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Credit Value: 3.0
Credit Value Notes: N/A
Effective: Fall 2016
Prerequisites:
(ANIM22350)
Corequisites:
N/A
Equivalents:
N/A
Pre/Co/Equiv Notes: N/A |
Course
Name (short): Cont, Des & Figurative Perform
School: Animation Arts and Design
Program(s):
Bachelor of Animation
Program Coordinator(s):
Mark Mayerson
Course Leader or Contact: Tim Mccormack
Originator: Barbara Mathieu
Designate: Barbara Mathieu
Version: 13.0
Status: Approved (APPR)
Calendar Description
This course is designed to provide students with opportunities to
develop a personalized vision and version of figurative expression.
Emphasis is placed on aspects of figurative graphic sensibilities and
enhancing the qualities of art direction and the specific demands of
complex film animation.
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: Rick Pottruff, Mark Thurman
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Detailed Description
This course is designed to provide students with opportunities to
develop a personalized vision and version of figurative expression.
Emphasis is placed on aspects of figurative graphic sensibilities and
enhancing the qualities of art direction and the specific demands of
complex film animation. Topics include an in-depth analysis of
lighting and form modeling and anatomical simplification based on
comprehensive knowledge and understanding of dynamic anatomy. In
addition, students focus on an appreciation and understanding of
figurative continuity, and graphic rhythm and the nature of figurative
exaggeration and distortion. Through interactive lecture, discussion,
demonstration and studio work, students examine the emotional and
technical level of the art form, relating it to the varied nature of
animation storytelling and allowing them to gain personal confidence
in their abilities to draw.
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 eight Life Drawing
courses whose development
reflects comprehensive and
thoughtful scope, content
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 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 the course, students will have demonstrated the
ability to project the design of anatomy using light and shadow in
nude figure
drawings in a range of movements and time constraints.
Learning Outcomes
To achieve the Critical Performance, students will have demonstrated
the ability to:
1. Create figure drawings expressing action and movement directly
and clearly.
2. Produce drawings that reflect believable qualities of physical
weight and gravity.
3. Generate drawings that project subtle qualities of volume and
space.
4. Enhance the quality of drawings through effective rendering of
light and shadow.
5. Explore the use of various media (e.g. conte, chalk, markers,
water colour).
6. Articulate elements of character, age, body type, pose and body
language visually.
7. Incorporate knowledge of styles and cultural graphic influences
within drawings.
8. Simplify anatomical complexity into convincing dynamic rhythms.
9. Complete drawings that reflect comprehensive knowledge of
figurative composition and scale.
10. Explain the function of life drawing in relation to animated
storytelling and animation production at a basic level.
11. Self critique and filter the analysis of others objectively.
12. Create a life drawing work book for on site sketching and
related idea development.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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- 3 X 3 15%
- RWF Animals & People Narrative 10%
- Head Sculpture 10%
- Heroes and Villains Characters 10%
- Mid Term Portfolio 25%
- Final Portfolio 30%
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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Interpersonal
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Numeracy |
X
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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: Fall 2016
Professor: Tim Mccormack
Textbook(s): Textbooks: N/A
Materials: 18 x 27 newsprint, spring clips, conte/carbon pencil
Applicable student group(s): Bachelor of Applied Arts (Animation)
Course Details:Course Details:
Students should arrive at Semester 5 with a solid foundation of
structural and dynamic anatomy. This semester, students develop
skills in expressing and exploring personal idioms of figurative
form. Volume, design, figurative continuity and graphic harmony are
a major focus. Students display confidence in figurative
representation, and research, relate and adopt drawing relationships
to animation processes.
Instructors: Tim McCormack / Geordie Millar
WEEK 1 INTRO / STRAIGHTS & CURVES
TASK: Straights and curves
Expectations & requirements / Materials overview
Principles of 3rd year figure and the narrative gesture
Warm up drawings and intro to weekly HEAD gestures
WEEK 2 SILHOUETTES and PUSHING POSES
TASK: Silhouette drawing / Dual-Duel poses
Heroes and Villains: Character Discovery I: The HERO!
Pushing the pose for Force and Thrust / Pushing the pose for
readability
Proportion choices / Scale / Body type - Body language
Performance, attitude poses / Iconic archetypal poses
3 X 3 Assignment # 1 introduced: Due week 6
WEEK 3 Dynamic Gestures
TASK: Thumb Nailing and Resolving Poses
Heroes and Villains Character Discovery II: The VILLAIN!
More Key posing / Silhouettes and Dynamic Acting Poses
Twisting, tipping, twisting, turning form in space / Extreme Angles
Thumbnailing gestures / Extended gestures / Completing & resolving
poses
Media Studies: markers, pens brush pens
The head: Character, attitude and conveying emotion through facial
expressions
WEEK 4 FORMS
TASK: Cross contour axis drawing (Good for Portfolio)
Expressing convincing form, weight and volume through contour
Tactile drawing using the sense of touch, surface form &
3D structure.
Tactile hatching, a sculptural approach and connecting anatomical
landmarks with care
WEEK 5 CALIGRAPHIC LINE
TASK: Calligraphic Lines
Repeating the lines / Designing the forms
Designing with more clarity using simple Straights and Curves
Sequential movements: 1 Hand & arm in action / 2 Foot & leg in
action
WEEK 6 TONE & LIGHT
TASK: Designing your own dramatic light scheme (Good for Portfolio)
Staging the figure on a Tonal Ground using light and Cast shadow
to create Atmospheric high & low key drawings
The HEAD in light and shadow: MOOD
*3X3
Assignment Due
WEEK 7 RE-CAP: first half
TASK: Discuss concepts covered and challenges faced
Ideas: Shape, Silhouette, Volume, Line, Light, Acting with the body
& Face
Strategies for completing the figure / pose
READING WEEK OCT 26 - 30
WEEK 8 MEDIA EXPLORATION: LONG GESTURES
TASK: PEN, INK & WASH - LONG GESTURE in W/C WASH
*Adding HANDS to HEADS in Gesture drawings
Media & language of drawing / Pen - Ink / watercolour / gouache
Techniques, Calligraphic figures, Silhouette in wet media, Wet-into-
wet, layering wash
WEEK 9 ROYAL WINTER FAIR
TASK: ONSITE SKETCHING & CHARACTER INVESTIGATION, PEOPLE & ANIMALS
*Assignment Due WK 11
WEEK 10 PORTRAITURE: CHARACTER AND CARICATURE
TASK: DRAW HEADS & HANDS: acting studies
*RWF Assignment due
Head rotations, shape & design
Creating Character from the model, using the subtle expressions of
Eyes, Mouth & Hands
WEEK 11 HEAD SCULPTING 1
TASK: The HEAD from life in CLAY: Head and shoulders
Start w quick gesture sketches of head & face
Solidity and volume / Addition / subtraction / 360 degrees in the
round
Developing Character / Abstracting
WEEK 12 HEAD SCULPTING 2
TASK: CONT. Sculpture: Features, Head, Neck and shoulders
Resolve planes and WHO the character is
WEEK 13 RE-CAP Term:
TASK: FINAL PORTFOLIO DUE w Heroes & Villains DUE
WEEK 14 PORTFOLIO REVIEWS AND OPEN DRAWING SESSION
Contacts:
timothy.mccormack@sheridancollege.ca
geordie.millar@sheridancollege.ca
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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