All posts by Qingsong Chang

Seminar 06 Screen Senses

Avant-Garde and Sensory Exploration

Avant-garde art emphasizes experimentation, not only in technique but in exploring the unconscious and uncharted territories of perception. Modernist abstraction and the avant-garde sought to synthesize sensory experiences and reflect the impact of emerging media like photography, cinema, and radio.

Synaesthesia and Isomorphism

Synaesthesia involves cross-sensory experiences, such as associating colors with sounds. somorphism explores structural similarities across different sensory modalities, leading to complementary aesthetic experiences.

Visual Music and Animation

Pioneers like Oskar Fischinger, Len Lye, and Norman McLaren integrated dynamic visual languages and choreographed graphics with music. Animation music ranges from tightly synchronized soundtracks to more freeform applications, exploring sound-image relationships.

Sound and Image Interactions

Concepts like diegetic/nondiegetic and synchronous/nonsynchronous sound shape the narrative and sensory experience of media. Acousmatic sound (sound without visible sources) and its implications for media theory are discussed, with references to Michel Chion’s analysis of sound and its contextual dynamics.

Media Evolution and Theoretical Context

Marshall McLuhan’s tetrad of media effects examines how technologies reshape culture by enhancing, obsolescing, retrieving, or reversing elements of prior media. Debates focus on the sensory dominance of oral versus visual cultures and the role of sound in temporal and spatial perception.

Economic and Technological Influences

The early sound era in cartoons highlighted challenges like rudimentary sound mixing and synchronization, influencing artistic decisions and technological evolution.

Seminar 05: Representation​

Disney’s Influence

Disney has been the biggest name in animation for years. Its movies set the standard for what people expect from animated films. While Disney has made amazing stories, it often focused on American and European ideas, leaving little room for other voices and styles to shine.

The Problem with Stereotypes

In the early days of animation, many characters from different cultures were shown in unfair or overly simple ways. These stereotypes made people laugh but hurt how some groups were seen. These images stuck around for a long time, shaping opinions in negative ways.

A Shift Toward Change

As time went on, more people began asking for better representation in movies. Studios started making an effort, with films like Moana and The Princess and the Frog featuring characters from diverse cultures. These were steps forward, but there’s still room for improvement.

Behind the Scenes: Who Tells the Stories?

Having diverse characters on screen is important, but so is having diverse creators behind the scenes. For a long time, most animated films were made by white men, which affected the stories being told. Slowly, more people from different backgrounds are getting the chance to lead, bringing fresh perspectives to the industry.

New Stories, New Voices

Recently, some animated projects have focused on intersectionality—showing how race, gender, sexuality, and disability overlap. Movies like A is for Autism explore disability in new ways, while shows like The Boondocks take a deeper look at African-American culture. These stories show how animation can tell more complex and real-life experiences.

Going Beyond Token Characters

True representation means more than just adding one minority character to a story. It’s about creating real, relatable characters with depth. For example, LGBTQ+ characters are starting to appear in animation, but there’s still work to make their roles feel natural and meaningful.

The Road Ahead

Representation in animation has come a long way, but there’s more to do. Telling stories from different perspectives makes movies and shows more interesting and real. We should support diverse stories and push the industry to keep growing because when everyone’s story is told, we all benefit.

Week 2 The Elements of Art

1. Line

Think of a line as a moving dot. It’s one of the most basic yet powerful tools in an artist’s kit. Lines can define shapes, guide your eyes, or even create a sense of movement. Whether it’s a clean, straight edge or a messy, jagged stroke, lines set the stage for everything else in a piece

2. Shape and Form

Shapes are flat—just length and width. Forms, on the other hand, add depth, making them three-dimensional. A circle becomes a sphere, a square becomes a cube, all thanks to light and shadow. By mastering the balance between shape and form, artists can make their work pop off the page.

3. Texture

Texture is all about how things feel—or at least how they look like they’d feel. Think of rough bark, soft clouds, or glossy metal. Even in a painting, where you can’t physically touch anything, texture can create a powerful sensory experience.

4. Value

Value deals with how light or dark something is, and it’s key to creating contrast and depth. Without value, everything would look flat and dull. Highlights, midtones, and shadows work together to create the illusion of light and space.

5. Color

Color isn’t just about making things look pretty; it’s about setting the mood. Red feels intense, blue feels calm, and combinations can tell entire stories. Understanding things like complementary colors or how to create tints and shades can help you make the most of your palette.

6. Space

Space is what gives a piece breathing room—or makes it feel crowded. It’s the area around and between objects, and when used well, it creates depth. Techniques like perspective and overlapping can make a flat canvas feel like a window into another world.

LosING: Week10 Rendering

This week’s content is to integrate all the previously produced content, including the arrangement of shots and the adjustment of rendering parameters.

Sequencer

This week’s work mainly involves the proficiency of sequencer. Arranging the transition of shots in advance can greatly reduce the burden of post-editing, and it also takes less time to correct errors.

Rendering

After some testing on the LUTS and adjusting the rendering parameters, the export was carried out

LosING: Week9 Character and Animation

Character

The characters in this animation come from the game Little Nightmares. Because the character design fits the atmosphere of the animation very well, I made some modifications to the characters for use in my animation.

Omen in Valorant

The original model has a face, but I think this would make the character too concrete and not abstract enough, so I deleted the face of the character. This way the look and feel might be more similar to Omen in Valorant.

Most of the models I found lacked a good rig, so I re-rigged the models in Blender and added features to different parts to facilitate animation.

Animation

The animation part is mainly divided into two categories. One is the general action that needs to be reused frequently in many scenes, and the other is the specific action for a specific scene, which is only used once.

General action

In this project, there is only one common action, the walking cycle. For the walking cycle of the intestine, I made a single-segment loop and then called a function for an infinite loop.

Special action

For special actions, refer to the reference and follow the process. In this part, I export specific scenes from UE to animation software for animation production, which will be very convenient for future animation adaptation.

To UE5

Export the animation to FBX format and import it into UE5. After testing, drag it into the timeline for deployment

LosING: Week8 The Heart Room

Research and reference

The factory where the mechanical heart is finally stored. I hope that in the final scene, a feeling similar to the characters facing the giant structure in Pacific Rim will be reflected.This creates a sense of oppression

Working process

In this part, I continued the industrial style from before, and lowered the overall brightness to highlight the heart.