I have finished everyones pictures! On Friday you will all see what my imagination has conjured!

Happy/Horrifying News for Friday

I decided to draw each of you a picture! I have completed Joe D's, Nate's, Andrea's, Ryan's, Dri's, and Jack's so far and the rest should be done in a day or 2! But your pretty faces have to wait till the party to see them. If I can think of something maybe I'll draw something for Mz. Licata too. Drawing is FUN when it's not animated!

This Week's Contribution to Feedback

  So the time has come to comment on this cold Saturday morning. This week we learned that making stuff in Maya might not be so hard after all. I'm hoping to learn how to color in stuff in a special way in 3D. I'm frustrated that I couldn't work with audio on Friday. The best part of the week is that I got a bunch of Hot Pockets and news of Mighty Taco at our little party on the upcoming Friday :). Now here's some impressive editing work to lip-sync pre-existing clips in to something else entirely https://www.youtube.com/watch?v=X8Nc8RCLy1s It's quite impressive.

Fun is Stressful, and so is a Crappy Computer

  My computer's on the web again, but laggy as ever. Let's get started. Pendleton Ward, creator of Adventure Time (an awesome show) has stepped down from being God-King of the show and became a humble writer for it. He's not sad and still loves his work on the show, but it's massiveness was driving him crazy so he demoted himself before any real damage could set in. He has no plans to make another show, and when he talked about what he'd rather do and his life, I think he hit a little close to all our homes.
  While this doesn't give us new techniques or tricks, it is very interesting. Being in charge of a cult hit show is stressful and over-whelming. So all-in-all if you plan to make a show don't be afraid to step away from being Lord-Emperor of everything, cause that'll wreck you.

Special Effects Wars an Phone Blogs

My computer isn't connecting to the internet so this blog is being done from my phone. Please be forgiving of mistakes, I can't multitask anymore. The article discusses CG vs practical effects. Experts say that the argument is stupid because the best effects come from a symbiosis of the 2.
I went in biased towards practical effects, but after reading it I've come to realize that both have stuff the other can't replicate. Combination of the 2 should be used as much as possible.

Synopsis of recent Time

So this week we learned we could get kilodollars for a ten second animated clip, I think Ryan stands a really good chance of winning. I want to learn to create a character from scratch in Maya, boy have I got plenty! I'm happy to have finished the "Pay the Man" part of my animation at long last! The downside is right now, my Internet sucks right now. Here is an animation of the Best Sonic Fanfiction Ever! https://www.youtube.com/watch?v=8fGFjoeyc6I&list=UU4m1l1G3tpb4C1EiljBLI3A

This is Animation's World, We're just Living in it

  This starts off with a brief history of animation movies studios, when Pixar and Dreamworks entered the scene and the Best Animated Feature award. The thing about animation that gives it an advantage is that it has a very wide audience that can be appealed to it. This was discovered by studios, and low and behold, more animated stuff and studios! Animation also is greatly benefiting Ireland's economy! Which is a BIG plus for me (my name's Patrick and my mom's maiden name is Murphy, this aint rocket science) So all in all, animation is king, even live action movies use CG, so this is benefiting Earth.
  This may not give us tips for class, but it does make me proud to be in this class. And it just goes to show that we have got job security!

5 Techniques To Make Your Film Less Suckish

  The first tip to depth is to have high contrast in the colors, make them stand out from each other to make it feel like your TV is cave with actors living in it. The next is focus, basically you focus on what's up close, and that makes depth. Perspective, it says it works, and talks about experience. Move the camera! It changes everything! Occlusion is a stupid word. Say layering. It's natural layers depending on perspective.
  These tips are useful, if sometimes vague, this I may actually use if I get around to it. There may be more information in the video, but right now my internet can't handle the slightest useage

Something Cool

Here's a link to a really awesome Daft Punk megamix! I hope you guys and gals like it! https://www.youtube.com/watch?v=mJirA9Hk8FY

Progress Brog

I fixed those distracting wrinkles, now for the rest of the project *sigh*

Ads?

 I found ads on my blog. I don't want ads on my blog. Why are there ads on my blog? Who put ads on my blog? Can I pick what ads are put on my blog? Why aren't I being paid for having ads on my blog?

Comment after a bunch of Days

We've learned how to audio this week. I'm looking forward to seeing everyone's 2D shorts! What was really frustrating was my vote for Jack on the tie didn't count! What the Heck! The highlight of this week was being able to voice act for some people! Now for the link https://www.youtube.com/watch?v=vqH9ewGZKdA This will help with drawing wrinkles on clothes

You're Using Reverences Wrong!

