Typefaces and Letter Forms

 Unit 39 Typefaces and Letter Forms

Create an Animated Car Banner using Flash CS5

In this tutorial, you will learn how to create an animated banner using Flash CS5. You will learn how to create a car moving on a road with its tires spinning. You can also download the free .fla file of the banner animation.

http://www.entheosweb.com/Flash/animated_banner.asp

Here we will create a banner of size 728x300. To start with the tutorial download the tutorial.zip file that will provide you with the necessary files to be used in the tutorial.

1.       Open a new flash file. Choose Window > Properties from the main menubar the PROPERTIES panel is displayed as shown in figure below

Choose the Edit button under the PROPERTIES area in the panel, the Document Settings window is displayed. Set the dimensions as 728(WIDTH) and 300(HEIGHT) and choose the OK button to make the changes.

2.       Rename the existing layer as buildings and choose File > Import > Import to Library from the main menubar and import the files downloaded at the starting of the tutorial.

3.       Choose Window > Library from the main menubar; the LIBRARY panel is displayed. Pull the building images to the stage area and align it as shown in Figure below.

4.       Select the image and choose Modify > Convert to Symbol from the main menubar and name this movieclip as building_animation.

5.       Double-click on the movieclip and select the building image and create a moviclip again and name it as building. Rename the layer as anim_building.

6.       Select frame 460 and add a keyframe. Select the building movieclip and open the PROPERTIES panel and se the X value to -1450. Publish the file to see the animation. If at any point of time you find a jerk in the animation please adjust the position and frames of the building movieclip accordingly.

7.       Go to the main stage area and create a new layer named road. Choose the Rectangle Tool from the Tools panel and create a box at the bottom of the building area and align it as shown in Figure below. Make sure that the color of the road is set to #171717.

8.       Next, create a new layer named road strip and create a grey and white rectangular pattern using the Rectangle Tool from the Tools panel, as shown in Figure below. Make sure that the length of the road strip pattern is almost equal to that of the buildings.

9.       Select the road strip and choose the Free Transform Tool from the Tools panel and distort the road strip as shown in Figure below. Make sure  that the color of the grey part in the strip pattern is similar to that used in road.

10.   Choose Modify > Convert to Symbol from the main menubar and name it as road strip. Select the movieclip and choose Modify > Convert to Symbol again and name it as road strip animation. Place this animation in the center of the road as shown in Figure below.

11.   Animate the road strip as you did for the building movieclip. But make sure that the speed of the road strip is double as compared with the moving speed of the buildings. Publish the flash file to see the transition in the animation.

12.   Next, move back to the main stage area and create a new layer and name it as logo. Drag the logo.jpeg file from the LIBRARY panel and place it in the scene by first scaling it down as shown in Figure below.

13.   Create a new layer in the main stage area and rename it as footpath. Create the footpath using the Rectangle Tool as shown in Figure below. Make sure to match the length of the footpath series with the road strip.

14.   Align the foothpath as shown in Figure below.

15.   Animate the foothpath similar to the road strip with the same speed. Publish the flash file to see the effect.

16.   Next, in the main stage area create a new layer and rename it as car. Choose Modify > Convert to Symbol and rename it as car. Double click on the car movieclip and create a new layer and rename it as tyre_front.  Zoom in the to the front tyre area in the screen and create a pattern using the Rectangle Tool as shown in Figure below.

17.   Make this pattern as a movieclip and renmae it as tyre_mask. Double click on this movieclip and rename the existing layer as bg and selec the cross pattern again and choose Modify > Convert to Symbol from the main menubar and rename it as spokes. Choose Window > Properties from the main menubar and add blur filter to it.

18.   Next, create a new layer over it and rename it as mask. Create an oval shape exactly the shape of the rim of the car as shown in Figure below.

19.   Activate the bg layer and create keyframes at frames 3 and 6. Rotate the spokes movieclip at frame 3 by around 180 degrees and add motion tween between the keyframes.

