Categories
Illustrations

Create color balanced abstract compositions for each listed below with at least

Create color balanced abstract compositions for each listed below with at least 4 or more simple shapes of color, each in cut paper or color media of your choice. Be sure to put a frame around it. Can also be on a color ground, which is usually better.
Emphasis/dominance
Variety
Economy
Movement
Pattern/Rhythm
Contrast
Scale and Proportion
Creative Exercises in Sketchbook:Draw one object or shape over and over again on same page in different sizes, positions, overlap, etc. until it is mostly unrecognizable as the one object and becomes something else, another composition.
Use one word and write it backward and forward all over the page with the hand you DON’T write with. Then create a composition and drawing from it. It can be representational or non-representational.
Submit all parts in one PDF file.

Categories
Illustrations

Create color balanced abstract compositions for each listed below with at least

Create color balanced abstract compositions for each listed below with at least 4 or more simple shapes of color, each in cut paper or color media of your choice. Be sure to put a frame around it. Can also be on a color ground, which is usually better.
Emphasis/dominance
Variety
Economy
Movement
Pattern/Rhythm
Contrast
Scale and Proportion
Creative Exercises in Sketchbook:Draw one object or shape over and over again on same page in different sizes, positions, overlap, etc. until it is mostly unrecognizable as the one object and becomes something else, another composition.
Use one word and write it backward and forward all over the page with the hand you DON’T write with. Then create a composition and drawing from it. It can be representational or non-representational.
Submit all parts in one PDF file.

Categories
Illustrations

Make 5 designs on AI illustrations and a power point presentation and add pictur

Make 5 designs on AI illustrations and a power point presentation and add pictures and points on the power point . And please draw the designs

Categories
Illustrations

You have to draw the design on AI listration and make a power point presentation

You have to draw the design on AI listration and make a power point presentation and add pictures and points what u used to make a designs

Categories
Illustrations

Make 5 designs on AI illustrations and a power point presentation and add pictur

Make 5 designs on AI illustrations and a power point presentation and add pictures and points on the power point . And please draw the designs

Categories
Illustrations

You will be producing a series of vector graphics “sketches”. These are not intended to be finished compositions. Each sketch will be an exploration of the technical capabilities of Adobe Illustrator. If you’ve never used Illustrator or similar vector graphics tools before, you will be starting out just learning the most basic drawing and shape making techniques and learning to navigate the Illustrator workspace. You should find that you can quickly begin to combine a few basic techniques to produce more s

