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Credit Value: 6.0
Credit Value Notes: N/A
Effective: Fall 2014
Prerequisites:
(ANIM20036)
Corequisites:
N/A
Equivalents:
N/A
Pre/Co/Equiv Notes: N/A |
Course
Name (short): Anim: Classical & Stop Motion
School: Animation Arts and Design
Program(s):
Bachelor of Animation
Program Coordinator(s):
Angela Stukator
Course Leader or Contact: Mark Mayerson
Originator: Barbara Mathieu
Designate: Barbara Mathieu
Version: 11.0
Status: Approved (APPR)
Calendar Description
Within an individual and group environment, the students will deepen
their knowledge and skills in Classical animation and be
introduced to the medium of Stop Motion animation.
Typical Instructional Format
Lecture
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28.0 |
Studio Course
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56.0 |
Total hours: |
84.0 |
Courses may be offered in other formats.
Section I Notes:
N/A
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Detailed Description
This course is intended to deepen the students knowledge of the
Classical animation processes and, through the introduction of stop
motion animation, the course also aims to expand the students
exposure to the spectrum of animation mediums. In addition, students
work within groups to plan a film that integrates the animation and
design elements that are needed for successful crew production.
Through interactive lecture, discussion, demonstration and studio
work, students refine animation skills and begin the development of
skills related to integrated problem solving, collaborative work, and
individual and crew time management.
Program Context
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Bachelor of Animation |
Program Coordinator: Angela Stukator |
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 Animation and
Design courses; the student
is now ready to be introduced
to the stop motion medium.
With both animation mediums
using contrast, compare and
application the course will
deepen the students
knowledge, whose development
reflects comprehensive and
thoughtful scope, content
analysis, and sequence in the
delivery within the Animation
stream. Working in both
animation mediums the student
develops a greater sense of
character physicality and
location spatial
understanding within a story
context.
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Course Critical Performance and Learning Outcomes
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Critical Performance
By the end of the course, students will have demonstrated a deeper
understanding classical animation and a basic knowledge of stop
motion production, and the ability to plan a film that incorporates
consistency of character design and performance through collaboration
with others.
Learning Outcomes
To achieve the Critical Performance, students will have demonstrated
the ability to:
1. Collaborate effectively with peers.
2. Manage time in order to meet individual and crew pre-production
timelines.
3. Conduct independent as well as group research that informs
character design.
4. Develop the ability to self assess and critique work in animation
and character design.
5. Produce a character model package with sketches that reflect
advanced character design.
6. Discuss the role of character-driven and environmental special
effects in animation.
7. Utilize observational and visualization techniques to achieve a
successful animated character performance within the context of
story.
8. Incorporate advanced clean up and in-betweening techniques into
animation assignments.
9. Implement health and safety requirements necessary in a stop
motion studio space.
10. Produce a range of progressively more complex stop motion
animation performances within a studio environment.
11. Demonstrate an effective understanding of the relationship
between a stop motion puppet and the camera within the context of
performance.
12. Demonstrate an ability to game-plan an independent stop motion
short film, in terms of all key production and post-production
components.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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Animation Journal- Marks 10%
Shared between Classical Animation and Stop Motion with 5% each for a
total of Marks 10%. NOTE: This assignment will require students to
compare and contrast traditional, stop motion, and various other
animation techniques.
Classical Animation - Marks 60%
Action Analysis Project (individual) ----------------------- 30%
Character Design (individual and group) -------------------- 10%
Animation Review Assignments (Individual) ------------------ 15%
Animation Journal (individual) ----------------------------- 5%
out of 10% (shared with Stop Motion)
Total ------------------------------------------------------ 60%
Stop Motion Animation - Marks 40%
Timing Analysis Assignment (Individual, In-Class) ---------- 10%
Action Analysis Assignment 1 (Individual, In-Class) -------- 10%
Action Analysis Assignment 2 (Individual, In-Class) -------- 15%
Animation Journal (Individual) ----------------------------- 5%
out of 10% (shared with Classical)
Total ------------------------------------------------------ 40%
NOTE: Final grade is the average of the ANIMATION and STOP MOTION
portions of the course. Students must achieve 50% or better
in each area in order to pass the course.