20.   Next, activate the mask layer and chose frame 6 and press F5 to extend the frames. Now, right click on the mask layer and choose Mask from the drop-down list, spokes will be visible only in the rim area as shown in Figure below.

21.   Similarly, add the same effect to the rear wheel. Move back to the main stage area and double click on the car_animation movieclip and create a keyframe on frame number 40. Move the car movieclip a bit in the top right position. Next, add another keyframe at frame number 75 and place the car in the bottom right position. Add one more keyframe at frame 115 and place the movieclip in the top left position. Add the last keyframe on frame 190 and place the moviclip at the same position as it was on frame1. Add motion tween between the all the keyframes.

22.   Position the car on the main stage area as shown in Figure below.

23.   Publish the flash file to see the banner animation.

24.   You can also use this banner animation for creating an banner advertisement for mercedes benz. To do so, create one more layer in the stage area and rename it as text and add it in the scene and make it fly in the stage area and then stop as shown in Figure below.

25.   Publish the flash file to get the animation as shown below.

Computers in Design Practice:Jessica Walsh

http://sagmeisterwalsh.com/work/

Computers in Art Practice:Manfred Mohr

Artist Manfred Mohr

Since 1969, Manfred Mohr has used computers and plotters as electronic and digital drawing aids, thus making inevitable that the creative process would be turned into a logical one.

 In Mohr’s own words “computer graphics … are the product of unambiguously defined problems, with the detailed analysis of the programming process that have previously remained concealed as if by taboo”. (M.M.)

 In the Divisibility work group, which form part of the Generative Arbeiten [Generative works] series, where the work P-306-K belong, Mohr is researching the surface character of signs made up according to defined rules laid down by the artist:

 “The cube is divided into four parts by a horizontal and a vertical incision. Four independent rotations of a cube are projected into the corresponding quadrants produced by incisions. In order to make the signs visually stable, two diagonally opposite quadrants contain the same rotation” 

(M.M.).  P-197 J, however, makes the systematic principle transparent, through varying seriality and structural pattern.

Paths through the cube: Manfred Mohr at the Kunsthalle Bremen Prize winners of the d.velop digital art award [ddaa] 2006 Manfred Mohr is one of the pioneers of computer art. 

In 2006, he received the d.velop digital art award [ddaa], which was awarded for the second time in 2006. This first major, international award in the field of digital art is donated by d.velop AG (Gescher) and annually. 

The Digital Art Museum [DAM] in Berlin will award the prize, and the Kunsthalle Bremen will present the award winner in a separate exhibition.

 First prizewinner of the d.velop digital art award [ddaa] 2005 was the artist Vera Molnar. Manfred Mohr has programmed from the outset himself and laid down the fundamental theme of his work, but the specific form is determined by the computer. 

Born in Pforzheim, Germany, Mohr was born in Paris in 1963-81, and since then has lived in New York, Mohr is one of the first artists to see more than one graphical field in the computer. 

Nevertheless, he always understood the computer as a means for his own art, independent of technical utopias. Mohr's consistently computer-generated œuvre led to a difficult position in the art system during the first years, because the computer as an artistic medium was generally viewed with skepticism by colleagues, critics and museum managers. In the meantime, Mohr's work, which has been devoted exclusively to the figure of the cube since 1973, is highly valued. 

With the awarding of the d.velop digital art award [ddaa] 2006 to Mohr, his artistic approach has received a corresponding appraisal. Around 70 works by Mohr's computer-generated work are presented in the Kunsthalle - from the search for forms of a graphic language from 1969 on to the exclusive employment with the cube up to the recent examination of the cube.

http://www.bitforms.com/artists/mohr

http://www.carrollfletcher.com/artists/37-manfred-mohr/overview/

Since the late 1950s, Manfred Mohr, a pioneer of generative and computer art, has been making rigorously minimal paintings and drawings. His work is stringently conceptual, but with an elegant lyricism which belies its formal underpinnings. 

