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Detailed Description
This course is designed to introduce students to drawing for layout.
This includes the integration of existing storyboard and design
elements into finished layouts that communicate the story
effectively. In addition, students incorporate the fundamentals of
painting applicable to both concept art and finished layout. Topics
include the concept of continuity, scene planning, fielding,
staging, camera moves, and an intuitive approach to colour theory
and texture. Through interactive lecture, discussion, demonstration,
studio work and independent research, students explore and interpret
a variety of layout drawing and painting styles.
Program Context
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| Bachelor of Animation |
Program Coordinator: Mark Mayerson |
This course is part of the
core component of the first
year of the Bachelor of
Applied Arts (Animation). It
is the second in a series of
six Layout courses whose
development reflects
comprehensive and thoughtful
scope, content analysis, and
sequence in the delivery
within the Layout stream.
In addition, it reflects
continuity, integration and
balance through the other
streams at an introductory
level and reflects the
complexity and logic of the
design of the BAA Animation
Program. It prepares
students for the remaining
courses within the stream
and for building connections
to storytelling, character,
animation and performance to
courses in other streams
within the program.
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Course Critical Performance and Learning Outcomes
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Critical Performance
By the end of this course, students will have demonstrated the
ability to create layouts and paintings from established storyboards
that effectively integrate design elements.
Learning Outcomes
To achieve the Critical Performance, students will have demonstrated
the ability to:
1. Determine fielding and basic camera moves for layout.
2. Generate creative solutions and scene planning for layout through
the analysis and preparation of storyboard panels.
3. Discriminate between layout sequences that successfully
communicate the story and those that do not.
4. Create layout packages that express mood and atmosphere from
predetermined storyboards.
5. Explain continuity issues caused by integral information sources
to the layout processes (e.g. storyboard, design and colour).
6. Apply the principles of structural drawing and perspective to
layout assignments.
7. Express emotion and mood through colour, design, texture and
lighting.
8. Integrate textural methods and elements of composition effectively
into a finished layout and background painting.
9. Follow established colour harmonies reflected in a given style.
10. Initiate the process of individual expression as it relates to
colour harmonies.
11. Express film continuity and transition in the context of layout
and colour.
12. Incorporate technical information and terminology in a variety of
assignments specific to animated film structure.
13. Respond positively to peer and instructor feedback.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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LECTURE 20%
LAYOUT
In-Class Work 10%
Assignments 1 @ 5%
Assignments 2 @ 5%
Assignments 3 @ 5%
Assignments 4 @ 5%
Portfolio 10%
PAINTING
Assignment 1 DUELLING/DUAL IMAGES 8%
Assignment 2 FICTO-PLANET 8%
Assignment 3 EMOTIONAL PLACES 8%
Assignment 4 NOVEL INTERIOR 8%
Assignment 5 CHARACTER-IN-SETTING 8%
Total 100%
NOTE: Final grade is the average of the LAYOUT and PAINTING portions
of the course. Students must achieve 50% or better in each
area in order to pass the course.
Late Policy
Late Policy for all courses in the program: All assignments are due
within the first 15 minutes after the start of class on the due date.
Late projects, submitted after the first 15 minutes of the start of
class will receive a 20% grade reduction. Late projects submitted the
following week will receive a 30% grade reduction. There will be no
submission of work after the last day of semester unless arrangements
have been made and documented by the professor. Work that is more
than
one week late will not be graded unless a prior arrangement has been
made with the professor; the arrangement must be documented on email
or a memo, with the new due date identified. There will be no
resubmission of work unless, under exceptional circumstances, this
has
been agreed to or suggested by the professor. Again, a hard copy of
the agreement is necessary. If there is a valid reason for the late
project, the student must email the professor at least 3 days before
the due date. If the reason is deemed to be valid, there will be no
late penalty. A new due date with be set by the instructor. The basic
late policy as laid out above will be followed, except in the
instance that an instructor requires a variation in policy. That
variation will be provided to the student in writing as part of the
actual assignment, which will be handed out by the instructor.
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Provincial Context
The course meets the following Ministry of Training, Colleges and Universities requirements:
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Essential Employability
Skills
Essential Employability Skills emphasized in the course:
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X
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Communication
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X
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Critical Thinking & Problem Solving
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X
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Interpersonal
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Numeracy |
X
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Information
Management |
X
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Personal
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Notes: N/A
Prior Learning Assessment and Recognition
PLAR Contact (if course is PLAR-eligible) : Office of the Registrar
Students may apply to receive credit by demonstrating achievement of the course learning outcomes through previous relevant work/life experience, service, self-study and training on the job. This course is eligible for challenge through the following method(s):
| Challenge Exam |
Portfolio |
Interview |
Other |
Not Eligible for PLAR |
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X |
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Notes: N/A
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Some details of this outline may change as a result of circumstances such as weather cancellations, College and student activities, and class timetabling.
