Students develop a major project that reflects their creative and technical abilities and expertise, to act as the centerpiece of their professional portfolio.
The planning phaseof Senior Project is a hands-on experience: while creating a comprehensive plan and timeline for completing a Senior Project, real and final components of a Senior Project are visualized and executed on a weekly basis.
Thus, students are expected to produce visual examples and tests that emmulate the final aesthetic of their project within the first two weeks of the semester. For example, while a student is working on a storyboard/animatic, he/she can already produce animation tests that explore different types or styles of motion, or experiment with different visual styles.
Significant progress is expected on a weekly basis as students produce key components or assets of their indivudual projects, such as models, scripts, and sound tracks.
Class discussions and critiques will be used to further develop concepts. The emphasis of this stage lies on creativity, innovation, and originality.
The imitator dooms himself to hopeless mediocrity. (Ralph Waldo Emerson)
Students are advised that the demonstration of technical skill does not make a successful Senior Project. Projects are expected to comprise original ideas that engage the viewer and are expressive.
Projects have to reflect each individual student’s skill level. Acceptable types of projects include 2D and 3D animation, 2D and 3D interactive games, 3D special effects, 2D imaging and print, digital video, interactive installation/environments and new media. Students are encouraged to mix media and to borrow from other disciplines.
Students are required to visit galleries and museums and/or attend art events throughout the semester.
Collaborative Projects are acceptable, even encouraged -- so long as each student can clearly demonstrate his/her expertise in a given area, that the work will be divided evenly, that each individual's workload is the equivalent of an individual senior project, and that responsibilities are clearly delineated prior to project approval.
Students are required to seek approval from the instructor by the 5th week of the semester. Once approved, concepts may not be changed without permission from the instructor. Modifications may be made up to the 9th week (midterm presentations), at which point the student will receive feedback from other Senior Project Faculty. After the 9th week, written permission must be obtained by the department chair to change a project.
In addition to weekly in-class presentation, students will give two formal presentations of their developing Senior Projects to the department, faculty and peers. For the presentations to the department, students are expected to:
- carefully time their presentations
- test and rehearse their presentations beforehand
- predominantly use images of their own making in the visualization of their projects
Students will develop a comprehensive plan and timeline for their projects, and produce documentation of all work related to the pre-production (planning) and early production phase of their Senior Project. This documentation will be handed in by the student in a "Production Notebook" one week prior to midterm presentations, and one week prior to the final presentations to the committee.
Students who are working in time-based media should create works ranging from one to four minutes in length. Non-linear works should be designed to feature primary interaction play times of two to four minutes. Works of longer duration must be approved by the instructor. For projects that have been approved to be longer than 5 minutes, a shorter "trailer" of the project must be included for submission in the Pratt Show.
Translate ideas and concepts into a cohesive and well-planned project.
Develop a student's creative, technical, planning and presentation abilities.
Familiarize the student with the (art) production process.
Upon completion, the student will be able to:
1. Demonstrate working knowledge of the process and required steps in the production of a senior project
2. Document completion of each step in the pre-production phase of Senior Project
3. Demonstrate enhanced presentation and communication skills
WEEK 1
We will discuss your ideas so far and, in general term, concept development. What makes for a strong concept (independent of medium)? We'll also look at a few ideas and screen some work.
Consider output format: print, screen, hand held device, twitter site?
Students are expected to visit a gallery, museum, or attend and art event of their choice before class meets next. Reflect, take some notes... Also, for next week, purchase an art magazine/publication of choice; bring it to class.
WEEK 2
Review/discussion of ideas
What is an abstract? Writing about content/concept vs. describing what happens...
Presentation schedule & review of presentation requirements
Discussion of presentation format/content
Review of well-designed presentation examples
Screening of (mostly) traditional narrative concepts in time-based media
Also... the works of Char Davies, Amy Alexander, Jenny Marketou, Camille Utterback...
Studio time: Working on your project...
