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biancasiercke · 6 years

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What are some good techniques/practice animations one can do to get better?

I recently joined “Animated-buzz”. It’s a website where artists can help each other by critiquing artwork, animation and answering questions. Daniel Marinca recently asked a really great question. Namely: “What are some good techniques/practice animations one can do to get better? (Besides practicing squash and stretch?”) I took some time to answer the question and thought I would post the answer on my tumblr as well. Please note that all of us, professional and student alike are always striving to improve. I am therefore by no means saying that my answer is perfect. I’m simply hoping to give back to the community. A huge credit to where I am goes to the incredible mentors I had and the amazing people I worked with, that shared their knowledge and experience with me. I would love to give back to this wonderful medium in any way I can :)

Practicing animation.

This is always a hard question to answer, because it's such an open question. Each artist/animator is in a different part in their journey. One thing I would say is; try not to take on too much at once. I know it's really tempting to want to do a 10 second dialogue scene that has both physicality and acting, lipsync, and possibly multiple characters. Don't rush, you'll definitely get to animate those kind of scenes, but when starting out it's really great to do small exercises and learn from them. This way you can focus on one little thing and learn it well, then apply what you've learned to a bigger exercise later. Also it's always great to think about what it is that you're trying to learn from each particular exercise that you're doing. I don't know if it can help, but I'll write down a bunch of different ideas for exercises you could do. See which ones you are drawn towards, but don't feel pressured to have to do any of them. I'm just trying to generate some ideas for you :). I always tend to write a lot because I love animation so much, so be prepared for a long message lol 1) I know everyone hates the bouncing ball, but it's actually a great exercise. It teaches you spacing (as well as timing). How do you slow an object down and how do you speed it up believably? Learning this can be applied to how the hips of a character move, as well as many other things. If you have done the bouncing ball already, try to make your ball feel like a rabbit jumping. Then try to make it feel like a frog. What is the difference in spacing or timing. Does one need more hangtime, or is the difference in the take off? 2) a simple character jumping. iAnimates has a really nice simple character called "tots". It's pretty much a ball attached to a spiral/slinky, with a plank of wood attached to the bottom. If you can get a hold of a simple character like this and then making them jump, teaches you things like "overlap" and how different objects that are attached still move like they act as one character. It also teaches you about weight and follow through. I don't know if similar characters can be found on other websites for free. 3) an eye blink A blink can be pretty involved when you really shape the contact between the lower and upper lid. There are some pretty cool videos online analyzing blinks. These are two that I found on youtube. https://www.youtube.com/watch?v=RtYccevwDNY https://www.youtube.com/watch?v=73jRo4fwU3I&t=161s You could even expand on this exercise and animate a double blink, or a sleepy blink. Always ask yourself, what's the difference between the one I just animated and this new blink. How has the spacing and timing changed. 4) A foot lifting off from the floor in a walk. Things to think about when you do this exercise - when the heel has lifted off and is about to touch the floor, how does the foot roll down? (As animators we should never generalize, but most often the outside of the foot touches the floor first) - What kind of rotation does the food have when it's lifting up. Is the big toe the last thing that touches the floor? - how do you not make the foot feel broken. What kind of angles should you avoid. 5) Make the character go from a standing position, to bending their knees, and then getting up again. (you could just animate one leg) (just focus on the character from the hip down, don't worry about the upper body for this exercise.) - What is the angle between the foot and the upper leg. For parts of this movement they're going to be parallel. (this is similar to what happens in an animal leg) - how does the knee move? Does it simply move up and down, or does it veer away from the body and then comes back in? - how does the hip move? Does it drop first, does it get pushed up by this movement? 