Overview
This assignment is largely self directed, but with the focused intent of rapidly increasing your fluency in Adobe Illustrator.
You will be producing a series of vector graphics “sketches”. These are not intended to be finished compositions. Each sketch will be an exploration of the technical capabilities of Adobe Illustrator. If you’ve never used Illustrator or similar vector graphics tools before, you will be starting out just learning the most basic drawing and shape making techniques and learning to navigate the Illustrator workspace. You should find that you can quickly begin to combine a few basic techniques to produce more sophisticated designs.
If you are an experienced Illustrator user, you can use this assignment to dive deeper into tools and techniques that you’ve yet to explore. You can experiment with more involved sequences of processes to achieve richer, more individualized design qualities.
You will be sharing the images you produce with accompanying notes describing the techniques involved. Workload Estimate
You are expected to spend at least 4 hours on this project. If you are completely new to this software, assume that you will need to add another hour or so on top of that estimate to get acclimated to the workspace.
You will be submitting 12 or more images with process notes for this assignment. I’m estimating that on average you will spend 20 minutes per image. This duration includes the time you need to read or watch tutorials, experiment with the tools/techniques and add written notes as text on your artboards. Learning Objectives
Demonstrate technical proficiency using Adobe Illustrator to produce vector graphics.Everyone should be comfortable with these basic skills (if you are more experienced you can start with more advanced tools and processes):Creation of primitive shapes (rectangles, ellipses, polygons, etc.)
Modification of primitive shapes (move, resize, modify shape, change color of stroke and fill)
Change layer order
Combine shapes using pathfinder tools
Drawing Pen
Pencil
Brush
Path modificationUse of Direct Selection Tool
Manipulation of anchors and handles
Type CreationType Tool, Area Type, Type on Path, etc.
Character parametersFont
Font style
Font size
Paragraph Options
GeneralCopy – Paste (many options/variations)
Duplicate (repeat action)
Transform Move, rotate, reflect, scale, shear
AlignmentAlign to Artboard
Align to Selection
Distribute objects
Appearance effects (fx)
Transparency
Explain vector graphics techniques using the vocabulary that is specific to domain.This will be demonstrated through your written note on your artboards.
Vocabulary includesThe names of tools (Selection, Direct Selection, Pen, Brush, etc.)
The names of graphic elements (Path, Anchor, Handle, Fill , Stroke, etc.)
The names of processes/actions (Align, Group, Transform, Select, Arrange, etc.)
The names of workspace elements/panels (Layers, Appearance, Color Picker, Properties, etc.)
Instructions
Getting Started
Sign up for your free Adobe Creative Cloud account through ASU: ASU UTO Adobe Creative Cloud access requestLinks to an external site.
Download Adobe Illustrator using the Creative Cloud application or Adobe website. You will also need Photoshop, Audition, Premiere Pro and Media Encoder for upcoming class modules. I recommend installing these right away so you don’t have to worry about doing so later in this very compressed class timeframe. The raster graphics (Photoshop) module starts next week!
For this assignment you will only be using Illustrator. (As we progress throughout the semester you will start combining tools and techniques using the optimal tools for the specific task.)
Create a new illustrator file. In the document settings window:Type a meaningful name for your document (include your last name as part of the document name (ex. laheySportsDrinkLabel.aic)
Set the document width and height to 1000 Pixels
Orientation doesn’t matter since this is a square aspect ratio.
Set the number of Artboards to 1.
Leave the Bleed settings at 0 pixels (px).
Set the Color Mode to RGB (If this was for an actual product label and print quality was the top priority, we would set this to CMYK to optimize for the standard printing process which uses Cyan, Magenta, Yellow and Black inks. We will be sharing this work through web browsers so it is instead optimized for screen display.)
Set the Raster Effects resolution to Screen (72 ppi) (pixels per inch). Even though Illustrator is primarily a vector graphics editing tool, it as some raster graphics capabilities. This setting optimizes the rendering of these effects for the target destination (print, video, web). Leave the Preview Mode as Default.
Save your file.Save frequently (this is less critical if you use the Creative Cloud save option).
I recommend using the option to Save to Creative Cloud while you are working on the project.
When your illustration is complete, you will use Save As to save a copy of your illustration to your computer. You will archive this, but it will not be a part of your submission. For this step, do the following:File > Save As
Select “Save on your computer”
Set the Format as Adobe Illustrator (ai)
Click “Save”.
In the “Illustrator Options” panel that pops upMake sure the Version is “Illustrator 2020”
Check the box for “Include Linked Files”
Leave the other boxes checked.
Click “OK”
Technique Demonstration and Notes
Find tutorials, lessons and reference materials that are appropriate for your experience level. YouTube and other websites can be a great source of information, but I recommend starting with Adobe’s help:https://helpx.adobe.com/illustrator/tutorials.html# (Links to an external site.)
Depending on your learning preferences, you can follow tutorials step by step, or start experimenting and look for help when you get stuck on something.
Create graphics using the tools and techniques you discover. Prioritize demonstrating the basic techniques and tools that I outline in the learning objectives.
Multiple tools and techniques, especially the basic foundations, can be demonstrated on a single artboard.
Take notes as you go!Notes should be included as text on the artboard that you are working on.
Taking notes is an opportunity to demonstrate various type techniques.
Describe what tools you are using.
Specify the source of any lessons, courses or tutorials that you are utilizing.
Notes need not be highly formal, but should be clearly legible and must communicate what you were doing.
Mark how many minutes you spent on that artboard.
Produce at least 12 artboards demonstrating a wide variety of tools, techniques and processes.On average, each artboard should represent about 20 minutes of focused effort.Some may be significantly quicker exercises
Others may be much more involved processes, taking longer to learn, develop and describe
Media organizationIf you are already experienced, confident navigating multiple artboards, and comfortable keeping layers organized, you are welcome to work in a single Illustrator document and export all your final artboards as a set of images.
If you are new to Illustrator, I highly recommend creating a new Illustrator file with a single artboard for each of your 12 (or more) final images.
Use the Export process to save a flattened, compressed jpg version of your illustrations. These files will be constitute your final submission.File > Export > Export As
Set the Format as JPEG (jpg)
Click the “Use Artboards” option (this will maintain the white background that you composed your illustration on as part of the final image)
Click “Export”
In the JPEG Options panel that pops upSet Color Model as RGB
Set the Quality slider bar to 10 (Maximum)
Set Compression Method as Baseline (Standard)
Set the Resolution to High (300 ppi)
Set the Anti-aliasing to Type Optimized (Hinted)
Check the box to Embed ICC Profile
Click “OK”
Repeat this process for each of your artboards.
Deliverables
Submit your 12 or more JPEG images.
Archive your Illustrator files (I recommend maintaining the Adobe Cloud version and a version on your computer or external storage device) but do not submit them for this assignment.

