MSc Animation Programme Karnataka State Open University

Semester 1 SYLLABUS

SEMESTER I Course: Creative Workshop (Orientation course no exam will be conducted) Course Description: Creative Workshop is an orientation course that aims at experimenting with ideas and pushing the boundaries of thought. It is an introduction to thinking and creating multi- sensorial experiences. Goal: The first course in the curriculum, positioned and set with problems that will enable students to think out of the box, visualize, and communicate ideas innovatively. Course Objectives: Exploration and experimentation with ideas and communicating the idea Exploration and experimentation of materials and media Seamless integration of meaning, form, function as an exercise in and building coherence in content Exploring two and three dimensional spaces Unit I Understanding the visual sensory system Exploring ideas with the image two or three dimensional Unit II Understanding the auditory system Exploring ideas with sound Unit III Understanding the tactile sensory system Exploring ideas with texture and material - two or three dimensional Unit IV Understanding how all systems work together to create an experience Exploring ideas with the all senses. References: (1) Ways of Seeing, John Berger, Penguin ISBN-10: 0140135154, ISBN-13: 978-0140135152 (2) About Looking, John Berger, Vintage, ISBN-10: 0679736557, ISBN-13: 978-0679736554 (3) Sense of Sight, John Berger, Vintage, ISBN-10: 0679737227, ISBN-13: 978-0679737223 4. Another Way of Telling, John Berger, ISBN-10: 0679737243, ISBN-13: 978-0679737247

SEMESTER I Course: History of Animation SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I

Unit 1 The Early period of Animation – optical toys, objects, magic lantern… Understanding optics and experiments – frame, action, change, sequence, cycles. Unit 2 Persistence of Vision – development of cinema. Optical experiments that lead to the development of cinema. Unit 3 The discovery of and possibilities of moving image technology, art, narratives. Experiments with the still and moving image camera. Unit 4 Landmarks in early animation – development of the art of animation - studios and individuals – contributors to animation.

BLOCK II

Unit 1 Development, movements, styles and techniques of animation from the early experiments of camera less animation to current trends in the animation industry. Unit 2 Parallel history of technology vis a vis film making, projection, viewing, sound - experiments and ways of telling stories Unit 3 The experimental space in animation, worldwide. Unit 4 Current animation Industry - Art, technology, narratives. Reference Books: Animation: The Whole Story- Howard Beckerman Animation Art : From Pencil to Pixel, the world of Cartoon Anime and CGI- Jerry Beck

SEMESTER I Course: Fundamentals of Animation SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Principles of Animation, Genesis and Development, Animation in Disney Studio, Disney’s Nine old Man. Unit II Meaning and Definition of animation, Optical Toys and early devices. Unit III Introduction to the laws of motion, anticipation, action and reaction, material and behaviour, squash and stretch, path of action and timing, anticipation, exaggeration…… Unit IV Behaviour study of simple forms and translating the dynamics of the movement – timing, ease in and ease out, material characteristics, force, contact with surface/s into animated sequences Special effects and depicting the study using simple line drawings

BLOCK II Unit I Animation Drawing - Drawing Principles - STYLES - Drawing for Animation – Classical, freestyle Relevance of Drawing in Animation Unit II Animation Aesthetics, Shape and Form, Line and Silhouette, Tension, Direction, Straight against Curve. Unit III Building character into shapes and forms through appropriate timing and movement

Unit IV Cycles of motion, simple shapes to complex forms. Follow through and understanding where the power lies in the action. Key Drawings and inbetweening. Progressive movements.

BLOCK III Unit I Logic in Drawing, Planes, Solidity, Depth and Volume, Perspective, Positive and Negative Shape and their movement in space Unit II The Evolution of drawing style in Animation, Rubber Hose Animation, RollyPolly Animation, Screwball, Anime, Contemporary Styles. Unit III

Animating complex forms using line. Exploring exaggeration and its effectiveness to communicate in a shorter time. Exploring space, dimension, transformations and metamorphoses. Unit IV Animation with multiple forms – Chorography, staging of a sequence and timing. Communicating movement effectively in terms of form, mood, context, attitude and timing. Reference Books: 1. Animation Book , Kit Laybourne, Three Rivers Press, ISBN-10: 0517529467 2. The Animation Book: A Complete Guide to Animated Filmmaking--From Flip-Books to Sound Cartoons to 3- D Animation, Three Rivers Press; ISBN-10: 0517886022 3. The Illusion of Life: Disney Animation, Ollie Johnston and Frank Thomas, Publisher: Disney Editions; ISBN-10: 0786860707 4. The Animator's Survival Kit, A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators, Richard Williams, Publisher: Faber & Faber; ISBN-10: 0571238343, ISBN-13: 978-0571238347 5. Animals in Motion, Eadweard Muybridge, Publisher: Dover Publications, ISBN-10: 0486202038 6. The Human Figure in Motion, Eadweard Muybridge, Publisher: Dover Publications; ISBN-10: 0486202046, ISBN-13: 978-0486202044 Film Screenings: Walking, Ryan Larkin NFB Paradise, Ishu Patel NFB How to Kill and Egg, Paul Dressen NFB Course: Visual Language and Aesthetics

