Monday, September 27, 2010

Govt. To Shortly Introduce Animation Courses In CBSE Schools says HRD Minister Sibal

New Delhi: Ministry of Human Resource Development is likely to introduce a new course of Animation in schools governed by CBSE from + 2 levels as soon as it receives a detailed model for this stream from Bollywood industry which want government to initiate animation courses in all schools and colleges as early as possible, said Mr. Kapil Sibal, Union Minister for HRD.
Inaugurating ASSOCHAM organized 6th Education Seminar-cum-Fair here today, Mr. Sibal pointed out that a delegation of Bollywood called on me to press for introduction of animation courses at all school levels in view of it's demand in film industry.
"I have asked them to prepare a detailed role model for animation courses that bollywood wants to be taught in schools under CBSE and as soon as it is given to the government, the course would be commenced to serve film industry", said Mr. Sibal.
He emphasized needs for introduction of such skilful and resourceful courses in all CBSE controlled institutions and other colleges also since people with skill are hardly available so that India is able to successfully absorb shocks of anticipated human resource crisis as Mr. Sibal foresees a great human resource crisis taking India into it's grip.
If India needs to survive possible foreseen human resources crisis, it has to gear up and prepare itself for which beginning has to be made in schools by imparting skills not only in animation but other such related courses, categorically stated Mr. Sibal.
Speaking on macro level of education issues at ASSOCHAM organized event here today, Mr. Sibal allayed all fears that Indian universities and higher education institutions will not face any discrimination of any sort after the Foreign University Bill is enacted as foreign education institutions and domestic academic institutions will be regulated by accredited agencies appointed by the government as per provisions of law.
He also clarify that the government will make sure that colleges run by private institutions adhere to their disclosure norms as pronounced in the prospectus and in case any discrimination is discovered by the regulator, the institutions guilty of any omission will be prosecuted.
The Minister said that the Ministry of Human Resource Development will not interfere in any matter relating to private sector education but if established norms are violated, the law will take it's own course and the guilty institutions will be severely dealt with.
Among others who spoke on the occasion comprised UGC Chairman Dr. Sukhadeo Thorat, former Cabinet Secretary, Mr. Surendra Singh, Ambassador of Belarus, Mr. Oleg Laptenok, ASSOCHAM Education Committee Chairman, Mr. Vinay Rai and it's Secretary General, Mr D S Rawat.


Saturday, September 25, 2010


On Behalf Of My Country I welcome All Foreigners To Our Prestigious Mother Land.... "INDIA"... To Make CWG A Success Full Event.
hello friends.... 
i hope you all knows me.... my name is shera and i welcome you all in INDIA for a Successful event .......
and i also request to all my friends who said not to come at games because of diseases .PLZ VISIT.....AND come on  india help us to make COMMONWEALTH GAMES DELHI 2010 A Successful event.. 


Shera, mascot of the XIX Commonwealth Games 2010 Delhi, is the most visible face of the XIX Commonwealth Games 2010 Delhi. His name comes from the Hindi word Sher – meaning tiger. Shera truly represents the modern Indian. He is an achiever with a positive attitude, a global citizen but justifiably proud of his nation’s ancient heritage, a fierce competitor but with integrity and honesty. Shera is also a ‘large-hearted gentleman’ who loves making friends and enthusing people to ‘come out and play’.
In Indian mythology, the tiger is associated with Goddess Durga, the embodiment of Shakti (or female power) and the vanquisher of evil. She rides her powerful vehicle – the tiger – into combat, especially in her epic and victorious battle against Mahishasur, a dreaded demon.
Shera embodies values that the nation is proud of: majesty, power, charisma, intelligence and grace. His athletic prowess, courage and speed on the field are legendary. He is also a reminder of the fragile environment he lives in and our responsibility towards the protection of his ecosystem.






















                                     INFO COLLECTED BY:
CWG OFFICIAL SITE: follow it for some important notes...  follow it for matches schedule.......   follow it for your favourite sports...

Friday, September 24, 2010

Atithi Devoh Bhavah....

Atithi Devoh Bhavah....

On Behalf Of My Country I welcome All Foreigners To Our Prestigious Mother Land.... "INDIA"... To Make CWG A Success Full Event.