Categories
Illustrations

Scaffold each of your fashion pose references with the method in 4.2.

Materials
Drawing pad (at least 11×14″)
Clear grid ruler
Drawing tools (pens, pencils, markers, etc.)
6 reference images of full-body opposite-angle/contrapposto fashion poses. Mixed gender (at least one male if you choose to draw mostly females, for example).
Choose from fashion editorial, catalog, or runway sources. Your references can be from magazines, shop catalogs, printouts, or digital. I have created a frequently-updated Pinterest board full of great fashion pose references for your convenience. Part 1: Mapping your references
Scaffold each of your fashion pose references with the method in 4.2. This can be done physically, directly on your print-out or magazine cover, on tracing paper, or digitally (using an app, like Instagram). Make sure you highlight at least the following:
The balance line
The shoulder line
The hip line
The waist line
The CF,CB line, or Side Seam
The joints
Part 2: Drawing fashion poses
Draw 6 fully formed croquis figures based on your references. Bodies can be of any gender but they should also be a variety of genders (don’t just draw all masculine or feminine croquis). Draw and label as many 9-head croquis scaffolds as you need.
Figures must be in the 9-head scale.
They must all have different opposite angle poses (no standard upright croquis in which the shoulder and hip lines are parallel).
Your figures must adhere to the guidelines of opposite-angle posing– be wary of the balance line, the hip and shoulder lines, joint sizes, and limb length as you rotate and angle the body.
Draw the Center Front/Back and other contour lines (panty line, bust contouring, etc.).
Draw the hands and feet. Make sure they are the right size for the figure. Scaffold the hands and feet as you did in Module 3.
Draw the head and its scaffold (center line and eye line).
Draw the body fully fleshed out around your “skeleton.”

Categories
Illustrations

See also:adobe help: adobe audition learn & support (links to an external site.)

