Three Important Product Designs that have made a significant Impact on Society Presentation Report 'Communicating to the World'

Presentation Report


Leo Fender, having a passion for electronics and woodwork, began his career in 1938 by setting up a radio repair shop in Fullerton California. In a shed behind the shop fender produced his first electric guitar.
In the period of the 1930s experiments were conducted into increasing the sound level of the guitar by players and instrument makers. They attached magnetic pickups to Spanish hollow body guitars but that only resulted in feedback.
In 1947, Leo fender developed his first solid wood body electric guitar, where the sound came directly from the strings to the amplifier. This resulted in a strong sound without feedback owing to the fact there was no sound box to cause resonance.
Fender also continued to design and develop guitar pickups and amplifiers.
Hilary,McDermott (2002, p,101)


The transistor was developed and prototyped in 1948 by Bill Shockley, who was the team leader at Bell Telephone Laboratories, designated with the challenge to find a technological replacement for the valve.
Valves were principally amplifying vacuum tubes, which were unreliable and used too much power. They were used to amplify signals in audio and radio communications equipment.
Transistors however, are physically smaller, reliable and use a fraction of the power. The transistor relied on the development of the P N junction which involved doping a silicon wafer with antimony to provide an excess of electrons to create a 'n' type material and doping with germanium to create a defiency of electrons in the 'p' type material. When a voltage is applied across the PN junction electrons will flow from the 'n' type material to the 'p' type material and a current will flow.
When the silicon wafer is fabricated into an N P N material configuration, a transistor device is then created allowing electons to be controlled when the transistor is used in an electronic circuit.
The transistor may be used as an electronic switching device in a computer microprocessor system, or as an amplifier in either radio communications and audio applications. Antonelli (2005, p,197)


One of the first products that enabled people to listen to music in a personalised way and allow people to create their own space was the Sony Walkman. Invented in 1978 by the chairman of sony, Akio Morita, the Sony Walkman was a simplification of existing tape players which were used to listen to music in a social setting. The Walkman however was a personalised portable stereophonic cassette player with light -weight headphones, looked functional and colorful and soon became a fashion accessory for young people. The Sony Walkman name was chosen and aimed at a global consumer market. Indeed, the Sony Walkman sold in excess of 50 million units enabling the Walkman name to become a generic term that is testimony to the product's success. Hilary,McDermott (2002, p,129)


These three designs have in their own unique way not only made a significant impact on society but also influenced popular culture;
Fender with his development of the electric guitar, which enabled musicians to express their artistic abilities. The invention of the transistor which opened the pathway for development of electronic products such as the Sony Walkman, which then ultimately enabled the music created by the the electric guitar to be


'communicated to the World'.


References
Hilary, B. McDermott,C. 2002 : Classics of Design.
London. The Brown Reference Group


Antonelli,P. 2005. Humble Mastepieces: 100 Everyday Marvels of Design.
London. Thames and Hudson.




Powerpoint Presentation on CD ROM

Abstract Introduction Conclusion

Abstract
The film and animation industry has encompassed a broad range of animation techniques from traditional 2D cel, 2D/3D hybrids and CGI (computer generated imagery). 'CGI under review' explores the traditional techniques of 2D cel animation and compares how audiences view a collaborative style of 2D/3D CGI animation in relation to realism and believability. The increasing development of computers and software has enabled animation to be generated entirely by computer. Fundamental to whether CGI remains is audience reaction in terms of realism and believability. The question is “will traditional 2D cel animation techniques remain in the world of 3D CGI”

Introduction
In discussing the assignment question “ The effect of CGI (computer generated
imagery ) on the film and animation industry”; traditional techniques and the role of computers in animation needs to be explored.

