FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 402 | Course Introduction and Application Information
| Course Name |
Animation Studio
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 402
|
Fall/Spring
|
2
|
2
|
3
|
5
|
| Prerequisites |
|
|||||||
| Course Language |
English
|
|||||||
| Course Type |
Elective
|
|||||||
| Course Level |
First Cycle
|
|||||||
| Mode of Delivery | - | |||||||
| Teaching Methods and Techniques of the Course | Critical feedbackApplication: Experiment / Laboratory / WorkshopLecture / Presentation | |||||||
| Course Coordinator | - | |||||||
| Course Lecturer(s) | ||||||||
| Assistant(s) | - | |||||||
| Course Objectives | The course aims to teach students how to design convincing characters, movements and happenings within the framework of a simple plot in an animation film. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | The course introduces the concept “impression” and then moves on to the study of elementary movements and basic features of a character. A wide of range of techniques, from cel animation to stop-motion will be introduced. Significant examples of animation will be screened and discussed. The students will produce short animated videos using various techniques. |
|
|
Core Courses | |
| Major Area Courses | ||
| Supportive Courses |
X
|
|
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction: Basic Concepts and Animation Terminology Student introductions, Review of syllabus and course expectations. Image, Graphic, Layer, Foreground, Background, Frame, Timeline, Keyframe, Frame Rate, Motion. | Beckerman, H. (2003). Animation: The whole story (Rev. ed.). New York: All-worth Press. |
| 2 | What is Animation? Walt Disney's 12 Principles of Animation History, Automata, Synthesis of Motion, Optical Toys. Squash and Stretch, Anticipation, Staging, Straight Ahead and Pose To Pose Animation, Follow Through and Overlapping Action, Slow-out and Slow-in, Arcs, Secondary Action, Timing, Exaggeration, Solid Drawing, Appeal. | Thomas, F., & Johnston, O. (1995). The illusion of life: Disney animation. New York: Hyperion. |
| 3 | Japanese Animation: Anime, Early and Contemporary Examples. Katsudō Shashin, Early History, Cut-out animation, Advent of Cel animation. Pose to Pose Animation, Inbetweens, Cycles, Visual Rhythms. | Clements, J., & McCarthy, H. (2001). The anime encyclopedia: A guide to Japanese animation since 1917. Berke-ley, Calif.: Stone Bridge Press. Fur-niss, M. (2008). The animation bible: A practical guide to the art of animating, from flipbooks to flash. New York: Abrams. |
| 4 | Storytelling: Visual Narrative Motifs, Lexicon and Culture. Introduction: Animation Software Classical 2D hand-drawn, traditional animation, Digital 2D animation, Digital 3D animation, Stop-Motion, Clay animation, Paint-on-glass, Sand animation. Adobe Creative Suite, Video terminology | Faulkner, A., & Gyncild, B. (2015). Adobe Photoshop CC Classroom in a Book (2014 release) official training workbook from Adobe. San Francisco, CA: Peachpit Press. |
| 5 | Adobe After Effects Essential Training Using layers, masks. Blend modes, and track mattes, Parenting objects, Pre-compositing, Animating type. Flip Book Assignment Submission. Digital Animation Assignment | |
| 6 | 2D Character Animation with After Effects In-class troubleshooting work time. Best practices for importing assets, Creating a grouping structure | |
| 7 | Use of Sound Dialog, Ambience, Music, Spot Effects. | |
| 8 | Pitching for Term Project | |
| 9 | Storyboarding. Adobe After Effects Essential Training Voice Characterisation, Analysing Dialog, Dope Sheet. Digital Animation Assignment Submission. Final Project Assignment | |
| 10 | Adobe After Effects Essential Training | |
| 11 | Adobe After Effects Essential Training | |
| 12 | Screening : First Jury. Class Critique | |
| 13 | Class Critique | |
| 14 | Screening : Second Jury | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | Meadows, Mark Stephen. Pause and Effect: the Art of Interactive Narrative. New Riders Press (September 20, 2002).978-0735711716 Harris, Miriam, et al. Experimental Animation: from Analogue to Digital. Routledge; 1 edition (11 Feb. 2019).978-1138702981 Russett, Robert, et al. Experimental Animation: Origins of a New Art. Da Capo Press Inc; New edition edition (1 May 1988). 978-0306803147 Smith, Vicky, et al. Experimental and Expanded Animation: New Perspectives and Practices (Experimental Film and Artists’ Moving Image). Palgrave Macmillan; 1st ed. 2018 edition (19 Sept. 2018). 978-3319738727 |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
50
|
| Presentation / Jury |
1
|
20
|
| Project |
1
|
30
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
2
|
70
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
30
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
2
|
32
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
| Study Hours Out of Class |
0
|
||
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
5
|
8
|
40
|
| Presentation / Jury |
1
|
16
|
16
|
| Project |
1
|
30
|
30
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
150
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. |
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| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. |
X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. |
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| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. |
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| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. |
X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
|||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. |
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| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
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| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
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| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). |
|||||
| 12 | To be able to use a second foreign language at the medium level. |
|||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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