  This story starts off weak telling me this came from someone remotely associated with that offensive pile of dung pretending to be an Indiana Jones movie. After that unpleasantry it states the usefulness of various types of reverences. It also sheds light on comic books, they are extremely good for dynamic posing, line-of-action, and staging, they shouldn't be ignored. It says that reverence should be used in most everthing, it is extremely helpful for getting the feel right. It highly stresses filming you or your friends doing the actions to get all the movements for your specific action you want to animate.

  This article isn't groundbreaking in telling us something new, but it does reinforce the importance of using reverences. I have been terrible about using reverence this year. Perhaps I'll start with this 2D short! Or maybe not. What can I say? I'm lazy.

Rode microphone product placement and some audio stuff too

  So right from they get go we learn that virtually all sound in video is added in post production, why do they bother lugging giant mics to the set, I wonder. There's 3 basic categories for audio: Ambience - background noise to make the scene feel natural. Library effects - prerecorded effects for general purposes. And Foley - prerecorded effects for specific situations (props, footsteps, cloth, etc.) The origins of this post production sound stuff can be traced to Vaudeville, a type of theater where a snare drum emphasized actions by the performers. In the 20s a man named Jack Foley proposed watching the film and recording the sound live. Nowadays sound is mostly done by a dialogue mixer, a music mixer, and a sound effects mixer. While timing is important, modern technology allows us to fiddle with this, however, the feel of a sound has to be nailed, or it's just clunky and strange.

  This just goes to show that audio can't be messed around with. It also shows that audio in film class is gonna suck. It shed light on some new techniques to use in audio work which could prove useful right now for the 2D short. This article, like others, has made me respect and enjoy more things based on their audio, but has also disappointed me in other things audio.

Breaking News

Burritos are delicious. That is all.

Comment of the yada yada yada...

  This week we learned how to work with the camera in AnimatePro. I'm ready to learn how to start voice-acting with a hidden microphone. What's annoying is that I couldn't go trick or treating. What was awesome was (what else?) the candy bowl! Now feast your eyes on this! https://www.youtube.com/watch?v=Hsjm5tNZBdA It's a 7 minute cartoon made by around 3 people with a more artistic style and smoother animation than most cartoons on TV. Kinda pitiful.

What scares Sigmund Freud?

  Yay! A Video! So part of our fascination with scary things is our survival mechanism that gives scary movies such an impact. Funny thing is that the reaction comes from pretty much every part of the brain but the fear center. It also tackles the main attraction to horror, Tension, Relevance, an Unrealism. Tension provokes the most emotion, and is what makes things scary. A movie without tension regardless of genre simply falls flat because it feels like the stakes aren't raised and there is no danger or point to the adventure. Relevance can relate to many things, like the base fear of death, fear of something based in your culture, subgroups, or something personal. Without relevancy you're just sitting there waiting for someone to get hurt. Then unrealism, simply put fantasy violence is something we love, wither it's TV, video games, books, comics, movies, or what have you, fake violence is fun. Real violence on the other hand is really disturbing and makes people uneasy. No one likes real violence. Some theories on our love for scary movies are that it taps into our more basic animal instinct, I personally go with Aristotle who thought that our love for horror and violence came from the release of negative emotion, witch I can stand by, because violent games are what gets me through the tough patches of life.

Bory Stoard

  An article that was short sweet and to the point. I'd tell you what it's about but you already know, so here's the summary: avoid flat staging, cause it's boring. Lay out grids to have a sense of location. Use layers of backround to create depth. Logically group people and make sure you can tell who's who. D on't make everything parallel, that's about as interesting as armpit hair. Keep sizes consistent, and embrace some empty space. Over the shoulder shots help with dialogue? After seeing one of Geoff's links of interest, I'm not so sure about that. they shouldn't look directly at the viewer unless they eat people. Character heights are like camera angles, it aids viewer opinion apparently. Motivate your shots. If you don't you'll end up with Birdemic: Shock and Terror. These tips are useful, but I probably won't use to many of these at the moment. Considering these are tips for a feature-length film company, and we're making minute long shorts by ourselves, I think we're allowed to cut a few corners. That said these tips are really good for placement and more so staging. I guess it depends on if you want a selection of keyframes to animate without fuss, or a collection of rough sketches that are little more than a guide of action and plot. To each their own, what ever works works.