FOR THIS ASSIGNMENT YOU WILL BE USING ADOBE AUDITION TO PRODUCE, AND EXPLAIN, A COMPOSITE SOUND EFFECT.
HERE’S AN EXAMPLE OF A SOUND EFFECT AND A SNAPSHOT OF THE MULTITRACK MIX FOR THIS SOUND: First of all, what do we mean by composite? A composite is simply defined as something that is made up of multiple materials, components, parts, elements, etc. A precise definition will be domain dependent. When we are cooking, we frequently produce composite foods. Bread is typically a composite of flour, water and yeast. Carbon fiber is a composite material produced by combining carbon structures with a synthetic resin or other materials.
We produce composites to combine the properties of one thing with those of another, resulting in something that has more specialized characteristics that we find desirable.
A composite sound effect blends multiple individual sounds together to produce a sound did not previously exist, or would difficult or impossible to directly record.
While there are many examples and applications of composite sounds, we will specifically take inspiration from the use of composite sounds as “sound effects” for films.
You will:
Record audio source material
Produce a composite sound for an imagined event, machine, creature or other specific creative purposeComposite sound effects must be compose of a minimum of three (3) unique sounds that you have recorded.Additional sounds can be generated in Audition to add to these recorded elements.
Composite sound effects should be 3 to 15 seconds in duration.
Produce a brief audio descriptive breakdown of your composite soundpresenting each sound element individually
explaining how the individual elements are manipulated and layered to produce the final result
WORKLOAD ESTIMATE
You are expected to spend at least 4 hours on this project. This estimate includes time to: record your own source materials, conceptualize a purpose for your sound effect, investigate editing techniques, produce your composite sound effect, plan and record a script for your description of your sound construction process, edit your final audio sequence and upload your final product. If you are completely new to this software and do not have significant experience with similar DAW (digital audio workstation) tools, assume that you will need to add an additional hour to get acclimated to the workspace and basic techniques.
Learning Objectives
Demonstrate proficiency with basic sound recording, following best practices for clear, high quality results.
Demonstrate a basic technical and conceptual proficiency with Adobe Audition.Build multitrack audio with a variety of audio assets.
Perform basic audio editing to optimize levels and clarity of recorded sounds.
Apply audio effects and processing to sounds to achieve specific practical and expressive effects.
Create a composite sound effect that is tailored to a specific expressive objective.
Apply the concepts and vocabulary of the elements and principles of design to a description of the characteristics of, and relations between, sonic elements.
Instructions
GETTING STARTED
Sign up for your free Adobe Creative Cloud account through ASU: ASU UTO Adobe Creative Cloud access requestLinks to an external site.
Download Adobe Audition using the Creative Cloud application or Adobe website.You will also need Photoshop, Illustrator, Premiere Pro and Media Encoder for other class modules. I recommend installing these right away so you don’t have to worry about doing so later in this very compressed class timeframe.
For this assignment you will only be using Adobe Audition.You may already be using a similar DAW software such as Garage Band, Logic Pro, Reaper or Pro Tools. While any DAW with multitrack sequencing, direct waveform editing and a versatile effects signal chain could work for this assignment, I request that you use Audition. This request is for two primary reasons. First, if everyone is using the same software, it is easier to share knowledge on specific editing techniques. Second, working with Audition will help you when you transition to using Adobe Premiere Pro for the video editing module. The workspaces of these tools are closely related and designed to work together.
Launch AuditionYou will probably see a window that will prompt you to “Learn how to use… Adobe Audition”. (If you don’t see this window, go to Help > Audition Learn)
These tutorials will give you a good starting point for working in Audition.
See also:Adobe Help: Adobe Audition Learn & Support (Links to an external site.)
Adobe Help: Audition Tutorials (Links to an external site.)
CONCEPTUALIZATION/FOUNDATIONS (THESE STEPS CAN OCCUR IN ANY ORDER AND MAY CHANGE AS YOU PROGRESS)
Imagine something that might exist, or some event that might occur, in a (science fiction, fantasy, superhero, horror, animated) film.This could include:Creatures
Machines
Vehicles
Portals (doors, windows and beyond)
Collisions
Fusions
Vocalizations
Starting up
Shutting down
etc….
What does this thing or event sound like like?
Try putting on a favorite film that you know has a rich soundscape and only listen (close your eyes or otherwise block out the visual information) to get more inspiration.