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Elements of design – space, depth, overlaps transparency, plane, volume etc. Unit II Exploration of two-dimensional space – perspective one, two, three, and four point, two-dimensional representation, and three-dimensional representation on a two-dimensional surface Unit III Image making for application in specific contexts – viewer or user Tools and language to construct images - line, shape, form, colour and their use and representation techniques Unit IV Exploration of mediums – specific to the idea Introduction to the principles of aesthetics of the visual medium

BLOCK II

Unit I Theoretical introduction to the Gestalt Laws of perception, phenomenology, and fundamentals of design Unit II Using geometrical shapes – composition in contrast – black and white, positive and negatives, tessellation, units and their shapes, transformations, metamorphosis Unit III Simplification of forms and the guiding principles. Layout – division of space, grids Unit IV Colour theory. Introduction to colour fundamentals. Colour – interpretation and meaning - connotation, symbolism. Colour and composition using basic geometrical shape. Colour interaction. Composition using basic design elements. Unit V Type, text, and meaning Typography as text and as image, Typography as text and as image combined with pictorial representation References: 1. Principles of Form and Design by Wucius Wong John Wiley & Sons, New York, ISBN-10: 0471285528 , ISBN-13: 978-0471285526 2. Principles of Colour Design by Wucius Wong, Publisher: Wiley, ISBN-10: 0471287083 ISBN-13: 978-0471287087 3. Principles of Two-Dimensional Design, Wucius Wong, Publisher: Wiley, ISBN-10: 0471289604 ISBN-13: 978-0471289609 3. Vasarely, Robert C. Morgan, Publisher: George Braziller,, ISBN-10: 0807615382, ISBN-13: 978-0807615386 4. Books on Typography Title: Drawing for Animation

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I

Unit I Introduction to object drawing. Exploring line and the effects, it can produce. Creating basic shapes and forms on a two-dimensional surface using geometry - structure, surface and texture, perspective and points of view. Unit II Introduction of light and shadow on objects and an assessment and representation of the impact of light on simple forms and objects - change in mood, surface quality, density, drama, and impact. Unit II Introduction to human figure drawing (from live models), drawing understanding of principles, analysis of anatomy - structure, proportion, volume, perspective, movement, and body language and representation Unit IV Simplification for maximum impact in communication. Drawing what is not seen/visible from the individual’s position of the model, or drawing what is on the opposite side of what is seen. Dramatizing what has been recorded

BLOCK II

Unit I Drawing from Nature - Location drawing and learning to represent trees, plants, bushes, shrubs, insects, birds, and animals - structure and morphology, proportion, volume, and behaviour Unit II Dramatizing what has been recorded – exaggeration – exploding views. Unit III Drawing from imagination using learnt experiences Unit IV Location drawing – drawing what is not seen/visible on location, or drawing what is on the opposite side of what is seen. Drawing buildings.

BLOCK III

Unit I GESTURE DRAWINGS Introduction to Gesture drawings, Practice of Gesture drawings, (6B Pencils in news print sheets) , Gesture drawings of objects, Object study, Still life, Practice of Gesture drawing of more than one person. Unit II QUICK SKETCHING Quick Sketching of animals, nature, objects etc…, Quick sketching of the human form quickly in motion, time sketches Unit III

Creating animated sequences from the drawings studies and quick sketches. Unit IV Creating animated sequences from drawings of buildings, cityscapes. Reference Books: (1) Gray's Anatomy - Descriptive and Surgical. Drawings by H V Carter, Publisher: Parragon 1995 ASIN: B0018DNF7I (2) Figure Drawing for all its worth- Andrew Loomis (3) Dyanmic Figure Drawing – Burne Hogarth Film Screenings: Norman McLaren The Master’s Edition - Experimental Films by Norman McLaren Course Title: Concept Art 1 - Illustration

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Context –reading and interpretation, sub text, nuance, layering of ideas and interpretation and adaptation for animation, graphic novels and information design Unit II Reading a text and interpretation and Mapping the space in which the story takes place, geography. Representation through drawings to convey - background of the story – narrative, mood, ethos and context Unit III Inspiration - Finding a parallel – artist, film as reference - visualise in colour based on the theme, context, and need – palette of the story – justification of the reference Unit IV Visual editing, composition, structuring an image, meaning

