| Course Name | Animation Studio |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 402 | Fall/Spring | 2 | 2 | 3 | 5 |
| Prerequisites |
| ||||||||
| Course Language | English | ||||||||
| Course Type | Elective | ||||||||
| Course Level | First Cycle | ||||||||
| Mode of Delivery | - | ||||||||
| Teaching Methods and Techniques of the Course | Critical feedbackApplication: Experiment / Laboratory / WorkshopLecture / Presentation | ||||||||
| 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;
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| 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 | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction: What is Animation? Student introductions, Review of syllabus and course expectations. History of the medium, puppetry, kinetic sculpture | Beckerman, H. (2003). Animation: The whole story (Rev. ed.). New York: All-worth Press. |
| 2 | Basic Concepts and Animation Terminology: Fps, keyframes, tweening, easy ease, timing, spacing, planning movement, motion paths | Assignment: the Flipbook Williams, R. (2009) The Animator’s Survival Kit. Second Edition, Faber & Faber, London. |
| 3 | Class viewing of the flipbook assignments Cel animation, 12 principles of Disney, Styles of Animation, Walking cycles | Assignment: Ball bounce, Brick drop, Feather fall Thomas, F., & Johnston, O. (1995). The illusion of life: Disney animation. New York: Hyperion. |
| 4 | Experimental Animation, Pixilation class exercise Class critique of everyone’s animations based on timing and spacing | Experimental animation an illustrated anthology Starr, Cecile; Russett, Robert Assignment: Students bring in photographs, paintings they like. We’ll discuss composition. |
| 5 | "Class discussion about design, introducing the midterm project 2D puppet animation demonstration Midterm project: Animating shapes, composition " | |
| 6 | Midterm in class study, Individual critiques | |
| 7 | Midterm class critique, Digital techniques for 2D animation Adobe Photoshop, Animate CC | |
| 8 | Digital techniques for 2D animation: Adobe After Effects, Adobe Illustrator Introducing the Final Assignment : The Visual essay | Assignment: Students come up with two topics for their project |
| 9 | Midterm week | |
| 10 | After Effects: the graph editor, pre compositing Class discussion for the final assignment subjects | |
| 11 | After Effects, rigging, parenting, Storyboard and animatic Students start their research for final projects | |
| 12 | In class activity: Claymation group project Individual feedback sessions | |
| 13 | Group critique, Sound design | |
| 14 | Production and Final Critique | |
| 15 | Submissions | |
| 16 | Final exams week |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | 1 | 10 |
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 30 |
| Presentation / Jury | ||
| Project | 1 | 50 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 4 | 100 |
| 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 | 2 | |
| Study Hours Out of Class | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 32 | |
| Presentation / Jury | |||
| Project | 1 | 54 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 150 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | |||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | |||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | |||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | |||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
