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Credit Value: 3.0
Credit Value Notes: N/A
Effective: Winter 2013
Prerequisites:
(ANIM28263)
Corequisites:
N/A
Equivalents:
N/A
Pre/Co/Equiv Notes: N/A |
Course
Name (short): Exploration of Figure Analysis
School: Animation Arts and Design
Program(s):
Bachelor of Animation
Program Coordinator(s):
Mark Mayerson
Course Leader or Contact: Tim Mccormack
Originator: Paulette Geffros
Designate: Paulette Geffros
Version: 11.0
Status: Approved (APPR)
Calendar Description
This course builds on refining observational drawing skills and
expanding student knowledge of culture, costume, art and artists.
These skills will be used in the production and art direction of
animated characters.
Typical Instructional Format
Studio Course
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42.0 |
| Total hours: |
42.0 |
Courses may be offered in other formats.
Section I Notes:
Course Contributors: Brian Hladin, Mark Thurman
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Detailed Description
This course is designed to assist students in adding to, and
refining, their understanding of observational drawing skills
through demonstration, interactive lecture, field studies, studio
work and a focused analysis of the work of past and contemporary
artists. These skills will be used in the production and art
direction of animated characters with attention to the effective
placement of those characters in an environment. Clear visual
language of 3D space and narrative will be emphasized, as well as
the integration of all musculature. Students are introduced to value
drawing through light, shade and shadow to effectively render
volumetric drawings. In addition, the course includes a thorough
study of costume and drapery. A study of comparative anatomy
continues through the combination of the elements of human and
animal forms in creature creations. A more complex analysis of the
dynamics of the human figure is also incorporated into the course.
Program Context
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| Bachelor of Animation |
Program Coordinator: Mark Mayerson |
This course is part of the
core component of the second
year of the Bachelor of
Applied Arts (Animation)
Program. It is the fourth in
a series of eight Life
Drawing courses whose
development reflects
comprehensive and thoughtful
scope, analysis and sequence
in the delivery within the
Life Drawing stream. In
addition, it reflects
continuity, integration and
balance through the other
streams at an intermediate
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 within courses
in other streams of the
program.
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Course Critical Performance and Learning Outcomes
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Course Critical Performance
By the end of this course, students will have demonstrated the
ability to refine the principles of constructive anatomy with an
emphasis on volumetric drawing.
Course Learning Outcomes
To achieve the critical performance, students will have demonstrated
the ability to:
1. Capture the dynamic action of a specific pose at a refined level.
2. Refine the muscular component in drawing assignments
(demonstrating flexion and extension, origin, insertion and
action) through direct observation, drawing and studies.
3. Create imaginative hybrid life forms by morphing human and animal
components.
4. Apply the structure of classical drapery as it relates to costume,
character, action and movement.
5. Introduce the mechanics of body movement and posture in relation
to character.
6. Incorporate the components of rhythm and dynamics, tension, and
compression, with gesture, in the drawing of the human figure.
7. Investigate how the subtleties of value apply to light and shadow.
8. Relate the drawn figure to the environment encompassing both
linear and aerial perspective.
9. Identify the relationship of two models in terms of cast shadow,
design, narrative, and linear and aerial perspective.
10. Produce drawing assignments that reflect knowledge of, and
research into, the history of costume.
11. Generate personal work that reflects knowledge of the broad range
of artists across cultures and epochs.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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Anatomy Test 20%
Five (5) assignments @ 6% 30%
Portfolio 50%
Total 100%
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.
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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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Communication
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Critical Thinking & Problem Solving
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Interpersonal
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Numeracy |
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Information
Management |
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Personal
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Notes: N/A
Prior Learning Assessment and Recognition
PLAR Contact: Tim Mccormack
Students may apply to receive credit by demonstrating achievement
of the course learning outcomes through previous life and work experiences.
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 |
X |
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Notes: Both are required.
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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): Rubins, David K. (1986) The Human Figure. Markham. Ontario.
Penguin Books. (ISBN 01400.42431)
Goldfinger, Elliot. (1991)Human Anatomy for Artists: The
Elements of Form.
New York: Oxford University Press. (ISBN 0-19-505206-4)
Schider, Fritz. (1957) An Atlas of Anatomy for Artists.
Dover Publications (ISBN 486-20241-0)
Materials needed:
Drawing materials for this course include:
Conte, charcoal, graphite and markers
Kneadable eraser
A variety of inexpensive paper
Newsprint in large quantities is required throughout the course
Applicable student group(s): The students in the Bachelor of Applied Arts/Animation program
Course Details:Instructors
- Brian Hladin
- Klaas Hart
Week 1 Anatomy Review
Week 2 Anatomy Test
Week 3 Field Study - University of Toronto Medical Labs
Assignment #1
Week 4 Value
Week 5 Drapery
Assignment #2
Week 6 Drapery continued
Week 7 Field Study - Toronto Metropolitan Zoo
Assignment #3 - Comparative Anatomy
Week 8 Animal/Figure Morphing
Critiques
Week 9 Animal/Figure Morphing
Assignment #4 - Animal/Figure Morphing
Week 10 Animal/Figure Morphing Conclusion
Week 11 Rhythm and Dynamics
Assignment #5 - Local Value of an Object/Figure
Week 12 Tension and compression
Week 13 Two models - Drawing the figures in the context of the
environment
Assignment #6 - The relationship of two (2) models
Week 14 Portfolio and end of year critique
Academic Honesty
The principle of academic honesty 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 faculty member, or otherwise submitting work that is not
the student's own violates this principle and will not be tolerated. Instances of academic dishonesty, including
assisting another student to cheat, will be penalized as detailed in the Student Handbook.
Students who have any questions regarding whether or not specific circumstances involve a breach of academic
honesty are advised to discuss them with the faculty member prior to submitting the assignment in question.
Discrimination and Harassment
Sheridan is committed to provide a learning environment that respects 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 are available in the Student Handbook.
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