Comment of the Week!

  This week we entered the fantabulous world of lip-synching! It's pretty easy so long as you don't overthink it. I'm eager to animate a Mexican wrestler beating a redneck with a sack of potatoes! Not getting audio from my 11 second club on my home computer has hindered my progress. The best part of this week was the sun I drew! Feast your eyes on this animation, by JACK! https://www.youtube.com/watch?v=Ho7Yu14dBGk

Murderers have such Pretty Eyes

  This article showed the simple techniques Silence of the Lambs used to create one of the most masterfully crafted movies in existence. I figure for this analysis I'll compare the presentation of Silence of the Lambs and the Star Wars prequels. Silence of the Lambs used a close up on Hannibal staring directly into the camera, provoking dominance by domineering over the viewer, making them uncomfortable. Star Wars uses exposition and actions to provoke a dominance, which can be a bit to much at times and only serves to say: that's the bad guy. To create the sense of character fear Star Wars uses the basic body language and facial expression like cowering and wide eyes with a gaping mouth, Silence creates the feeling of a person restraining fear by showing the intimidating maniac staring into your soul in a close up before showing an expression less FBI agent looking slightly off camera with a shot a bit more pulled back. Silence of the Lambs crafts a feeling of true tension in the dead stares of each character, a simple tactic that works flawlessly, Star Wars on the other hand usually depends on the exposition, dialogue, and fighting. However that's not to say Star Wars fails cinematography, in the scenes without corny dialogue emotions can be conveyed perfectly, and the best scene in the prequels (the opera house scene) the dialogue, setting, and presentation were perfect, not boring, not cartoonishly over-the-top, but perfect. I find that better technology is worse for films since the filmmakers never find a need to improvise or experiment. I really hope more modern movies use the more simple tactics in the future, because no movie made me shift in my seat like Silence of the Lambs did, and I fear no one is even trying to anymore.

Why isn't Physics Spelled with an F?

  Dreamworks hired some physicists that used to work for NASA to help animators with (what else) the physics of bubbles for an upcoming movie "Home". Many animation studios started hiring such people to create programs with realistic water, fire, and dust. Many scientists move to movies for the excitement of the industry and the opportunity to solve problems, and well, the cash doesn't hurt either. One of the eggheads expressed a desire to mix left and right brain. Honestly I can't blame the scientists for leaving the field of boring people talking about other scientists' theories for the field of being useful and having more fun. The article talked about animation's limits being pushed, and I just find that ridiculous, 3D animation maybe limited by codes and other computer mumbojumbo, 2D is completely unhindered, what you draw is there, no fuss, no math, no science. While scientists helping is useful and could help with the feel, and I'm glad they're in a more interesting line of work, realism has never really been my alley, unless history was involved.

Ceekly Womments!

  This week I learned that a flour sack can contain more than just a baking ingredient. I'm eager to learn how to lip-synch. I was disappointed in my walk cycle :( Overall the high point of this week was getting to skip my mourning classes! Here's a video on drawing my arch-nemesis: hands https://www.youtube.com/watch?v=uZu9Ds5SCTQ And here is the true funniest thing ever: https://www.youtube.com/watch?v=g3HGv7UI0iA

Creature Animating

  This article was, well, kinda boring. It was techniques used by animator famous for animating creatures. I have a hunch in a few years that'll be Alyssa's name. So pretty much most of her technique comes from her acting them out herself. While this isn't anything new it does go to show how useful it is. Recently with the walk cycles those who used videos of people did way better than those who didn't. She also stated what most noobs mess up on, like making things over-complicated, not understanding the character, not using video reference, and not asking for some dang ol' help. At least one of those should close to home (unless you're flawless like Jack and Ryan). While there ain't much to analyse it is pretty useful to us sorry footshloggers. Video reference from now on!

Chest Hair!

  This week's link wasn't an article, but a video! This allowed me to comprehend what was happening! It was a variety of ways to hide those little microphones that clip to clothes. There was the simple way of reversing it on the tie so it just looks like a clip, and the other ways involved little tape triangles to reduce the sound of stuff scraping together. He also stressed a point that will probably be ignored by the animation class, to not hide if it's not necessary, like our class of try-hards would do that. These tips for hiding mics are very useful for actors to know, voice overs in post can work, but the can also be awkward and not synch well, and nothing says "this is totally fake" like a microphone sticking to a person's shirt. Hiding microphones is more beleivable and more reliable than the alternatives.