BLOCK II Unit I Visualising information – study of content – any technical information . Analysis of information Unit II Conceptualization and visualization, exploration of illustrations techniques and mediums Unit III Execution of the idea – experimentation and analysis of visualization – communication Unit IV Testing of the idea

BLOCK III Unit I Exploring techniques for single, simple, ideas - poster Unit II Exploring techniques for backgrounds for animated films Unit III Exploring techniques for building Model in three dimensions – sets for animated films Unit IV Exploring techniques for graphic novel ideas Course Title: Project 1

Course: Project Project Description: Development and execution of a single project based on prior learning. Learning how to script Goal: To familiarize students with the design and development execution of a single concept film Course Objectives: This project is designed as an opportunity for students to bring together prior learning and to work independently To understand and demonstrate – issues involved in communicating a single idea and thinking in terms of moving image Visualizing an idea Visualising the idea through doodles in the form of a storyboard based on a piece of music Selection of music – appropriateness and aesthetics Animating to sound – basic sound brake down Synchronising image and sound Content Unit I Conceptualization and visualization of a single concept idea around the human figure in motion or using basic or simple graphic shapes Sound breakdown as the first set in the process Developing an idea around the selected music Animation of the idea

SELF STUDY

Course Title: Documentation and Storytelling Course: Self Study - Field Study Course Description: Ethnographic study of traditional storytelling methods Filed study – a location based record of the community and event using text/writing, audio, drawings and photography of the process Building a documentation of the process accurately Context, structure, and content of the narrative style Goal: To enable students to understand and record traditional narratives and storytelling methods Course Objectives: To understand narrative styles within a context To understand the ethics and aesthetics and framework of the event To thoroughly investigate the process and historical, cultural and geographical context To be able to do a dedicated task as an observer Content Unit I Visit a community and record the storytelling method Record the process using any method and techniques or a combination that befits the process Represent the process as an event/occurrence and as a complete product Course Title: History of Art

Course: Self Study Course Description: To study the history of art and trace the developments in each context Goal: To enable students familiarize themselves with the historical, social, cultural and technological contexts in which art has emerged globally and locally Course Objectives: To study and understand each period in art – with reference to the reasons for its emergence, the language of expression To understand the multiplicity of factors that affects the creation of art, its visualization, and production To see art with an open perspective and understand the dynamics of each factor To understand aesthetics in image and sound and build a sensitivity to both To acquire an ability to discern by exposing oneself to the arguments and work of others and thereby acquiring sensitivity to the processes involved in doing creative work Content Unit I Reading the history of world art in general Reading with a focus on any one period and artist

Semester 2

Course Title: Film language (Live Action and Animation) SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Historical context - social, political, cultural, and technological context in which the films were visualised and produced. The key film theories, movements, and genres - Communication style and methods, language, technique, and a corresponding track of information on the advances and changes in moving image technology Unit II Concepts in filmmaking – seeing - film language, appreciation, and analysis, acquiring vocabulary and analytical tools - history and film criticism Unit III Introduction to tools, equipment and methods and use, Industry-specific, business terms or technical terms Unit IV Film making process - screenwriting, directing, special effects, sound, editing, Cinematic Language - The basics of cinematography and stylistic information (types of camera shots).

BLOCK I Unit I To develop a general awareness of the kinds of critical, historical and theoretical issues addressed in the film studies Unit II Study of films, content, and context – live action cinema, popular, art cinema and documentaries Unit III Animated films – popular global films and animated art films Unit IV Writing - Film analysis – self study Reference Books: 1. Film Art., Bordwell and Thompson 2. Film form film sense - Eisenstein Course Title: Storytelling � Audio - Design and Development PART A

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Introduction to Sound Technology concepts, tools, design applications and aesthetics for animated films and radio, Introduction to fundamentals in Sound - Physics of Audio and technology. The physical concepts and practice - basis of audio, the psychology of sound, synthesis, fundamentals, and analogue and digital Unit II History and vocabulary of the radio Unit III Development of sound in cinema and animated films. Dialogue, and sound effects, editing, background ambiences. Developing a conceptual framework and visualizing sound. Unit III Appreciation of sound – identification – type, style, region, function, community, aesthetics, structure, form, instruments, and design Unit IV Building tracks for the radio – data transmission – voice, effects, depth and layering, scripting and recording a radio play – technical intricacies of sound. Primary and secondary sounds, ambient sounds