During the 1960s, Mohr’s practice evolved from abstract expressionism towards a more hard-edged geometric painting. By 1968, in pursuit of a ‘real rational art’ he had begun to develop a ‘programmed expressionism’ in which algorithms were used to generate art that formalised his vision in a new, logical way.

Computers in Art and Design

Computers in Art and Design

Aim and purpose

This unit will enable learners to develop skills and understanding of the use of computers in art and design. They will research existing applications of computer use, and develop creative responses through their own study and production of computer-based art and design work.

Unit introduction

 The use of computers by artists and designers is firmly established in many fields and disciplines.
 This area of art and design is exciting and dynamic, with new technologies continually advancing, enabling the development of new ways to communicate and combine different art and design forms. 
Understanding and keeping up to date with the changing technological needs of the creative industry is critical in order for learners to be flexible, adaptable and employable. It is important that learners engage with new technology and develop the skills, knowledge and understanding necessary to communicate ideas effectively in a highly competitive, technical and innovative sector. 


Learners will develop their understanding of how computers are used as new media in contemporary art and design. 

They will also develop an understanding of the potential benefits of combining digital and traditional art and design techniques and processes to develop their own work.
 It is anticipated that digital techniques, in conjunction with appropriate hardware, will be introduced as a foundation on which to develop skills in using new technology and processes to communicate art and design ideas, concepts and proposals in contemporary and innovative ways. 
The extent to which the full range of digital techniques can be covered will depend on the centre’s access to computer hardware and multi-media software facilities.

 Learners will need to be given appropriate briefs to focus their work and guide them through investigating and experimenting with hardware and software, in relation to art and design. 

Briefs will need to be designed within a relevant vocational context and take into consideration new industrial developments in computer hardware and software technology. 

These skills will help learners progress and adapt to a vocational environment where computers play a key role.

Learning outcomes On completion of this unit a learner should: 

1. Understand the potential of digital media in contemporary art and design practice 
2. Be able to select materials for digital experimentation 
3. Be able to produce work using digital art and design techniques

Understand the potential of digital media in contemporary art and design practice 

1. Digital media: chosen pathway; specialism eg magazines, film videos, music videos, title sequences, animation, illustration, computer games, architecture, CAD, CAM, fine art, comics, fashion, print, music, graphic design 

Contemporary practice: production eg photographic work, fashion styling, fashion, textile design, 3D design, product design, digital fine art, film, graphic communication; digital work eg annotation, printout, sketches, photographs, photocopies, notes, presentation, discussion.

Be able to select materials for digital experimentation

 2. Materials: art, craft and design work (digital, traditional) eg sketches, prints, paintings, textiles, models, 2D, 3D, writing, photographs, found materials, natural objects, video, audio, recordings, photocopies, printed material; preparation for digitising; qualities eg technical, aesthetic; fitness for purpose

 Digitising: digital technology eg scanner, touch screen, graphics tablet, video camera, microphone, digital camera, keyboard; differences in digitising processes

 Combining media: traditional media; computers; processes; benefits; properties eg emphasis, characteristics, effects, uses, suitability, limitations, creative potential; considerations eg constraints, memory, speed, size, resources, time

 Digital media: backup eg storage, external, internal, devices; specialist hardware; 2D software eg image manipulation, drawing, painting, vector, raster graphics, typography, website design, printing, 3D software eg CAD, CAM, 3D modelling, laser cutting; time-based software eg animation, interactive, multi-media authoring, audio, video.

