82120 Animation Studio: Foundations in Animation Language
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Subject handbook information prior to 2024 is available in the Archives.
Credit points: 12 cp
Result type: Grade and marks
There are course requisites for this subject. See access conditions.
Description
Research and re-imagining
Primary research through observational drawing, photography, film, and sound recording are key elements in the creative process in this subject. Students are taken through a varied program of observational drawing classes, visual research, story telling and problem-solving projects designed to introduce them to a wide range of possibilities within animation. These short projects introduce them to a diverse range of research methods, which feed directly into their creative outcomes. Students learn to record and collect information and imagery, and then to apply this to their work in imaginative ways. Secondary research, through the exploration of existing art, design, media and culture – not just animation – is also an essential component. Inspiration and information should be found in the most varied and unlikely places. Emphasis is placed on the development of a clear, original and thorough approach to research, ideas generation and character design.
Subject learning objectives (SLOs)
On successful completion of this subject, students should be able to:
| 1. | Employ a range of primary research methods through first hand experience. Including drawing, note making, photography, film and sound |
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| 2. | Employ a range of secondary research methods through the use of the library, internet, social media and discussion |
| 3. | Participate in the generation of ideas and exploration around a wide range of set problems, including both narrative and non-narrative sequences |
| 4. | Actively participate in experimentation, risk taking and play within character design and animation |
| 5. | Explore and iterate in the process of creating original, authentic characters and scenarios through the analysis of motivation |
| 6. | Employ skills to learn and apply effective time management and organization for clearly defined project aims |
| 7. | Participate and engage in discussion and activities regarding the consideration of, and engagement with, the audience. |
Course intended learning outcomes (CILOs)
This subject also contributes to the following Course Intended Learning Outcomes:
- Ability to position work within a wider social and cultural context (A.2)
- Ability to work cooperatively as part of a team, negotiate differences and take a leadership role when required (C.1)
- Ability to communicate ideas clearly and effectively in verbal and visual presentations (C.2)
- Ability to contribute positively to critique and feedback process (C.3)
- Ability to develop unique aesthetic and movement languages for animation (I.2)
- Ability to recognise the creative possibilities for animation technologies and materials, to experiment, to take risks, and contribute alternative directions (I.3)
- Ability to understand and apply fundamental animation principles (P.1)
- Ability to demonstrate a high level of craft and production values across all methods of animation process (P.2)
- Ability to work with production complexity, to breakdown, organise, manage, delegate, define conventions and archive projects (P.3)
- Ability to undertake primary and secondary research, exploring a wide range of visual and textual materials, and connect research process to final outcomes (R.1)
- Ability to iterate, reflect, edit and engage in self-critique and critical thinking (R.3)
Contribution to the development of graduate attributes
The subject intends to establish a set of 'rules of engagement', or working methodologies that will become essential to the development of original animation content. Insights gained will help students to identify and build their own unique creative process. The projects are part of a broader aim to challenge existing preconceptions about what animation is and could be, and to develop an open-minded, exploratory mentality that will feed new visual languages and new forms of movement.
Teaching and learning strategies
Weekly sessions of one-hour lectures and six hours of studio-based workshops and tutorials. Students will be participating in individual tutorials, group discussions and team-based activities throughout the semester.
Activities will include demonstrations, presentations, visual tasks and exercises, seminars, case studies and external visits. The subject includes active learning experiences where ongoing feedback is provided weekly in all on-campus engagements such as lecture sessions, studios and computer labs. It is therefore imperative that students attend all on-campus engagements.
This subject uses the problem-based learning strategy that involves students in researching and developing their own solutions to complex design challenges. The subject uses design professionals as mentors and guest lecturers to ensure that all content and tasks are relevant to current professional practice in a global context. The subject combines one 1hr lecture session and two 3hr studios per week. The lecture sessions will provide knowledge relevant to the subject, enabling students to work on their design projects.
All studio briefs will be accessed through UTS Online with week by week schedules provided. Students are responsible for preparing for each studio class by following and responding to feedback given in class and by satisfying the weekly requirements of the brief. It is expected that students will spend time outside of the tutorial group on inquiry and problem based activities that relate to the assesment task. Collaboration and engagement with other students will take place within the class in the form of pin ups, group discussions and feedback and group projects.