The term CGI is a misnomer - the computer doesn't generate the images. That would be like calling traditional animation Pencil-Generated Imagery. No matter what the tool is, it requires an artist to create art.
Lasseter (cited in Mitchell, 2002)

The above statement would seem to suggest that computers are not used to generate CGI images; that animation relies principally on the traditional techniques of drawn animation and model/stop motion animation. This is partly correct but computers are used to develop animation characters through the use of computer generated wire frame models.
However, while CGI has played a role in live action films, the animation industry has seen a greater effect. Mitchell ( 2002 )“Thus, when the first ever Oscar for Best Animated Picture was awarded in 2002, it went, not to Disney, the studio that for sixty-five years has been synonymous with the cartoon feature film, but to a newcomer to animation, Dreamworks SKG, for Shrek (Adamson/Jenson, 2001). Disney themselves submitted Monsters Inc., a CGI cartoon produced by their partner Pixar, rather than their own traditional cartoon, Atlantis: The Lost Empire”.
While CGI is having a major impact on the animation industry, it is helpful to understand how traditional techniques have influenced the world of computer generated graphics.

Question
“Will traditional 2D cel animation techniques remain in the world of 3D CGI”



Conclusion
The conclusion drawn from the findings of the research methodology in answer to the initial question “Will traditional 2D cel animation techniques remain in the world of 3D CGI” is based on two key areas;

The increase in computing power and software innovations.

How the audience views the animation in terms of realism and believability.

Traditional 2D animation declined because advancement in computing power and software innovations enabled animated productions to be realised in shorter timescales owing to the fact that traditional 2D animation is a lengthy process.
When 2D/3D CGI hybrid techniques were merged animation audiences viewed this style of animation with increased realism and believability where human emotion was portrayed by human animated characters. However, with the increase in computing power and software innovations, any animated character would be realistic and believable when embedded with the characteristics of human emotion. This is achieved by the use of software that enables emotion to be portrayed through facial expressions and body language including the movements of fur, clothing and other materials.

Findings from Research Methodology

In consideration of the question “Will traditional 2D cel animation techniques remain in the world of 3D CGI” it is helpful to overview the process of traditional 2D cel animation techniques.
Taylor (1996, p52 ) describes the cel as “ a thin , transparent acetate, is an unresponsive substance on which to draw, but it is essential to drawn animation as a means of avoiding unnecessary labour”. ” to avoid the tedious labour of redrawing the entire scene for every movement drawing a single background could be used with all the movement drawings of a scene”. Appendix A
Animations begin with the initial line drawing of the character provided by the original animator and this provides the keyframe. The character(s) are then traced, from the original animators drawings, onto transparent acetate sheet(s) ,coloured and must be kept Laybourne (1998, p175) “in accurate alignment so that the projected image won't be jerky”. Appendix B
Taylor (1996, p53) describes the necessity to use a dope sheet to organise the layout of the frames as “without a dope sheet the cels, no matter how carefully numbered, would be a meaningless heap. On the dope sheet they are organised frame by frame in the correct relationship with each other to create the action as planned”. Appendix C
A camera mounted on a rostrum, outlined by Taylor (1996, p26) as “a film (or video) camera fixed on a stand which varies in complexity, giving movement to the camera and the table on which the drawings are laid”. The rostrum table also enables the background imagery to be moved, creating the illusion that the character is travelling across the screen. In reality, the character remains in the same position on the rostrum table. Appendix D
Computers are now used in many aspects of 2D animation and as outlined by Taylor(1996, p71) “these programs eliminate many of the production stages and assist greatly with others. Even where the original animation drawing is hand -done and scanned into the the computer's system , all manual tracing and colouring is eliminated”. Computer's have been used to combine 2D and CGI where Mitchell ( 2002 ) outlines that “as well as competing, CGI has also been used with cel animation in a co-operative manner”. He continues “films produced using this approach are sometimes called 2D/3D hybrids”. The table in appendix E details box office takings for traditional Disney 2D animated features since 1995 and clearly shows that at that time traditional 2D animation was in in decline.
However, the 2D/3D hybrid collaborative approach had won favour with audiences, who viewed that style of animation as being more realistic and believable especially with regard to animated human characters. However, as increased computing power and Mitchell ( 2002 ) “ software innovations have made it possible to generate and animate complex, photo-realistic scenes” 3D CGI has taken the lead. The table in appendix F details box office takings for Pixar 3D CGI animated features since 1995 and clearly shows that 3D CGI has set a precedent.
Instead of, in the case of 2D animation, actually having to draw a human character to make the animation realistic and believable, CGI enables human emotion to be displayed in any character. Indeed, Monsters Inc's success was Beck (2004, p334) “ largely a result of the level of realistic human emotion portrayed by the characters”. This was achieved by Pixar scientists developing a software tool called Fizt (physics tool) which allowed for Beck (2004, p334)

“realistic facial expressions and body language”. The Fizt software tool enabled the 'Sulley' character's 2,320,413 computer-animated hairs to be created and controlled, something which would not have been achievable using traditionally drawn 2D cel animation techniques.