Effective term: Winter 2013
Professor: Multiple Professors
Textbook(s): Title: Color
Author: Betty Edwards
ISBN 1-58542-219-3
Applicable student group(s): Students of the BAA Animation Program
Course Details:Jason Thompson - Lecture
Mark Komza - Layout
Florian Jacot - Painting
MODULE 1- STORY LECTURES
Week 1
General Introduction
Lecture Topic: Designing the Frame: Working with Screen Ratios
Scene analysis: CITY LIGHTS (Chaplin, 1931) THE GENERAL (Keaton,
1926), PLAYTIME (Tati, 1967), SLEEPING BEAUTY (Disney, 1959), MALE
(Tezuka, 1962)
LAYOUT
- Scale, Proportions, Size Relationship extreme shots, design for
contrasting emotions Master scenes and Reuse scenes.
- Assignment #1 Handed Out
PAINTING
- VISUAL OPPOSITES AND STORY
- THEORIES OF COLOUR IMPRESSION AND COLOUR EXPRESSION
- ASSIGNMENT #1 HANDED OUT (DUELLING/DUAL IMAGES)
Week 2
Lecture Topic: Structural Approaches to Storytelling, part 1
Scene analysis: CITIZEN KANE (Orson Welles, 1941) THE GREAT PIGGYBANK
ROBBERY (Clampett, 1944)
LAYOUT
- Scale, Proportions, Size Relationship extreme shots, design for
contrasting emotions Master scenes and Reuse scenes.
PAINTING
PAINTING
- COMPOSITIONAL ELEMENTS I
Week 3
Lecture Topic: Structural Approaches to Storytelling, part 2
Scene Analysis: CITIZEN KANE, part 2; A HARE GROWS IN MANHATTAN (Friz
Freleng, 1944) UP "Married Life" (2009), DREAMS AND DESIRES FAMILY
TIES (Joanna Quinn, 2008)
LAYOUT
- Scale, Proportions, Size Relationship extreme shots, design for
contrasting emotions Master scenes and Reuse scenes.
PAINTING
- COMPOSITIONAL ELEMENTS II
Week 4
Lecture Topic: Conflict and Character
Scene Analysis: TOY STORY (Wrong story emphasis), BLACK FRIDAY from
WAKING SLEEPING BEAUTY; ALADDIN excerpt; HERCULES excerpts
LAYOUT
- Texture, rendering
- Assignment #1 Due
- Assignment #2 Handed Out
PAINTING
- LINE, SHAPE, VALUE AND COLOUR IN PAINTING
- ASSIGN 2 FICTO-PLANET HANDED OUT
- ASSIGN 1 DUELLING/DUAL IMAGES HANDED IN
Week 5
Lecture Topic: Mise En Scène- "Putting In The Scene" for Animated
Films
Scene Analysis: THE JOURNAL OF EDWIN CARP; DEDUCE YOU SAY, RHAPSODY
IN BLUE, TRIPLETS OF BELLEVILLE
LAYOUT
- Texture, rendering
PAINTING
- ITTEN'S SEVEN COLOUR CONTRASTS
- IN-CLASS CRITIQUE OF DUELLING/DUAL IMAGES
Week 6
TEST- 20% of ANIM 10172 mark
LAYOUT
- Texture, rendering
PAINTING
- FORM AND COLOUR
- THE SPATIAL EFFECT OF COLOURS
- ASSIGN 6 (EMOTIONAL PLACES) HANDED OUT
- ASSIGN 2 (FICTO-PLANET) HANDED IN
WEEK 7: FAMILY DAY HOLIDAY, NO SCHEDULED CLASSSES
LAYOUT
- Design, Style. Adopting and getting use to given style*
*(realistic/stylized) Design pack
- Assignment #2 Due
- Assignment #3 Handed Out
PAINTING
- THE WEIGHT OF COLOUR
- IN-CLASS CRITIQUE OF FICTO-PLANET
MODULE 2- LAYOUT LECTURES
Week 8: Return Test
Lecture Topic: Continuity and Structure in Feature and Short Animation
Scene Analysis: HOW TO SKI, LADY AND THE TRAMP, THE UNICORN IN THE
GARDEN (UPA)
LAYOUT
- Design, Style. Adopting and getting use to given style*
*(realistic/stylized) Design pack
PAINTING
-FROM STORY TO PICTURE I
-ASSIGN 4 (NOVEL INTERIOR) HANDED OUT
-ASSIGN 3 (EMOTIONAL PLACES) HANDED IN
Week 9
Lecture Topic: Colour Analysis In Sequential Storytelling
Scene Analysis: BAMBI (Walt Disney, 1942)
LAYOUT
- Design, Style. Adopting and getting use to given style*
*(realistic/stylized) Design pack
PAINTING
- FROM STORY TO PICTURE II
- IN-CLASS CRITIQUE OF EMOTIONAL PLACES
Week 10
Lecture Topic: Sound Design in Animation and Live Action Films
Scene Analysis: PSYCHO (1960, Alfred Hitchcock), DR. STRANGELOVE
(Stanley Kubrick, 1964), DOUGH FOR THE DO-DO (Warner Brothers),
DUMBO ("Casey Junior")
LAYOUT
- Pans-creative diagonal. Layout - digital folder
- Assignment #3 Due
- Assignment #4 Handed Out
PAINTING
- RELATIONSHIP BETWEEN ANIMATION AND ENVIRONMENT I
Week 11
Lecture Topic: Maintaining Visual Continuity Through Layout
SCOTT CAPLE, GUEST LECTURER
LAYOUT
- Pans-creative diagonal. Layout - digital folder
PAINTING
- RELATIONSHIP BETWEEN ANIMATION AND ENVIRONMENT II
