![]() ![]() We started with the need to build critical mass around the subjects we research and teach in our educational institution - graphic design, illustration and animation in graduate and postgraduate programs - and today, we are proud to present another edition of CONFIA. Our teamwork and above all our passion are ever present in CONFIA’s areas of focus: illustration and animation. We open our book of proceedings with the words of Christy Marx, mainly because CONFIA 2013 - International Conference on Illustration and Animation aims to be synonymous with plurality, multiplicity and interdisciplinarity. In games, you might get feedback from anyone on the design team-publisher, producer, designers, programmers, animators, and so on.” Christy Marx, in the preface of her book Writing for Animation, Comics and Games, pg. In comics, primarily the editor, but your artist must feel that he or she is an integral part of a team, not a hired hand. In animation, from story editor, producers, more producers, the producer’s pet sitter, maybe a toy executive-whoever is allowed to have a say. Depending on the project, you will receive notes and feedback from any variety of people. PREFACE “These three fields require a high degree of collaboration with artists, producers, story editors, directors, programmers, and any number of other people in both the executive and creative ends of the business.This is most emphatically true for animation and games. With these tools, animation theorists will have a practice-informed lens by which to better understand the act of animating through 3D software, as well as strategies for locating individual animators’ contribution in 3D animation. ![]() I establish a set of parameters for non-practitioners to employ when trying to locate the contributions of individual animators within 3D animation. ![]() I employ the metaphor of “the artist’s/animator’s hand” as a means to understand the nature of this involvement. Using my experience as an animator, actor, and educator, I engage in a self-reflective analysis to interrogate how evidence of an animator’s individual contributions can be detected in 3D animation. Without this knowledge, much creative work in 3D animation is misconstrued as mere automation. While many theorists may lack the practical experience of creating animation, essential knowledge of the nature of labour in 3D animation is gained through first-hand practice alone. Animation theorist Vivian Sobchack expresses her predilection for animated films that “visibly labor”, and describes 3D animations as “effortless” in appearance. ![]()
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