Tuesday, September 21, 2010

Beginning Drawing

  • Line as an Element of Design
    • Pass out handout with definitions and examples culled from a dozen books and websites.
    • Talk about elements of design, introduce concept and list the elements. Warn the students that this will come up later.
    • Focus on line, and start to show examples.
    • Use Manet as an example of psychic lines or lines of composition.
    • Use Alphonse Mucha as an example of a master of Line. Point out how the line thickness changes. Use this to introduce...
  • Positive and Negative Space
    • From Mucha's examples, go to general discussion of positive and negative space.
    • Use photo examples of depth-of-field for one example.
    • Sketch out an example of the next practice drawing, explainign the concepts as you go.
  • Hands-On Practice
    • Set up a fairly complicated still-life. Houseplants are great for this one.
    • Show how the contours for positive and negative space differ from the contours we drew last month.
    • Once the students get the concept, have them draw the houseplant still-life, darawing only the contours dividing positive from negative space. It should, essentially, be a silhouette of the still-life.
    • While they're drawing, check the students work to make sure they're getting it. One-on-one work may be necessary, and a few more examples may be needed. If they are really having trouble with the concept, don't worry too much, because we'll be coming back to this concept later in the year, and can do more work on it then.
    • (If it is important that they take home a finished, show-off-able piece, make sure they finish the contours, and then paint either the positive or the negative space black, to create acomplex, interesting looking silhouette.)

Getting the Most Out of a Pencil
  • Pencil Control
    • sharp points - fine lines, clean, very little smudging, but... can damage the paper, hard to erase, if the point breaks, you've got shrapnel doing inexpected things
    • broad edge - wide, emotional lines - blend and smudge easily - can have a calligraphic feel
    • rounded tip - rough, wider lines, blend easily, easiest to erase, doesn't damage paper
    • light sketching lines for maximum erasability
    • starting and stopping lines - takeoff and touchdown versus hard-stop, and how it impacts line quality and blending
    • smudging with tortillons
    • review - why you never smudge with your fingers!
    • pressure and darkness -- it's so easy to take for granted, but what is the actual range of the pencil you're using?
  • Hands-On Practice
    • Have the students draw a small image four times - once with a very sharp point, once with a broad edge, once with a rounded sketching pencil (normal weight), and once with a rounded sketching pencil at sketching weight.
    • Have the students look at the differences in the quality and impact of each style.
    • Then have them run the eraser lightly through the middle of each image, and harder along one edge of each image. See how easy or difficult it is to erase each type of pencil mark. Make sure to point out the sharp edge of a broad stroke made with a sharp tip.
    • Have them label each of these, and take notes for later reference.
    • Do a 'fur' stroke exercise to see the difference with starting and stopping methods.
    • Have them try smudging some light sketching strokes. Then have them try smudging the four images they did a few minutes ago, to see how those different strokes behave under the blending stump.
    • Have them create a smooth gradient, about an inch wide, from darkest at one edge to lightest at the other.
    • Look for really smooth, consistent gradation. Make sure they're getting true darks and lights.
    • Show them the difference between a 4H and a 6B pencil as a preview of one of the future lessons.
  • Pencil Techniques
    • Using Ye Classic Sphere as an example, show the students the basics of chiaroscuro (will get to spend whole days on just this subject later on, so no need to pound it hard today -- just focus on the shading techniques themselves)
    • Now, set up a still life. It needs to be a simple object, with a smooth, opaque, non-shiny surface, all one neutral color, and set up a single strong light source. Perhaps I can make some simple grey paper shapes, like cones and cubes.
  • Hands-On Practice
    • Light sketching - technichally this isn't a shading technique, but I really want to make sure the students get some practice doing this, since it will be so essential in future lessons. Have the students sketch the object using light shading lines. Check to make sure they aren't denting the paper or making lines that are too dark.
    • Parallel lines - have the students shade the object using parallel lines. Since this is pencil, have them show that they can affect the shade by changing the pressure of the line, as well as the density of the lines.
    • Crosshatching - have the students shade the object using crosshatching. Make them use parallel hatches, and not zig-zag hatches. Show how zig-zaggy lines look darker at the edges then they do in the middle.
    • Stippling - have the students shade the object using stippling. Not too much pressure, or they'll shatter their pencil points and gouge the paper. Not too quickly, or they'll have small strokes instead of dots, and uneven coverage. Slow and steady provides the best results. Most of the students will find this to be maddeningly slow and tedious... may want to pass out Ellen Million's article on stippling, since it's such a great explanation and example of its uses.
    • Criss-cross hatching - have the students shade the object using the random-axis criss-cross hatching. Point out that this is another way of using parallel lines, but that they get to mix up the direction.
    • Contour Shading - have the students shade the object usinglines that follow the contours of the object. look for an understanding of the object's topography, and show them several ways you could 'map' an object.
    • Scribbly lines - have the students shade the object using loose, squiggly lines. Show them the difference between different kinds of squiggles, from wibbles to spirals.

