Alan Kwan

This course will explore new artistic possibilities of real-time 3D technologies that depart from traditional video game paradigm and typical tech fantasies of VR/AR. It will investigate real-time 3D as an art form itself, and encourage students to explore new forms of poetry and artistic expression enabled by 3D game engines. It will also expose students to experimental areas within the technical pipelines and encourage students to embrace a DIY spirit to develop their own artistry and language for the medium.
We will watch, play, and discuss about different forms of artworks produced using real-time 3D technologies, including autonomous 3D simulation, interactive virtual world, real-time cinema, generative animation, mixed reality performance, and experimental video game. Some of the artists we will study in this course include Jeffrey Shaw, Harun Farocki, Tamás Waliczky, Tamiko Thiel and Tale of Tales.
This course will use the 3D game engine Unity and 3D modeling software such as Maya or Blender. Students should expect to produce a mid-term project and a final project, to be presented in critique sessions of the course.

This course will explore new artistic possibilities of real-time 3D technologies that depart from traditional video game paradigm and typical tech fantasies of VR/AR. It will investigate real-time 3D as an art form itself, and encourage students to explore new forms of poetry and artistic expression enabled by 3D game engines. It will also expose students to experimental areas within the technical pipelines and encourage students to embrace a DIY spirit to develop their own artistry and language for the medium.
We will watch, play, and discuss about different forms of artworks produced using real-time 3D technologies, including autonomous 3D simulation, interactive virtual world, real-time cinema, generative animation, mixed reality performance, and experimental video game. Some of the artists we will study in this course include Jeffrey Shaw, Harun Farocki, Tamás Waliczky, Tamiko Thiel and Tale of Tales.
This course will use the 3D game engine Unity and 3D modeling software such as Maya or Blender. Students should expect to produce a mid-term project and a final project, to be presented in critique sessions of the course.

One set of technical workshops will address advanced 3D modeling and animation techniques with an introduction to the Maya MASH network, the basics of modeling and texturing in zBrush and an exploration of 3D-scanning tools for use within Maya culminating in a Midterm 3D project. A second set of techniques will be taught to integrate a 3D/virtual object within an existing space (represented by a photographic or 3D-scanned environment); this process will cover Maya software Render-Pass techniques, HDRI acquisition via a 360? camera and compositing methods in AfterEffects for a Final 3D project. Other techniques may be instructed as appropriate.

Screenings, readings and discussions focus on speculative 'NextNature' concepts, the virtual domain, ecology and technology, symbiosis, and non-binary, feminist, post-human and Anthropocenic topics. Virtual 'worlds' will be created within this context. Midterm and final projects function to amplify or critique the conceptual materials; works can address innovative proposals, solutions, or concerns. The 3D tools within 'xyz' space permit deviation from the material world; 3D physics simulations, forces such as gravity, and other environmental qualities can be utilized or subverted to present dystopic, utopic or heterotopic themes. Potential output includes computer-generated moving-image installations, interactive artworks, and digital 2D or 3D prints.

Weekly software assignments, individualized project research, and engaged participation in class readings, discussions and critiques are essential to successful 3D Midterm and Final projects.

This course explores new ways of capturing, rendering, and directing for 3D animation production enabled by emerging technologies. Students will primarily work with the game engine ¿Unreal¿ and learn to use a range of techniques to capture, process, and render environments, objects, and people. These techniques include camera tracking, gaussian splatting, motion capture, and photogrammetry. We will cover the technical foundation and experimental workflows of these technologies and explore how they can inspire new forms of aesthetics for computer-generated moving images, hybrid forms of cinematography, and novel ways of working with actors and performers for 3D animation production.
We will watch different forms of moving image works that explore the poetic potentials of emerging technologies. These works include experimental animations, music videos, installations, and video games. We will look at the creative use of technologies in these productions, learn about the practical production scenarios, and discuss the relationships between the technologies, directing, and cinematic languages. Some of the artists and directors we will discuss include Harun Farocki, Antoine Chapon, Hayoun Kwon, Deniz Tortum, and Claire Hentschker.
Students should expect to produce a mid-term project and a final project. They are encouraged to embrace a DIY spirit to develop artistic and technical concepts that challenge conventional ideas in 3D animation and moving image productions.

One set of technical workshops will address advanced 3D modeling and animation techniques with an introduction to the Maya MASH network, the basics of modeling and texturing in zBrush and an exploration of 3D-scanning tools for use within Maya culminating in a Midterm 3D project. A second set of techniques will be taught to integrate a 3D/virtual object within an existing space (represented by a photographic or 3D-scanned environment); this process will cover Maya software Render-Pass techniques, HDRI acquisition via a 360? camera and compositing methods in AfterEffects for a Final 3D project. Other techniques may be instructed as appropriate.

Screenings, readings and discussions focus on speculative 'NextNature' concepts, the virtual domain, ecology and technology, symbiosis, and non-binary, feminist, post-human and Anthropocenic topics. Virtual 'worlds' will be created within this context. Midterm and final projects function to amplify or critique the conceptual materials; works can address innovative proposals, solutions, or concerns. The 3D tools within 'xyz' space permit deviation from the material world; 3D physics simulations, forces such as gravity, and other environmental qualities can be utilized or subverted to present dystopic, utopic or heterotopic themes. Potential output includes computer-generated moving-image installations, interactive artworks, and digital 2D or 3D prints.

Weekly software assignments, individualized project research, and engaged participation in class readings, discussions and critiques are essential to successful 3D Midterm and Final projects.

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.