- Technology can be viewed through a materialist lens (as a physical tool that shapes society) or through a mentalist lens (as something that carries symbols and codes that shape human interaction and meaning).
- Create: give reality and substance
The image, the visual memory which being linked to that taste
food = emotional time machine
I have long believed that context actually does affect flavor.
Society and culture define how technology can be used.
What to create? : something you to communicate with other people in the world, sharing the emotions you feel when experience things through this artwork.
Game scene set up: Capture what is the most important and conveys the emotion!!
Make assets that have appealing shape; also, flexible for leaves changing into another species
Color Inspiration: Food/Snack packaging (get it, eat it, enjoy it)
Build intriguing spaces: reference old illustration, and film cinematography.
设计, 就是通过做东西的过程对人类的生活与存在的意义进行阐释的行为; 而艺术, 则是发现一种新的人类精神的行为. 设计和艺术都是对客体的某一操纵方式,它们采用塑造或表现等手段为我们的感觉器官所感知.
艺术说到底是个人意愿对社会的表达, 其起源带有非常个人的性质. 所以只有艺术家自己才知道其作品的来源. (这种玄虚使得艺术“很酷”).
而设计, 则基本上不是一种自我表达, 它源于社会. 设计的实质在于发现一个很多人都遇到的问题然后试着去解决的过程. 设计就是感染, 因为其过程所创造的启发, 是基于人类在普遍价值的精神上的共鸣.
设计方案: 清晰的想法, 展示出背后的理念与传统产品的明显区别.
设计思维和认知从一开始就是批判性的.
概念包含了沟通的种子, 通过一次交互将一剂沟通注入这一次体验. 当有一万次体验, 就能产生一万次友善的心情, 伴随着一丝好客之意. (一个简单友善的交流, 能够使人对整个空间地点充满好感)
设计出的物件, 激发人们的思考. 此设计引导我们思考人类与?(自然元素)之间的关系.
设计产品, 启动了对服装与人之间关系多样性的一种探索. 此产品完全消除了人对于某一行为的抵触心理.
设计连我们的心理忧虑都能妙手解决.
产品设计: 下功夫在微妙而难以察觉之处. 设计影响的是人的无意识领域, 所以使用他设计的东西人基本上意识不到其设计的作用.
设计的目的: 引导用户完成某些举动, (却又不让用户发觉其招数究竟是在哪里起的作用)
审视人们的潜意识行为, 并为之设计.
需求出现, 满足这一需求的物件出现, 物件就成为了一个有实际功能的物件. (全面, 客观地观察环境和情境的多样性及与之紧密联系的诸种行为, 便对“能供性”有所领会.)
包装产品设计中, 颜色的含义(不提供任何的建议, 在人们使用这一产品时, 逐渐意识到茶的颜色与环的颜色之间的关系): 设计的是可提供的潜在性
设计以一种动作为媒介与无意识达成沟通
设计目的: 在全社会启动一种价值感与洞察力, 将世界引向一种理性平衡. (世界现在急需一种能在每个层面上灵活处理事务的意识:经济的公平,资源的保护,环境的和谐,想法的互相尊重…) 从一开始, 设计的理念就一直与这种意识和理性紧密相连.
触觉展: 去思考我们如何以自己的感觉进行认知的态度 不是如何创造, 而是如何让某人感觉某物 人类的感官: 积极,主动的器官
目的: 设计撩拨人感觉的东西(什么形式都可以) 如果我们向物质性客体开放我们的感官, 那会不会让我们感觉到另一种真实呢?
《设计中的设计 Designing Design》原研哉 案例 (总结: 使用卫生纸管的材料灵活性, 满足了建筑的临时站点功能, 避免了资源滥用和环境污染的问题) 建筑材料灵活性, 可用简单, 廉价的设施来生产. 它们没用了, 还可以回收. 实现建筑实际所需又避免滥用资源的清晰愿景
“This is a Prototype?” Prototyping? Test the future. Design: Trying to the best of one’s abilities.
Prototype = Demo, quick and fast experience made *audience-dependent
Digital Bodies W5 Reading Response:
“Principles of Traditional Animation Applied to 3D Computer Animation”
traditional animation > 2D animation techniques > computer animation
Techniques:
- Storyboarding
- keyframe animation
3D models instead of 2D drawings.
Goal: animate a humanized figure or a life-like animal
The stretched position always shows the same form in a very extended condition.
Squash and stretch also defines the rigidity of the material making up an object. purpose: showing the flexibility of the flesh and muscle.
spend enough time prepare audience for: the anticipation of an action; the action itself.
The action must not be so fast that the audience cannot read it and understand the meaning of it.
Timing defines the weight of an object.
Anticipation: An action occurs in three parts:
- the preparation foe the action
- the action proper
- the termination of the action
Anticipation is to direct the attention of audience to the right part of the screen at the right moment.
Staging is the presentation of an idea so it is completely and unmistakably clear. 1. To stage an idea clearly, the audience’s eye must be led to exactly where it needs to be at the right moment, so that they will not miss the idea. 2. It is important, when staging an action, that only one idea be seen by the audience at a time.
If audience missed an action , a emotion would be missed, and the story would suffer. For detailed digital bodies animation: As the hip twists, the torso follows, then the shoulder, the arm, the wrist, and finally the fingers.
An action should never e brought to a complete stop before starting another action.
Before an action the audiences should know that what is the character’s purpose.
Exaggeration: The animator must go to the heart of anything or any idea and develop its essence, understand the reason for it, so that the audience will also understand it. (If a character sad, make him sadder, it he is bright, make hum shine; worried, make him fret; wild, make him frantic.)
A scene had many components to it; the design, the shape of the objects, the action, the emotion, the color, the sound. If one object is exaggerated, all the other should be like this; otherwise, it will stick out and seem unrealistic.
The facial expression of a character will sometimes be a secondary action. When the main idea of an action is being told in the movement of the body. The facial expression become subordinate to the main idea.
Appeal: It means anything that a person likes to see: a quality of charm, pleasing design, simplicity, communication, or magnetism. Your eye is drawn to the figure or object that has appeal, and , once there, it is held while you appreciate the object. Where the live action actor has charisma, the animated character has appeal.
Personality: the actions bring a character to life. It is critical to have the personality of a character clearly in mind at the outset, so that it makes sense to ask at any moment, “What mood is the character in. How would he do this action?”
Conclusion: the first goal of the animator is to entertain. The animator must have two things: a clear concept of exactly what will entertain the audience; and the tools and skills to put those ideas across clearly and unambiguously.
UE 5.5 Feb 19 Note
Window > World settings> ? GameMode Override ? default pawn class: VR Pawn
Pawn > Auto Possess Player > Player 0
Input > Auto Receive Input: player 0
Project settings > Maps setting
spot light > attenuation 300 > set trigger volumn > add on actor begin overlap > set intensity add on actor end overlap > set intensity
volumn > > collision preset > custom > Projectile
Important Element: Fluid Environment(Water, 小溪, 河流), Wind, Niagara Effect(蝴蝶, 萤火虫, birds)(add in sense of surreal), add animation(animate animals)(add in movement, life)