ANIM25738
Stop Motion Animation
 
  I: Administrative Information   II: Course Details   III: Topical Outline(s)  Printable Version   Public
 
Section I: Administrative Information
  Credit Value: 3.0
Credit Value Notes: N/A
Effective: Winter 2008
Prerequisites: (ANIM27198)
Corequisites: N/A
Equivalents:
N/A
Pre/Co/Equiv Notes: N/A

Course Name (short): Stop Motion Animation
School:
Animation Arts and Design
Program(s): Bachelor of Animation
Program Coordinator(s): Angela Stukator
Course Leader or Contact: Christopher Walsh
Originator: Angela Stukator
Designate: Paulette Geffros
Version:
1.0
Status: Draft (DRAF)

Calendar Description
This course provides the students with a general introduction to stop motion animation. Students explore the historical and theoretical significance of the medium, and engage in practical learning activities associated with creating stop motion animation.

Typical Instructional Format

Lab
28.0
Lecture
14.0
Total hours: 42.0

Courses may be offered in other formats.

Section I Notes: N/A

 
 
Section II: Course Details

Detailed Description
This course provides students with a general introduction to stop motion animation. Students explore the historical and theoretical significance of the medium, and engage in practical learning activities associated with creating stop motion animation. They continue to build on the fundamentals of animation encouraged in earlier semesters, as they strive to create an effective illusion of life. Students develop and refine these fundamentals through the animation of physical, three-dimensional puppets. Additional investigation into related factors such as effective camera placement, dynamic blocking of action, considerations of effective lighting techniques, strong emotional expression through puppet movements, and problem-solving for production requirements is also conducted. Through interactive lectures, discussions, and demonstrations, students examine various historical and theoretical approaches to the medium. Further, through extensive tactile exploration, students gain knowledge of the processes involved in the art of stop motion animation.

Program Context

 
Bachelor of Animation Program Coordinator: Angela Stukator
This required course reflects continuity, integration and balance through the other streams, and reflects the complexity and logic of the design of the BAA (Animation) Program. While developing specific skills that will prepare students for employment in the stop motion industry, this course also serves to connect to the larger program. For example, through its exploration of such areas as: anticipation, slow-in and slow-out, movement arcs, secondary action, follow through, and other basic laws of physics, this course bridges strongly with the Animation stream. A strong bridge to the Digital stream also exists, as this course investigates areas of three-dimensional concern such as: rigging, armatures, textures, camera concerns, and lighting.


Course Critical Performance and Learning Outcomes

 
 Critical Performance
By the end of this course, students will have demonstrated the 
ability to combine a broad range of stop motion animation principles, 
techniques, and theories in order to create a sustained, believable, 
and emotionally effective illusion of life through the animation of a 
humanoid puppet.


Learning Outcomes
To achieve the critical performance, students will have demonstrated 
the ability to:

1. Implement health and safety requirements necessary in a stop
   motion studio space.

2. Utilize appropriate computer software effectively.

3. Animate a full range of basic movements and expressions with a  
   humanoid stop motion puppet, including a walk.

4.Summarize a range of historical styles and approaches to the medium.

5. Discriminate between various landmark works within the history of 
   stop motion animation.

6. Analyze the appeal and believability of established characters
   that reflect the principles of stop motion animation.


7. Solve specific production problems that occur during stop motion
   production.

8. Assess the animation potential within a variety of stop motion 
   puppet armatures.

9. Describe a variety of camera terms and concepts that apply to 
   visual story telling.

10. Complete a basic lighting set-up, using physical lights and a
    physical subject.

11. Incorporate simple props effectively into stop motion animation. 

Evaluation Plan
Students demonstrate their learning in the following ways:

 
3 In-class Animation Assignments x 10% each        30%
Armature Assignment                                10%
Lighting Assignment                                10%
In-Class ¿Walking Puppet¿ Assignment               25%
Essay                                              15%
Learning Journal                                   10%
Total                                             100%
Provincial Context
The course meets the following Ministry of Training, Colleges and Universities requirements:

 

Essential Employability Skills
Essential Employability Skills emphasized in the course:

  Communication   Critical Thinking & Problem Solving   Interpersonal
  Numeracy   Information Management   Personal

Notes: N/A

Prior Learning Assessment and Recognition
PLAR Contact: Christopher Walsh

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
  X X    

Notes: N/A

 
 
Section III: Topical Outline
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 2008
Professor: Christopher Walsh
Textbook(s):
Shaw, S. (2003). Stop Motion: Craft Skills For Model Animation

