possible). I then evaluate each piece for its
effectiveness according to numerous criteria such as aesthetics, quality,
narrative, use of media, etc. This helps me develop creative solutions for my
own work as I can try to understand their methods and thinking and adapt them
for my own use. I am doing the same level of deep analysis and evaluation on my
own primary research and test pieces, and previous work, in order to develop my
own creative solutions through trial and error. I’ve also created a graphical
checklist to be able to quickly evaluate each piece and identify which areas
require creative solutions. As well as the ‘success chart’ graphics, I created
a ‘problem log’ chart in which I note down each time I’ve come across an issue
that halts my work for any length of time. By analyzing what causes me the most
problems and seeing how I tend to find the fastest solutions, I can use this
information to identify where I need to find creative solutions, and what the
best way of going about this is.
Problem Solving
Theory and Practice
3.1 What complex practical and
technical problems are you solving within your project? Give examples
As I am working almost entirely
digitally, I am facing all of the technical problems associated with this. Firstly,
I have to abide to the limits of the technology and software I am using. For
example, unity’s modeling and texturing capabilities are not good enough to
perform the job to a standard I am happy with. Because of this I have had to do
all of my modeling and texturing in blender, but this presents further issues
due to having to work across platforms. For example, there are issues with
ensuring colliders are in place when importing from blender, resulting in
having to manually edit the import settings; if normal’s aren’t set correctly
there will be see-through panels after import to unity, meaning each normal has
to be checked in blender before import; and, the axis’ are different in unity
than they are in blender (with y and z representing up, respectively), meaning
each positional coordinate of animations has to be worked out and converted before
every import. Not only do I have to solve problems relating to the abilities of
the software, but also as I have never worked with any of these softwares before,
this creates even more problems. After learning how to do something a specific
way, I may discover that this prevents me from doing something I need to do
later, or there is a more effective way of going about things. For example,
creating image textures to wrap around an object when I need to UV map them for
a realistic fit. Another large problem causer is working with code. All codes
use slightly different syntax, and as unity woks with Csharp, Java, and Boo
scripts, working across these can get very confusing. Also, if a single
character is added, missing, or out of place, the code will not run, and this
can be incredibly difficult to identify. Working with any sort of electronics
or user input also presents further practical challenges, as the systems are
incredibly delicate. If one connection becomes loose, or you accidentally
create a short circuit, the entire system will stop working and it is often
hard to figure out where the problem lies.
3.2 How are you solving complex
theoretical problems within your project? Give examples
As documented in my Problem log
on the ‘Reflective blog’ page of my blog, I have come across many practical,
technical, and theoretical problems throughout the duration of the project. Organizing
my problems in this way has allowed me to see where I come across the most
problems, how long I tend to be stuck on them, and what my main methods for
solutions are. This also helps me to realize the trends and predict the next
problems I will come across, allowing me to solve them more efficiently. From
my chart, my most common methods for solution are: Looking things up on the
internet – finding forums or tutorials that answer my questions and allow me to
learn exactly what I need to do; trial and error – working through the problem
with all the ways I can think of until it solves itself; and, intuition –
thinking the problem through until I find an answer though logic. The nature of
my project brings up various complex theoretical problems that I have had to
solve, most of these pertaining to the fact that I am working on 3D elements on
a 2D screen. It often becomes hard to understand what space your objects are
occupying, or how to go about creating them at all. In order to solve this I
have learnt to utilize the 3D cursor in blender, which keeps a marker in 3D
space, and I have had to get used to working on at least four screens at once
when modeling: The front, back, side, and perspective views. Similar to this,
it is difficult to imagine what the remaining, unseen sides of a 3D object look
like when looking at a 2D image of a painting, or imagining and painting the
surface of the unseen objects in order to texture them all the way round. To
get around this issue, I have had to go on my own intuition a lot of the time,
and spent a lot of time just thinking and visualizing what it is I have to do
before diving straight into it. Also with a very virtual project such as this,
everything must be imagined and planned before it can even come near creation;
it is very difficult to start practically wand work on it from there, which is
often how I like to work with other media. To solve this I have organized my
work to begin with visualization, move onto sketching, to modeling, to
texturing, to editing. I’ve also had to battle with problems for which there is
no specific ‘solution’, such as deciding how much detail I want my models to
have when it makes the file size rise and causes the experience to lag. For
these, I have had to try using continuous solutions rather than choosing
between one or two: trying out many levels of detail and deciding what creates
a happy medium.