WEEK 3
Review/discussion of ideas
Screening of works: Madam Tutli- Putli, Never Like the First Time, Suzie Templeton's work.
A look at Danile Rozin's work
Students are expected to visit a gallery, museum, or attend and art event of their choice before class meets next. Reflect, take some notes...
Studio time: Working on your project...
WEEK 4
Review/discussion of ideas
Preparing your presentation, looking at examples
Concept Pitch
Studio time: Working on your project...
WEEK 5
Presentation tips and techniques
Visual Elements of Pre-Production
Thinking it through: structuring a project, structuring the execution of a project
(How long will it take? Three Times as Long!)
Studio time: Working on your project...
WEEK 6
Formal Concept Pitches in class: rehearsal & critique
all presentations for time-based projects must be carefully timed and include
--an abstract
--a working animatic
--characer sketches
--character models and test rigs (if applicable)
--motion test (if applicable)
--compositing tests (if applicable)
--color palettes
--originl concept art conveying final look/aesthetic
--examples of influences
--examples/work samples of relevant experience
Also, next week, production notebooks are due.
WEEK 7
Formal presentations will be 5 minutes in length, followed by 10 minutes of Q&A.
Arrive early to test your work and get ready
All students must be present from beginning of the session.
Production Notebooks due:
Include preliminary production schedule, concept planning and pre-production materials
WEEK 8
Students will be advised of their midterm grade in writing.
Studio time: Working on your project...
WEEK 9
Group Meeting
Begin developing a 20 to 30-second test sequence incorporating the most critical features of proposed project.
WEEK 10
Studio time: Working on your project...
WEEK 11
Students present work-in-progress on 20 to 30-second prototypes. Class critique.
Studio time: Working on your project...
WEEK 12
Studio time: Working on your project...
WEEK 13
Pre-Production Materials Finalized
Review and critique of animatic and visualization materials
Review and critique of time lines and resource plans
WEEK 14
Production Notebooks are due
We'll rehearse final presentations
Studio time: Working on your project...
WEEK 15
Final presentations to the department & faculty committee:
(arrive early to test your work and get ready)
Summer Production Commences.
Suggested reading:
Ideas for the Animated Short with DVD: Finding and Building Stories, Kate Alexander (Author), Karen Sullivan (Author), Gary Schumer (Author), 2008,
ISBN: 0240808606
Film Directing Shot by Shot, Steven D. Katz, Michael Wiese Productions, 1991,
ISBN: 0-941188-10-8
Setting Up Your Shots, Jeremy Vineyard, Michael Wiese Productions, 1999,
ISBN:0-941188-73-6
The Art of Storyboarding, John Hart, Focal Press, 1999,
ISBN: 0-240-80329-9
Exploring Storyboarding, Wendy Tumminello, Thomson Delmar Learning, 2005,
ISBN: 1-4018-2715-2
Storyboards Motion In Art, Second Edition, Mark Simon,Focal Press, 2000,
ISBN: 0-240-80374-4
Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia, Thomson Course Technology,2004, ISBN 1-59200-117-3
The Writer's Journey. Christopher Vogler. Michael Wiese Productions.
ISBN: 0941188701
Suggested reading for interactive projects:
Flow. Mihaly Csikszentmihaly. Harper. ISBN: 0060920432.
A Pattern Language. Alexander, Ishikawa, Silverstein and others. Oxford 1977
Digital Art. Christiane Paul. Thames & Hudson. 2003. ISBN: 0500203679
Creative Code: Aesthetics and Computation. John Maeda. Thames & Hudson. 2004. ISBN: 0500285179
To pursue a project a student must establish, to the satisfaction of the instructor that proficiency with the required media, tools, and techniques, and that the project can be completed in the time allotted.
An INC grade will not be granted simply because work is not completed. It is intended only for documented illness or extraordinary hardship.
Production Notebook:
The function of the production notebook is to keep accurate track and permanent record of what went into creating your project.