BLOCK II

Unit I Experiments with the human voice – Acapela Unit II Track laying and mixing, creating depth in audio tracks – context specific. Unit III Constructing audio products - story with voice, effects, and music for children with the graphics for the cover Unit IV Build a track for the vision impaired – facts and data transmission – voice, effects Course Title: Storytelling - Boarding, Design and Development � Narratives and Data

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK II Unit I Scripting for animated films – structure, continuity. Development of story ideas in a visual form, the storyboard, audio conceptualization. Development of a conceptual framework for storyboarding. Film language and application of concepts Unit II Story board as a visual unfolding of an idea - cinematic language and skills. Context and visualization Visualization of the idea in terms of key positions. Communicating an idea and action within a specific space, time context - with the corresponding sound effects, music, and voice over. Formats of storyboards and how to use – backgrounds, layout – unfolding an idea visually. Style and technique parallel to storyboarding

BLOCK II Story Board Unit 1 Storyboard - function of Story Board, types of storyboard, Comparison between a storyboard and Graphic novel. Developing a storyboard for a narrative Unit 2 Storyboards for Animation – relevance, Anatomy of a Storyboard, thumbnails storyboards, Preparing Storyboards. Developing a storyboard for an information visualization Unit 3 Aspects of the story board - Advanced Storyboarding Techniques, Camera Shots and angles, camera movements and their meaning, transitions. Developing a storyboard to represent a location with continuous camera movement Unit 4 Dialogues - recording dialogues, dialect and accent. Voice acting/modulation. Cast, Scratch Audio Track, shooting the Storyboard, Slugging the Storyboard, Animatics. Developing a storyboard to music using abstract imagery

Course Title: Animation Layout and Design � 2D & 3D

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Story, story telling - Setting the stage - Translation of script. Visualising an idea - storyboard - set the stage for the film, Creating a clear working plan – plan of action and the framework for the animator. Film language, visualization, and film sense. Unit II Interior/exteriors. Passage of time. Moods. Spaces. Design of elements. –Landscapes –Cityscapes – people – objects – environment. Movement of elements. Unit III Schematic mapping - Creating a map - the stage/geography – overview, location, detailing. Unit IV Visualization dramatization of space, exaggerated perspectives. Laying out a scene - Space and time, framing, camera, and other kinds of spaces and timing. Aspect Ratio, field guides.

BLOCK II Unit I Concept sketches, Preparing/Posing Layouts, Creating layouts to include – camera angles, points of view and perspective Unit II Complexity in layouts – changing perspectives, points of view in camera movements – tracking, zoom, panorama Unit III Laying out the Animation. Camera movement calculation to animation – matching speeds. Multiplane. Colour Notations Unit IV BG Design and painting – levels, depth, perspective - transitioning to move from one kind of space to another in a single background. Planning and design.

BLOCK III Unit I Combining action of the character within the layout. Unit II Camera movement and calculations, exposure sheets. Movement of the character within a shot. Tracking every frame on a dope sheet according to the storyboard. Rough visualization of shot and movements and final defined artworks. Unit III Rendering – styles and techniques - Inking – Graphic styles, Text – as image, Elements and Composition, Projecting figures in Deep space, Framing and Composition, Perspective and Camera. Unit II

Structuring, sequencing, planning, filling dope sheets, and shooting of the layouts. References: Animation Techniques Roger Noake, Publisher: Booksales, ISBN-10: 1555213316, ISBN-13: 978-1555213312 Course Title: 2D - Mechanics of Motion � (Kinetics)

SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Concepts in creating an illusion of movement Squash and Stretch, Anticipation, Action and Reaction, Staging, Straight Ahead Action and Pose to Pose, Follow Through and Overlapping Actions, Ease in and Ease out, Arcs, Paths of action, Primary and Secondary Actions, Timing, Exaggeration, Solid Drawing, Aesthetics and Appeal, Volume, Materiality, space and geography, Choreography Unit II Metamorphosis and Transformations as a method to create magical qualities in motion, time and space, intuitive sense of timing, precision animation. Unit III Stretching the limits of animation – inside out, visualizing the impossible. Unit IV Exploded views, isolation, exaggeration, magnification, change in material quality of the object or element - exaggeration to create dramatic visualizations to communicate effectively

BLOCK II Unit I Staging a sequence. Choreography. Animating a sequence with multiple elements to demonstrate an understanding of physics Animating human figures/characters as part of the visualisation Creating paths of action, calibration and timing for intended impact Unit II Staging a sequence. Choreography. Demonstration of observation of reality. Animating sequences - forms from nature as part of the visualisation. Animating a sequence with multiple elements to demonstrate an understanding of physics with an emphasis on materiality. Creating paths of action, calibration and timing for intended impact, squash and stretch and other aspects required to communicate the idea. Unit III Animation Acting, Seven Essential Acting Concepts, Movement, Body Language, Pose and Mood, Action Reaction, Emotional Weight, Anticipation, attitude. Unit IV Caricature, elements of Caricaturing, drawing inspiration from life.