Planning and Production
4.1 How are you demonstrating the
ability to efficiently plan organize and produce a personal project within the
agreed time frame? Give examples
I am demonstrating my ability to
plan my project through multiple planning graphics and lists. The three main
planning documents I have completed are my project proposal week breakdown,
flow chart, and gannt chart. I started organizing my project by breaking it
down into four parts: Research, Pre-production, Production, and
Post-production. In these categories I then listed all of the actions I had to
complete in order to produce my personal project. Once I had this, I estimated
the amount of time it would take to complete each action, and then arranged
these in order of when to start each, bearing in mind some parts could not be
started until other parts were completed. This became my week breakdown on my
project proposal, and then with some tweaking, the addition of milestones, and
the recording of percentage completion, it became my gannt chart. This
efficiently organized my project as it was broken down into very small parts
that were easy to deal with, and organized in a way that was easy to follow and
would get me to completion at exactly the right time. Before making this, I
made an organization flow chart that allowed me to be a lot freer with my
experimentation before I knew exactly what my project would entail. The
flowchart allowed me to stop and test each stage, ask important questions, and
go down different paths depending on what was working and what wasn’t, and how
much time I had left.
Practical Skills
Refinement
and Realization of Ideas
5.1 How are you exploring,
adapting and applying a range of practical methods and skills in the
realization of your personal project? Give examples
At the start of the project, I
experimented with a wide range of practical methods to help get a feel for how
I wanted to work, for example, photography as a starting point to explore real
life environments; small circuit work to explore electronics and simple
interactivity using sensors; origami and paper folding to explore 2D becoming
3D; step outlining to think about engaging multiple senses at once (sound and
visuals); flash animating to create an animation test as a guide for the 3D
animation; stop motion animating to get used to animating in three dimensions; and
hand drawing/sketching for concept art. I then adapted and applied some of
these skills to work on the next set of things to do, such as adapting my
concept art drawing technique to draw more accurate depictions of assets I
needed to model through vector drawing, and then applying this to drawing
orthographic blueprints to use as reference guides for the final modeling. I’ve
also been adapting techniques, such as merging together the different modeling
techniques I learnt through my test pieces (extrusion modeling, mesh modeling,
subsurf modifying, etc.) and adapting them depending on the shape I needed to
create. I’m also adapting methods I learnt in previous parts of the course,
such as using similar photoshopping techniques to isolate the textures of
different parts of objects that I used to remove the weapons from cards when
making my tarot card stop motion, or applying my knowledge of arduino coding to
working in javascript and Csharp (the code systems used by unity). My final
piece adapts and applies many of these techniques, and more, such as app
development, texturing, user input generation, and graphic design for
instruction sheets in order to realize my personal project.
Reflection and Evaluation
Project Development
6.1 How are you maintaining
detailed critically evaluative and reflective records of the development of
your project? Give examples
Using the reflective blog page of
my blog, I am keeping critically evaluative and reflective records of each
piece and development I make. For each piece I evaluate it to multiple
specification points, including how well it mixes media, how aesthetically
pleasing it is, whether or not it successfully performed as desired, etc. I am
also using my toolkit page to measure the effectiveness of my methods, and the
bigger picture page to evaluate my research and sources, and previous work that
is informing my current project. To reinforce my detailed reflective records, I
am also filling out a checklist graphic for each piece that I created. It
allows me to tick off what desired elements my piece does or doesn’t meet, out
of a list of: aesthetically pleasing, interactive, responsive, immersive,
animated, coded element, electronic element, 2D element, 3D element, physical
element, and, virtual element. This allows to quickly quantify the success of a
piece before going into more qualitative details in a full evaluation. My
problem log also allows me to critically evaluate the development of my work as
it shows me where I am going wrong, and where I am coming up with creative
problem solving techniques, thus moving my project onwards and allowing me to
reflect on the success of it.