Research Methodology

The initial stage of the research used a qualitative research methodology to analyse the use of traditional techniques in 2D cel animation. The information was obtained from the literature as detailed in the reference section of this report.
The qualitative information obtained details the use of traditional animation techniques, through the use of narrative and diagrams to show the stages of traditional 2D cel animation.
Further investigation was carried out into why computers are used to merge traditional 2D cel animation with CGI and how audiences view this collaborative style in relation to realism and believability.
Also explored is why increased computing power and software innovations have enabled CGI to take the lead and how audiences relate to animation created entirely by computer in relation to realism and believability.

Revised Literature Review

In consideration of the question “Will traditional 2D cel animation techniques remain in the world of 3D CGI” Mitchell ( 2002 ) outlines that “as well as competing, CGI has also been used with cel animation in a co-operative manner”. He continues “films produced using this approach are sometimes called 2D/3D hybrids”. The 2D element is embedded in traditional cel animation techniques where the 3D CGI aspect is computer generated to provide background or crowd scene imagery. This collaborative approach had won favour with audiences at one time, who viewed this style of animation as more realistic and believable especially with regard to animated human characters. However, as increased computing power and Mitchell ( 2002 ) “software innovations have made it possible to generate and animate complex, photo-realistic scenes” 3D CGI has taken the lead.
Mitchell (2002) “there has been a series of very successful 3D cartoons generated completely by computers, starting with Toy Story in 1995”. Indeed, Disney abandoned its traditional 2D cel animation in favour of CGI when Mitchell (2002) “ Disney themselves submitted Monsters Inc., a CGI cartoon produced by their partner Pixar, rather than their own traditional cartoon, Atlantis: The Lost Empire”.
Monsters Inc's success was Beck (2004) “largely a result of the level of realistic human emotion portrayed by the characters”. This was achieved by Pixar scientists developing a software tool called Fizt(physics tool) which allowed for Beck(2004) “realistic facial expressions and body language”. The Fizt software tool enabled the 'Sulley' character's 2,320,413 computer-animated hairs to be created and controlled, something which would not be achieved using traditionally drawn 2D cel animation techniques.

Literature Review

Literature Review

Traditional Animation Techniques
2D Animation
Cels
Keyframes
Inbetweens
Acetate sheet
Dope sheet
Rostrum table


In consideration of the hypothesis question “Will traditional 2D cel animation techniques remain in the world of 3D CGI” it is necessary to overview the process of traditional 2D cel animation techniques.

Taylor (1996, p52 ) describes the cel as “ a thin , transparent acetate, is an unresponsive substance on which to draw, but it is essential to drawn animation as a means of avoiding unnecessary labour. Early in the history of cartoon films ,various attempts were made to avoid the tedious labour of redrawing the entire scene for every movement drawing. With the advent of transparent celluloid (hence “cel”) the problem was solved. A single background could be used with all the movement drawings of a scene”. Appendix A

The use of backgrounds is further described as Taylor (1996, p46) outlines “the background is the element which is most like a conventional picture. Stylistically, the main consideration is to achieve a marriage of technique between background and character”.

Animations begin with the initial line drawing of the character provided by the original animator and this provides the keyframe. The subsequent frames would be draw by people known as “Inbetweeners” who would fill in the detail until the next keyframe. For example, a character that is walking would start from the keyframe were the foot is initially on the ground and 12 frames later the foot would again be replaced in a forward location on the ground. The “Inbetweeners” would fill in the movement detail between the two keyframes. Appendix B

The character(s) are then traced, from the original animators drawings, onto transparent acetate sheet(s) and must be kept Laybourne (1998, p175) “in accurate alignment so that the projected image won't be jerky”. This alignment is achieved through the use of a registration system by means of a peg bar. Acetate sheets have holes accurately punched in them that register with the peg bar, thereby keeping each drawn frame in positional relationship with the next frame. Appendix C