Study the work of Sound Designers and Foley Artists. Ben Burtt is one of the most widely recognized and influential sound designers in the film industry.
PRODUCTION
Record soundsFor most students, your phone will serve as your best mobile sound recording tool. If you have more specialized professional options, you can certainly use them, but most relatively contemporary phones have fairly good sound recording capabilities and are certainly adequate for this module.
To get the best quality out of your recording deviceGet as close to the sound source as is reasonable and and safe (this will give you more of the signal you want to record, with less background noise)
Use a wind screen (if there is any wind blowing over the microphone).A lightweight sock stretched over your microphone (phone) can make a big improvement
Isolate the sound source as much as possible.
Minimize reflections (unless this is a feature of the sound you are recording)If the sound source fits in your closet with you, record it there. The clothing will absorb reflections. Recording (your voice or other portable sound sources) under a table with blankets hanging over the sides is an excellent way to minimize unwanted reflections and block out other external sounds.
Listen to your recordings!Ideally you would “monitor” the recording in real time.
Listen as soon as possible so you can make adjustments and record again if needed.
Gather a diverse range of soundsYou may have a specific idea for a primary sound for your composite sound effect, but remember, the idea is to blend and manipulate sounds to produce a sound that is unique, rich and evocative. This will likely require a broader range of source materials.
Find a range of spectral qualitiesSpectral refers to the combination of frequencies that make up a sound. Most sounds have a mix of frequencies, but typically some frequency range dominates. We describe some sounds as “bassy” (lots of low frequency content), while others might be “tinny” (a thinner sound dominated by higher frequencies), or “glassy” (which can mean a lot of different things to different listeners). Just try to capture a range of sounds that have very different spectral qualities.
Find sounds with a range of temporal qualitiesSounds can be classified according to how they change over time.
Envelope: Attack, decay, sustain and release (Links to an external site.)
Envelopes are frequently applied to sounds for a variety of effects.Adobe Audition Help: Automating mixes with envelopes (Links to an external site.)
You will be recording your speaking voice for the explanatory content of this project, but don’t include your voice (or anyone else’s) as part of your sound effect. Yes, your voice is highly versatile and expressive, but I don’t want you to rely on it for this exercise.
Organize your sounds into foldersFor large collections, additional meta-data is often generated to classify sounds and make them searchable
Locate your sound folders using the Media Browser in Audition
Create a “New Multitrack Session”
Select sounds from your folders and add them to your tracks.Stack the samples so they play simultaneously.
Mute and solo to hear various combinations of sounds.
Experimentally apply effects on the tracks and/or audio clipsEvery Audio Effect Explained (Links to an external site.)
Experimentally apply envelopes to your tracks
Experiment with direct waveform editing of the clipsUse “Convert to Unique Copy” before directly editing your clips!
There are a lot of effects options that are only available in the direct waveform editing. Keep making unique copies of your clips and keep experimenting.
As you experiment, you will likely get more ideas. Don’t hesitate to start new multitrack sessions, or make additional copies further down the timeline to explore a range of ideas. (Remember that any changes you make to a clip (unless you first convert it to a unique copy) will be reflected in every use of that clip in your session!)
Take notes on your process, what tools you are using, what you are thinking about the results, etc. as you work. You will need this information for your description of your sound effect production.
Once you have a sound effect that you are happy with:Produce a brief audio descriptive breakdown of your composite soundpresent each sound element individually
explain how the individual elements are manipulated and layered to produce the final result
describe your intended application of the sound (what would we see when we hear this sound if it was in a film?)
Assemble your finished sound effect and your audio description of your process into a single multitrack session mix.
Use Export > Multitrack Mixdown to export your project as an MP3 file. (You will upload this file.)
Repeat the Multitrack Mixdown to save an uncompressed version of your project (AIFF or WAVE). (Archive this file.)
Deliverables
Upload the MP3 audio file that includes your composite sound effect and your audio description of your design process.
Archive (don’t upload) your original Audition session(s) (with all your layers, audio effects, envelopes, etc.) and an uncompressed stereo (two channel) audio mixdown (in AIFF or WAVE format).