Weekly Comments!

  We learned the importance of FPS this week, some through crique. I want to animate a frog eating a watermelon already! 2 things frustrated me this week, I tryed installing Animatepro on my computer and it said I needed the password to my uncle's account, so I'm pretty screwed on that. And I've shamed myself with turning in a late assignment, we'll se if it was worth it on crtique day. Honestly, I think I went a little too far with this creep. I am quite happy our link was gaming related, with Rockstar nonetheless! This does have some language and violence in it, but it's good on showing dramatic camera angles and lighting, along with the impressive animation it applies to both classes and fits with our Rockstar articale of the week ->https://www.youtube.com/watch?v=A55GUOcjNYs and it's got rockin' music too!

Tips for Video Game Artists

  I'll start by saying I'm stoked to see an article about the (former) art director from Rockstar Games! Rockstar is easily one of my favorite game companies so I was hooked on this article from the get-go. His first piece of advice was to know trends, but to be original, if you just copy what's popular you'll be forgotten, people won't buy what they already own. There's a pretty good example of this in looking at Medal of Honor, a blatant Call of Duty clone that was quickly forgotten do to it's lack of any charm or originality. However, Battlefield stays relevant by being different with a more realistic style and impressive destruction physics (with the exception of  Betafield 4). He also said that you should do you best regardless of the platform, and being visually impressive doesn't mean hyper-realism. Stylistic graphics can actually be better, look at Sly Cooper and Halo 2, Halo 2's graphics were astounding when it came out, now they're aged and unimpressive, while Sly Cooper's older, less advanced graphics that look like a 3-d animated movie are still charming and enjoyable. More recently, when I saw Skyrim's graphics I was dumbfounded, but now the impressiveness is just average, but Sunset Overdrive with an unimpressive 900p and 30 FPS looks stunning with it's cartoonish coloring and atmosphere that makes me infinity more ready to move to new-gen consoles more than any hyper-realistic looking game with high resolution and FPS that'll wind up just being half-decent in 2 years. He also said in mobile gaming it's important to get as many people hooked to the game as possible to be successful. He should put in his game descriptions it was made by Rockstar's art director, I'd by that game in a heartbeat. He then talked about his focus on something we love but never quite mention: details. It's the little details that make a game's atmosphere feel alive like the adoring fans in Saints Row 3, the malfunctioning machines in Halo ODST, the poncho flutering in Red Dead Redemption, and pretty much everything in Grand Theft Auto V with the NPCs conversations, the suit jacket's realistic sway, drivers flipping you off, women getting scared when Trevor creepily follows them around. Yeah, without those subtle things the game just isn't quite as life-consuming, physics over graphics, that's what I'm saying. He also talked about the importance of risk-taking and experimentation, otherwise you do the same thing over and over expecting it to change, that my friend, is insanity. Look at Call of Duty ,that pushes out the same turd every year, then look at Saint's Row, the only consistency being the purple clad Third Street Saints, in a series of adventures getting more and more intense. Then Bowden ended with reminding everyone to be humble, cause there's always someone better. Which is true, as much as I love Rockstar, Bethesda is still my all-time favorite gaming company. I like video games. A lot. A whole lot.

Movie Brain Manipulation Stuff

  The article was fairly short and to the point. It discussed a butch of confusing sciencey stuff about machines measuring where people look when watching Iron Man 2, it showed that peoples' line of sight was following the action of the scene consistently. The interviewed filmmaker later mentioned that the most of the stuff outside the viewers' focus was CGI. Stuff like the faces and car parts were real however. He said that the blending was possible because the brain would actually do a lot of the work. He also said that certain things just can't be done with CGI, like faces and the random pattern of  debris hitting the ground. This fits well with animation since it all depends on the brain filling in gaps to make a swift motion. I find it interesting that they used practical effect for the flying car parts, despite virtually everything else being CGI. While I wish there was more practical effects used, I can appreciate that some filmmakers understand that what people focus on shouldn't be a fake rendition of something.

Warning

Just to warn you guys, my school has spirit week next week... so... uh... be prepared

Food for Thought

Have you ever tried looking up really hard to try and spin your eyes backwards to look at your brain?