6) Lifting an arm, possibly elbow first, then stretching out and then bring it back down. (either controlled or loosely with weight) - when does the actual shoulder kick in when you lift your arm. - how do you make it feel like the arm is not driven by the hand (which sometimes can happen when we use IK) - how do you make the arm feel like it has weight. - what kind of an arch does the hand have in this movement. - what kind of an arch does the shoulder and the elbo have. - how is the hand rotating and dragging 7) a head looking around. - how is the head movement related to what they eyes are doing. Or if you want to ignore facial animation just see how a head moves around. If it turns to the side, does it start with Rotate Y, or is there some Rotate Z and X that happens first. - how do you make it come to a stop without it feeling stiff. 8) a walk cycle - (You can do a walk cycle as a treadmill or walking forward. ) Start with a generic walk cycle that doesn't have too much personality. - Analyze how the hips move. How many frames are near the top and how many frames near the bottom. What is the spacing like when you go up or go down, is it the same? What is the spacing as it moves side to side - What is the tilt of the hips when you lift of your leg off the floor? (normally the side of the hip that has the leg lifting up will drop, but this depends how high the leg lifts). - What kind of rotation is going on in the hip? - How do you give your character weight. Is it because of the spacing in the hips? - How does the foot take off? How does it land? - How does the foot travel as it passes the standing leg? Does it come closer to the standing leg, or does it move further away? - what is the relationship in the chest rotation to the hip rotation. How do they move up and down to create a fleshy overlapping motion - How do you create overlap in the head - How do the arms move in a walk. Is the shoulder leading the action? What is the elbow doing in relationship to the wrist. 9) Make a character start to move from a still position This is such a great exercise. I know it sounds simple, but there are so many small things involved. To be able to pick up the one leg, your body needs to shift. What happens to the rotation of the hip when you do that. Your body needs to lean forward to get you moving. Does that movement start from the chest, or from the hips? To move forward, is there a tiny movement back to "anticipate" that movement? 10) Make a character come to a stop from a walk. You have similar complicated things happening when you stop moving. How do you create a fleshy overlapping feeling when a character comes to a stop. What art the hips moving. Are they going up and down, left to right. Are you leaning forward or leaning back? For both this exercise and exercise 9, it's great to film reference of yourself from the side. Then if you have the software analyze the video by drawing a single straight line from your pelvis all the way through to your chest. Treat the trunk of your body as one shape and then see how your body is leaning forward or backward to start to move or to stop moving. 11) lipsync How do you create appealing lipsync, that doesn't have too many mouth shapes but still reads as what the character is saying? What kind of archs does the corner of the mouth travel in? Where is the biggest up and down in the jaw? (one great way to test this is to put your hand under your jaw as you speak. It makes you more aware of what your jaw is actually doing as your speaking). There was also some test animation done for Paranorman, to figure out what mouth shapes various characters would have. I believe the file is downloadable. If you can, try to export the sound file separately and then import the video and audio into a program like flash, after effects or even Maya. This will allow you to scrub the animation with the audio. It's a great way of analyzing what choices the animator made to archive at the final result https://vimeo.com/48783829 Another really great video to watch is "Animation Mentors" Spacing and Timing webinar. I love watching this video at least once a year, because it has so much great information. You can find it on their website here. http://www.animationmentor.com/resources/webinars/timing-and-spacing/ Lastly, another very important thing to consider is to study “acting” or better said “life”; as animation is about conveying a true performance. (if you're interested we can go into this more in detail in another answer) I hope this was not overwhelming to read but hopefully it gave you some exercises that you might like to try, or if not that; then some insights into what questions you can ask yourself when doing exercises. If any of you have any questions about something I wrote don't hesitate to send me a message. I'd love to help in any way I can :).

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ahloveisboo · 7 years

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Question tag.

tagged by my dear @ralph-mountainlodge

i know some of these questions have already been covered in other question tag posts, so just skip those if you want.

1. Ultimate Bias(es)? Min Yoongi (BTS)

2. Who are your TOP 3 groups? BTS, WINNER, VIXX

3. What are your 3 favorite songs? Strictly kpop? BTS’ baepsae, WINNER’s immature, agust d’s the last

4. What do you like to do in your free time? Sleep. Basically. I also enjoy reading and meeting up with friends if i find the energy to do so. I should be focussing on my instruments and learning korean more, though.

