| Course Name | Animation Film |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 420 | Fall/Spring | 2 | 2 | 3 | 5 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| 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. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 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: Allworth 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. Thaumatrope Assignment. |
| 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. Berkeley, Calif.: Stone Bridge Press. Furniss, 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. | Furniss, M. (2008). The animation bible: A practical guide to the art of animating, from flipbooks to flash. New York: Abrams. |
| 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 | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 5 | 50 |
| Presentation / Jury | 2 | 20 |
| Project | 1 | 30 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | ||
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 2 | 32 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 5 | 10 | |
| Presentation / Jury | 2 | 15 | |
| Project | 1 | 35 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 147 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to define and discuss the history, underlying concepts and theories of cinema and digital media. | X | ||||
| 2 | To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking. | X | ||||
| 3 | To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. | X | ||||
| 4 | To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing. | X | ||||
| 5 | To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work. | X | ||||
| 6 | To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images. | X | ||||
| 7 | To be able to perform specialized tasks for creating digital media narratives with interactive elements. | X | ||||
| 8 | To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view. | X | ||||
| 9 | To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner. | X | ||||
| 10 | To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment. | |||||
| 11 | To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to speak a second foreign language at a medium level of fluency efficiently. | |||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