6.2 How are you demonstrating
that you are using evaluative and reflective skills to make perceptive
decisions in support of your project? Give examples
Most of the perceptive decisions
I am making are evidenced on my reflective blog page in the form of topic
questions, for example, “Does CAD (computer aided design) make a piece lose its
heart?” or “Who is my target audience?”. These questions allow me to make
arguments for each side in order to reach informed decisions on developments to
my project – before issues arise. I also made a question list, writing out
every theoretical question with any relevance to my project I could think of.
This allows me to be subconsciously considering all of these aspects at once,
letting them slowly mould my project. Also, should the matter arise where one
of these questions required an answer, I would be able to come up with one more
easily. My problem log also lets me make perceptive decisions as it alerts me
to everything that is going on in my project and allows me to make decisions
quickly to develop my project in a certain way depending on the evaluation of
the problems and solutions arising. Evaluating the feedback I received, for
example after my petcha kucha presentation, also allowed me to make perceptive
decisions based on other peoples’ criticisms and my own reflection. Finally,
looking at the evaluation and reflection I have done on each of my pieces
allows me to constantly make perceptive decisions on my work and mould it
towards a more successful piece, for example, when the user input was creating
problems and finally worked but not to such a great effect, I decided to focus
on getting the modeling and texturing as accurate as possible instead.
Final Presentation
and Audience
Consideration
7.1 What strategies are you
considering to use to present your project?
I have multiple ideas on how to
present my final project, but the one thing they all have in common is ‘google
cardboard’. This is the make-shift virtual reality headset I will be using to
play my environment on. It is cheap, easy to make and use, and ties in with my
ideas of merging together 2D and 3D. For the google cardboard to function, it
requires an android phone to work as the screen. One idea I had was to fully
develop my app and get it onto an online app store where it could be downloaded
for free, and create a QR code or programmed NFC tag that the audience could
use to download the app onto their own phones. In this instance I would have a
few google cardboards available, either to build by the audience as this adds
an extra level of interactivity, or prebuilt as that may put the audience off
it. Another way of going about this presentation would be to have a single
phone with the app downloaded onto it, and use this as a permanent piece in the
show. As cardboard isn’t the strongest material in the world and may not survive
an entire week, I am consider getting the laser cutting bluprints and creating
one out of plastic or another strong material to make it more permanent, though
this does take away from the gimmick of having it made of cardboard and
depicting 2D/3D boundary crossing. To ensure my audience’s safety, I plan on
having an area marked out on the floor so that there is no risk of tripping
over or crashing into other audience members whilst momentarily blinded from
real life by the virtual reality. An extra idea I considered was to have a
camera set facing the area, linked up to a screen in the other room. This would
serve the dual purpose of recording the audience’s reactions for my own
evaluative use, and be an extra entertainment dimension for the audience as
people tend to act strangely whilst inside a VR environment.
7.2 How will you present your
work in a skillful and proficient manner?
Give examples
In order to present my work in a
skillful and proficient manner, I will try and make my presentation as
professional as possible, and as easy for the audience to use as possible. For
starters, as I plan on using just one phone in the final exhibition, I will
have all my working apps (post debugging) arranged clearly on the home screen,
marked as final piece and development work, and I will clear the home screen of
any other apps. I will also create artwork for the app logo to help identify it
and make it look like a more professional piece. To ensure everything runs
smoothly during the show, I will make out an area on the floor that other must
stay out of when someone is using the headset, so that no tripping or injuries
occur. Also, I will create a clear instruction sheet with how to use the piece
so that there is no confusion. Finally, to keep it in good shape, I plan on
pre-making a new cardboard every day of the show to replace the old one.