5. Are there any places you would like to visit that you haven’t already visited? Australia, Japan, Hawaii, Bali, New Zealand, Vancouver, Iceland, South Korea, Lissabon. Anything that can offer me an abundance of culture and/or breath taking kinds of nature. I just want to see so many more countries and cities before I go.

6. Do you have a dream job? I used to want to be a concert photographer. I went on and studied photography for a year but it turned out not to be my thing so then I wanted to become an editor. Or anything to do with writing/translating/publishing. That didn’t go the way as planned either so now stuck doing a job that is not me at all. I am not a people’s person. To be honest I’d just like to be anything music related. Whether it would be in a music shop, at a record label or venue, or on a tour. I’d be down for any of it.

7. If you could meet ANY Korean CELEBRITY (Includes Actors, Models, K-Music artists, etc.), who would it be? If the language barriers were non-existent, and my cripping anxiety wasn’t a thing, I’d want to meet and have a chat with Yoongi. For obvious reasons. But life is a bitch so I would prefer meeting none of them because I will embarrass myself and we’ll all feel super awkward.

8. What do you love most about your bias group(s)? Oh boy. Their work ethic. I know people give bangtan a lot of shit, but I am so, so incredibly proud of them and who they’ve become so far. I’m relatively new to the whole kpop, esp. bts thing, so I wasn’t here to actually watch them grow but god bless the internet and archive blogs to provide me with info on their past.

I sincerely hope one day they will in fact be considered as one of the greats of kpop. They are incredibly talented, grounded, grateful, and deserving of respect and recognition. Most of us know what they have gone through to get to this point in their carreer and I am just so. Proud of them. I went to one of their shows a few weeks back and man, do they put on a show. My friends and family literally told me they haven’t seen me smile like the photo I posted post-gig in years.

Each of the boys has his own qualities and talents and flaws and they all just complement each other so well, and I’m not at all surprised that they consider each other family. They make me want to be a better person.

9. Who are your ultimate bias wreckers? Kim Taehyung, the little bastard. And Lee Jaehwan. He was my first and I don’t think I could ever forget or drop his as a bias.

10. What do you wish for the most to happen? GOD if I could make all those ridiculous fan wars end and get more people to appreciate bts for who they are instead of the impression (a small portion of) their fans leave on outsiders, I would without hesitation.

Also, @big hit: Europe is a thing that exists for things other than holidays and photoshoots.

11. When did you get into kpop and how? June 27th, 2016. It was my friend’s birthday and I got them a VIXX LR album. Figured I should at least give it a listen and check what I got them, and it kind of spiralled from there? I had listened to kpop before because of them but it wasn’t until I saw VIXX’s Error and Voodoo Doll that I irrevocably got sucked in.

12. What made you decide to have a tumblr blog? A long, tiring saturday morning in 2011 when I was making a summary of my English History and Culture text book for my exam left me incredibly bored so I ended up here. I have been through loads of url and content changes but there’s a few people that have stuck by me and I appreciate that. (shout out to esp. @transaflanticism and @wbrly)

13. Favorite colour? Deep crimson. Maroon. The colour of freshly drawn blood.

14. Favorite animal? A fox.

15. What are your interests? Photography, books, travel, music?

16. Would you prefer movies or music? Music.

17. What would you like to achieve (or experience) before the age of 60? Happiness. Even if just for 5 minutes. Genuine, unfaltering, pure happiness.

tagging @the-princejinyoung, @jaxslauj, @katbeom.