Weekly Comments

  We have learned how to animate balls with the best of them! I can't wait till I can make a skit I recently came up with! What's frustrating is the slowing ball bounce, everyone had trouble with it, it was not fun. I really enjoyed making the creep on my pendulum, seeing a figure of your imagination swinging on a big ol' ball, it's invigorating! Like beating a boss in Dark Souls! Come to think of it, Dark Souls and animating have a lot in common... But here's a video of simple style but good animation that will probably make you laugh -> https://www.youtube.com/watch?v=hrzIykdka4s and this, that has no value to Digital Media, but is easily the funniest thing on Earth -> https://www.youtube.com/watch?v=hrzIykdka4s

Boxtrolls and Puppet Animation

  Boxtrolls is an upcoming stop-motion movie created by the studio Laika. It's dragonhead, Travis Knight, is president, CEO, and head animator, which is to say he has to really like what he does. Laika is unique, not just in stop-motion, but in most animation studios in general. Rather than getting a team of animators for a project, they keep the group they have, which allows for learning from past projects, as well as each bringing their own unique style to the table. This keeps each film getting more precise, while keeping the same charms of the animators. I've dabbled in stop-motion in the past, while it is a repetitive pain in the neck, I feel it's simultaneously the easiest and hardest form of animation. The objects are physically there so you never have to worry about proportions, however, making a mistake in one frame can make you have to do an entire scene from the beginning. I really like there overall style of what I've seen of the film from trailers, commercials, and the like. Puppet animation has a unique atmosphere that nothing else has, live action or animation. It's hard to tell precisely what it is however, I think that it's the backgrounds and characters are physically there, made of cardboard and the like. It reminds me of when I made little cities out of my old toys and cut up boxes, and it makes me want to do it again. There's just a special charm in stop-motion that can never by replicated by any other media.

Democracy is Truth.  Communism is a Lie

6 Principles of Animation

  I'll start by saying that when you write down animation principles in a movie, don't just write down the first thing for each you found in the first half hour in order to eat, otherwise looking for 6 can be a chore. Without further adieu, the first principle to mention is arcs. Arcs are easily used the most in every piece of organic motion, although they're easy to spot, analysis is a bit tricky. You can see that virtually all character movement, from arm gestures to acrobatics is based on a basic curve that the movement follows. Movement without arcs is more awkward than wearing a shoe on the wrong foot. Now for secondary action! Secondary action is used really effectively right at the beginning, with Flint's dad's eyebrow raising at the experiments. While basic, it does reveal traits of his personality, which is the whole purpose of secondary action. Squash and stretch is almost as common as arc, it wasn't until after I learned about it that I realized how common it is in 3D animation. While there are some obvious examples of it, like Flint being manhandled by the cop, or dragged behind a rocket, it can be seen in most motion throughout the film. Follow through and overlapping action, easy to spot, simple to explain. Perfect. Overlapping action can be seen in Flint's lap coat and most characters hair. You can see a LOT of effort was put into designing, lighting, and animating the hair to make it life-like, while this seems tedious and redundant, I've seen 3D animations without such work put in the hair. It looks like clay. The packet's description of timing is kinda confusing, but I think I get the idea of it. I could only pick up on the most obvious example, when it goes slow-mo as Flint rockets past his dad, showing his concern with trying to impress him with constant failures. Exaggeration, good golly is exaggeration prevalent in this movie. While I could babble about intense reactions, facial expressions, or Flint inability to look his dad in the eyes, I'll take a different path. There was an example of exaggeration that was simple yet sophisticated and reminds me of Ed, Edd, and Eddy honestly. It's Flint's attempts to take of the spray-on shoes, teeth, power-tools, a crate, simple but effective.

2D animation's coming back baby!

  This article describes the intents of a movie in the making: Hullabaloo. This is a 2D animated steampunk movie about a woman trying to find her father who recently dispensary. The filmmakers' biggest intention with the movie goes beyond a good picture, but to try and spark a Renaissance in 2D animation, as well as incorporating steampunk and female protagonists into mainstream animated films.

  Words can scarce describe how pumped I am to get to see a 2D animated movie from America at long last! I really hope the this movie is astounding and even  more I hope it does kickstart a rebirth in hand drawn animation. 3D animation is good and does have it's place, but holy crap, give it a break and cut down on the extra dimension! There are certain stylistic changes that can be made to characters and environments that add so much to the atmosphere of 2D animation, that if tried in 3D look really weird or even gross. It doesn't help that most 3D animated projects look so stinking similar, and similar art style is why I can't stand to watch anime. All that aside the combination of cartoon and steampunk will be GLORIOUS! While steampunk has been growing a lot in popularity, that is not by any means unwanted, I could get a steampunk link for the rest of the year and still love it!