Better English speaking skills

Improving your English speaking skills will help you communicate more easily and
effectively. But how do you become a more confident English speaker?

Practice where you can, when you can. Any practice is good - whether you speak
to someone who is a native English speaker or not.

It's important to build your confidence. If possible, use simple English sentence
structure that you know is correct, so that you can concentrate on getting your
message across.

Try to experiment with the English you know. Use words and phrases you know
in new situations. Native English speakers are more likely to correct you if you use
the wrong word than if you use the wrong grammar. Experimenting with vocabulary
is a really good way of getting feedback.

Try to respond to what people say to you. You can often get clues to what
people think by looking at their body language. Respond to them in a natural way.
Try NOT to translate into and from your own language. This takes too much time
and will make you more hesitant.

If you forget a word, do what native English speakers do all the time, and say
things that 'fill' the conversation. This is better than keeping completely silent. Try
using um, or er, if you forget the word.

Don't speak too fast! It's important to use a natural rhythm when speaking English,
but if you speak too fast it will be difficult for people to understand you.

Try to relax when you speak - you'll find your mouth does most of the pronunciation
work for you. When you speak English at normal speed, you'll discover that many of
the pronunciation skills, such as linking between words, will happen automatically.

Remember, when speaking English…

Try to become less hesitant and more confident.

Don't be shy to speak - the more you do it, the more confident you'll become.
Remember to be polite - use "please" and "thank you" if you ask someone to do
something for you.

Monday, September 20, 2010

Career in animation - Jobs Opportunities - Institutions and fee

Animation industry in India is growing and there are many job opportunities for you in this industry. If we talk about the salary don’t worry its also very nice.

Lets talk something about animation: Animation is rapid display of a sequence of images of 2D or 3D model. In the beginning there was 2d animation and there were simple techniques and process for that. There are many types of animation forms like video animations and motion pictures etc. Now a days animation has become an important part of each and every industry specially of the entertainment industry. Each and every industry requires animation these days.

Job Opportunities: As it has become the requirement of each and every industry so there are numbers of job opportunities for you with high salary packages.

Eligibility & Requirements: There are some points that you need not have to become a good animator.
You need drawing skills, creativity, good imagination, visualization, observation and strong determination. For bachelor degree in animation you need to have 12th standard certification from any recognized board with minimum of 45% marks and for For postgraduate program you need to have bachelor degree, preferably arts with basic understandings and knowledge.

Course fee and duration: There are some good institutions for animation learning for example Arena Multimedia, Maya Academy of Advanced Cinematics (MAAC), NIIT national institute of information technology and Tekno Point Multimedia, ICAT, ZECA (ZEDCA) etc. Here are institution names and their websites:

Name Website
Arena Multimedia
National Institute of Design
Zee Institute of Creative Arts
RAI University
Maya Academy of Advanced Cinematics
Academy of Digital Arts and Communication
TOONZ Animation India Pvt Ltd.
IIT Mumbai and Guwahati

Some government institutions: The Birla Institute of Technology (deemed university), The National Institute of Design (NID), The Indian Institutes of Technology (IITs) and Centre for Development of Advanced Computing (C-DAC)

Course duration of fee: The course duration and fee for animation course vary as per the institution. if you want to get degree from well and good institution than the full course fee would be around 1lacs or more.


