Description From an article in Scientific American, February 1994 by W.J. Mitchell: ‘Computer based image processing technologies are now sophisticated enough to be able to cast into doubt much of the photographic ‘evidence’ published in newspapers and the other media. ‘Unlike drawings and paintings, which we regard as inherently trustworthy products of human intent, digital images can be manipulated easily in order to trick us into false beliefs’ (Mitchell, 1994, p. 45). The aim of this assessment is to produce a meaningful composited digital photographic image that places you into a scene. The scene should create or suggest a meaning that can be created from a reading of the elements and their relationship within the scene. You need to construct a ‘realistic’ photograph composed from at least 3 sources. (See specifics below) The image should create a complex meaning, and be constructed in such a way as to demonstrate your awareness and understanding of formal photographic principles and semiotic photographic codes as introduced during the theoretical lecture component of the unit. Process
· Using an image scanner, acquire a digital version of one photograph of a figure from history or contemporary society. Demonstrate an awareness of resolution, de-screening etc. · Using a digital camera or a scanner acquire one photograph of yourself. Be sure to consider your pose, the lighting conditions you will be composited into etc. when creating this image. · Create or acquire at least one other image for a background, and any other image elements you wish to include in your composition. For reasons of resolution and quality, we do not recommend using images sourced from the Internet. · Using Adobe Photoshop, merge the separate images in such a way as to provide a convincing, realistic composite image placing you in a scene with the other figure/s. (See the notes below for issues to consider when attempting to create a realistic composite image.) · Demonstrate your level of Photoshop skills through appropriate and effective use of selection, layout, image correction and many of the other techniques you have been exposed to over that last few weeks. As a minimum, you should demonstrate: 1. Complex and accurate selections, including at least 1 Layer mask to create a non-destructive selection. 2. Use of multiple layers, correctly named, organised, etc. 3. Appropriate and effective image correction using levels adjustment, colour-balance adjustment, sharpening, de-speckle, etc. where appropriate. Try to avoid “over-correcting” your image. 4. Ability to crop and re-size the image without distorting the proportions of your image elements. · Demonstrate an awareness of the effect lighting and matching/correcting the lighting between elements will have in constructing a realistic composite image. The assessment of this final image will be based upon the complexity of the images to be merged and the final outcome (i.e. how difficult it was to carry out) and how convincing/compelling the final image appears as a realist piece of photography, and the complexity of the intended meaning and theoretical understanding. Submission requirements: 1. A 500-1000 word analysis of your composite image addressing the following elements: · Your critical intentions with regard to your selection of content. What meaning/s were you trying to communicate to the viewers with your image?; and
· the formal photographic principles (London & Upton) and semiotic codes (Barthes) that you have used in the construction of the image. Refer specifically to photographic principles like pose, address, connotation, etc. in your discussion. This section represents how you have attempted to convey your intended meaning to the audience through the image, and demonstrates your understanding of the visual communication techniques you were using to attempt to convey your message with the image. Your explanation needs to be printed out and double-spaced. Also include a correctly formatted reference list outlining your sources both visual and textual. ECU requires references using APA 5 format. Refer to the ECU referencing guide available online @ https://www.ecu.edu.au/ or https://www.apastyle.com/ 2. Your composite digital image in Photoshop format (.PSD) with the following technical specification: 1000 x 700 pixels @ 72 DPI at a colour depth of 24 bits. Your final image must be in colour and must remain in layers. i.e. do not flatten the image. 3. Your submission must be made on a CD-ROM. Please name your files logically with your name and unit code, eg. J_Smith_Assign01_imm1121.psd Also include all your original images (logically named) in an un-manipulated state on the same disk in a separate folder. Notes: · No other work is to be submitted on the CD-ROM. · Make two back-up copies of your assignment and store them separately. · Ensure that you put your tutor’s name and tutorial day and time on the assignment submission envelope (NOT the lecturer’s name, otherwise delays in marking your assignment may occur.). Remember that SCAM assignment submission envelopes are available from your tutor. Notes on compositing: Consider these issues in realistic compositing of images: · The initial planning of your construction is important. You need to select images that can work together, and give some thought to the arrangement of elements to create meaning. For example, no amount of work in Photoshop will be able to successfully composite images with conflicting lighting direction. · The sizing of elements in the composition needs to reflect realistic perspective between each other, and in relation with the background. · Images sourced from the Internet are usually too low resolution to be useful for your assignment. There may also be issues with compression and image quality. · Create realistic shadows to tie objects together – including analysis of the lighting conditions and direction of the individual pieces. (The drop-shadow layer effect is rarely suitable for this task!) · Watch out for the “halo” effect on image objects where some pixels from the old background have not been removed. Use layer masks to hide rather than delete backgrounds. It is more flexible if you need to edit later. · Correcting the various elements until 1) they match each other, and 2) they look realistic. · Manipulating the sharpness, contrast and other features of the individual elements until there is a consistent, overall standard.