Be able to produce work using digital art and design techniques 

3. Digital techniques: editing eg capturing, materials manipulation; ideas generation eg layering, compositing, downloading, recording 

Outcomes: images eg paper, screen, audio, projector; pathway or specialism-driven digital techniques eg image manipulation, distortion, pattern making, layering, illustration, mixed media, page layout, drawing, typography; artefacts eg modelling, rotation, turning, milling, lathing, extruding, linking, rendering wire frame, surface textures;

 Interactive: eg multi-media, navigation, buttons, type, interactive elements, audio, moving image, cascading style sheets, basic scripting projection, installation; animation eg timelines, key frames, parameters, tweening, onion skinning, continuity, path of movement


Delivery 

This unit is designed to help learners to determine, understand and evidence the potential for digital multimedia in contemporary art and design practice. Learners will have appropriate tutorial, peer and professional support, guidance and formative assessment feedback to be able to research, experiment with produce and present evidence demonstrating the use of digital multi-media in contemporary art and design practice. 

Tutors delivering this unit have opportunities to use a wide range of traditional and digital media and techniques. Although the majority of learner work is likely to be carried out in a studio or workshop environment, it will be helpful to include demonstrations, visits to galleries and events and informal discussions between professional practitioners, tutors and learners.

 Research using the internet, library and multi-media resources will inform an essential part of the learner’s evidence. An active, experimental approach to media is needed to encourage learners to broaden their creativity. Delivery should stimulate, motivate, educate and inspire learners. This unit aims to give learners a broad introduction to digital design applications. 

Tutors should consider integrating delivery and assessment of this unit with any other relevant units learners are taking as part of their programme of study, especially those involving digital art media, hardware and software, photography and interactive media. In planning delivery of project briefs, tutors should be aware of the need to map the relevant criteria of the units being covered. Health and safety issues relating to workshop practice must be stressed, as working in studios and workshops that combine technology and traditional media can be dangerous.

 Learners should be aware of the health and safety issues relating to the equipment and learning resources they use, and how to reduce risks to themselves and others.
 Learning outcome 1 covers research and analysis of digital media in the context of the learner’s specialist pathway. 
Teaching and learning strategies should be varied to introduce a broad range of source media and achieve a comprehensive understanding of the potential for digital media in contemporary art and design practice.

 The techniques and processes involved in producing digital outcomes, and the combination of traditional art and design with the development of the use of computers in art and design need to be emphasised. 
Digital art and design techniques can be introduced, for analysis, through demonstrations, lectures, workshop practice and the use of multi-media resources. 

At an early stage, tutors should encourage the use of analytical skills through probing questions and discussions about relevant digital resources. It is important to use the correct technical terms when discussing digital media. 

Learning outcome 2 covers the preparation and development of ideas, materials and media for selected digital outcomes. Learners should experiment and develop ideas across as broad a range of materials and digital media as possible. It will be valuable to demonstrate the digital working practices of professionals.

 Learners will need to develop appropriate techniques for using hardware and software to digitise art and design material.
 Tutors should encourage an experimental approach during the selection, preparation and development process in order that learners are exposed to the maximum impact of digital media manipulation. Learning outcome 3 covers the exploration of digital techniques and the role played by traditional art and design practice.
 The breadth of study and eventual proposal will depend on the equipment and materials available in each centre and learners’ chosen pathways/specialisms.

Learners should be taught to combine traditional art and design techniques and processes with digital media to understand the benefits of using computers in art and design and discover a new way of working to achieve diverse and unusual results. 
They should use the correct techniques for using hardware and software and understand how these can contribute to the creative process. 
Final outcomes can be presented digitally, on screen or online as well as through the more traditional media for example canvas, paper. The contribution of digital media to the creative process will be emphasised, introducing learners to the reality that computers can be used as a tool to create and enhance the outcomes both traditional and digital practice outcomes such as fashion prints and designs, 3D models and sculpture, and mixed media artwork. 

Learners should be taught how to use a range of hardware devices, for example computer, scanner, graphics tablet, digital camera, video camera, external and internal storage devices, microphone, laser cutter, printer.