Production of the animation continues with the colouring of the animation character(s)and background using either acrylic paint or spirit based markers.
The acetate sheets or cels must then be placed into order, with the background at the bottom and the other scenes or characters placed above. Taylor (1996, p53) describes the necessity to use a dope sheet to organise the layout of the frames as “without a dope sheet the cels, no matter how carefully numbered, would be a meaningless heap. On the dope sheet they are organised frame by frame in the correct relationship with each other to create the action as planned”. Appendix D

A camera mounted on a rostrum, outlined by Taylor (1996, p26) as “a film (or video) camera fixed on a stand which varies in complexity, giving movement to the camera and the table on which the drawings are laid”.
The rostrum table also enables the background imagery to be moved, creating the illusion that the character is travelling across the screen. In reality, the character remains in the same position on the rostrum table. Appendix E

Computers in Animation
Using Computers for ~
2D Animation
Photoshop
Flash

Computers are now used in many aspects of 2D animation and as outlined by Taylor(1996, p71) “these programs eliminate many of the production stages and assist greatly with others. Even where the original animation drawing is hand -done and scanned into the the computer's system , all manual tracing and colouring is eliminated”.

The production of an animation begins with the initial pencil line drawing of the character(s), which are then scanned into the computer, where a typical software package such as photoshop is used.

Photoshop enables the character drawing to be placed initially on a transparent layer. Colour is then applied to the character and through the process of reducing/resizing, cutting and pasting, the selected parts of the image are placed on individual transparent layers. The parts of the character that are to be animated are then on their own separate transparent layers within one photoshop psd file.

The Flash software program enables the photoshop psd file to be imported into a library and this then contains all the 'asset' parts of the character animation.
These 'asset' parts then appear on individual timelines, where each part may be controlled in relation to time using keyframes to denote the starting position of the character and motion with the use of motion tweens. The positional order that characters appear on the stage may also be controlled by the relationship of the layers and this enables the characters to appear in front of a static or moving background image.

CGI versus Traditional Animation Techniques

The impact and relationship of 3D CGI / 2D cel animation hybrids
From a Research Report for the MA in History of Film and Visual Media, 2002. The future of the cartoon feature film. Available at :
http://www.zenonic.demon.co.uk/zenofilm.htm

outlines that “As well as competing, CGI has also been used with cel animation in a co-operative manner. In the late 1930s, Disney developed the 'multiplane' camera system, an elaborate animation stand that allowed several separated cel layers (foreground characters and background sets), to be moved independently frame by frame, giving a powerful illusion of three-dimensional space. An updated version of this technique uses CGI to replace the background layers”. Appendix F

“One advantage of this approach (which it shares with 3D CGI) is that it makes it simple to adjust the position of the camera and even move it during a shot. While the 'multiplane' system allowed the camera to perform tracking and zooming shots, it could not cope with a true pan because rotating a constant background image introduces unacceptable perspective distortion. CGI offers much more freedom because the background is redrawn in the proper perspective for each frame”.

“Films produced using this approach are sometimes called 2D/3D hybrids. In such films the foreground characters are handled in a conventional 2D manner (though often using computers to assist the animators to do tweening) but background scenery - buildings and trees for example as well as features such as crowds - are modelled using 3D CGI. This is becoming an increasingly popular way of producing 'traditional style' cartoons”.

“Those within the industry seem convinced that although 2D cel animation will survive, it will be largely in the form of hybrid 2D/3D cartoons. As well as reducing costs, using CGI for backgrounds allows for a more dynamic camera, matching the increased demand for thrills and excitement. In any case, the training offered to would-be animators these days is heavily biased in favour of CGI, so young artists with traditional 2D cel skills are becoming harder to find”.

Jonathan Ross, 'Interview with John Lasseter
“In about 2 years there will be a series of two to three computer animated films that will not do well at the box office and a hand-drawn film that is great and will rake it in. The headlines will be 'The Resurrection of Hand Drawn Animation. Computer Animation is Dead'. It is in the hands of the artist, and animation is a wonderful thing. I actually think it can do far more than we've ever seen. Both puppet, computer and hand-drawn will co-exist well. Basically what makes money is entertaining films. If it entertains, it fundamentally has the best chance of making money at the box office”.

CGI Under Review Mindmap