In the studios students will work on their design projects with a mentor. At the beginning of each studio the mentor will discuss with the entire group the challenges they are facing with their projects. The mentor will then prompt students faced by similar challenges to facilitate collaborative discussions. The mentor will be reviewing the work weekly and will provide feedback verbally. It will be the students' responsibility to record any feedback provided in studio. During pin-up presentations students will be expected to actively participate in collaborative peer review feedback exercises.
Grades, marks and feedback on final design submissions will be provided through ReView.
Content (topics)
Acquisition of drawing and observation skills using different forms of mark making
The use of animation fundamentals skills studied in the 2D 'animation context' subject
Understanding of story and narrative, both linear and non linear
Understanding how to use primary and secondary research in an imaginative and authentic manner
Visual tasks and exercises using a variety of materials
Tasks to encourage strength of concept and development of ideas
Assessment
Assessment task 1: Character and Observational Drawing Design Process
| Intent: | Character and Observational Drawing Design Process | ||||||||||||||||||||||||||||||||
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| Objective(s): | This task addresses the following subject learning objectives: 1, 2, 3, 4, 5 and 7 This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.): A.2, C.2, I.2, P.2, R.1 and R.3 | ||||||||||||||||||||||||||||||||
| Type: | Project | ||||||||||||||||||||||||||||||||
| Groupwork: | Individual | ||||||||||||||||||||||||||||||||
| Weight: | 40% | ||||||||||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Character, Environment and Story Design Process
| Intent: | Character, Environment and Observational Drawing and Process | ||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Objective(s): | This task addresses the following subject learning objectives: 1, 2, 3, 4, 5, 6 and 7 This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.): A.2, C.1, C.2, I.2, I.3, P.1, P.3, R.1 and R.3 | ||||||||||||||||||||||||||||||||||||||||
| Type: | Project | ||||||||||||||||||||||||||||||||||||||||
| Groupwork: | Group, group and individually assessed | ||||||||||||||||||||||||||||||||||||||||
| Weight: | 40% | ||||||||||||||||||||||||||||||||||||||||
| Criteria: |
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| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 3: Observational Drawing Portfolio
| Intent: | “Learning to draw is really a matter of learning to see.” Kimon Nicolades The study of life drawing is used to heighten your observational skills and to awaken the sense of research and analysis of the structure hidden beneath the form. It is the study of weight, force and balance in the figure, to see these things as a whole and recognise their interdependency. This assignment will focus on drawing initially as a process of explaining the two-dimensional shape of the model as a dynamic construction of three-dimensional anatomical masses. Shape is recorded from the inside out by beginning with spontaneously expressed lines of action that register the force within the body, rather than by merely copying the outline. Shape can be further refined by checking proportions, angles, horizontal and vertical alignments and negative shapes. We will then see how this observed shape can be explained as an arrangement of anatomical masses, always beginning with the three major masses of head, rib cage and pelvis mass (hips) and the line of action that connects these in a graceful flow. We will look at the balance and interaction between these three elements through the observation of tilt, twisting, perspective and planes, and the contrasts of tension within the body that these elements create. Although this is not an artistic anatomy class we will at times mention other major skeletal structures and muscle groups to understand how they affect the movement, rhythm and posing in the human form. This gestural-constructional foundation can form the basis of a more elaborate drawing in which detailed surface form is represented by light and shade and by precisely drawn contours, but we will only touch very briefly on these aspects of drawing in this course. We will also consider the importance of applying visual memory, as opposed to passive copying, in making your life drawing not only more effective but also more beneficial to you as an animation student. We study gesture and posing in the figure to tell the story of the pose and the space it takes up in its environment. What we are aiming for is to understand the movement of the figure and its limitations - where it can and cannot move - and to see the overall structure as a cohesive shape. Through this research you will begin to build up a body of knowledge and understanding that you can draw on for your own design, characters and animation. These classes are designed to support both the Studio and 2D Animation Fundamentals Assessment tasks. | ||||||||||||||||||||||||
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| Objective(s): | This task addresses the following subject learning objectives: 1, 3, 5, 6 and 7 This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.): C.3, I.2, I.3, P.2 and R.1 | ||||||||||||||||||||||||
| Type: | Portfolio | ||||||||||||||||||||||||
| Groupwork: | Individual | ||||||||||||||||||||||||
| Weight: | 20% | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
The DAB attendance policy requires students to attend no less than 80% of formal teaching sessions (lectures and tutorials) for each class they are enrolled in to remain eligible for assessment. Students unable to attend class in person will have to create an equivalent body of observational drawings to complete the assignment.