Who is your specified audience
and how will you engage them with your work?
My specified audience, as
identified on my reflective blog page are to be people with a general working
knowledge of art, but who may not necessarily know anything about technology,
or virtual reality (other art students; parents, friends & family of
students; prospective students; tutors and university staff; and, general art
lovers from the area). Because of this, I need to try and engage them initially
with the novelty of the interactivity, then the familiarity of the artwork, and
finally ensure the technology isn’t overwhelming and makes them become
uninterested. The interactive element of the piece is an automatic engager as
it gives the audience a role in the piece, but to ensure it is easy enough to
use to be entertaining, I will create simple to follow instructions and make
sure the process is as simple as possible, without taking away from the fun of
the interactivity. As most of my audience will have some knowledge of art, they
should instantly recognize the painting I have modeled: Salvador Dali’s ‘The
Persistence of Memory’. This familiarity should be engaging as they can look
for things they recognize, and judge the accuracy. The virtual reality element
should also be engaging as it is a novelty to most people and should draw some attention
to people that have never used it before.
Unit 7 Project Template
ART & DESIGN PROJECT PROPOSAL & REALISATION
University for the Creative Arts
School of Further Education
Epsom
UALAB Foundation Diploma in
Art & Design – Foundation Studies 2014/2015
Foundation
Centre
Name
|
University for the Creative Arts, Epsom
|
Centre
Number
|
10006427
|
Candidate
Name
|
Luisa Jane Charles
|
Candidate Signature
|
|
UALAB
Reg. No:
|
|
Project
Proposal Title
|
Immersion
|
Date
|
24/02/15
|
Pathway
|
Media
|
Project Proposal: Guidance
for Candidates
·
In
producing the Project Proposal, and in preparing for the Art & Design Project
Proposal and Realisation, you should familiarise yourself with Unit 7 of the
qualification.
·
In
particular you should understand the Assessment and Grading Criteria, which
will be used to determine standards of achievement.
·
Unit 7
requires that you produce a project proposal of about 500 words, excluding the
project plan and bibliography. Project Proposals should not be so succinct that
they do not address the requirements listed below nor should they be
excessively long and unfocussed.
The Project Proposal must be
word processed and presented under the headings listed below
Tutor Signature
|
Date
|
Section 1: A
review of progress and achievement through parts 1 and 2 of the course
Begin Section 1 here in 10pt Arial, Regular
Prior
to starting the course, I had an understanding of more traditional art
practices eg. Drawing, painting, and filmmaking, and very basic knowledge of
animation. In the first section of the course I learnt a wide range of new
skills such as screen-printing and making maquettes, but the most valuable
skills I learnt were in the pathway that I then continued onto in part 2:
Media. In this pathway I deepened my knowledge, skills, and understanding of
many aspects of film, animation, and photography, namely: photo-development,
stop-motion, rotoscoping, photoshop, after-effects, and flash. Though I was
mainly focusing on different animation techniques in this part of the course,
I did a short workshop on interactive art and decided this is the area I wanted
to pursue further for my FMP. I hope to go onto a degree in ‘Interaction
Design Arts’ next year, and this project will help me prepare for that and
find out more about interactivity.
|
Section 2: Project concept
Begin
Section 2 here in 10pt Arial, Regular
With
this project, I want to explore immersion, and the creation of imaginary
environments. I also would like to have an element of interactivity or
responsiveness in my final piece. To achieve this I plan on experimenting
with virtual reality, animation, coding, stereoscopic 3D, and electronics. In
terms of visuals, I want to explore the relationship between 2D and 3D, and
find a way to merge the two for my final piece. For my initial research, I am
going to start by looking into existing pieces that use similar media to
those I will look into, for example, art-works that are interactive, use
virtual reality, or use electronics. I will then research into the methods
and software I will require in order to complete my project. At this stage I
have identified that to be working in virtual reality or computer-based
interactivity, I will most likely need to use a game-engine, such as unity,
and if I am going to be working with electronics I will need to work with
coding with microprocessors, such as Arduino. The types of resources I will
need will be mostly software and computer programme based, but as I would
also like to incorporate a physical element to my piece, other practical
skills and resources will be necessary. I aim to create a piece that is fully
immersive and engages two or more of my audiences’ senses, eg. Visuals,
audio, and movement, is easy to use and user-centric, and follows the themes
of imaginary environments and 2D/3D relationships. I hope to present this in
the form of a virtual reality or interactive environment, though am open to
experimentation and am prepared for change and development due to my ideas
moving on, and the availability of resources.