#personal

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luluuu-blog · 4 years

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P.Jaisini-smiles-GIG-NYC2015

FOR IMMEDIATE RELEASE MANIFESTO GLEITZEIT 2015 BY STELLY RIESLING Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare. DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad. There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception. Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground. People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever. Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.) Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them. GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point. What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey. Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him. If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people – the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet. Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is. Paul Jaisini leads, we follow. He wishes to remain unknown – so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need. The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade? Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents. I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that. Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough – those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks… So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb – instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us. I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still. Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world… DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life. Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized. Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots. Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again…. Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all! To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH! FOR IMMEDIATE RELEASE MANIFESTO GLEITZEIT 2015 PROLOGUE Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell’s soup" used for commercial adds… and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters). When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world. And after 20 years of his stand-off…the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007. EPILOGUE Before I resume promoting and admiring a very important art persona on today’s international art arena, I’d like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it’s started suppressing some other activities that my friends might share with the rest of the Internet’s Ego Me only Me www society? I can’t just answer this… so I’ll try to explain why I’m writing this: Jaisini’s followers keep posting art and info about, He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture. Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933): "We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results – do what you feel, EXPRESS yourself with your own unique style" With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" – eccentric craftsmen – show business clowns. Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group… Based on a religious point of view;(where a human figure was prohibited from being created) GLOSSARY IN 1997, Paul Jaisini’s best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini’s burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," – said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do – our "cyber terrorism" of good art, dedicated to Paul Jaisini’s return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony…who churn out higher quality madness tools at lower cost. This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini’s Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales. Uber Aless @2015 NYC USA NOTE Date’s numbers and events can be slightly inaccurate. #gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

Posted by E_Y_K_G on 2015-03-28 04:43:10

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toogoodmusic · 6 years

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TOO GOOD TUESDAY INTERVIEW: EXES

Allie McDonald and Mike Derenzo of the indie-pop duo EXES are currently gearing up for the release of their second project Before You Go which is the follow up to their first project – an EP titled The Art of Saying Goodbye. In between the two have also released a slew of singles which is quite impressive when we learn that the two are bicoastal. And not bicoastal as in one of them is simply from the East coast and the other from the West but they actually live and create music together on separate coasts! While it may seem surprisingly (although maybe not nowadays considering technology) this separation clearly hasn’t hindered the quality of their music. Luckily, Allie and Mike took some time from their upcoming project Before You Go to answer some questions from Too Good Music. See below to find out what they say about being bicoastal, finding out that they were apart of Taylor Swift’s playlist of Songs Taylor Loves, if they’ve broken any bones and more.

TGM: What’s the story behind “Bones Break?”

MIKE: For this track, we collaborated with our drummer Peter Martin. Inspired by the constant movement of the snare drum in Dave Mathew’s “Crash Into Me” [after a viewing of Ladybird] we set out to make a contemporary version of songs we loved as teenagers. Taking in influences from Dave Matthews to Death Cab for Cutie, we tinkered away until we created "Bones Break”.

ALLIE: Lyrically, I wrote Bones Break following a difficult breakup. It was at my lowest moment that I remember thinking the heartbreak was so painful that I’d rather feel my bones break. And from there, we ran with it. It’s definitely one of our more honest and vulnerable songs, but it was important for me to tell the story.

TGM: Have you ever broken any bones? If so, what’s the story behind it?

ALLIE: I’ve always been clumsy, awkward, and tall (so naturally far away from the ground). I’ve broken some toes and fingers just by existing. The most embarrassing was when I broke my arm from literally running into my sister.

MIKE: I’ve never broken a bone! I got stitches for the first time last month and that was enough

TGM: What’s the creative process like for you two?

ALLIE: It’s honestly different every time. Sometimes I’m sending Mike voice memo ideas in the middle of the night. Sometimes he sends me tracks that I’ll write over. Usually Mike focuses on production and I focus on lyrics and melodies, but we aren’t afraid to share ideas. We’ve been doing this for a few years now, so it’s nice to have a process that works and that we’re comfortable with.

MIKE: I like to start the tracks with sounds that I know Allie and I both like. Once we have a grasp on what the song is going to be about I like to go back in and make sure the production matches the sentiment Allie has lyrically/melodically. I try to make sure all of the tracks are grounded in a organic space with room for contemporary flourishes and electronic touches.

TGM: What’re the benefits of being “bicoastal?” What’re the challenges? Is there a coast that you draw more inspiration from?