BLOCK III

Unit I Cartoon Physics Unit I Terminology and definitions, Cartoon Physics, Animation as Art and Science. Unit II Mechanics of Motion, Inverse and Forward Kinematics, Bones and Muscles, Biped Motion Unit III

Mechanics of Motion, Locomotion, Quadruped Motion Unit IV Mechanics of Motion, bird movement. Course Title: Animation Techniques SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK 1 Unit 1 Introduction to material animation, different styles and techniques, popular material animation filmmakers and their Films. Unit 2 Different techniques – sand, clay, cutout, pin screen, model animation, pixilation, time lapse and other techniques. Unit 3 Visualization, methods and production processes of sand, clay, cutout, pin screen, model animation, pixilation, time lapse and other techniques. Unit 4 Story and Visualization for material animation films.

BLOCK II Unit I CLAYMATION as an example - Different technique of Clay Animation, Strata cut, Clay Painting and Traditional Clay Animation. Unit II Clay Modeling, Non Armature Based Clay animation, Talking Heads, Plasticine. Unit III Creating Backgrounds, Props and Set Extensions, painting on glass with clay Unit IV Creating Armatures, Dressing up Armatures, Binding Clay, key drawings for painting on glass with clay. Animating basic Exercises using Clay Models, Staging and Camera, painting on glass with clay frame by frame. Timing, spacing, calliberations. Log sheets. Lighting. Creating SFX in Stop Motion Technique, Snow, Water Splash, Fire etc, Using Digital post processing , Chroma keying and Matt Painting. Creating thumbnail storyboard and shooting a film with minimum two characters. References: Film Screenings: Quays Films done by Jan Svankmajer Plasticine Animation Caroline leaf Bead Game, Afterlife - Ishu patel Mindscape, Jacques Drouin Papageno, The Adventures of Prince Achmed, Lotte Reiniger Course Title: Information Visualization Course: Project

Course Description: Data visualization – Escaping flat surfaces, interpreting micro and macro data, layering and separating information, grids and small bits of multiple information, how colour can be used to differentiate information – colour symbolism, telling stories and imparting information in time and space In-depth understanding of data Deriving methods to make the smallest difference visible – exaggeration, isolation, highlighting, surprise in repetition, and other methods Representing quantities, making decisions visible Value and integrity of representation Economy, value for space and visualization skills – every dot matters Pushing the boundaries of visual language and grammar to construct effective communication Goal: To enable students to understand and develop methods to communicate data – simple to dense, using graphical techniques and working with precision. Course Objectives: Understand the relevance of data and the nature of visualization and context for the communication Identifying charts, maps graphs and other such visual explanations that do not work and thereby learn what does work Using skills to efficiency Developing methods to convey data for – readability, aesthetics and ability to convey multiple layers of information and meaning Developing flexibility with skills to ensure that any data to be visualised is executed with a technique most appropriate for the content Content Unit I Selection of an area that needs explanation in time Select a topic that fulfils the requirements of the project Study material on the subject done by other animation filmmakers and ensure that it is NOT visualized in the same manner but is seen to learn from Comprehend the context of application Visualize the idea in the form of a storyboard Develop a technique to visualise Animate the idea Using effects, music, or voice will need discretion Reference Books: 1. Edward Tufte 2. Sugira

SELF STUDY Course Title: Graphic Novel

Course: Self Study Course Description: Exploring subject matter for which a graphic novel can be made Exploring graphic novel design to include fiction as well as non-fiction - text with pictures in a comic book format Explore why reading graphic novels may require more complex cognitive skills than the reading of text alone - to work with the knowledge Graphic novels offer value, variety, and a new medium for literacy that acknowledges the impact of visuals and has a far-reaching effect In an increasingly visual culture the challenge of identifying subject matter that can be produced in a graphic novel needs imagination – there are no limits The users can be varied – adults, children or is culture specific Exploring the power of the image with an appropriate integration of letter and words that come together is a great challenge in visualization Visual Language in Graphic novels – telling or unfolding a story in image and text Goal: To enable students to visualize and produce a graphic novel Course Objectives: Understanding comics and how they work Explore visual language used in graphic novels – grammar of graphic design and film language To explore subject matter and target audience and conceive an idea that can be visualized Representing the idea in frames – detailed or working story board key positions in the story and how To explore styles and media – drawing, photography, three-dimensional methods, computer graphics or in combination to enhance content Simplification and its impact To utilize skills and understanding of storyboarding, body language, sound and effects and their representation, cinematic language – continuity, angles, points of view, action, motion, speed, silence, moods etc…. Inventiveness in the convergence of the above objectives Content Unit I 1. Develop an idea for a graphic novel from original content – subject matter – fiction or non fiction or in combination 2. Develop a unique style for the content and visualise the graphic novel in pencil 3. Execute ten frames in a final form Course Title: Model Animation

