![]() In such a diverse context, we are pleased to have as guest keynote speakers Professor Paul Wells of Loughborough University, director of the Animation Academy, and Professor Martin Salisbury of Anglia Ruskin University, with extensive research experience in animation and illustration, respectively - which strengthens the link between research and practice in the resulting academic debate. ![]() The content discusses specific areas of knowledge including traditional drawing, contemporary drawing, graphic illustration, information graphics, editorial illustration, illustration for children, character design, comics & graphic novels, scientific Illustration, 2D and 3D animation, animation for video games, character animation, animation for virtual and augmented reality, animation in interactive media, motion graphics, sound and animation, linear storytelling, creative writing, visual culture, interactive storytelling, narrative and non-narrative animation illustration and animation pedagogy and authorship in animation and illustration. This translates into the 45 selected papers in this publication, covering a variety of broad subjects such as drawing/illustration, animation and art theory. We go from theory to practice and then return to theory. The conference features a wide range of specialists, lecturers, researchers and illustration and animation artists, who are often active in both theory and practice, which makes the debate and the quality of proposals richer. As we write these words, we are already certain that the second edition of CONFIA will be successful for two reasons: first, the high quality of the papers we received, and second, the multiplicity of activities carried out by the authors in the present edition. Indeed, this international conference represents a meeting point for researchers from around the world, with speakers from all continents joining us this year. ![]() We therefore believe that these two collaborative subjects have shown that there is a wide space for discussion and a vast field for research practice. Both illustration and animation have been showing strong signs of being autonomous, inside the broader areas of art and technology. Their ability to adapt everyday to new visual languages, mainly due to the constant pressure exerted by constant technological developments, is also a key factor. It is very important that this opportunity serve as a moment for reflection and questioning, as it is not possible to understand illustration and animation in a contemporary world without thinking of the strong growth experienced by both fields in recent years. 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.
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