#scotttutorials

[emmajwade]

Scotts AE Tutorials- Frame Repeat

The code for repeating the final four frames of colour and motion. Screenshots for future reference as I found this hard to understand at first.

[emmajwade]

Scott’s Film Session

Frame Rate - Amount of frames taken per second, double the frame rate for slow motion (supporting what I found in my research in more depth)

Shutter Speed - How to avoid motion blur. 

[emmajwade]

StoryBoard Workshop with Tony Chance

This workshop was a good insight into how storyboarding for this new brief could go. We were also taught some rules of film and different shots we could possibly use. Altogether I thought this was very useful and interesting to see how talented Tony is.

[emmajwade]

Premier Pro Basics Tutorial.

In this tutorial we learn the basics of editing within Premier Pro. This being because all the previous workshops have been on AE. I found this interesting as some of this cant actually be done through ae so it’ll be useful.

[emmajwade]

Image Making Workshop.

This workshop we experimented with different ways of creating imagery. The purpose of this was to push people into using different medias than they’re used to and think outside the box. 

Workshops we did: 

Collaging

Photo Manipulation

Scanning Manipulation 

Photography & 3D

Abstract Painting

Drawing 

[emmajwade]

BookBinding Workshop

Within this workshop I learnt some different ways to bind a book. I found this incredibly informative for our two week project as it gave us a few options between whats the best way to produce our gallery book. 

New ways we learnt how to bind:

Perfect Bind 

Stitch Bind

[emmajwade]

Ideas Generation WorkShop - George Beverley.

Although I was absent for this workshop I am going to recap through classmate’s posts of the workshop and George’s powerpoint and note what I’ve learnt to catch up.

What I can see this entire workshop was about is thinking outside the box. This means that everything you think of - change it. Choose something out of the ordinary; Literally “turn it on its head”. A lot of people seemed to struggle thinking of things they wouldn't usually think of. This is vital to good design or else each topic would sound like a broken record. Using this technique you can imprint a memorable ad into your audience’s memory. This is something I considered during my process of choosing how to tackle this project. 

[emmajwade]

Acrylic Letterpress

Due to being ill I wasn’t able to attend the full workshop for the letterpress. However, I did do some research to catch up on the technical side of the process to go along with my prints.

Preparation: Makeready and Printing Sequence

Makeready is the process of eliminating inequalities in the forme: this is important so that the whole forme prints with even pressure and so produces the best result. It’s an important step in all letterpress printing, but becomes crucial when using halftones and even more so when working in colour. As a general principle the least possible impression should be used and the thinnest film of ink delivered to the plate for printing. To achieve this you should use an interlay— a series of thin paper sheets between the plate itself and the mounting. Use interlay for heavy areas but make sure that this does not bring any light areas so high that they will print. To avoid the plate moving around during printing it should be tacked in place with the pins facing towards the centre of the plate. Looking at the lockup, avoid using wooden furniture (which can warp and bend) and lock the block using two quoins on each side (eight in total). This will allow for minute adjustments to be made to the position of the block without unlocking the whole forme.

Materials

The very best papers and ink should be used. Paper should be kept in the press room for a period before printing so that the paper is unlikely to stretch during the printing process which would distort the subsequent colours. Paper should be trimmed on two edges to the finished size so that register is accurate for each sheet. On inks, it is wise to take the manufacturer’s advice based on the paper and screen used. No driers should be used because this would reduce the ability of subsequent layers of ink to ‘stick’ to lower layers. The machine and inks should be fairly warm (closer to the room temperature) so that it does not cause pick— the tack of the ink pulling the surface of the paper away.

Printing

The traditional sequence for printing in colour was: yellow, red, blue and black. Experiments were conducted in the 1950s to work on a better sequence and it was found that the best approach was: black, red, blue and yellow. The reasons were: (i) the first colour is darker and so can show that the position of the block is correct, (ii) red shows better that the film of ink is of the correct thickness, and (iii) the key colours are printed earlier. Progressive proofs should be examined under daylight, rather than fluorescent or other artificial light. Rollers need to be of the best quality. Finally the different colours should be printed in quick succession so that subsequent colours can ‘take’ on top of the colours underneath. A gap of three hours is probably a good guide. Longer gaps may lead to crystallisation where the vehicle or varnish of the ink is absorbed to the paper, but the pigment remains on the surface of the paper and can be rubbed off.

Source: http://britishletterpress.co.uk/letterpress-guides/printing/full-colour-letterpress-printing/