ALLIE: Every time we tell people we’re bicoastal, they give us a strange look. Yes, in theory, it should be difficult, but for us, it works. We’ve been working together for so long that we don’t need to be in the same room to create songs anymore- there’s a level of trust now. I’ll take writing trips and fly back to LA every once in a while, which is definitely helpful. Mike has a better mic than me so I suppose that’s a challenge hah. Since I moved to Brooklyn in March I am honestly overwhelmed with inspiration. It’s been an interesting transition, but it’s inspired so many new EXES songs. Stay tuned.

TGM: How do you guys work through creative differences you may have about a song?

ALLIE: Like any relationship, it’s important to compromise. We don’t always have the same opinions, but I view that as a strength and not a weakness. I think that’s what makes EXES our “baby”- 50% of it is Mike’s perspective and 50% of it is mine.

MIKE: We try to not be too precious about any particular idea and always be flexible to the others opinion. Luckily Allie is my favorite songwriter [LOL] so there haven’t been too many times we disagree!

TGM: How did it feel knowing you were included on Taylor Swift’s list of “Songs Taylor Loves?” Where were you when you found out?

MIKE: Allie always texts me when things pop up on our Twitter. This time was a particularly urgent flurry of texts. Lots of “OMGs”, exclamations points, and definitely some “aioefdsfsdajkf” excitement gibberish lol.

ALLIE: yes, I found out from twitter- we had fans tweeting to alert us. And yes, I definitely fangirled. I’ve been a fan of Taylor Swift for ages. It’s a cool feeling to be noticed by someone like that.

TGM: Opening for Børns and Ella Vos had to be pretty cool experiences. What was the best thing you learned from sharing a stage with them?

ALLIE: It was awesome opening for them. As a fan of both Børns and Ella Vos, I felt very lucky to share a stage with them. We learned a lot from Ella Vos as it was our first “mini” tour where we played LA and San Francisco. She’s so humble and sweet. Plus she has such a calm presence. It was honestly an unforgettable couple of shows.

TGM: If you guys were to form a super group titled “EXES and OHS” who would you like to join your band as the “OHS?” (aka which (2) artists or musicians would you like to form a super group with?)

MIKE: We work with producer Christoph Andersson and writer/singer Jesse Epstein a ton and they have a band called JOME [who we’ve collaborated w/ before]. Jesse and Allie’s voices sound wonderful together!!!

ALLIE: I grew up playing the violin, so I’d love to collaborate with an orchestra. I realize this isn’t 2 artists, but it still remains a dream of mine- Mike and I backed by a full orchestra. That would be insane.

TGM: Which song of yours was the first to rack up a million streams? What’s it feel like having a song of yours be streamed over a million times?

ALLIE: I think it was “twentythousand”? I remember thinking it was crazy when twentythousand had 20,000 streams. It’s still very surreal to think that over a million people have heard a song that two kids made in a garage in Venice Beach. I feel very lucky. It feels very much like a dream still.

TGM: I laughed seeing your tweet where you said that when you meet a group of new people, your favorite thing to do is play who would die first in a horror movie…so between you two, who would die first in a horror movie?

ALLIE: Don’t get mad, Mike, but I think it would be you hah. I’m very into horror movies, Halloween, and true crime. I have anxiety about getting murdered, so I always have an escape plan figured out at all times. I’m also the opposite of brave so I’d never go into an isolated cabin in the woods pretty much ever. I’d probably be the girl at the beginning of the movie who warns her friends, “I don’t have a good feeling about this” and ends up staying home.

TGM: I also laughed when I saw another tweet where you said an Uber driver asked you if he could take you out to Subway and that he might be the one. If someone were to propose to you with a ring inside a Subway sandwich – what would that ideal marriage-material sandwich have on it?

ALLIE: I’m a breakfast-for-all-3-meals-of-the-day kinda girl so I’d have to say: an everything bagel, crispy bacon, scrambled egg, and cream cheese. I know, very nutritious. I would for sure say yes.