 Learners should also be taught how to use a range of software applications relevant to their specialism in 2D, 3D, time-based or interactive media. Learners should be encouraged to investigate a range of multi-media applications in order to demonstrate their new digital skills and present their findings.

https://prezi.com/4ri84dkzya83/digital-media-in-current-contemporary-art-and-design-practic/

http://blog.spoongraphics.co.uk/articles/20-amazing-digital-artists-to-follow-on-behance

http://uk.complex.com/style/2015/05/the-greatest-digital-artists-of-the-21st-century/

http://uk.complex.com/style/2015/05/the-greatest-digital-artists-of-the-21st-century/

http://www.smithsonianmag.com/arts-culture/7-ways-technology-is-changing-how-art-is-made-180952472/

https://www.behance.net/gallery/33453883/O-V-E-R-L-A-Y


check out these digital artists.

• Alberto Seveso. 
• Evgeny Parfenov.
• Natalie Shau. 
• Anton Semenov. 
• Bram Vanhaeren. 
• Melvin Zelissen. 
• Richard Davies. 
• Aaron Campbell.

Digital Designers

• Milton Glaser.
• Stefan Sagmeister.
• Jessica Walsh. 
• David Carson. 
• Neville Brody. 
• Paula Scher.

http://www.creativebloq.com/graphic-design/graphic-designers-follow-behance-1012941




Delivery

This unit is designed to help learners to determine, understand and evidence the potential for digital multimedia in contemporary art and design practice.

 Learners will have appropriate tutorial, peer and professional support, guidance and formative assessment feedback to be able to research, experiment with produce and
present evidence demonstrating the use of digital multi-media in contemporary art and design practice.

Tutors delivering this unit have opportunities to use a wide range of traditional and digital media and techniques. Although the majority of learner work is likely to be carried out in a studio or workshop environment, it will be helpful to include demonstrations, visits to galleries and events and informal discussions between professional practitioners, tutors and learners.

Research using the internet, library and multi-media resources will inform an essential part of the learner’s evidence. An active, experimental approach to media is needed to encourage learners to broaden their creativity. Delivery should stimulate, motivate, educate and inspire learners.

This unit aims to give learners a broad introduction to digital design applications. Tutors should consider integrating delivery and assessment of this unit with any other relevant units learners are taking as part of their programme of study, especially those involving digital art media, hardware and software, photography and interactive media. In planning delivery of project briefs, tutors should be aware of the need to map the relevant criteria of the units being covered.

Health and safety issues relating to workshop practice must be stressed, as working in studios and workshops that combine technology and traditional media can be dangerous. Learners should be aware of the health and safety issues relating to the equipment and learning resources they use, and how to reduce risks to themselves and others.

Learning outcome 1 

covers research and analysis of digital media in the context of the learner’s specialist pathway. Teaching and learning strategies should be varied to introduce a broad range of source media and achieve a comprehensive understanding of the potential for digital media in contemporary art and design practice. The techniques and processes involved in producing digital outcomes, and the combination of traditional art and design with the development of the use of computers in art and design need to be emphasised.

Digital art and design techniques can be introduced, for analysis, through demonstrations, lectures, workshop practice and the use of multi-media resources. 

At an early stage, tutors should encourage the use of analytical skills through probing questions and discussions about relevant digital resources. 

It is important to use the correct technical terms when discussing digital media.

Learning outcome 2 

covers the preparation and development of ideas, materials and media for selected digital outcomes. 

Learners should experiment and develop ideas across as broad a range of materials and
digital media as possible. It will be valuable to demonstrate the digital working practices of professionals.

Learners will need to develop appropriate techniques for using hardware and software to digitise art and design material. Tutors should encourage an experimental approach during the selection, preparation and development process in order that learners are exposed to the maximum impact of digital media manipulation.

Learning outcome 3 

covers the exploration of digital techniques and the role played by traditional art and
design practice. The breadth of study and eventual proposal will depend on the equipment and materials available in each centre and learners’ chosen pathways/specialisms.

Learners should be taught to combine traditional art and design techniques and processes with digital media to understand the benefits of using computers in art and design and discover a new way of working to achieve diverse and unusual results. 

