This tutorial by Mr H will show you how to animate a simple 2D line drawing figure. I this case it is an animated iPod shaped character which will perform a simple short dance. The tutorial is a little short of 30 minutes long. You should watch the start of the tutorial and then pause the video to give you an opportunity to complete the steps completed on the tutorial. It may take you about 1 hour to complete a short animation such as this one as long as you stay focused and follow the steps presented.
For those of you who are more confident with Adobe Animate, you may be able to add additional elements to the short animation such as colour or a simple background layer.
Be sure to save your work as you go along and when complete.
More advanced tutorial
How to use layers inside a symbol in order to create a very basic animated character.
Professor Michael Steffen
The architect of Sydney Opera House, Jørn Utzon was a relatively unknown 38 year old Dane until January 29, 1957 when his entry, was announced winner of the ‘International competition for a national opera house at Bennelong Point, Sydney’. With his vision the City of Sydney was to become an international city.
Jørn Utzon was born on April 9, 1918 in Copenhagen. His father was a naval architect and engineer and director of the local shipyard. A keen sailor, Utzon originally intended to follow his father as a naval engineer, but opted to study Architecture at the Copenhagen Royal Academy of Arts. On graduating in 1942, he worked in Sweden until the end of World War II.
In 1956 the New South Wales Premier, Joe Cahill, announced an international competition for the design of an opera house for Sydney. The competition attracted more than 200 entries from around the world. After having won a number of smaller architectural competitions, Utzon submitted his vision for the Sydney Opera House to the New South Wales Government.
Utzon’s competition entry was a schematic design, clearly explaining the concept for the building. The sketches and “geometrically undefined” curves of course needed to be developed for the building to be built. This is quite normal for competition projects. Utzon himself was sure it could be built and in the pioneering spirit present in Sydney at the time, construction went ahead.
It was Utzon’s life and travels that had shaped his ideas for the Sydney Opera House. Though he had never visited the site, he used his maritime background to study naval charts of Sydney harbour. His early exposure to shipbuilding provided the inspiration for the Sydney Opera House ‘sails’ and would also help him solve the challenges of their construction.
Construction of the podium began on 2 March 1959 with a ground breaking ceremony presided over by NSW Premier Joe Cahill. Over several years Utzon gradually made changes from his original concept designs in order to develop a way to construct the large shells that cover the two halls. After extensive testing, a design based on the complex sections of a sphere was produced.
From 1964 the pre-cast rib vaults of the shells began to be erected on the completed podium. The construction of the roof brought together some of the world’s best construction engineers and craftsmen for this complex stage of the project, devising new and innovative techniques to find the goal of architectural perfection. Although Utzon had spectacular plans for the interior of the completed shells he was unable to realise this part of his design.
When Sydney Opera House was opened by Queen Elizabeth II on October 20, 1973, Utzon was awarded the Gold Medal of the Royal Institute of Architects Australia but was not present at the opening ceremony.
In 1999 the NSW Government and Sydney Opera House Trust were delighted to be able to reunite the man and his masterpiece.
Utzon said in 2002,
“My job is to articulate the overall vision and detailed design principles for the site, and for the form of the building and its interior. I like to think the Sydney Opera House is like a musical instrument, and like any fine instrument, it needs a little maintenance and fine tuning, from time to time, if it is to keep on performing at the highest level.”
In 2003, the same year the Opera House celebrated its 30th birthday, Jørn Utzon was awarded the Pritzker Prize for Architecture, the highest award in its field. A year later on 16 September 2004, the NSW Premier Bob Carr officially opened the newly refurbished Reception Hall, renamed the Utzon Room. Utzon said it was the greatest honour he could ever receive. “It gives me the greatest pleasure and satisfaction. I don’t think you can give me more joy as the architect.
In March 2006, at a ceremony, The Queen formally recognise the building’s visionary architect, Jørn Utzon. Jan Utzon represented his father, said his father
“lives and breathes the Opera House, and as its creator he just has to close his eyes to see it.”
Utzon’s work included collaborating on the Accessibility and Western Foyers Project, completed in 2009, which has greatly improved accessibility for visitors to Sydney Opera House. He also created concept designs for a more extreme interior renewal project, which principally aims to alleviate some of the current constraints in staging and performance in the Opera Theatre.
Jørn Utzon died peacefully in his sleep in Copenhagen on 29 November 2008 aged 90. His legacy lives on through the World Heritage listed Sydney Opera House and his Design Principles as a permanent record of his vision for the place, as well as the many other magnificent structures he designed around the world.
Adapted from www.sydneyoperahouse.com/about/the_architect.aspx
Cinematographers usually refer to six basic shots. They are defined by the distance of the object from the camera and therefore how much of the object is in the frame.