Sunday, September 19, 2010

A Preview of the 3D Process

The process of creating in 3D requires that you model or shape objects in a scene, give
them color and light, and render them through a virtual camera to make an image. In
essence, you create a scene that tells the computer what objects are where, what colors
and textures they have, what lighting there is, and what camera to use; it’s a lot like directing
an actual production, but without all the actor tantrums over bottled water.
Instead of a canvas on which to paint or copy and paste images, you have a 3D space—
an open area in which you define your objects, set their colors and textures, and position
lights as if you were setting up for a real photo shoot. CG is actually remarkably analogous
to the art and practice of photography and filmmaking.
Photographers lay out their scene by placing the subjects to form the frame. They light
the area for a specific mood and account for the film stock and lens they use and for the
colors of the scene. They choose the camera, film, and lenses according to their desired
result. They snap a picture, develop the negative, and print it to paper. Through this
process, a photo is born.
Once you build your scene in 3D using models, lights, and a camera, the computer
renders the scene, converting it to a 2D image. Through setup and rendering, CGI is born.
And with a little luck, a CG artist is also born.
Rendering is the process of calculating lights and shadows, the placement of textures
and colors on models, the movement of animated objects, and so on to give you a sequence
of 2D pictures that effectively “shoot” your virtual scene. Instead of an envelope of 4 × 6
glossy prints, you get a sequence of 2D computer images (or a movie file like a QuickTime
or AVI [Audio Video Interleave] file) that sit on your hard drive waiting to be seen, and
invariably commented on by your know-it-all friends.
And that, in a nutshell, is the CG process. It requires planning and patience, as CG follows
conventions that are so different than those for painting programs and image editors.
Its work flow is entirely based in building, arrangement, and relationships. But it is an easy
work flow to pick up and eventually master. And it can be done by anyone with the desire
and the patience to give it a try.
Fairly soon, you will begin to see CG as a bigger part of the everyday computing environment,
as we are seeing with image editors and digital-video editing software now.
The more familiar you are with it, whether with Autodesk Maya or another package, the
greater your part in the computing future. The day will soon be on us when we can
custom-make our own environments for our 3D Windows desktops.


Although Maya can be used to produce remarkably lifelike 3D still images, most Maya
artists also work with a fourth dimension, time. That is, most Maya art is animated.
Simply put, animation is change over time. A solid foundation in animation involves
understanding the simulation of something changing over a period of time. Underlying
all animation, from paper flipbooks to film and on to Maya, is the following principle:
when we see a series of rapidly changing images, we perceive the changing of the image
as continuous motion.
In creating CG animation yourself, you have to create scene files with objects that
exhibit some sort of change, whether through movement, color shift, growth, or other
behavior. But just as with flipbooks and film animation, the change you are animating
occurs between static images, called frames, an analogy with film. You define the object’s
animation using a “timeline” measured in these single frames.
You’ll learn more in the section “Basic Animation Concepts” later in this chapter.

The Stages of Production

The CG animation industry has inherited from the film industry a work flow, or pipeline,
a way of doing things that consists of three broad stages: preproduction, production, and
postproduction. In film, preproduction is the process in which the script and storyboards
are written, costumes and sets are designed and built, actors are cast and rehearsed, a crew
is hired, and the equipment is rented and set up. In the production phase, scenes are taped
or filmed in the most efficient order. Postproduction (simply called “post”) describes everything
that happens afterward: the scenes are edited into a story; a musical score, sound
effects, and additional dialogue are added; special visual effects may also be added. (In a
film that has special effects or animation, the actual CG creation is usually completed in
post but may have started in the preproduction phases of the film or project itself.)
Although the work performed at each stage is radically different, this is a useful framework
for understanding the process of creating CG as well.


Preproduction for a CG animation means gathering all reference materials, motion tests,
layout drawings, model sketches, and such together to make the actual CG production as
straightforward as possible.
Since the CG artist must define 3D scenes in the program, it is essential to have a succinct
plan of attack for a well-organized production. The more time spent planning and
organizing for CG, the better. Entering into production without a good plan of attack is
not only going to cause you trouble, it will stunt the growth of your project.
In the real world, preproduction is part of every CG animation project. For the tutorial
projects in this book, you’ll work with sketches and other files supplied on the accompanying
CD as your preproduction. Even for these tutorials, however, you’re encouraged to
gather as much information as you can about the objects you’ll create, even more than what
is presented to you. As with disappointing movies with terribly flawed preproduction stages,
a poorly thought-out CG production will invariably end in headaches and wasted time.

The Script

To tell a story, CG or not, you need to put it in words. A story need not contain dialogue
for it to benefit from a script. Even abstract animations can benefit from a highly detailed
explanation of timings and colors laid out in a script. The script serves as the initial blueprint
for the animation, to lay forth the all-important intent. It is then fleshed out.