|
Section 3: Evaluation
Begin
Section 3 here in 10pt Arial, Regular
To reflect on and evaluate my work I will be
keeping a log of my progress on the ‘ReflectiveBlog’ page on my blog. On this
page I will analyse and evaluate each test piece I complete to help me mould
which direction to take my project, and I will create a quick checklist graphic
to fill in to give myself a visual representation of which pieces meet my
aims or not. I will know I’ve been successful if my audience interact with my
piece without needing to be shown what to do, and they become immersed – I
can judge this by the amount of time they spend looking at it. I can also
judge my success by how well I manage to merge my media, how believable my
imaginary environment is, and whether or not I can smoothly integrate both 2D
and 3D.
|
APPENDIX
1: Bibliography (Harvard Format):
Alexander
Serkov. (2014). Mac OS X driver
for Nintendo wiimote. Available: https://code.google.com/p/wjoy/.
Last accessed 18 January 2015.
Arduino. (2015). Interfacing with Hardware. Available: http://playground.arduino.cc/Main/InterfacingWithHardware. Last accessed 18 January 2015. Daniel Stark. (2014). City Lights - 3D Animation from 2D Pictures.Available: https://www.youtube.com/watch?v=FQxXOzaNVxg. Last accessed 18 January 2015. Daniel Greaves. (2011). Flatworld. Available: https://www.youtube.com/watch?v=6DE3qPuJLV4. Last accessed 18 January 2015. Danny Dahlquist. (2012). Cardboard World. Available: https://www.youtube.com/watch?v=FrPQlR7lN5Q. Last accessed 18 January 2015. Diginfo TV. (2012). Interactive 3D animation of 2D images. Available: https://www.youtube.com/watch?v=YrLnF7CQ8Ac. Last accessed 18 January 2015. Douglas Heaven. (2015). Buttonmasher: Return of the video game arcade. Available: http://www.newscientist.com/article/mg22530032.600-buttonmasher-return-of-the-video-game-arcade.html#.VLwadmSsVEw. Last accessed 18 January 2015. Elliot Dear & Yves Geleyn. (2013). The Bear and the Hare. Available: https://vimeo.com/84441438. Last accessed 18 January 2015. Filipe Costa - Pipoca. (2014). First Person. Available: https://www.youtube.com/playlist?list=PL67MqQkFOtYfHghYlD8DbvPNDG802bGNa. Last accessed 24th January 2015. Google. (2014). Google Cardboard. Available: https://www.google.com/get/cardboard/. Last accessed 18 January 2015. Google Developers. (2014). Developers SDKs for Cardboard. Available: https://developers.google.com/cardboard/overview. Last accessed 18 January 2015. Gretchen Andrew. (2014). Digital De Re Gallery. Available: http://virtualrealityderegallery.com/. Last accessed 8 April 2015. Headless Productions. (2010). I'm a monster. Available: https://vimeo.com/17840692. Last accessed 18 January 2015. Jason Fitzpatrick. (2013). How to Play Games with a Physical Controller on Your Android Phone. Available: http://www.howtogeek.com/141052/how-to-play-games-with-a-physical-controller-on-your-android-phone/all/. Last accessed 18 January 2015. John Kahrs - Disney. (2013). Paperman. Available: https://www.youtube.com/watch?v=1QAI4B_2Mfc. Last accessed 18 January 2015. Kevin Purdy. (2008). Operate Your Computer with Wii Controllers. Available: http://lifehacker.com/5042254/operate-your-computer-with-wii-controllers. Last accessed 18 January 2015. Letoile Bastien. (2014). Bet She'an . Available: https://vimeo.com/76920679. Last accessed 18 January 2015. Maciek Janicki. (2013). Paper City. Available: http://www.maciekjanicki.com/79279/1454326/latest-works/paper-city. Last accessed 18 January 2015. Mark Faird. (2014). Seeing I. Available: https://www.kickstarter.com/projects/1905266932/seeing-i-28-days-living-only-through-virtual-reali. Last accessed 8 April 2015. Miguel Chavez. (2014). The School Bus Chase - Paper Stop Motion.Available: https://www.youtube.com/watch?v=cZa21x5b3lo. Last accessed 18 January 2015. Péter Vácz. (2013). Rabbit and Deer. Available: http://anim.mome.hu/films/rabbitanddeer. Last accessed 8 April 2015. Rick Broida . (2014). Use the Google Cardboard VR headset with an iPhone. Available: http://www.cnet.com/uk/how-to/use-your-google-cardboard-vr-headset-with-your-iphone/. Last accessed 18 January 2015. Rino Stefano Tagliafierro. (2014). Beauty. Available: http://www.dailymail.co.uk/news/article-2541180/Watch-paintings-come-life-Artist-totally-transforms-classic-works-animating-using-computer-wizardry.html?ito=embedded. Last accessed 8 April 2015. Shoogee GmbH & Co. KG. (2013). The Height. Available: https://itunes.apple.com/us/app/the-height/id764996957?mt=8. Last accessed 18 January 2015. The Uber Maker. (2008). How To: Connect your Wiimote to your computer via Bluetooth. Available: http://www.instructables.com/id/How-To-Connect-your-Wiimote-to-your-PC-via-Blueto/. Last accessed 18 January 2015. Tomo Tanaka. (2011). WiiRemote Arduino Library. Available: http://hardwarefun.com/projects/wiiremote. Last accessed 18 January 2015. University of Cambridge. (2014). Physical computing with Raspberry Pi: Interfacing with a wiimote. Available: https://www.cl.cam.ac.uk/projects/raspberrypi/tutorials/robot/wiimote/. Last accessed 18 January 2015. Wells Wen. (2012). How to Connect a Wii Remote for an ipod itouch.Available: https://www.behance.net/gallery/6396565/How-to-Connect-a-Wii-Remote-for-an-ipod-itouch. Last accessed 18 January 2015. |
APPENDIX 2: Project action
plan and timetable
Week 1
19/01/15
|
Research possible things I could do
Come up with ideas
Test ideas out
|
Week 2
20/01/15
|
Research artist influences
Assess ideas and choose one
|
Week 3
02/02/15
|
Research how to do what I want to do
Research what software and facilities I’ll need
|
Week 4
09/02/15
|
Learn how to use said softwares
|
Week 5
16/02/15
|
Research
aesthetic influences
Make hardware
Concept art
VR test pieces
Modelling test pieces
Set Cameras
Add distortion
|
Week 6
23/02/16
|
Animation test pieces
User input test pieces
Test pieces on phone
|
Week 7
02/03/15
|
Orthographic drawings
|
Week 8
09/03/15
|
Modelling assets
User inputs
Test scripts
|
Week 9
16/03/15
|
Animating
Create Textures
Create Skybox
Make soundscape
Arrange scene
|
Week 10
23/03/15
|
BEGIN SHOW BUILD
Light Scene
Set Cameras
Add distortion
|
Easter Break
23/03/15
|
TWO WEEKS
|
Week 11
13/04/15
|
Continue Show build
Finish setting up for show
|
Week 12
20/04/15
|
Final Submission of all PART 3 UNIT 7 Work
|
Hanging of work and final exhibition preparation. All
students to be involved. ( you pathway tutors will inform you of the dates)
Studios will be deemed ‘out of bounds’ for Assessments Weeks
( you pathway tutors will inform you of the dates)
Private View Friday 5th June.