Course: Self Study Course Description: Model animation is a three-dimensional form of animation that occupies space – sets, characters Model animation explores material properties to build environments and characters that can move and interact within the space (like on a stage) and with others to tell a story shot by shot Materials used have a symbolic and sometimes a cultural significance – materials (no end to the materials that can be used) and objects can be new or found objects – art of the bricoleur - used and reinvented and constructed to build characters and sets Building sets requires an understanding of the - the relationship of the animator to the sets and the camera, what it sees. Building the set in parts in order to create flexibility and access Staging in model animation is not only the placing of the characters and camera in a scene but goes beyond to reflect the meaning of the film, tight orchestration of all the elements and aspects of the film Characters, construction, pose to pose animation and methods of registration need to be invented as model animation does not follow the same methods as traditional animation of key drawings, registration etc… Lighting – to create mood – design how light can chance for different shots according to the story board Lip synchronisation and its dynamics and issues in model animation Editing and sound are similar to live action filmmaking requires expertise Goal: To enable students to build and explore model animation. Course Objectives: To learn the anatomy of a model animation film and its requirements and expertise To experiment with materials and acquire the skill of use and manipulation To be able to visualise the story in the form of a storyboard from the perceptive of model animation, its limits and possibilities and explore its potential Learning how to manage material, movement, expression and create impact Understanding lip synchronisation in model animation and its dynamics, using the methods and principles learnt in two-dimensional animation Learning how to be inventive with materials and innovative with craft skills To learn the process of model animation filmmaking Learning how to use sound effect and music and create depth to amplify the impact of the film Content Unit I Creating a short story based animation short with sound and exploring the medium of model animation. References: Animation Techniques Roger Noake, Publisher: Booksales, ISBN-10: 1555213316, ISBN-13: 978-1555213312 Film screenings: Street of Crocodiles - Brothers Quay The Web – Joan Ashworth Course Title: Material Animation/Time lapse/Pixilation Course Code: Self Study

Course Description: Material animation Animating materials on a two-dimensional surface Experimenting to know what will work and how to make things work using specific materials Storyboarding and idea for material animation – degree of accuracy that can be achieved and improvisation as inherent qualities of material animation Exploring material that can be moved frame by frame Exploring the limits of the medium – control and lucidity Material, movement and meaning – style Coherence in idea – control, magic, innovation, and spontaneity Sound and sound breakdown for synchronization to picture Filling a dope sheet and keeping track Goal: To enable students to develop an intuitive sense and ability to deal with timing and expression using materials that have inherent properties for animation Course Objectives: To understand storyboarding for material animation – key positions in the idea To acquire dexterity in animating material To learn how to visualise in the mind’s eye interpret how the image would appear on screen Explore and learn before implementation how materials behave – sand, ink, paint, pins, cutouts etc. Sound - learn about aesthetics, selection, breakdown, impact and synchronisation of sound with the idea and image Convergence of image and sound Learning how to light the surface for material animation – top lighting and lighting the work surface from below – making an assessment by looking through the camera and seeing the result Learning how to set up for a shoot Content: Create a storyboard for a short material animation film Create a piece of music to visualise the idea Sound breakdown – detailed out in frames and seconds Animate the film and combine it with sound References: Animation Techniques Roger Noake, Publisher: Booksales, ISBN-10: 1555213316, ISBN-13: 978-1555213312 Course Title: Material Animation/Time lapse/Pixilation Course: Self Study

Time lapse Course Description: Time lapse and Pixilation are two camera-based techniques for which a still camera may also be used Time lapse as the word indicates works best where the visualisation facts in capturing the change of a subject in time Course Objectives: Positioning a camera and shooting a single frame at regular intervals an learning the smooth effect it create and shooting at irregular intervals and its effects Understanding these effects and impact on the movement to visualize an idea Subjects – for example – the growth of a plant from seed to sapling, moving clouds, people in movement in a busy part of a city, person in action Content: Shoot a short film with a still camera and add sound to the image. The idea must be captivating and conducive to the time-lapse technique Pixilation Course Description: Pixilation and ideas that communicate better using this technique Objects and materials Pixilation method – management and control, calibration of the movement in space Cinematic language and process – actors, objects, positioning of the camera, shots, sequencing, editing Course content: Understanding ideas and the pixilation technique Exploring methods and means to convey an idea Storyboarding – image and sound Understanding the space and stage and flexibility - positioning of camera Lighting

