Course Name (short): Drawing for Layout
School: Animation Arts and Design
Program(s): Bachelor of Animation
Program Coordinator(s): Mark Mayerson
Course Leader or Contact: Nancy Beiman
Originator: Paulette Geffros
Designate: Paulette Geffros
Version: 14.0
Status: Approved (APPR)

Calendar 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.

Typical Instructional Format

Courses may be offered in other formats.

Section I Notes: Course Contributors: Tony Tarantini, Tim McCormack, Michael Hitchcox

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

 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.

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.

Title:  Color
Author: Betty Edwards
ISBN 1-58542-219-3

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