Applicable student group(s): Students in the BAA Animation Program
Course Details:
TOPIC 	
Week 1	
TOPIC                                                 
Introduction to the Course and Participants - Interactive Lecture
Distribution and Discussion of Course Outline
Requirements and Expectations for Students and Faculty - Interactive 
Screening
Guidelines for Studio Procedures 
Discussion

Targeted Learning Outcomes 1, 2, 7, 8
Session Topics, Concerns, and Theories
In-class Activity
A Definition of Stop Motion Animation
The Importance of Performance 
Reading for next week TBA
Orientation For Studio and Equipment
Work Flow Procedures For Studio Animation
Studio Safety
Handout Course Otuline
Interaction Between Animator, Puppet, and Technology

Studio
Preliminary Efforts At Stop Motion Animation
Handout for "Learning Journal"
Handout for all Assignments
In-class Critique

	Interactive Lecture

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA

Handout Course Outline

Handout For ¿Learning Journal¿

Handout For All Assignments

In-Class Critique



Targeted Learning Outcomes 1, 2, 7, 8
Session Topics, Concerns, and Theories
A Definition of Stop Motion Animation
The Importance of Performance
Orientation For Studio and Equipment
Work Flow Procedures For Studio Animation
Studio Safety
Interaction Between Animator, Puppet, and Technology

Studio
Preliminary Efforts At Stop Motion Animation


Week 2	Targeted Learning Outcomes 1, 2, 3, 4, 5, 7, 8

Session Topics, Concepts, and Theories
Puppets As Performers 
The Role Of The Animator In The Performance
Historical Overview of Stop Motion Puppets
Puppet Genesis 1- The Significance of Armatures
Application of Animation Principles To Puppets
Proper Puppet Handling and Care	

Studio
Assignment of Animator To Puppet
Exploration of Puppet Armature
Exploration of Materiality of Puppet
Introductory Animation- Arm Wave

	Interactive Lecture

Interactive Screening

Discussion

In-Class Activity


Reading For Next Week TBA



In-Class Critique
Week 3	Targeted Learning Outcomes 1, 2, 3, 7, 8

Session Topics, Concepts, and Theories
Who¿s In Control?- The Struggle Between Puppet and Animator
Three Dimensions- X, Y, and Z Axis in Stop Motion
Gravity 1-  A Force Within The Stop Motion Realm
The Significance of Simple and Controlled Movements
Further Application of Animation Principles To Puppets

Studio
In-Class Animation Assignment #1- Animating Upper Half of Puppet Body

Evaluation
In-Class Animation Assignment #1- Animating Upper Half of Puppet Body 
(10%)
	Interactive Lecture

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA
Week 4	Targeted Learning Outcomes 1, 2, 3, 4, 5, 6, 7, 8

Session Topics, Concepts, and Theories
European Animation- Reiniger, Starevich, Trnka, Svankmajer 
Historical Roots of European Stop Motion
Design vs. Function- What Makes A Puppet ¿Good¿?
Further Application of Animation Principles To Puppets

Studio
Controlled Animation of Puppet


	Interactive Lecture

Interactive Screening

Handout on European Animation

Discussion

In-Class Activity

Reading For Next Week TBA

In-Class Critique



Week 5	

Targeted Learning Outcomes 1, 2, 7, 8

Session Topics, Concepts, and Theories
Learning Journals 1- A Place For Externalizing, Synthesizing, and 
Personalizing Stop Motion Learning
Technical and Logistical Concern - Problem Solving Under Pressure
Hand In- Armature Assignment
Puppet Genesis 2- Alternative Armatures and Resulting Animation
Further Application of Animation Principles To Puppets

Studio
Animation of Armature Assignment


Evaluation
Armature Assignment (10%)	

Interactive Lecture

Interactive Screening


Discussion

In-Class Activity

Reading For Next Week TBA

Week 6	
Targeted Learning Outcomes 1, 2, 3, 4, 5, 6, 7, 11

Session Topics, Concepts, and Theories
North American Animation- O¿Brien, Harryhausen, Tippett
Realism in Stop Motion Animation
Acting For Realistic Stop Motion Animation
Gravity 2- A Force Within The Stop Motion Realm
Further Application of Animation Principles To Puppets
Props- Challenges and Constraints

Studio
Animation Involving A Prop- Lifting A Heavy Box

	
Interactive Lecture

Handout on North American Animation

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA

In-Class Critique

Week 7	Targeted Learning Outcomes 1, 2, 3, 4, 5, 6, 7

Session Topics, Concepts, and Theories
Aardman Animation- The Thinking Puppet 
Animating Clay- Challenges, Constraints, Benefits
The Psychology of The Performance
Performance Through Facial Animation
The Dope Sheet As A Tool For Stop Motion Animation
Further Application of Animation Principles To Puppets