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:
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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X
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Numeracy |
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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 |
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 2014
Professor: Multiple Professors
Textbook(s): Handouts
Applicable student group(s): Students of Bachelor of Applied Arts (Animation)
Course Details:Animation and Character Design - Dave Quesnelle
Stop Motion - Christopher Walsh and Jason Thompson
NOTE: Due to the complexity of the 3rd year group projects and time
requirements the main weekly topics in Classical animation and
Character design may not be delivered in the same weekly order as
shown below, or the topic may require a number of weeks for delivery
Also some topics may be delivered in both Animation and Character
Design because of relationship of the topics
Week 1
Classical Animation and Character Design
Introduction to Animation: Classical Animation and Character Design
Expectations, Guidelines and Procedures
Concepts, Principles and Theories
Overview of Animation and Character Design projects
Review of the Animation Process
Review of Performance
Review of Animation Principles
Review of Character Design
Hand out AA project and info
Learning Activities
Interactive Lecture
Guided discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Introduction to Animation: Stop Motion
Expectations, Guidelines and Procedures
Studio Safety
Software Intro
Distribution and Discussion of Topical Outline
Review of Animation Principles for Stop Motion
Review of Performance for Stop Motion
Hand-out Topical Outline, Frame Thief How To
Week 2
Classical Animation and Character Design
Animation procedure and work flow
Animation formulas and theories
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Framing, Staging and Blocking
Screening
Framing The Shot
Blocking The Shot
Effective Use of Dope Sheets
In-Class Animation
In-Class Critique
Review of Timing and Spacing
Hand Out - "Timing Analysis" Assignment
Week 3
Classical Animation and Character Design
Drawing for animation
Action analysis review of animation principles
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Introduction to Puppets
Screening
Historical Context
Armature Analysis
Introduction to Aluminum Puppets
Studio Safety (Magnets)
In-Class Animation
In-Class Critique
Discussion of Animation Journal Assignment
Hand Out- "Animation Journal" Assignment
Week 4
Classical Animation and Character Design
Timing, Beats and Rhythm
Special Effects animation
(AAA)
Action analysis Ruff character model due 2/10%
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Timing for Stop Motions /Intro to Lighting
Group 1- In-Class Timing Analysis Assignment (10%)
Group 2- Lighting Workshop
Week 5
Classical Animation and Character Design
Character Design in Production
Animation Dialogue and lip-sync
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class Activities
Critiquing
Stop Motion
Timing for Stop Motion (continued)/Intro to Lighting (continued)
Group 2- In-Class Timing Analysis Assignment (10%)
Group 1- Lighting Workshop
Week 6
Classical Animation and Character Design
Animation and Styles and Types
Animation Preparation and Analysis
Group Film Project (GFP)
Ruff Character Design concepts due 2/10%
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class Activities
Critiquing
Stop Motion
Action Analysis with Puppets
In-Class Animation
In-Class Critique
Discussion
Hand Out- "Action Analysis 1" Assignment
Week 7
Classical Animation and Character Design
Scene planning and problem solving
Animation in group production and individual production
Action analysis Ruff Character model due
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Advanced Action Analysis with Puppets
Analysis of Professional Puppet Armatures
In-Class Animation
In-Class Critique
Discussion
BREAK
Week 8
Classical Animation and Character Design
Acting for animation
Starting Animation for Action analysis
Group Ruff character design concepts due
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Design and Fabrication for Puppets and Action Analysis with Puppets
Group 2- In-Class "Action Analysis Assignment 1"(10%)
Group 1- Puppet Making Workshop
Week 9
Classical Animation and Character Design
Animation gags and visual entertainment
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class Activities
Critiquing
Stop Motion
Approaching Story for Stop Motion - Part 1/Principles of Camera Lenses
Group 1- In-Class "Action Analysis Assignment 1" (10%)
Group 2- Puppet Making Workshop
Week 10
Classical Animation and Character Design
Animation scanning, painting compositing
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Approaching Story for Stop Motion Part 2/Production Planning for Stop
Motion
In-Class Animation of Student-Made Puppets
In-Class Critique
Discussion
Hand Out- "Action Analysis 2" Assignment
Week 11
Classical Animation and Character Design
Technology in Animation
(AAA)
Action analysis Final Character model due 3/10%
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided discussion
Demonstration
In-class activities
Critiquing
Stop Motion
Advanced Puppet Making - Part 1
Screening
In-Class Animation
In-Class Critique
Discussion
Week 12
Classical Animation and Character Design
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class Activities
Critiquing
Stop Motion
Advanced Puppet Making - Part 2/Intro to Rigging for Stop Motion
Screening
In-Class Animation
In-Class Critique
Discussion
Week 13
Classical Animation and Character Design
Group film Project (GFP)
Group refined character design due 3/10%
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class Activities
Critiquing
Stop Motion
Action Analysis with Puppets and Animation Journal
Group 1- In-Class "Action Analysis Assignment 2" (15%)
Group 2- Animation Journal
Week 14
Classical Animation and Character Design
Going into production
(AAA)
Final Action Analysis Project Due 30%
Screening of Group Films and Major Action Analysis Projects
Animation Journal Due 5%
Summary and Review
Concepts, Principles and Theories
Learning Activities
Interactive Lecture
Guided Discussion
Demonstration
In-class Activities
Critiquing
Stop Motion
Action Analysis with Puppets and Animation Journal
Group 2- In-Class "Action Analysis Assignment 2" (15%)
Group 1- Animation Journal
Animation Journal Due
Conclusion of Course
Discussion
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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