  I will say that while more traditional animation will never be unwelcome, it is not at the brink of extinction, with all the cartoons airing in America as well as in Japan and Europe (France especially), it's not dying on our watch. It does still restore faith in humanity when people are vocal in their mission to strengthen hand drawn animation. As far as female protagonists, while I strongly support inclusivity, female protagonists are quite common in animated films in recent years. The female protagonist crusade is most focused on video games for now, and considering gaming is undergoing an inclusive Renaissance, the focus should be on live-action movies and TV, where the a strong female protagonist has to be in a team of mostly men. While we're at this why aren't people demanding more transgender or crossdressing protagonists?

  I really appreciate hearing others thoughts and opinions, so please comment what you think of my philosophies up above.

Weekly Comments

- I learned the importance exaggeration

- I hope to learn how to work with audio

- I'm frustrated with being sick Friday and today

- I'm happy that the style of my character was complemented

- https://www.youtube.com/watch?v=ofV_iFBw2YE Something to brighten your day

Michael Moore Film Tips

An article containing an unlucky number of tips for documentaries. This was full of good tips to make a documentary interesting, and maybe, just maybe, entertaining. His tips were to be humorous, don't regurgitate the same bunk everyone already knows, leave the audience to do some work, something about over-priced popcorn, the "left" needs to be funnier, name the real villains, make it personal, look at the media's response, Americans love non-fiction, only people who disagree, create the film from the audience's point of view, treat the audience like they have brains, and that sound is more telling than the picture. Basically you should involve the audience as smart passengers in the documentary. The film shouldn't be boring, and it shouldn't be pretentious. This is a really good set of tips for aspiring documentary makers, it can help them avoid making a boring, condescending lecture with the maker's opinion shoved down your throat. While I personally will probably never use this, it is a good kick in the rear for rookies to actually put some effort into creating an enjoyable experience.

Blog on the Video Game Cinematography link

   A video game developer was explaining aspirations for PS4 exclusive game The Order: 1886. The link briefly described video games rising as a excepted form of art. It then got to the main point about the strive of the developers to create a memorable experience through the use of filming techniques to improve the game's experience. Some subtle camera angles allow for the avatars to look humble, sad, scared, angry, and powerful. They went the extra mile in cinematography by adding effects as if seen through a camera, like the lens curve and dirt.

   I am very interested in gaming, so this article grabbed my interest fairly well. I think that the use of imperfection and other subtle devises can really help with the immersion levels of a game. I agree that many more subtle devises can make a very interesting gaming experience intensifying the tension and emotion of the game. My curiosity lies with if the cinematic strategies will carry in to gameplay, and what other games are trying this out. This applies to Digital media in both film and animation using filming techniques in an animated world. I doubt any article we get will match the class as perfect as this. But for the record this feels like an Order: 1886 advertisement, nice try Mrs. Licata! I'd rather have Sunset Overdrive on the X-box, cause it has a more relatable personality! And COLOR!

Here's my blog for the 6 tips from recruiters thingy.

   The link described the best ways to get a job for animation. It said that first impressions are important, only put in your best stuff, and not to waste the person's time. Unique things are the best for they cut from the same generic junk recruiters have to sit through, and have strong acting and characters for those are most wanted in the industry. It said that one should know the audience and try to make something that would fit well with them, while remaining unique and not offensive, and also to make sure everything is convenient for them.

   I learned some key things that can improve chances when sending in a compilation of works when applying for a job. I think that these are good things to keep in mind when job hunting. I agree that these tips can make or break a person's chances at a job. I feel it was direct enough where I have no related questions. This link is good for Digital Media students who aren't ambitious enough to start a company in their garage and need to get a job they might actually enjoy.

Weekly Comments! (Patrick)

- I learned about the greed of companies with copyright claims this week
- I want to learn how to mix gradient with solid colors
- I was frustrated with all the dang quizzes!
- I'm happy to be drawing at last
- Check it https://www.youtube.com/watch?v=8-JzVvoqo4I&list=UUYh4SJwo9vWkfZwc0w4b4ng It's short but regardless a flawless example that humanity has a glowing bastion of hope that art truly can define us as a glorious race.

You can take the Pepsi away from the man, but you can't take the man away from the Pepsi.