Categories
Illustrations

ScenarioYou are a member of a committee at your child’s school. The committee has been assigned the task to design a flyer for the students to take home to their parents

ScenarioYou are a member of a committee at your child’s school. The committee has been assigned the task to design a flyer for the students to take home to their parents. The purpose of the flyer is to notify parents about the upcoming Field Day for all students. They have specified that it can only be one-page in length, and they have encouraged creativity to catch the eyes of the parents.
Several parents wish to participate, so the leader of the committee creates a fun flyer competition. She asks that each person creates his/her own flyer and create a screen share to persuade the committee to choose your flyer. The screen share should visually show the flyer and include a verbal explanation regarding why your flyer will best attract the eyes of the parents.
Since you are extremely creative, you know that in order to capture the parents’ attention and win this competition, you will need to use color, lines, balance, and contrast visual elements.
In your video presentation, be sure to defend your visual choices to the other parents and members of the committee. You know that if you clearly explain why you chose each of these visual elements and how it best attracts the eyes of the parents, you could win this fun competition!
Your presentation should be a maximum of 5 minutes.
This needs to be a FLYER, but please also include a script. I will be recording myself speak about the flyer.

Categories
Illustrations

The song writer vocalizing and scribbling down lyrics

Overview
For this assignment you will be using Adobe Audition to produce a sound story.
The main “character” of this story will be a song (or a section of recorded music).
Throughout the duration of this story, the listener will travel to different spaces and discover the song emanating from different sound sources. I will refer to these different sound sources and spaces as “scenes” throughout this assignment.
This story structure will require the composer (that’s you!) to do several things:
Convey the sense of traveling from one space to another.Establish a sense of place
Produce a sense of transitioning from one space to another
Modify the sonic character of the song so that it matches the intended sonic source.Sources could include:A small, antique radio
A car stereo The neighbor’s hi-fi stereo
A person humming/whistling the melody
The song writer vocalizing and scribbling down lyrics
A stadium concert sound system
A MIDI reproduction of the song
Establish the sense of a physical space.Spaces could include:A crowded bus
An empty church
A metal tunnel
Underwater
Outside/inside the club
Physical space should includeAmbient sounds/noises
Acoustic properties (especially Reverberation)
Location of the sound source in relation to the listenerLeft, right, up, down
Moving or static location
Occlusions (does something temporarily block the direct sound?)
Your sound story should be continuous, with seamless transitions from one space and sound source to another, but you are not required to account for all the transitions that would be required in the physical world to go from location to location (eg. traveling on a city bus to jumping in lake). Transitions between spaces can be dramatic, but try to make the transition itself evident (eg. bus door swings open, person takes a deep breath, two quick steps, quiet space with a bird chirping and wind through trees, splash!).
Your story should have at least 4 distinct spaces with unique and dramatically different sound sources.
The length of your sound story should be approximately 1 – 2 minutes. Longer is not necessarily better. Workload Estimate
You are expected to spend at least 8 hours on this project. This estimate includes time to conceptualize your story, write a sound-script, collect and record sound samples, study additional editing techniques/effects, produce your sound story, actively reflect on and critique your work, make additional iterations on your project, mixdown your project into an MP3, mixdown an archival uncompressed audio version of your project, and upload your MP3 and sound-script. Learning Objectives
Demonstrate proficiency with basic sound recording, following best practices for clear, high quality results.
Demonstrate a basic technical and conceptual proficiency with Adobe Audition.Build multitrack audio with a variety of audio assets.
Perform basic audio editing to optimize levels and clarity of recorded sounds.
Apply audio effects and processing to sounds to achieve specific practical and expressive effects.
Process musical sound to evoke the sense of the music physically inhabiting the world and originating from a specific sound source.
