ART 234 provides students with advanced training in character set-up techniques. Skills covered include binding of the character using joints and influence objects, installation and modification of the Full-Body Inverse kinematic (FBIK) skeleton, the creation of blendshape targets, and the facial animation control system. The student will be encouraged to design a character set-up and test it for use in an animated scene. Note: Current industry standard digital animation software will be used.
Delivery Mode: On Campus
Delivery Time: Day Evening
Creation of the final production stages of a short personal film in any style of animation, e.g. drawn, puppet or computer, that can be used as a demo reel in a professional portfolio. Completion of character animation. Editing and compositing of picture tracks, sound effects and musical score. Investigation of career options and marketing strategies as they pertain to each student’s project. Formulation of portfolios and demo reels.
Development of the initial concept stages of a short personal film in any style of animation, e.g. drawn, puppet or computer, that can be used as a demo reel in a professional portfolio. Creation of storyboards, set designs, character models, voice tracks and animatics.
Execution of the principal production stages of a short personal film in any style of animation, e.g. drawn, puppet or computer, that can be used as a demo reel in a professional portfolio. Creation of character and effects animation, models for sets and props, and, if needed, synchronized musical cues.
Techniques of three-dimensional stop-motion and non-cel animation, as applied to a variety of art media (puppet, clay, pixillation, shadow puppets and other under-camera art media). Principles of movement and timing, lighting and cinematography, and multiplane dimensionality, with application to both computer and traditional drawn animation.
ART 233 provides students with training in character set-up techniques. The course begins with a thorough review of the animation and character set-up toolset. Skills taught include installation of the skeleton within wireframe mesh, establishment of animation controls such as inverse kinematic (IK) handles and set-driven-key relationships, and binding of mesh to skeleton using rigid and smooth models. Note: Current industry standard digital animation software (Maya) will be used.
ART 245 provides students with foundation instruction in digital character sculpture, enabling students to create a basic polygonal mesh in Maya, import this mesh into a digital sculpture software application, and then use the software to add sculptural and textural detail to it. The entire toolset of the digital sculpture software is covered, in addition to practical concerns involved in integrating digital sculptural content into movies or games. Note: Current industry standard digital animation software (ZBrush or Mudbox) will be used
ART 246 provides students with advanced instruction in digital character sculpture, building on skills acquired in Art 245. At the end of the course, students will sculpt and texture a highly realistic digital character. The course is project-based and runs as a traditional art studio course, with the instructor guiding students through the stages of character creation. Note: Current industry standard digital animation software will be used.
ART 201 introduces students to drawing for animation. Learning to draw from the imagination is a primary goal of this course. Students learn to analyze and construct the human fi gure and animals as well as to create environments for animated characters. Topics discussed include gesture and attitude drawing, structure, weight, anatomy, and perspective. Drapery and lighting are also be discussed.
An international survey of the historical development of the animated film, from its origins to a contemporary art form, with emphasis on the contributions of Fleischer, Disney, Warner Bros., Zegreb, Studio Ghibli, and National Film Board of Canada, as well as many important independent artists; an investigation of the aesthetic, technological, economic, and social factors that contributed to the form; an examination of the value systems reflected in and shaped by works from diverse cultures.
ART 209 introduces students to character design for animation. Students explore and develop traits of particular characters and particular archetypes. Students draw from life as well as from the imagination. Topics to be discussed include shape, silhouette, color, caricature, underlying structure, and costume. Students will be expected to keep a sketchbook and to create model sheets for their own personal designs.
Techniques of three-dimensional model creation as applied to objects, characters and environments. Principles of modeling, surface mapping, lighting and rendering with application to 3D computer animation.
Techniques of two-dimensional animation, as applied to traditional drawing methods. Principles of movement, timing, weight, anticipation and exaggeration with application to both digital and hand-drawn animation.
This course looks at visual storytelling techniques using storyboards and the principles of animation to effectively communicate a story through pre-visualization and hand drawing of sequences for a liveaction production, graphic novel illustration or a character-based animation project. (This course is not open to students who are enrolled in or who received credit in ART 114.)
Techniques of animation pre-production as applied to visual story development, character design, storyboards, environment and prop design. Principles of cinematic design, model sheets, and spatial environment depth with application to both digital and traditional drawn visual development techniques.