TGM: Which music festival would be a dream to headline at?

ALLIE: I think for me it would be Outside Lands. I’ve been once before, and I remember having the best time. The weather is always beautiful and fall-like. And it’s in one of the best cities. We haven’t played a festival yet- it’s definitely on the bucket list. Cross your fingers for us!

TGM: What can fans expect from the upcoming album, Before You Go?

ALLIE: As we’re growing, our sound is also maturing. It feels like a great next step for us. We’re still creating music based on our real life struggles, heartbreaks, fears, and joys - but the sounds and the ideas are more unique and explorative. We weren’t afraid to try new things this time around.

MIKE: GUITAR! Lol. I made a point to try and have more organic instruments across the whole project. Allie and I both grew up loving indie music and whats indie music without guitars!! We also messed around with song structure in ways we never had before. The 2nd song and 2nd to last song mirror each other structurally and really help bring home the thematic narrative of the project.

TGM: Individually, if you could only listen to (5) artists for the rest of your life, who would they be?

ALLIE: ok, these might be a bit all over the place but: Frightened Rabbit, Regina Spektor, Phoebe Bridgers, Arctic Monkeys, and Dashboard Confessional (I’m an emo girl at heart)

MIKE: Death Cab for Cutie; Kanye West; Frank Ocean; Blink 182; Bon Iver

TGM: What does the rest of 2018 look like for you?

MIKE: Writing more music! We just had a great writing trip in July and have another planned for October! Trying to explore more avenues of what EXES can be.

A HUGE shout-out to EXES for taking the time to answer some questions from Too Good Music. Be sure to follow along with their journey through the links below and be on the look out for the upcoming release of Before You Go!

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lesterwilliams1 · 7 years

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78% off #How to Program Games: Tile Classics in JS for HTML5 Canvas – $10

Learn to code tile-based worlds and related core gameplay for genres like arcade, overhead racing, and puzzle adventure.

Intermediate Level, – Video: 4.5 hours Other: 9.5 hours, 149 lectures

Average rating 4.7/5 (4.7)

Course requirements:

Any plain text editor like Notepad will do, however one which supports features for programmers such as multiple file tabs, code highlighting, line numbers, and smart/auto-indentation can be handy for later phases as the code grows in length (Notepad++ is free for Windows, TextWrangler for Mac, or Sublime Text 2 which I use has a fully functional free trial for either) Any common web browser should work fine, although I use Google Chrome (free) so you may prefer that one just to see on your side exactly how it shows up in the videos To follow along the few steps for drawing art you’ll need a program that lets you draw and save images with transparency. I use a slightly older version of Photoshop, although free alternatives exist and the steps are similar. I also attach all art files that I create, so if you prefer to only focus on the coding steps you can download the images that I create in the videos.

Course description:

By taking this new course you’ll program several classic game types that all incorporate 2D tile-based worlds. You’ll code in JavaScript for HTML5 Canvas, so a text editor and ordinary web browser are all you need (an art program can be handy for a few sections but is not required). I’ve attached my code for each step so you’ll never be stuck. At the end you’ll learn even more ways to apply what you’ve learned. Also by completing the course you’ll get a PDF of my complete 500-page textbook on game development: Hands-On Intro to Game Programming. The book contains over 100 exercises, a couple of more game types, and additional material with more detail about the projects you created in this course.

(HTML5 Logo in the course image is by W3C, licensed under Creative Commons Attribution 3.0 Unported. Background pattern for transition cards CC BY-SA 3.0 Subtle Patterns © Atle Mo. drawn by Paul Phönixweiß.)

