54412 Context: Experimentations for 2D and Hybrid Animation
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particular session, location and mode of offering is the authoritative source
of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.
Subject handbook information prior to 2024 is available in the Archives.
Credit points: 6 cp
Result type: Grade and marks
Requisite(s): 54410 Context: Design for 2D and Hybrid Animation OR 82025 Context: Design for 2D and Hybrid Animation
Anti-requisite(s): 82026 Context: Experimentations for 2D and Hybrid Animation
Description
The subject consolidates an advanced understanding of production techniques using industry-standard software and contemporary professional work practices. Students work in collaborative teams, creating assets, narratives and completing a one-minute short film featuring 2D or hybrid animation. They further develop their narrative project from concept design, pre-visualisation, storyboarding, layout through to full shot based, final animation. Students expand upon the skills and techniques they developed in 54410 Context: Design for 2D and Hybrid Animation, exploring hybrid production techniques including integration of drawn, photographed and 2D-generated imagery in the making of a short collaborative film project. Students demonstrate a more advanced level of craft, aesthetic, technical skill and sensitivity in design as animated storytellers.
Subject learning objectives (SLOs)
| a. | Innovate through experimentation with narrative structure and storytelling. |
|---|---|
| b. | Demonstrate an advanced understanding of animation principles through performance. |
| c. | Express and display creative skill with camera, composition and transitions to enhance the narrative in the 2D form. |
| d. | Apply professional standards of practice in compositing, editing, colouring, blocking and staging. |
| e. | Create engaging character and environment assets that demonstrate aesthetic sensitivity and originality. |
| f. | Contribute to discussion and critique, act on feedback, share responsibility for tasks, negotiate differences of opinion. |
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 theoretically informed processes to production practice including managing complexity and collaboration, incorporating research into development, active iteration and critique, clarity in communication, delegation, and resource management. (1.3)
- Demonstrate reflexive critical thinking as creative practitioners who are intellectually curious, imaginative, and innovative, with an ability to evaluate their own and others' work with candour. (2.2)
- Integrate risk taking and experimentation through development of unique aesthetics, techniques and movement languages in animation. (2.4)
- Possess well-developed skills and proficiencies to present and communicate narrative, complexity and abstract ideas with precision. (6.1)
- Work cooperatively as part of a creative team, challenging and negotiating differences with candour, engaging with the big-picture while mindful of detail, perception and nuance, and take a leadership role when required. (6.2)
Teaching and learning strategies
This subject is delivered as weekly lab sessions including instructional content and one-on-one support 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 8 hours per week of self-directed study outside class hours. Students continuously putting 10 hours a week into the study of Experimentation for 2D do achieve better overall learning outcomes and skills development.
Animation practice is slow and labour intensive. Collaborative learning, as an individual contributor within a creative team, is important in this subject and reflects the nature of the animation industry and modern professional practice of animation making. The ability to work cooperatively, negotiate and engage with creative partners through development and production is a highly valued skill and an attribute that is sought after in graduates.
Content (topics)
- Design and integrate animated 2D characters into hybrid and detailed world as a multi-modal animated short film.
- Research, pitch and produce a highly performative character driven animation film.
- Demonstrate through testing, auditioning and refinement that all designs and final assets are succeeding in service of the overall film project.
- Review, reflect and iterate upon weekly feedback.
- Discover hybrid and cinematic solutions to simultaneously improve the emotional impact of storytelling while reducing the raw production effort.
- Use sound design to inform the performance, advance the narrative and elevate the emotional impact of the project.
Assessment
Assessment task 1: Fully blocked animation with temp sound
| Objective(s): | a, b, e and f | ||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 35% | ||||||||||||||||
| Length: | Fully blocked animation sequence. Length: 60-90 second blocked animatic style movie with sound. Two final concept designs presenting resolved aesthetics and final quality. These would be presented as a part of a 20 page project development journal document, co-authored and jointly presented by individuals members of the group in the critique. | ||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Finished rendered animation short film project
| Objective(s): | a, b, c, d and f | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 65% | ||||||||||||||||||||
| Length: | Length: 60-90 second (Including Title and Credits) animated movie. | ||||||||||||||||||||
| 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)
Students must pass all assessment tasks to pass this subject, as each task assesses unique subject learning outcomes.
Required texts
There are no required texts for this subject. Recommended readings will be available via UTS Library and through the subject site.
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”. John Libbey.
Hooks, E. (2017). Acting for animators (4th edition.). Routledge.
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. 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.