The Storyboard

A storyboard is a further definition of the script. You break the script into scenes, and
then you break those scenes into shots. You then sketch out each shot on a panel of a storyboard.
The panels are laid out in order according to the script to give a visual and linear
explanation of the story. Storyboards are useful for planning camera angles (framing a
shot), position of characters, lighting, mood, and so on. Even rudimentary boards with
stick figures on notebook paper are useful to a production.

The Conceptual Art

Conceptuals are the design elements that are needed for the CG production. Typically, characters
are drawn into character sheets in three different neutral poses from the front, from
the side, and from an angle called a 3⁄4 view. Some are even sculpted into clay for better
reference. Color art can also be created of the various sets, props, and characters to better
visualize the colors, textures, and, later on, the lighting that will be needed. Props and sets
are identified from the script and boards and sketched out into model sheets. The better the
conceptual art is visualized, the easier it will be to model, texture, and light everything in CG.


Production begins when you start creating the models from the boards, model sheets, and
concept art. You model the characters, the sets, and the props, and you assign textures
(colors, patterns). The animators take the models and animate everything according to the
boards and script. The sequences are rendered in low quality for dailies and checked for
accuracy and content.
CG production itself has an involved number of steps that are usually defined by the
needs of the production. We’ll peer into 3D work flow in the next section, but to make a
long story short, 3D scenes are created, lit, and animated in the production phase. Most
of the CG techniques you’ll learn in this book are part of the production phase.


Once all the scenes have been set up with props and characters and everything is animated,
postproduction can begin. Postproduction for a CG project is similar to postproduction
for a film. This is where all of a CG film’s elements are brought together and
assembled into final form.


All CG scenes need to be rendered to their final image or movie files. Again, this is the
process by which the computer calculates how everything in the scene should look and
displays it. It is a process that makes great processing demands on your computer, usually
requiring the full attention of your PC, and it can take a good amount of time. As you’ll
learn throughout this book, decisions you make in creating the objects in a scene can
make a big difference in how the rest of the process goes.
You can render one scene while another scene is in production, but working on a system
that is rendering is not advisable unless you’re using a dual-processor machine with
plenty of memory. When everything is rendered properly, the final images are sorted and
the assembly of the CG project begins.
compositing, editing, and adding sound; you will find a multitude of books on these topics
available for further study.


Quite often, CG is rendered in different layers and segments and needs to be put back
together. In a particular scene, for example, multiple characters interact. Each character
is rendered separately from the others and from the backgrounds. They are then all put
together in compositing, the process of bringing together scene elements that were created
separately, to form the final scene. Maya makes this process easier with Render Layers
Compositing programs such as Shake and After Effects not only allow you to compose
CG elements together, they also give you some additional control over color, timing, and a
host of other additions and alterations you can make to the scene. Compositing can greatly
affect the look of a CG project; professionals consider it an integral part of CG creation.


The rendered and composited CG footage is collected and edited together to conform
to the script and boards. Some scenes are cut or moved around to heighten the story.
This process is essentially the same as in film editing, with one big difference: the amount
of footage.
Live-action filmmakers shoot much more footage than is needed for the film, to make
sure they have adequate coverage for all their scenes and to leave extra room for creativity
in the editing. The editor and the director sift through all the scenes and arrange them to
assemble the film in a way that works best with what they have shot. A typical film uses a
small fraction of all film or video that is shot.
Because CG creation and rendering is much more time-consuming and expensive to
generate than shooting most live action, scenes and shots are often tightly arranged in
preproduction boards so not much is wasted, if any. The entire production is edited with
great care beforehand, and the scenes are built and animated to match the story, almost
down to the frame. Consequently, the physical editing process consists mostly of assembling
the scenes into the sequence of the story.


Sound design is important to CG. Viewers like to associate visuals with audio. A basic
soundtrack can add a significant punch to a simple animation by helping provide realism,
mood, narrative, and so on, adding a greater impact of gestalt to the CG.
Sound effects such as footsteps are added to match the action on the screen; this type
of sound is also known in film as foley sound. Music is scored and added to match the film.
Again, this is much the same procedure as in film, with one exception. In the event that a
CG project requires dialogue, the dialogue must be recorded and edited before CG production
can begin. Dialogue becomes a part of the preproduction phase as well as post.
This is because animators need to hear the dialogue being spoken to match the lips of the
characters speaking, known as lip-synch. Quite often, the dialogue or musical score inspires
a character’s actions or body language as well.

(article compiled from the internet.)