Full details Create, display, and play with a 2D tile world that supports optimized collision (a central concept for generations of games in a variety of genres!) Program games in JavaScript for HTML5 Canvas without using any external libraries or plug-ins Create, load, display, and rotate image graphics in games Break game code into multiple files to better manage large projects Define a class and use it to create multiple instances of gameplay objects in unique positions (note: only using the very basic first concept of object-oriented programming, it doesn’t dive deep into that rabbit hole) Handle mouse input for a one-player game, or keyboard controls for both one and two-player games Implement basic item pick-ups (keys) and trigger their usage upon collision (open doors) Develop and adapt gameplay for basic platformer movement, digital board/strategy games, simple matrix formations for retro arcade-style enemies, and worlds larger than the screen viewed by scrolling camera Apply simple trigonometry calls to move game objects at arbitrary angles Implement basic loading screen functionality in HTML5

Full details Anyone who wants to learn practical skills to program their own games at home People who may aleady be familiar with programming concepts but are new to applying that knowledge to making real-time computer games Creators who have only ever tried drag-and-drop tools but are interested in learning more about how to make games by programming for an deeper level of control over the details Developers interested in getting practice with a more traditional “code only” approach to core gameplay programming before moving on to major engines and tools (which are not covered in this course) like Unity or Unreal People looking for a technical game design foundation based in indie-style games or classic gameplay as a starting point New developers who completed the free course “Code Your First Game: Arcade Classic in JavaScript on Canvas” and are looking to furthr build upon their game development skills in JavaScript on HTML5 Canvas Please note that advanced topics like object-oriented programming are only very briefly touched upon – software engineering patterns are generally outside the scope of this course

Full details

Reviews:

“Great Instructor, he is very good at teaching and very knowledgeable. He is also very pleasant, I would give him at least a 6 LOL I would also highly recommend this course and any other courses he might teach.” (Carolynn Fryer)

“How the videos are chopped causes some disconnect with the previous video.” (Erik Remkus)

“Doesn’t waste time, gets to the point and keeps the content clear” (Humzah Merchant)

About Instructor:

Gamkedo Game Development Coach Chris DeLeon

My background in professional game development includes console (for EA: level design for Boom Blox, technical game design for Medal of Honor Airborne), gameplay and engine design for a Silicon Valley start up, top-ranked indie iPhone/iPad games, and prototyping for Will Wright’s Stupid Fun Club. I taught game development skills at Georgia Tech as a PhD student before I began teaching independently through Gamkedo LLC. Outside of professional applications I’ve developed over 90 freeware games, including serving as the engine and gameplay programmer for Vision by Proxy Second Edition which reached over 7 million players. Since then I’ve redirected my mission to helping more people begin their – your! – journey into making games.

Instructor Other Courses:

Code Your First Game: Arcade Classic in JavaScript on Canvas …………………………………………………………… Gamkedo Game Development Coach Chris DeLeon coupons Development course coupon Udemy Development course coupon Game Development course coupon Udemy Game Development course coupon How to Program Games: Tile Classics in JS for HTML5 Canvas How to Program Games: Tile Classics in JS for HTML5 Canvas course coupon How to Program Games: Tile Classics in JS for HTML5 Canvas coupon coupons

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from Udemy Cupón http://www.xpresslearn.com/udemy/coupon/78-off-how-to-program-games-tile-classics-in-js-for-html5-canvas-10/

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xpresslearn · 7 years

Text

78% off #How to Program Games: Tile Classics in JS for HTML5 Canvas – $10

Learn to code tile-based worlds and related core gameplay for genres like arcade, overhead racing, and puzzle adventure.

Intermediate Level, – Video: 4.5 hours Other: 9.5 hours, 149 lectures

Average rating 4.7/5 (4.7)

Course requirements:

Course description:

Full details

Reviews:

“How the videos are chopped causes some disconnect with the previous video.” (Erik Remkus)

“Doesn’t waste time, gets to the point and keeps the content clear” (Humzah Merchant)

About Instructor:

Gamkedo Game Development Coach Chris DeLeon

Instructor Other Courses:

The post 78% off #How to Program Games: Tile Classics in JS for HTML5 Canvas – $10 appeared first on Udemy Cupón.

from http://www.xpresslearn.com/udemy/coupon/78-off-how-to-program-games-tile-classics-in-js-for-html5-canvas-10/

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