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Detailed Description
This course is designed to provide students with the opportunity to
advance their layout knowledge and skills, generate concept designs
and explore visual styles for use in an animated group film in the
following semester. In addition, students work with a variety of media
and make effective choices in order to address the visual needs of the
story. Topics include multi-plane layouts, pitch development, location
design, prop design, colour keys and potential limitations within the
context of production. Through interactive lecture, demonstration,
discussion and studio work, students research,
design and paint in order to fulfill the layout component of a group film.
Program Context
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| Bachelor of Animation |
Program Coordinator: Mark Mayerson |
This course is part of the
core component of the third
year of the Bachelor of
Applied Arts (Animation)
Program. It is the fifth in a
series of six Layout and
Painting 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 advanced level
and reflects the complexity
and logic of the design of the
BAA (Animation) Program. It
prepares students for the
remaining course 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 complex multi plane layouts and unique visuals
that incorporate a variety of design concepts and styles that have
been researched and applied to the development of a film through
group collaboration.
Learning Outcomes
1. Establish an original style suitable for pitching. Establish an
original design style suitable for a collective animation
production
2. Produce complex multiplane layouts that communicate an advanced
sense of art direction and cinematic aesthetics
3. Produce painted background elements (UL, BG, OL,OL/UL) that
address the needs of complex multi-plane layouts
4. Conduct research that informs the conceptual design for story
idea.
5. Identify individual strengths and weaknesses and self assess
within the context of Design, layout paint. painting and art
direction
6. Conduct research that informs the conceptual design for story
idea design and art direction stage
7. Integrate the use of a variety of media in concept and style
development.
8. Generate colour keys that address production needs.
9. Develop the ability to self assess and critique the work done
through the evolution of layout design.
10. Generate colour scripts and sketches keys that address
pre-production needs.
11. Develop the ability to self assess and critique the work done
through the evolution of layout design.
12. Assess the significance of teamwork to the success of a group
production and collaborate effectively with peers.
13. Analyze the potential parameters within which a production is
developed in order to manage the group film effectively.
14. Develop a sense of professionalism
15. Manage time in order to meet pre-production timelines.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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Students demonstrate their learning in the following ways:
Glossary: Group Film Project (GFP) & Multiplane Layout Assignment (MLA)
In-class activities (individual mark) 10%
Pitch package (GFP mark - week8) 10%
QUIZ (individual mark - week 10) 5%
Design style and art direction assignment (GFP individual mark - week
11) 15%
Scene mock up assignment (GFP mark - week 12) 10%
Design & art direction assignment (GFP mark - week 14) 20%
Multiplane Layout Assignment (MLA - individual mark) 30%
- Concept art (10% - week 5)
- Thumbnails & Workbook (5% - week 6)
Final Layout (15% - week 9) *Evaluated from final composited hand in
Due: Week 13
Final Art Direction (5%)
Painted Background (5%)
Compositing (5%)
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: Angela Stukator
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: 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: Fall 2015
Professor: Tony Tarantini
Textbook(s): Some details of this outline may change as a result of circumstances
such as weather cancellations, College and student activities, class
timetabling and teachers discression.
Textbook: Hans Bacher, 'Dream Worlds' - Production Design for
Animation* (Focal Press) It is strongly recommended that you also
purchase the book for the winter semester course 'Layout and
Production', Fraser Maclean, Setting the scene: the Art and
Evolution of Animation Layout
Recommended reading:
Catherine Winder, Zahra Dowlatabadi, Producing Animation*. Frank
Thomas, Ollie Johnston, Disney Animation: The Illusion of Life*.
John Canemaker, The Art and Flair of Mary Blair*. Tod Polson, The
Noble Approach: Maurice Noble and the Zen of Animation Design*.
Paul Wells, The Fundamentals of Animation*. Paul Wells, Drawing for
Animation*. Shamus Culhane, Animation from Script to Screen*. Patti
Bellantoni, If It's Purple, Someone's Gonna Die*. Kit Laybourne, The
Animation Book: A Complete Guide to Animated Filmmaking. Maureen
Furniss, Art in Motion Animationn Aesthetics. Maureen Furniss, The
Animation Bible. Bordwell and Thompson, Film Art. Tony White,
Animation, From Pencil To Pixels. Tina O'Haley, Hybrid Animation.
Karen Sullivan, Schumer Alexander, Ideas for the Animated Short.
Nancy Beiman, Prepare to board. Scott McCloud, Understanding Comics.