Assessment 02 2008/semester 3 Assessment 2 – On-line Advertisement [40%] Due Date: Week 12 (Friday) By 4pm to the PIBT assignment box Description Your task will be to design and create a 30-second visual advertising sequence. . This sequence should be an advertisement or promotional piece that creates a meaning, mood or style. Your design should incorporate the combined use of images, audio, graphics, typography and motion/animation. The design of your assignment should make explicit use of the theoretical concepts of visual communication, graphic design, typography, colour, etc to create the meaning, style or mood that gives your advertisement impact. Outline your understanding of these concepts and explain your use of them in your design in a short (500-700 word) design and analysis document. Layout and create your advertisement design using Macromedia Flash CS3. The assessment of this assignment will be based upon your demonstrated understanding of the theoretical principles involved, the quality of layout and construction of your sequence in the Flash environment, the complexity of the design, and the overall effectiveness of the final outcome.
Process/Production Use Macromedia Flash CS3 to create the animated sequence you have designed. Your product should have the following minimum technical requirements. · Your product should be created and delivered 600 pixels wide x 400 pixels high. · Demonstrate an awareness of technical issues (like image resolution, scaling, pixelisation etc.) when creating/using bitmap graphic elements for on-line delivery. Create or manipulate at least 4 of the visual elements used in your animation using Photoshop. Bitmap elements should be at an appropriate image resolution and colour resolution for on-screen use. · Demonstrate the appropriate use of layers on the Flash timeline. Name and arrange all timeline layers logically. · Your animation must include at least 1 path-based animation using a guide layer. · Use the blend or transparency options to animate the opacity of at least one object. (Fade in or out). · Files on the submission CD are to be clearly named, using the correct extensions for all media types, and organised logically into folders. No other work is to be submitted on the CD-ROM.
Design and analysis A 500-700 word design and analysis document outlining and explaining the theoretical concepts you intend to use in your sequence. It should address the following: · Your critical intentions with regard to your design. Explain your choices regarding the selection/arrangement and sequencing of content. What meaning, mood or style were you trying to communicate to the viewers with your sequence? How did you intend to achieve it in practical terms? ; and
· Clearly identify the specific theoretical principles that you intend to use in the design of the sequence. Make specific references to the principles of visual communication, visual images, sequences, graphic design, colour and typography. Give specific examples of where you will use these theoretical principles in your design, and the effect you intended to achieve. Refer to the unit readings and lecture content where applicable. · A reference list, expressed in the correct ECU-required format (APA 5th). Please see the ECU reference guide (located at www.ecu.edu.au/library/pdf/refguide.pdf) for the correct format for print and on-line referencing layout. Remember to also reference the sources of any and all media (images, audio etc.) used in your animation that you didn’t create. The design and analysis portion of this assignment is a major component of the assessment. It is intended to demonstrate your depth of understanding of the theoretical concepts covered by the lectures of this unit and highlight what practical use of these concepts you have made when designing your animated sequence. This is a theoretical design discussion – please do not include any description of the process of production of your sequence on Macromedia Flash.
Submission requirements: Your completed assignment should consist of: · A printed copy of the design and analysis of your sequence: · A CD-ROM containing the following files: · Your Macromedia Flash MX 2004 document (.fla file) showing the timeline and layout of your animation/sequence. · A folder containing the raw media elements (graphics, audio, etc) used to create your sequence. · A folder containing a published version of your animated sequence (.swf file)
Notes: · Make back-up copies of your assignment and store them securely. · Ensure that you put your Tutor’s name and tutorial day and time on the assignment submission envelope (NOT the lecturer’s name, otherwise delays in marking your assignment may occur and marks will be deducted for improper submission.) · SCAM assignment submission envelopes are available from your tutor. · It is often wise to include a contact phone number or e-mail so your tutor can contact you easily if there is a problem with your assignment submission.
Additional resources: Eyeball design: https://www.eyeball-design.com/fxzone/index01.htm A great site with tutorials and tips for Photoshop users about building interface elements for on-screen use. The site also makes use of Flash in its interface. This will give you some idea of what Flash can do. FlashKit: https://www.flashkit.com/ FlashKit is a media resource for sound and fonts. It also has good beginner and advanced tutorials for Flash. That might prove useful. Macromedia: https://www.macromedia.com/ Home of Flash. Macromedia’s website provides a lot of resources, tips and tutorials
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