Week 12
Lecture Topic: The Living Frame: Interplay of Screen Forces
Scene Analysis: HOW TO TRAIN YOUR DRAGON, THE BONEKNAPPER DRAGON
(DreamWorks)
LAYOUT
- Pans-creative diagonal. Layout - digital folder
PAINTING
- COLOUR THEORY REVIEW-I
- In-class critique of Assign 4 - NOVEL INTERIOR
- ASSIGN #6 CHARACTER-IN-SETTING ASSIGNMENT HANDED OUT
Week 13
TEST- 20% of ANIM 19014 mark
LAYOUT
- Program and Test Review
- Deadline: Assignment #4
PAINTING
- COLOUR THEORY REVIEW- II
- ASSIGN 5 CHARACTER-IN-SETTING HANDED IN
Week 14
Lecture Topic: Putting It All Together: Sequential Storytelling
Analysis
Return Test
Screening TBD
LAYOUT
Interviews. Portfolio. - 10%
PAINTING
- IN-CLASS CRITIQUE OF ASSIGNMENT 5
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Sheridan Policies
All Sheridan policies can be viewed on the Sheridan policy website.
Academic Integrity: The principle of academic integrity requires that all work submitted for evaluation and course credit be the original, unassisted work of the student. Cheating or plagiarism including borrowing, copying, purchasing or collaborating on work, except for group projects arranged and approved by the professor, or otherwise submitting work that is not the student's own, violates this principle and will not be tolerated. Students who have any questions regarding whether or not specific circumstances involve a breach of academic integrity are advised to review the Academic Integrity Policy and procedure and/or discuss them with the professor.
Copyright: A majority of the course lectures and materials provided in class and posted in SLATE are protected by copyright. Use of these materials must comply with the Acceptable Use Policy, Use of Copyright Protected Work Policy and Student Code of Conduct. Students may use, copy and share these materials for learning and/or research purposes provided that the use complies with fair dealing or an exception in the Copyright Act. Permission from the rights holder would be necessary otherwise. Please note that it is prohibited to reproduce and/or post a work that is not your own on third-party commercial websites including but not limited to Course Hero or OneNote. It is also prohibited to reproduce and/or post a work that is not your own or your own work with the intent to assist others in cheating on third-party commercial websites including but not limited to Course Hero or OneNote.
Intellectual Property: Sheridan's Intellectual Property Policy generally applies such that students own their own work. Please be advised that students working with external research and/or industry collaborators may be asked to sign agreements that waive or modify their IP rights. Please refer to Sheridan's IP Policy and Procedure.
Respectful Behaviour: Sheridan is committed to provide a learning environment that supports academic achievement by respecting the dignity, self-esteem and fair treatment of every person engaged in the learning process. Behaviour which is inconsistent with this principle will not be tolerated. Details of Sheridan's policy on Harassment and Discrimination, Academic Integrity and other academic policies are available on the Sheridan policy website.
Accessible Learning: Accessible Learning coordinates academic accommodations for students with disabilities. For more information or to register, please see the Accessible Learning website (Statement added September 2016)
Course Outline Changes: The information contained in this Course Outline including but not limited to faculty and program information and course description is subject to change without notice. Any changes to course curriculum and/or assessment shall adhere to approved Sheridan protocol. Nothing in this Course Outline should be viewed as a representation, offer and/or warranty. Students are responsible for reading the Important Notice and Disclaimer which applies to Programs and Courses.
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