The Art of Mulan, Lion King, Ratatouille, Monster.s Inc., Miyazaki's
Spirited Away (any and all of The art of.. series)
*Important consideration
Additional Resources and Materials:
Animation Paper, pencils, mixed media, w/c paper, sketchbook
Applicable student group(s): Bachelor of Applied Arts (Animation)
Course Details:WEEK 1 Lecture - (Class introductions) Intro to Group Film Projects
& review of prior learning Expectations and Procedures
Studio Lab - Introduction to Layout and Art Direction Course:
Group Project and Multiplane Layout Assignment (MLA) examples
LAB activities - Prior learning assessment
Critique and Discussion
Evaluation: In-class Thumbnail Exercise and questionnaire
For next week: research for MLA/GFP (reference, research) bring to
class
WEEK 2 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Hans Bacher and art directing
Case Study - Emperor's New Grove (research and concept designs)
Studio Lab
Demonstration - intro to advanced concept art
LAB activities: MLA concept art
Critique and Discussion
Evaluation: In-class activities
For next week: bring concept art (sketches, research) and style
reference for MLA/GFP
WEEK 3 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Production Process and GFP organization
Advanced Cinematic Visual Language (design and art directing)
Case Study - Short films and Animation Aesthetics
Studio Lab
Demonstration - concept art and 'fun packs'
LAB Activities - advanced research and design
Critique and Discussion
Evaluation: In-class activities
For next week: workbook for MLA - GFP story thumbnails for reference
WEEK 4 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Advanced Cinematic Visual Language (layout, design and art
direction)
Case Study - Mulan (design, layout and composition)
Studio Lab
Demonstration - workbook & advanced scene planning
LAB Activities - workbook & rough layouts (first pass) - Pipeline
activity
Critique and Discussion
Evaluation: In-class activities
DUE: GFP concept art (in class discussion)
For next week: final workbook for MLA - GFP story thumbnails
WEEK 5 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Advanced Layout mechanics (Camera Moves, Leveling)
Case Study - Hunchback (art direction and storyboards/reels)
Studio Lab
Demonstration - advanced multi-plane layout rough and compositing
LAB Activities - GF design critiques - workbook and rough layouts
Critique and Discussion
Evaluation: In-class activities
DUE: MLA concept art (Hand-in folder-5%)
For next week: rough layout & compositing plan - GFP pitch package
designs
WEEK 6 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Case Study - Samurai Jack (style, Hybrid series/feature production)
Series/Feature Production models & protocol
Studio Lab
Demonstration - pipeline design and rough layout
LAB Activities - MLA rough layout - GFP pitch package
Critique and Discussion
Evaluation: In-class activities
DUE: workbook drawings (Hand-in Folder-5% - could include GFP
thumbnails for context)
For next week: composited scene with key poses and
WEEK 7 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Case Study - Short films and Animation Aesthetics
Advanced production concepts (series production)
Studio Lab
Demonstration - clean layout
LAB Activities - group film design discussion (synthesis of
conceptual designs and established style direction) - open
presentations and discussion of composited rough of MLA
Critique and Discussion
Evaluation: In-class activities
DUE: MLA rough composit (in class )
For next week: Group Film Project (GFP) Concept Designs from Story
Course
WEEK 8 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Case Study - Pocahontas (style and design)
Animation styles and art direction (shorts vs series vs feature
productions)
Animation Industry productions: Schedules, timelines, pipelines
Studio Lab
Demonstration - fun/concept-packs, design packs (rough clean
approaches)
LAB Activities - presentation of GFP concept art (Pitch Package) -
style development and discussion of pre-production schedule and
final pipeline
Critique and Discussion
Evaluation: In-class activities
DUE: Pitch Package (hardcopy for display by Friday - 5%)
For next week: individual research, style & art direction sketches
for GFP- GFP rough boards
WEEK 9 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Case Study - Lilo and stitch (Style and Art Direction)
Production Design & Art Direction(shorts vs series vs feature
productions)
Principles of Effective Collaboration & Communication on GFP
Studio Lab
Demonstration - prepping board for design process - style guides
(series vs feature)
Practice of Effective Collaboration on GFP
LAB Activities - art direction and style development for GFP
Critique and Discussion
Evaluation: In-class activities
DUE: Composited, final MLA layout and art (Hand-in Folder - 10
For next week: individual research, style & art direction sketches
WEEK 10 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Case Study - Short films Animation Aesthetics
Series design process and production pipeline (design packs & board,
design teams allocation of workload,)
Studio Lab
Demonstration - Painting layouts (informs MLA)
LAB Activities - group film style Critique and Discussion (critique
and synthesis of individual style direction), progress check, design
list
Evaluation: In-class activities
DUE: Group Standard Operating Procedures (group mark---5%)
For next week: individual GFP design pack sketches and MLA color
sketch
WEEK 11 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Case Study - Sam and Max (Style and Series Productions)
Art direction and storyboard demands (series vs. feature vs
independent productions)
Colour scripts and Art Direction(series vs. feature vs
independent productions)
Studio Lab
LAB Activities - GFP design pack (individual workload) choose mock
up scene
Critique and Discussion
Evaluation: In-class activities
DUE: Design style and art direction assignment (GFP individual mark
- Hand-in folder - 15%) For next week: individual GFP design pack
sketches
WEEK 12 Lecture - Concepts, Principles and Theories Principles of
Effective Collaboration & Communication on GFP
Case Study - Little Bear (Style and Series Productions)
Studio Lab
Demonstration - GFP design purpose, revision and clean up
approaches,
Advanced compositing
LAB Activities - GFP design pack (discussion and critique of ongoing
work)
Evaluation: In-class activities DUE: Scene mock up (GFP group mark -
presentation & hand-in folder - 10% )
WEEK 13 Lecture - Concepts, Principles and Theories
Principles of Effective Collaboration & Communication on GFP
Preparing for Production, project assessment
Studio Lab
Demonstration - identifying style and design aesthetics, progress
check
Critique and Discussion
LAB Activities - GFP design pack (discussion and critique of ongoing
work, clean design pack designs)
Evaluation: In-class activities
DUE: Final MLA composited scenes (Hand-in folder - 15%)
For next week: Final design pack and ANIMATIC/story-reel.
WEEK 14 Lecture - Review
Principles of Effective Collaboration & Communication on GFP
Production phase projections and considerations
Studio Lab
LAB Activities: pre-production Critique, Discussion and Summary,
production phase preparation. MLA screening and critique.
DUE: Design & Art Direction Assignment (GFP group mark - Hand-in
folder - 20%)
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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