Apply observations of audio experiences from the physical world to the production of a digitally constructed sound story. Instructions
Conceptualization/Foundations
Before you actively start production activities on this projectSpend time listening to the world you inhabitWhen it is safe to do so, close your eyes while doing this activity.
What do you hear?
Where is the sound coming from?
How far away is the sound source?
How does your perception of the sound change as you move closer or further from the sound source?
What can you tell about the space you are inhabiting from the qualities of the sound?
What else do you hear when you listen for the less prominent sounds?
Listen to how sounds change when you are moving in relation to them (or they are moving in relation to you).
Play the same song on different sound reproduction equipment. Change to location of the equipment
Change your location in relation to the equipment
Put a pillow or blanket over a speaker
Take notes as you do these observations (a voice recorder would work great for this!)
Pick a song or piece of music Not every song or piece of music will be equally well suited to this project.
Look for music that is relatively consistent in its sonic character for an extended duration.A Daft Punk song that features a periodic application of a low pass filter (all the high frequency sound is eliminated) limits your ability to use a low pass filter as an effect to produce a specific sense of the sound source and space.
Acoustic instruments and natural vocals work very well.We are very sensitive to the qualities of natural human voices. This makes them perfect for producing a perception of specific sound sources and spaces through our own application of effects and sonic modulations. Traditional, relatively unprocessed instruments (especially acoustic ones) will also work very well.
Highly processed instruments and voices don’t give us the clear acoustic reference point.Especially avoid Auto-tuned voices
Phaser/flanger/chorus effects
Highly spectrally processed (EQ) songs
If these terms/qualities are unfamiliar, look them up and/or start a discussion topic!
Production
Produce a detailed written sound script. (You will submit this as part of your assignment deliverables.) This is a sequential description of what the listener will hear.
The more detailed this script is, the easier it will be to produce a strong, effective story.
Don’t forget to include descriptions of sonic qualities (panning, amplitude, effects).
Sonic environments should be layered with ambient sounds as well as “featured” sounds. Remember, you can’t rely on visual information, so a script that says, “A man steps into the dark entrance to the tunnel.” is of no use. You might instead say, “We hear the sound of footsteps. A man’s hard soled shoes splash in sticky mud then impact the metal surface of a tunnel. (The reverberation transitions from dry to a very wet effect, using the “Endless Tunnel” Impulse of the convolution reverb). Collect and record sound samples.For this project you are allowed to use sound samples from sound libraries/collections.
It can sometimes be easier to record your own sounds if you have something specific in mind rather than wading through endless options. Study “Foley” artists!
Remember that sound designers produce sounds that support the story/mood/atmosphere. Often sounds are dramatically enhanced from what they would be in the physical world to achieve the desired storytelling results. Construct a rough sequence of sound clips in the timeline of your multitrack session. Your song should not be continuously playing throughout the timeline. You don’t necessarily want your song to play through in real time. (Repeating the same recognizable section in your progression of “scenes” may be more effective in some cases.)
I recommend building up each sound source-space scene in dedicated tracks so you have the option of applying effects to entire tracks without affecting the character of other scenes.If you want to copy one or more effects that you have fine tuned you can do this as shown in this video: Apply effects and modulations to your song clips to establish a specific sound source.Spectral (EQ) processing is very important for many sound sources.
Add ambient sounds, apply effects, modulations and envelopes to establish a specific sonic space.
Build transitions between your scenes.
Adjust the levels for your project to ensure that you have a good strong sound without unintentionally loud and quiet sections.
Mixdown an MP3 and an uncompressed (AIFF or WAVE) version of your project.
Archive your Audition session files.
Deliverables
UploadYour MP3 audio file (listen to it to make sure it is complete)
Your Sound Script document
Archive (don’t upload)Uncompressed audio mixdown
Audition session files