E: INTERACTION

E: INTERACTION
My perception of a designed mark changes once it becomes interactive, because now it is more than a mark. It is a logo with motion, an animation. This animation is controlled by the viewer however; the animated mark enables the viewer to become more involved with the image because it creates an experience for the user. Not only is there a visual image, but there is a story to be perceived with the mark. It gives the viewer a deeper meaning of what is going on because he or she participates in the event. When I created my mark the three attributes I chose were loyalty, active, and funny. To express these visually, I chose a dog for loyalty, a tornado for activity and a banana peel for humor. The next step was to get these not only to make a mark but to come together to create a mark with animation. This resulted in dealing with narrative and time. Since these were supposed to be simple animations, I had to make them react and interact with time as a constraint. I now had to deal with the elements of narrative and time. The problems involved in making this mark involved where to being the interactivity after the user pushes the button, and how long to have the video run, where the animation should start, and how it should end? In order to do this I created a narrative wherein the dog begins barking because he the tornado as it begins moving. Next, the banana flies onto the screen as if it were something picked up by the gust of wind created from the tornado. Since this was to be a short animation time was a major factor. If I were making a movie, there would have been time for storytelling. I would have been able to develop the characters before they are used for the mark. However because time is a constraint I am compelled to make decisions. I have to display the elements and make them come together without buildup as in an actual narrative. It is almost like making a trailer versus creating the entire movie. My task is to convey an idea in a short span of time. Thus interactivity involves the process of utilizing narrative and time to enhance the user’s experience. If the animation is too long or if I do not begin the animation at the right sequence will the viewer lose interest? Obviously then time becomes more than just a decision about duration but also about the point at which it begins the narration. Indeed, the shortness of time forces the designer to create an animation with the intentions of being brief while aiming at being stark and concise.

C:SOUND

Regarding the interpretation of my work, developing sound to reflect the motion of the cards in my film was a bit difficult. Perhaps I should have been more aware of the possibilities of sound before I began this project. However I think the real trick was trying to generate a sound that would accentuate the effect of the action and idea presented. I chose sounds that expressed chaos and thus heightened the effect of the card toss for the viewer. It was a matter of making what I had work for the narrative. Experimenting with sound and blending sounds that we worked on in class provided a new realm, a new variable to be played with. This experience is an invitation to more experimenting. Sound itself can be designed. When I was adjusting the sounds for my narrative I wound up playing with the tempo, frequency, and other different elements that make up the sound. There are numerous ways to manipulate sound and I learned a lot from the class exercise as each of the students switched sounds with his or her neighbor. I came to appreciate the nuanced changes in meaning these sounds provided when used for films they were not initially designed for. I realized that experimenting with different types of sound for each action is a form of creativity that can develop a new language by changing or tweaking the actions being displayed. The sound I chose is more of a background sound which relates to the tempo of the cards being sprayed out. The background sound underscores the narrative because the chaotic sound relates to motion of the cards being aimlessly sprayed out and the mess at the end. As a result of this exercise I have developed an appreciation of sound and rhythm which can be created without the use of actual instruments. Although my initial intention was to generate a sound that would accompany shuffling of cards, I figured it might work for creating a spraying effect. When I started meshing the sounds something else developed. This influenced my thinking about how to incorporate sounds and it allowed me to realize sound can be more than the noise that you automatically associate with an image of an animal, vehicle or a human. It can also help establish untraditional relationships which can create a more amusing, entertaining and heightening, or add a different nuance to the meaning of a piece.

SELF PORTRAIT

Well my results so far a pretty abstract or pretty funny to say the least. After meeting in class I have reduced my adjectives down to 3-- LOYAL, FUNNY AND ACTIVE.. To depict the first adjective I will be a dog or the silhouette of a dogs head. Regarding the funny I have decided to go with a banana peel. Active wound up becoming a tornado--THIS IS RELATIVE TO MY OVER ACTIVE IMAGINATION. My initial intention was to use something to describe inquisitive in the shape of a magnifying glass however this did not make the cut. In terms of an end product I am still deciding how to make these work totally. Two of the pieces have potential to be combined the third I am a little iffy on, but somehow things will workout they always do.

Regarding being satisfied with my hybrid image... I am kinda so so right now. I see potential but its not quite there yet. However I can definitely see some potential for definite animation.
Though I am sometimes have trouble satisfying my own requirements.

As a self portrait... I would like to think this is not a true self image more like a playful version.
However elements of "MIKE" are there. In terms of animating I can see the dog barking, the tornado spinning--maybe even some cyclone sounds and the banana could potentially have the dog peeled out of it. This may be far fetched, however I will do my best to explore these options. I definitely feel I have some playful images that could tap into my creative juices.

CARD CHAOS

Experience with Sound

Trying to get my sound to automatically match up to the motion related to the cards in my film was a little difficult. I do not know if I should have been more aware of the thought of sound before I began this project however does a director actually worry about the sound before he writes his film. I think the real trick is trying to make a sound that fits whatever is in front of your eyes. I feel the chaotic sound that I eventually developed works. I know I am not the best sound editor (actually no way near) but it was a matter of making what I had work. I did have fun experimenting and meshing the sounds that we worked on in class. It was like opening a whole new world of design. A brand new element. This could be a gateway to some more experimenting with sound. I know its something I would like to perfect. I am starting to wonder what goes through a DJ's mind when they are transitioning from song to song or beat to beat.
After dealing with the sound in class there was definitely some inspiring moments when each of the students switched sounds with their neighbors. I did have fun viewing the new relationships that occurred when the updated versions were played. To see relationships made when a different person originated the new sound was kind of enlightening. It makes you realize that you do not need the typical sound to relate to what is going on in the film. Its almost like inventing original sounds for each action. Similar to creating your own language.
I definitely would say my sound is more of a background sound which is to relate to the tempo of the cards being being sprayed out of the deck. This chaotic background sound matches the mess eventually made after getting rid of the entire deck. I will admit this exercise has given me new thought regarding sound. I now know there are other ways to contribute sound to a film or animation without keeping the typical expected sounds. Also how rhythm can be created without the use of actual instruments. When I was working with sound my initial intention was to generate a shuffling of cards effect. I figured it might work for creating a spraying sound for the cards. However when I started meshing the sounds something else developed. This exercise has totally opened my mind to sound, It has me thinking about how to incorporate new sounds and it has enabled me to focus on the unique sounds used for online animations and films.

DENOTATIVE IMAGES

--LETTING THE CHIPS FALL WHERE THEY MAY.
--NOT WORRYING ABOUT THE CONSEQUENCES
--CONTROLLED CHAOS.

3 CONNOTATIVE IMAGES