Semester 3

Course Title: Character Design SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I

Unit I Story and the role of characters. The role, symbolism and significance of all sorts of characters in animated films – human characters, imaginary - fantasy characters, animals, birds, objects etc… Unit II Characters in animated films – models, drawing etc… Unit III Study of reality – human beings, objects, plant and animal life – inspiration for the imagination. Interpretation and visualization. Creating Characters from Life Unit IV Studies of - Character Visualization, Character Bible and model sheets, Stereotypes

BLOCK II

Unit I Anthropomorphism, Definition and meaning, study of characters from literature, mythology, folklore, films and television. Unit II Elements of Character Design, - personality, attitude, role, function. Unit III Body language, mime, theatre - Acting., Cultural specificity - re-telling – interpretation – exploration and experiment. Methods of representation, styles and mediums Unit IV Building environments for characters, Study and analysis of context – geography, environments, cultural aspects, situations Unit V Various Elements of Handouts, Model Sheet, Turnaround Sheet, Proportion Chart, Scale Sheet, Expression and Mouth Chart, Colour Reference Sheet, Prop Sheet

BLOCK III Unit I Exploring the imaginary world – reality, imagination and visualisation - Bringing to life – an establishing believability Unit II Developing characters from imagination, character and its appropriate environment Unit III Situation drawings for animation film scenarios

Unit IV Animating a sequence Course Title: 3D Modelling and Texturing SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I

Unit-1 Concept of 3D modeling

Understanding concept of 3D modeling, Introduction to maya, Familiarizing

with the modeling tools & techniques.

Unit-2 Polygon modeling

Polygon modeling tools and techniques, Creating simple geometry’s with polygons.

Unit-3 Nurbs & Sub-division modeling

Nurbs and Subdi modeling tools and techniques, Creating simple geometry’s with

nurbs and subdi.

Unit-4 Inorganic modeling

Creating different environments, Hard surface modeling, Soft surface modeling and Automobile

modeling.

BLOCK II

Unit-1 Basic organic modeling

Understanding mesh flow, Creating a simple cartoon model with simple mesh flow

for animation.

Unit-2 Advanced organic modeling

Understanding complex mesh flow, Creating a realistic model with complex mesh flow

for animation.

Unit-3 Intro to Mudbox or Zbrush

Introduction to Mudbox or Zbrush interface, Familiarizing with the sculpting tools & techniques,

Maya to Mudbox / Zbrush workflow

Unit-4 Digital sculpting

Sculpting organic and inorganic models at a simple and complex level, Importance of detailing,

Working with references for a hyper realistic output

BLOCK II

Unit-1 UV Unwrap

Concepts of UV mapping, Unwrapping techniques for simple and complex models.

Unit-2 Texturing

Introduction to texturing, Working with bitmap and procedural textures, Creating different kind of

maps such as Diffuse, Specular and Bump map.

Unit-3 Working with Materials and Texture maps

Analyzing and working with different kind of materials, Normal mapping techniques, Occlusion maps,

Working with hard surface and soft surface texturing.

Unit-4 Creating textures for Simple and Complex models.

Working with multiple textures for organic and Inorganic models. Creating textures for

complex environments and characters.

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Course Title: 3D Rigging and Animation SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I

Unit I Analysis of Gestures and Body Language Thumb nailing of Ideas and Moments of the Character Unit II Workflow Technique from Planning through Final Animation Unit III Pantomime and the art of Storytelling Creating Video Reference by Acting in front of the Camera Unit IV Camera Placements and the Art of working telling a story through Staging

BLOCK II

Unit 1 Working with Multiple Shots Unit II Multi Character Dialogue Shot Analysis and Planning of Screen space covered by the Characters Unit III Advanced Facial expressions Working on the Brows and Eyes in creating convincing emotions Working on the Hands in tandem with facial Animation Unit IV Setting Skin deformation and painting sticky weights to bones. Setting up simple muscles Painting sticky weights to simple bones

BLOCK III Unit I Setup slide deformation Setting jiggle deformation Unit II Setup of the skeleton of the character Setup of the control systems (controllers) Unit III Set up of clean joint hierarchies