Studio
Animation Involving Facial Expressions, Using Dope Sheets

	Interactive Lecture

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA

In-Class Critique
Week 8	Targeted Learning Outcomes 1, 2, 3, 7

Session Topics, Concepts, and Theories
Learning Journals 2- A Place For Externalizing, Synthesizing, and 
Personalizing Stop Motion Learning
The Balance Between Empathy and Critical Observation 
Acting It Out- The Confidence To Perform
Professional Studio Production Work Flow
Further Application of Animation Principles To Puppets

Studio
In-Class Animation Assignment #2- Animating Entire Puppet Body

Evaluation
In-Class Animation Assignment #2- Animating Entire Puppet Body (10%)
	Interactive Lecture

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA
Week 9	Targeted Learning Outcomes 1, 2, 3, 4, 5, 6, 7, 9

Session Topics, Concepts, and Theories
The Camera- Technological Considerations For Stop Motion
The Camera- Creating Visual Narrative Meaning Through Cognitive 
Assembly
The Lens- Technical Principles And Their Impact On Visual Narrative 
The Camera As The Character- Subjective Use of The Stop Motion Camera 
Directing Through The Camera
The Magic Projector (By Christopher Walsh)- Directing The Stop Motion 
Camera
Further Application of Animation Principles To Puppets
Street Of Crocodiles (By The Brothers Quay)-Camera as Living Character

Studio
Towards Directing- Animation That Explores the Interplay Between 
Puppet and Camera

Evaluation
Essay Due (15%)
	Interactive Lecture

Interactive Screening

Handout on Camera Technology and Camera Theory

Discussion

In-Class Activity

Reading For Next Week TBA

In-Class Critique
Week 10	Targeted Learning Outcomes 1, 2, 4, 5, 6, 10

Session Topics, Concepts, and Theories
The Nightmare Before Christmas- The Sophistication of Lighting For 
Stop Motion
The Psychology of Light In Visual Story Telling
The Basic Stop Motion Lighting Set Up- A Practical Approach

Studio
Practical Exploration of Lighting For Stop Motion- Small Groups 
Workshop

	Interactive Lecture

Interactive Screening

Discussion

Handout On Lighting Assignment

In-Class Activity

Reading For Next Week TBA

In-Class Critique

Week 11	Targeted Learning Outcomes 1, 2, 3, 7, 9, 10

Session Topics, Concepts, and Theories
Advanced Concepts In Stop Motion: Intro To Rigging, Blue Screen, 
Particle and Light Effects, Clean Up
Working With Post Production Requirements In Mind
Further Application of Animation Principles To Puppets

Studio
Animation of Entire Puppet Body-Preparing For Week 13 Assignment

	Interactive Lecture

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA

In-Class Critique

Week 12	
Targeted Learning Outcomes 1, 2, 3, 4, 6, 7, 9, 10


Session Topics, Concepts, and Theories
Contemporary Stop Motion- Web Based Work
From Concept To Screen- Production Management For The Stop Motion 
Short Film 
Keep It Simple- Creating A Project That Is ¿Doable¿
Further Application of Animation Principles To Puppets
Hand In-Lighting Assignment


Studio
Animation of Entire Puppet Body- Preparing For Week 13 Assignment

Evaluation
Lighting Assignment Due

	
Interactive Lecture

Interactive Screening

Discussion

In-Class Activity

Reading For Next Week TBA


In-Class Critique
Week 13	Targeted Learning Outcomes 1, 2, 3, 4, 5, 6, 7

Session Topics, Concepts, and Theories
Studio Expectations- A Day In The Life of A Professional Studio 
Animator
Further Application of Animation Principles To Puppets

Studio
In-Class ¿Walking Puppet¿ Assignment

Evaluation
In-Class ¿Walking Puppet¿ Assignment (25%)

	Interactive Lecture

Interactive Screening

In-Class Activity

Reading For Next Week TBA

Week 14	Targeted Learning Outcomes 1, 2, 3, 4, 5, 6, 7, 11

Session Topics, Concepts, and Theories
Hand In Learning Journal
Learning Journal- Final Discussion of Assignment
Towards A Personal Aesthetic Of Stop Motion
Final Feedback Session
Celebration
Further Application of Animation Principles To Puppets


Studio
In-Class Animation Assignment #3-Emoting Through Puppet And Prop

Evaluation
Learning Journal
In-Class Animation Assignment #3-Emoting Through Puppet And Prop


	Interactive Lecture

Interactive Screening

In-Class Activity


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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