They should use the correct techniques for using hardware and software and

understand how these can contribute to the creative process. Final outcomes can be presented digitally, on screen or online as well as through the more traditional media for example canvas, paper.

The contribution of digital media to the creative process will be emphasised, introducing learners to the reality that computers can be used as a tool to create and enhance the outcomes both traditional and digital practice outcomes such as fashion prints and designs, 3D models and sculpture, and mixed media artwork.

Learners should be taught how to use a range of hardware devices, for example computer, scanner, graphics tablet, digital camera, video camera, external and internal storage devices, microphone, laser cutter, printer.

Learners should also be taught how to use a range of software applications relevant to their specialism in 2D,3D, time-based or interactive media.

Learners should be encouraged to investigate a range of multi-media applications in order to demonstrate their new digital skills and present their findings.

Assessment

For P1, learners will be able to describe how digital media is used in contemporary art and design practice.

They will research and highlight specific examples using appropriate terminology. The range of ideas and examples will tend to be basic. Areas will be identified and described but will lack the explanation of context and application shown in work assessed for M1.

For P2, learners will be able to select a basic range of materials for digital experimentation. Some of the work they produce will be tutor driven. Ideas will be explored and materials selected in an obvious way, without considering of how they may be used in more original or effective ways.

For P3, learners will produce and present art and design outcomes using a basic range of digital art and design techniques. Solutions will match the brief and equipment will be used safely. Work produced will lack the sense of purpose or effectiveness found in work assessed M3. Ideas will be seen through to a conclusion but alternatives may remain largely unexplored.

For M1, learners will understand the purpose of visual research for which will be effective, consistent and relevant, referring to digital techniques. The findings of their analysis will influence the preparation of materials for digital outcomes with consideration and understanding.

 Learners will be able to explain the use and context of digital media in art and design contemporary practice with more precision and understanding than in work assessed for P1. They will demonstrate the ability to articulate explanations about the use of digital media in contemporary practice that are not purely descriptive.

For M2, learners will demonstrate well-organised exploration and development of multi-media (digital and traditional) techniques and processes, showing a deeper understanding of the effectiveness of hardware and software and traditional techniques, and an ability to refine ideas.

For M3, learners will present purposeful visual outcomes that are effective in meeting the briefs. Ideas will be carried through to a conclusion with a greater sense of purpose than in work assessed for P3. There will be more consideration of alternative ideas and ways of working with digital media.

 

Hardware and software will be handled with more purpose than in pass level work.

For D1, learners need to undertake a complex analysis of the potential of digital media and use the findings to inform imaginative preparation of ideas and work for digital outcomes. Their work will demonstrate an ability to analyse the purpose, effect and context of contemporary art and design practice in more detail and depth than in work assessed for M1. Analysis will show a greater sense of understanding and confidence in
reaching in-depth conclusions.

For D2, learners will be able to find a wide range of sources from which to develop creative ideas that demonstrate an in-depth understanding of hardware and software. Development will be consistent and innovative reflecting on creative decision making. Learners will be able to demonstrate that they have a clear understanding of the benefits of using certain traditional and digital techniques in combination.

For D3, learners will produce and present outcomes that demonstrate an ability to work confidence with hardware and software confidently. Digital outcomes will be produced with greater independence than in work assessed for M3. 

Learners will be able to relate their outcomes to the specific techniques and equipment
they have used and applied. They will show an informed understanding of the potential of using computers in their own art and design work, as well as recognising of the limitations of digital and traditional techniques.

Outcomes presented will demonstrate creativity and an imaginative approach to communicating ideas through digital work.

Essential resources

The computer software and hardware resources required will vary according to the learners’ specific pathway or specialism, but are likely to include:

computers with industry appropriate software and hardware
projectors
monitors
digital cameras
video cameras
printers
scanners
graphics tablets
external storage devices
internet access.

Learners will also need access to a range of traditional media, and associated tools and equipment, together with adequate work and storage space. 

Library and learning facilities that enable learners to access examples of digital media should be available.