Production Notebook specs:
1.5", 8.5 x ll three ring view binder with clear sheet protectors (do not hole punch presentation documents) with 3 ring CD /DVD disc holder.
While the contents of a production notebook will vary depending on the nature and scope of a project, (see bleow for details) here are typical elements most production notebooks will include:
1. Cover (including project title and contact information)
Dividers:
2. Contact sheet (contact info for all people needed to complete project)
3. Concept (keep all incarnations of project proposal, including script, research, story back story)
4. Concept Art (sketches, diary notes, color scripts, inspirational materials, reference)
5. Storyboards and Diagrams (boards, floor plans, user-centric flow charts)
6. Production Elements (character bibles, photo reference, feature specifications)
7. Production Notes (documents, shot breakdowns, critique notes, render/computation time)
8. Production Schedule (calendar time line, keep track of proposed as well as actual times)
9. Budget
10. CD/DVD disc holder (animatic, fly-throughs, motion tests, play blasts etc.)
Mid-semseter and End of Semester Presentations:
Monday, March 5th and Wednesday, March 7th: Mid-Term
Monday, April 30th and Wednesday, May 2nd: Final
Your attendance is mandatory for the entirety of all presentations.
Presentation Breakdown:
Each student is allotted 15 minutes to present their work to date:
This includes 5 minutes to present his/her project, followed by up to 10 minutes Q&A.
The 5 minute presentation includes:
Introduction
Audio-visual of proposed/in-progress/completed work
(storyboard, animatic, flowchart)
Show/tell research
Show/tell planning (timeline)
Show/tell qualifications (examples, course taken, planned)
PROJECT GUIDELINES
Specific content requirements of the Production Notebook for completed Senior Project vary depending on the type of project proposed. Please note that these are general guidelines and that not all possible types of projects are listed here.
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For students creating 3D narrative content, such as a 3D short animated films.
Completed Senior Projects are expected to be professionally rendered in linear video form plus still images of key scenes, along with design notes, mounted design sketches, final renders, and model sheets as appropriate.
Students creating a 3D projects for Senior Project will complete the following for their Pre-production notebook:
3D Short Film:
1. Synopsis - Summary Statement describing film
2. Research: related works/visual reference
3. Story/Script
4. Character Model Sheets/ Concept Sketches
5. Background Concept Sketches/Aerial Plans
6. Storyboard
7. Animatic
8. Production plan/time line with schedule
9. Budget
For students creating Physical Interactive/Generative Objects or Installations, Screen-based Interactions, or Games or Interactive Environments.
Students are strongly encouraged to design works whose intended core interaction time is two to four minutes. Self-running pieces should also exhibit behavior of interest within this time period. Works of longer running time are permissible but must be approved by the instructor, with consideration given for both the student's scope of work and also the viewing time demanded of reviewers. Other project requirements will be specified in class.
Completed Senior Projects are expected to be professionally documented in linear video form and in still photographs, along with design notes, mounted design sketches, final renders, and screen shots as appropriate. A CD-ROM or DVD-R with a playable run-time version, and the open code, is also required as appropriate to the project. Web-based projects should be provided in a version that can run locally, if at all possible.