Extreme long shot or establishing shot – This shot still contains a fair amount of landscape and helps to establish the location and likely atmosphere of that part of the film. It is very often used at the beginning of the film. For example, a view of the Australian landscape or Sydney Harbour.
Long shot – This shot still contains a fair amount of landscape or background though figures in the scene are recognisable as being human and male or female.
Full shot – This shot contains much less landscape or background but it does contain the whole height of any figure in the frame. If there are two figures in the frame it is called a two-shot, if there are three, a three shot.
Medium shot (mid-shot) – In a medium shot there is less background and figures in the frame are only seen from waist up. This too can be called a two-shot, three-shot etc depending on the number of figures.
Close up shot – A close up contains almost no background but focuses on the whole of an object or a person’s face
Extreme close up – An extreme close up focuses on an aspect of an object in great detail or a person’s face. For example, part of the design of a chair, the headline in a magazine or someones eye.
Fraud is a criminal offense in most countries, however, due to the nature of the internet, internet fraud seldom results in prosecution. Fraud is deception which has the intention of causing another person to lose money. Often this loss is very large. Prior to the emergence of the internet, fraudulant activity across international boundaries had the disadvantage of costing the fraudster time and money in printing, addressing and mailing letters. In recent times, the most common form of fraud is through the internet as it is quick, relatively free to communicate and difficult to stop.
Some common examples of Internet fraud include:-
This is where someone pretends to be someone else and typically opens bank accounts, obtains loans in the false name or withdraws money from the persons bank account. This is typically completed by fooling someone into providing personal information such as date of birth, full name and address and other information that only the victim knows. They use this information to convince organisations that they are that person. Because online trading isn’t face-to-face, it’s easy for someone to hide behind a stolen identity and make fraudulent purchases or requests.
Phishing is the practice of sending emails pretending to be from reputable companies in order to trick individuals into revealing personal information, such as passwords and credit card numbers, online. Any email or website that requests private information such as credit card numbers, account numbers or passwords may be an attempt at ‘phishing’. Any information you send to a phisher may be used unlawfully. Even if the request looks genuine, it is still sensible to make independent checks on its validity. For example, if you receive an email from a bank or a website such as Paypal asking to confirm an account number, you should not click any links in the email, but instead either Ring the bank to confirm the request or type the address in your web browser. and don’t use any phone numbers included in the email – they could be fake.
Some email messages try to convince the receiver that they have won a large amount of money in a lottery, have been selected to assist in transferring a large amount of money out of an often third world country or to purchase goods at a discounted price. Users then enter credit card or bank details which are then used to make purchases or withdrawals. One of the most well known scams of this type was the “Nigerian letter scam” in which letters originating from Nigeria, offered people a share in a large amount of money in return for a bank account to transfer the money into. According to the message, this money was left unclaimed in the bank account of a person who died in a plane crash, through illness or during conflict of one kind or another. This sum of money does not exist. Recipients who initiate a dialogue with the scammer by replying to this message eventually were asked for advance fees required to allow the deal to proceed. They may also become the victims of identity theft. Example of A Nigerian Scam letter.
View the following video on internet fraud
Internet dating sites have changes the way people form relationships. They provide an opportunity to present a particular version of themselves which may be somewhat close to reality or not at all. Profiles may present someone who has many aspects in common within a profile, however, during a face to face meeting, occurs, they may find that they have very little or no attraction at all.
Communication from people with an opinion on a topic can often appear to be from a legitimate professional in the field, but could be simply an amateur with very little real knowledge of the topic. The non face to face world of the internet can make these peoples views appear to be as forceful and legitimate as professional. This scenario does not happen in a face to face meeting.
Misinterpreting of text messages via email is common and easy to do. A written message does not provide feedback such as body language, tone of voice or volume.
Communicating with someone with a disability on the internet is often much easier than in a face to face setting. For example, many people have difficulty communicating with a person with hearing loss. By communicating over the internet, it may not even be apparent that the other person has this loss of hearing.
This page covers the H.S.C Design and Technology outcome H2.2
H2.2 Evaluates the impact of design and innovation on society and the environment.
Ethics is defined as doing the right thing. This is based on an individuals personal values, customs, life experiences and beliefs.
Environmental groups and environmental advocates
Humanipulation refers to the process of taking images of living or deceased people and manipulating them using digital techniques. With recent advances made in the area of computer animation a whole new world of special effects for the entertainment industry is available to film makers. Dead presidents shake hands with living actors, dead actors come back to life to complete performances, and digital renditions of living and dead celebrities are given lives of their own inside the computer. We are now able to re-creating actors who have retired or died, and giving them starring roles in new movies. This has most recently been seen in the latest Star Wars film Rogue One – A Star Wars story. Peter Cushing, the actor playing the role of Grand Moff Tarkin or Governor Tarkin in the original trilogy in 1977, was brought back, (despite having died in 1994) to play a major role in the film. Whilst the digital effects were not perfect, soon, an audience will not be able to tell the difference. In the movie “Forest Gump” a dead president shook hands with a living actor. The new technology has resulted in some actors taking steps to restrict the use of their likeness after their death. Robin Williams restricted the use of his image for instance after his death for 25 years.
