54410 Context: Design for 2D and Hybrid Animation
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particular session, location and mode of offering is the authoritative source
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Subject handbook information prior to 2025 is available in the Archives.
Credit points: 6 cp
Result type: Grade and marks
Requisite(s): 54408 Context: Animation Character Rigging Advanced OR 82420 Context: Animation Character Rigging Advanced
Anti-requisite(s): 82025 Context: Design for 2D and Hybrid Animation
Description
This subject introduces students to pre-production processes applying lighting, staging, texturing and rendering for 2D computer animation. Modern animation production requires an appreciation of hybrid digital techniques rather than simply one set of craft skills. The subject examines the creation and integration of 2D animation in a matrix of production pathways and co-dependencies, including photographed, 3D, physical and drawn imagery. Students expand the skills and techniques they developed in 54408 Context: Animation Character Rigging, exploring hybrid production techniques including integration of drawn, photographed and 2D-generated imagery.
The subject builds further understanding of the design and production of animation using industry-standard software and work practices. Students learn broad design processes in the production of 2D traditional, practical and 3D animation.
Students develop 2D digital and hybrid techniques and practise using relevant software, demonstrate design and production solutions, and develop creative responses to the problems and tasks presented in class.
Subject learning objectives (SLOs)
| a. | Engage with strategies to manage complexity in production |
|---|---|
| b. | Create animation assets that display a level of design sensibility through experimentation |
| c. | Innovate through the application of technology |
| d. | Express and display creative skill in lighting, colour, texture and cinematic composition |
| e. | Apply solutions to problems that go beyond software-led design and aesthetics |
| f. | Appreciate and apply professional standard practices, research methods, and techniques |
Course intended learning outcomes (CILOs)
This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:
- Apply fundamental and higher-level animation and cinematic principles with understanding and professional proficiency. (1.1)
- Demonstrate a high level of craft and production value across multiple methods, aesthetics and techniques of the animation process (1.2)
- Contextualise work within current and historical animation practice and theory. (2.3)
- Act with transparency and exhibit personal and professional ethical integrity and broad social responsibility. (5.1)
Teaching and learning strategies
This subject is delivered as weekly lab sessions including an instructional lecture and one-on-one tutorial time to carefully guide student progress and understanding of concepts and material covered in the class. ln this respect, the labs provide a framework for continual feedback throughout the subject. Students are expected to engage with tutors in the second part of the class and discuss their work in progress around assignments or class exercise material. There is an expectation of a minimum of 10 hours per week of self-directed study outside class hours.
Group learning, working on projects as creative teams, is required in this subject and reflects the collaborative nature of the animation industry and modern professional practice in animation. The ability to work cooperatively and engage with creative partners in production and development is a highly valued skill and an attribute that is sought after in graduates from the course.
Content (topics)
This subject includes instruction and practise to develop students’ abilities to design, create and capture highly detailed environments for use in an animated film. To this end, the subject content comprises the concepts and technical aspects required for students to do the following:
- Research design and develop a highly performative lead character model for casting in an animation film.
- Demonstrate through testing, auditioning and refinement that all designs and final assets are fit for purpose.
- Review and reflect upon outcomes and techniques.
- Prepare the final asset for production release including an analysis of the strengths and limitations of the asset to be published.
Assessment
Assessment task 1: World Building
| Objective(s): | a, c, d, e and f | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 35% | ||||||||||||||||||||||||
| Length: | 60 second montage sequence (film) and, 10 minute reflective group presentation (production critique). | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Character In place
| Objective(s): | a, b, c, d and f | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 65% | ||||||||||||||||||||||||
| Length: | Completed character asset for 2D hybrid animation production. 15 -20 second fully rendered animated sequence, combined together with World Building Task | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
Attendance at classes is essential in this subject. Classes are based on a collaborative approach that involves essential workshopping and interchange of ideas with other students and the tutor to build capacities towards meeting the subject learning objectives. A roll will be taken at each class (whether on campus or online). Students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8)
References
Blazer, L. (2015). Animated Storytelling: Simple Steps For Creating Animation and Motion Graphics. Peachpit Press.
Furniss, M. (2007). Art in motion?: animation aesthetics (2nd ed.). John Libbey.
Buchan, S. (2006). Animated “worlds”
Hooks, E. (2017). Acting for animators (4th edition.). Routledge, Taylor & Francis Group.
Gillett, J., Evans, A., & Labelle, J. (2007). Acting on impulse?: reclaiming the Stanislavski approach?: a practical workbook for actors . Methuen Drama.
Bacher, H. P. (2008). Dream worlds: production design in animation (1st edition). Focal Press, an imprint of Elsevier. https://doi.org/10.4324/9780080926926
Rosen, A. von, & Kjellmer, V. (2021). Scenography and art history?: performance design and visual culture . Bloomsbury Visual Arts.
O’Hailey, T. (2015). Hybrid animation?: integrating 2D and 3D assets (Second edition.). Focal Press.
Phillips, A. (2014). Animate to Harmony: The Independent Animator’s Guide to Toon Boom. CRC Press LLC.
Ward, P. (2003). Picture composition for film and television (2nd ed.). Focal Press. https://doi.org/10.4324/9780080497693
Smith, V., & Hamlyn, N. (2018). Experimental and Expanded Animation: New Perspectives and Practices. Springer International Publishing AG.
Russett, R., & Starr, C. (1988). Experimental animation?: origins of a new art (Rev. ed.). Da Capo.
Parr, P. (2016). Sketching for animation?: developing ideas, characters and layouts in your sketchbook ([First edition].). Fairchild Books, an imprint of Bloomsbury Publishing Plc.
Johnston, A. R. (2021). Pulses of Abstraction: Episodes from a History of Animation. University of Minnesota Press.