For these interactive project categories, students will complete the following for their Pre-production notebook:
Interactive Environments
1. Summary statement describing the work (format, theme)
2. Back Story, Character bios, Genre/world description
3. Statement of similar works researched, artistic influences
4. Model sheets (a set for each motion element)
- poses and sketches, style research
5. Environment map(s)
- plans & elevations (in sketch form)
- sample textures, style research
6. Design spec
- anticipated project tasks along a timeline
- features of interaction
- rules & scoring
- asset inventory (eg: textures, sounds, onscreen text)
- development platform(s) and why chosen
7. Storyboard of typical game scene, with challenges/obstacles/outcomes
8. Interaction flow chart
9. Demo of proposed interaction (may be hard-wired)
10. Trial renders and character animations (using polygonal models)
11. Student statement of anticipated challenges to come during production
Screen-based Interactions
1. Summary statement describing the work (format, theme)
2. Statement of similar works researched, artistic influences
3. Description of intended audience/typical player
4. Design goals, including intended effect on the user/visitor
5. Design specification
- anticipated project tasks along a timeline
- features of the interaction
- required asset inventory (eg: textures, sounds, onscreen text)
- development platform(s) and why chosen
6. Interface sketches, prototype design explorations, sample key final screens
7. Interaction flow chart
8. Flowboard of typical screen sequence with description of typical user pathway through the project
9. Technology testbed(s) and live feature demonstration(s)
10. Student statement of anticipated challenges to come during production
Physical Interactive/Generative Objects or Installations
1. Summary statement describing the work (format, theme)
2. Statement of similar works researched, artistic influences
3. Description of intended audience/typical player
4. Design goals, including intended effect on the user/visitor
5. Design specification
- anticipated project tasks along a timeline
- features of the interaction
- required asset inventory (eg: materials, special tools, technology)
- development platform(s) and why chosen
6. Object/space sketches, blueprints, prototype design explorations
7. Physical prototype
8. Interaction/logic flow chart, including typical visitor participation
9. Technology testbed(s) and live feature demonstration(s)
10. Student statement of anticipated challenges to come during production
Particular details appropriate to a given student's project will be determined by the instructor.
Attendance is mandatory: three classes missed will result in a failure; two latenesses of 15 minutes or more are equal to one absence. Evaluation is based on quality of work, positive contribution to discussion and critique, and effort.
(Please note that this course only runs in the spring. Thus, failing this course will delay your graduation not by one but by two semesters.)
Evaluation of pre-production materials will include evaluation of the project itself, the production notebook, completion and quality of its delivery into various formats, including packaging and accompanying materials.
Mid-term and final presentatiosn will be evaluated on the basis of the quality and professionalism of the presentation. This includes the presentation materials (both visual materials, projected and physical), and verbal presentation (i.e. cohesive, informative, engaging, ability to field questions and criticism).
Please remember that a 'C' describes work that successfully fulfilled the assigned requirements; a 'B' distinguishes work that is above average; and an 'A' describes work that it outstanding.
ACADEMIC INTEGRITY
Pratt Institute considers Academic Integrity highly important. Instances of cheating, plagiarism, and wrongful use of intellectual property will not be tolerated.
- Faculty members will report each incident to the registrar for inclusion in studentsí files.
- More than one report to the registrar during a studentís program of study at Pratt will result in a hearing before the Academic Integrity Board, at which time appropriate sanctions will be decided. These may include dismissal from the Institute.
- The nature and severity of the infraction will be determined by faculty members who can: ask students to repeat an assignment, fail students on the assignment, fail students in the course and/or refer the incident to the Academic Integrity Board.
For more details about these procedures please see the Pratt Student Handbook, the Pratt Bulletins, and the pamphlet entitled Judicial Procedures at Pratt.
CHEATING
If students use dishonest methods to fulfill course requirements, they are cheating. Examples of this include, but are not limited to:
- Obtaining or offering copies of exams or information about the content of exams in advance.
- Bringing notes in any form to a closed book exam.
- Looking at another studentís paper during an exam.
- Receiving or communicating any information from or to another student during an exam.
PLAGIARISM
Plagiarism is a bit more complicated, but the rules of documentation and citation are very specific and are tailored to different academic disciplines. Types of plagiarism include:
- Including any material from any source other than you in a paper or project without proper attribution. This includes material from the Internet, books, papers, or projects by other students, and from any other source.
- Using your own work to fulfill requirements for more than one course
- The extensive use of the ideas of others in your work without proper attribution.
- Turning in work done by another person or a fellow student as oneís own.
Please remember that all work must be the studentís own. If it is not, the source should be cited and documented appropriately.
If there are aspects of this statement that are not understood, ask faculty members for help.