View the following video clip (originally shown on ABC News) which looks at how the digital recreation of a number of actors was completed in Rogue One – A star Wars Story
At an Australian Effects and Animation Festival, a discussion was conducted with professional animators to decide if this practice was ethical.
If an actor had never given permission for their image to be used in this way, then it infringes their copyright and privacy
The cost and effort involved is not worth it
The manipulated performance may not be true to the actor’s real character or beliefs.
There is an attraction in being able to continue to enjoy the actors we love in new roles
Money can be made from even the briefest of advertisements
There is an artistic and technical satisfaction in being able to achieve it.
Marc Newson is a Sydney-born designer and is one of the most accomplished and innovative designers of recent times having being named by Time magazine in 2005 as one of the 100 most influential people in the world. Born in Sydney in 1963, Newson spent alot of his childhood traveling in Europe and Asia. He started experimenting with furniture design as a student and, after graduation, was awarded a grant from the Australian Crafts Council. Newson was able to staged his first exhibition with the grant which featured the Lockheed Lounge. One of his three Lockheed Lounge chairs (Pictured) sold for $968,000 at Sotheby’s in 2006. He has designed chairs, watches, boats, cutlery, footwear, clothing, luggage and sunglasses amongst others. His work has become amongst the highest selling in auctions. Newson’s distinctive and curvilinear designs have attracted an international following.
In September 2014 he was hired to work in the creative heart of Apple under the company’s design guru and friend Jony Ive. In an interview with magazine Vanity Fair, Ive said “Marc is without question one of the most influential designers of this generation. He is extraordinarily talented. We are particularly excited to formalise our collaboration as we enjoy working together so much and have found our partnership so effective.”
Marc Newson graduated from the Sydney College of the Arts in the mid 1980s, then created innovative designs for the Japanese company Idèe. He later worked in Paris, Milan and London, and has been based in London since 1997.
A talented and versatile designer, Newson has been described as futuristic, sexy, witty and original. He crosses the boundaries between architecture, industrial design, product design and graphic design. He has designed everything from furniture to coat hangers, from building interiors to an airline, and from a bicycle to car!
Further reading available
Many new designs are derived from a need or opportunity. Designers explore a range of needs and opportunities in order to create a way forward. This could be based on personal needs, personal interests, personal experiences and inspirations or it could come from a problem encountered that needs to be solved through invention of something new or innovation of a pre existing solution.
A need may not only come from the individual however. Often a design comes from a need described by a second party. (A client). This section of your folio is one of the most important steps in the design process and will set the scene and tone of your folio and project. It will be where you describe your MDP and it will be a starting point for what research you will need to complete.
In this section of your portfolio, you are required to describe a real need or opportunity that you wish to solve. This is often completed in part in the form of a Design Situation.
A design situation is used to provide an overview to the examiners as to why you are completing this project. Generally, a design situation will not be a lengthy document. It could be as short as a couple of paragraphs as long as you can clearly describe the situation. Below is an example of a possible design situation.
People working as hairdressers use a variety of tools specific to their trade. Tools such as scissors are very expensive and can be irreparably damages if dropped or knocked of a bench. It is common for Hairdressers to use a small trolly with draws to store the equipment needed. The trollies that are currently available very generic. They are black with plastic, open removable draws.
“Express Hair and Beauty” is a small boutique salon with timber counters and fittings. The owner Melissa, would like furniture to match this look however is unable to purchase a tool trolley to which will fit the tools she often uses which as specific to her industry. She also would like a trolley which match the styling of the salon.
In the first paragraph of this design situation a brief description is provided of specific needs that people working in the Hairdressing industry have. Once this is established, the second paragraph goes on to identify a specific problem that a salon owner has relating to the situation described. In this situation, the salon owner would be the client. If a student was to take on this design problem, the client would be an important part of the design process as Melissa has knowledge about specific needs and difficulties she has.
At this point, you will need to re-enforce your stated need. Provide preliminary research which further explains the need and highlights to the examiners why this is a problem that needs to be solved. You should provide primary and secondary research highlighting the issues. These could be in the form of interviews, photographs or statistics obtained from surveys or government statistics. Always document the source of your images, surveys or statistics.
If we take the example of the Salon owner, an example of primary research would be discussions you have had with the owner. You may also be able to back this up by speaking to other people in the same industry to determine if this particular problem is specific only to your client or industry wide.
Secondary research could include photographs found in magazines, newspapers, through internet searches or taken by yourself. These images would be annotated to highlight how the available products don’t meet your need.