Your Exhibition will be open to the public from Monday 8th
June – Friday 12th June
Work to be
taken down Monday 15th June. We are unable to store work so any work
left after that date will be disposed of.
Health
& Safety Information
This information has
been compiled for your Health & Safety and should be read carefully. It is intended to provide you with a reference device to
enable you to carry out your projects safely.
Health and safety is not just
about avoiding accidents. Neither is it solely about taking care of yourself.
Awareness of Health and Safety means acting responsibly and in a professional
manner. Essentially, it is about being aware of dangerous situations by
possessing respect for your environment.
Everyday we use materials that may cause accidents or
hazards, they can range from paper cuts,
to an accident in a workshop. The majority of these accidents are caused
through an over familiarity when using equipment or materials.
The basic rules are:
• If you are unsure of a
procedure or material test which you want to carry out for your project then
consult a technician or lecturer.
Risk = A source of danger ;a possibility of incurring loss or
misfortune;
Hazard = Dangerous, perilous, uncertain.
“drinking alcohol is a health hazard’.
You Should make a list of potential things that may have the potential to cause harm i.e. electricity,
hazardous substances, work at height etc.
Here is a simple test
you can carry out to assess a risk or hazard;
1. How
severe is any injury or health effect likely to be?
Tick one box
|
Minor o
1
|
Moderate
o
2
|
Major/Fatal
o
3
|
2. How is exposure to the hazard for you
or someone else likely to be bad?
Tick one box
|
Unlikely
o
1
|
Likely o
2
|
Very
Likely o
3
|
3.
Calculate the risk score by multiplying the 2 scores in Q1 & Q2
|
Low o
1-2
|
Medium o
3-4
|
High o
6-9
|
Hazard
|
Risk
|
Severity
|
Likelihood
|
Risk Score
|
Risk Qualifier
|
Precautions
|
Production:
|
||||||
Staring at monitor for
prolonged periods of time
|
Eye Strain, Headaches, Loss of
focus, Blurred vision, Double vision, Eye twitching
|
1
|
2
|
2
|
Low
|
Take breaks, turn screen
brightness down
|
Sitting at desk for prolonged
periods of time
|
Shoulder, neck, and back pain
|
1
|
2
|
2
|
Low
|
Get a comfortable chair, sit
with good posture, Take breaks
|
Continued computer use
|
RSI (repetitive stress injury)
|
1
|
2
|
2
|
Low
|
Take breaks, Make sure working
in a comfortable position
|
Simulator sickness during
testing
|
Nausea, vomiting, fainting
|
2
|
1
|
2
|
Low
|
Take breaks, Don’t use for
prolonged periods of time, cease use if sickness hits
|
Working with circuits
|
Electric shocks, burns
|
3
|
1
|
3
|
Medium
|
Check components for faults,
Don’t touch exposed wires, don’t hold whilst power connected
|
Folding paper
|
Paper cuts
|
1
|
2
|
2
|
Low
|
Take care
|
Using craft knife to cut out
cardboard
|
Cuts, Slicing through arteries
|
2
|
1
|
2
|
Low
|
Use a cutting mat, Take care
while using knife, Make sure no one is around you whilst using knife
|
Show:
|
||||||
Simulator sickness
|
Nausea, vomiting, fainting
|
2
|
2
|
4
|
Medium
|
Have health warning on wall,
ensure people don’t get motion sickness before use, have someone spotting at
all times, cease use if sickness hits, don’t use for prolonged periods of
time
|
Disorientation due to blindness
to real world
|
Tripping, hitting walls/other
people
|
2
|
2
|
4
|
Medium
|
Mark out clear area for use,
have someone spotting at all times
|
Risk category (including
supervision) tick box:
HIGH Work must not be started without consultation
with your Pathway tutors or Technicians. Direct supervision by one of your
pathway lecturers or technician
must be arranged.
MEDIUM Work must not be started without the advice
and approval of those named above.
LOW Work may proceed because there are no
significant risks and no special supervision is required.
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