Skinning Unit IV Setup of the muscle deformers Setup of Facial Animation Systems – Phonemes and Expressions Suggested Sub Units: • Quadruped spine and hips setup • Quadruped IK legs and feet • IK spine tail and ears setup • Low-res stand-in geometry • Control boxes hooked up to your character rig • The advanced biped spine • Stretchy IK legs and classic reverse foot • Advanced IK arms and clavicular triangle • An advanced additive hand and fingers • Facial controls and blend shape deformers • Eye controls • Smooth binding proxy geometry • Painting of smooth skin weights • Painting of weights using per vertex selections • Additional influence objects References: 1. Inside Maya 5 - Erick Miller 2. Ilya Baran & Jovan Popović 3. Learning Maya | Character Rigging and Animation Alias|Wavefront 4. Maya Character Creation: Modeling and Animation Controls, Chris Maraffi 5. Online Motion Retargetting. In Journal of Visualization and Computer Animation, Kwang-Jin Choi and Hyeong-Seok Ko., Vol. 11, No. 5, pp. 223--235, December 2000. 6. Automatic Rigging and Animation of 3D Characters 7. The Art of Rigging by George Biddlecombe Course Title: Digital Lighting, Staging and Layout SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Media/Content – screen or project media in a digital lighting system, content required to render pictures, clips, algorithms

BLOCK II Media Playback – servers, players, anything that organises digital content – pixels - and sends them down a wire

BLOCK III Control Surface– The lighting console in many cases, a method to choose, blend and send the digital content.

BLOCK IV Control System – The method for different digital elements to converse with each other. DMX or a network protocol

BLOCK V Output Devices– Digital projectors, lighting fixtures or arrays/screens. The stuff at the end of the line where it all happens References: 1. Digital Lighting & Rendering, Second Edition by Jeremy Birn 2. Lighting and Rendering in Maya: Lights and Shadows by Jeremy Birn Course Title: Sound Effects and Mixing SYLLABUS (TOPICS AND SUB TOPICS)

BLOCK I Unit I Understanding Audio, Aesthetics of Design, Fundamentals of Acoustics interrelationship between sound, culture and media theory. Mood ethos ambience through sound. Unit II Ear Training, Critical listening, Psychoacoustics, Role of sound in film Unit III Storytelling through sound. Unit IV Sound editing, working with Dialogue �SFX-Foley- Music

BLOCK II Unit 1 Mixing - The mixing process, Monitoring basics for mixing, Basic Mixing Rules and techniques Unit II Equalising, Audio equipment, Studio Production Techniques. Effects introduction, overview, compression. Unit III Audio Formats - Digital and Analogue Mastering - Introduction to mastering - Mastering setups – Monitoring. Unit IV Project: a sound-only project, telling a story through sound. Recreating sound for an existing shot film, a small portion in a film, or an audio story for a ten year old.

ELECTIVES (OPTIONS � one of two) Course Title: Digital Compositing

Course: Elective Course Description: This course is an introduction to the fundamentals of assembling multiple digitally images as final compositions Goal: To provide students with an understanding of the process of how to digitally combine multiple images and layer images to bring out the desired effect in animation, print, motion pictures and to equip them with the necessary compositing tools. Course Objectives: Understand and develop a knowledge base of the basic mathematics involved in compositing Understand and develop the basic know-how of soft wares used in digital compositing Develop skills to operate the requisite software and create desired digital composites of images Content: Unit I Fundamentals of Digital Compositing Unit II Algebraic properties used in Digital Compositing Unit III Software related Node Based compositing Unit IV Software related Layer Based Compositing Unit V Digital compositing systems References: 1. Compositing Digital Images, T. Porter and T. Duff, Proceedings of SIGGRAPH '84, 18 (1984). 2. The Art and Science of Digital Compositing, Ron Brinkmann 3. Compositing Visual Effects – Essentials for aspiring artists, Steve Wright Course Title: 3D Lip Synchronization Course: Elective

Course Description: 2D 3D Lip Synchronization This course introduces students to an overview of 3D lip synchronisation Goals: To enable students to learn lip synching in animation Objectives: To understand lip-sync in 2D and 3D To understand automatic lip-sync system To understand 3D production software integration Content: Unit I 1. Introduction 2. Lip-sync in 2D 3. Lip-sync in 3D Unit II 4. Lip-sync Phoneme Morph Maps 5. Automatic lip-sync system Unit III 6. Creating lip-sync animation in LightWave 3D Unit IV 7. 3D production software integration References: 1. Creating a 3D Animated CGI Short: The Making of the Autiton, Michael Scaramozzino, Canada: Jones and Bartlett 2. Character Animation: 2D Skills for Better 3D, Steve Roberts 3. Animating with Blender: how to create short animations from start to finish, Roland Hess, Brulington: 2006. 4. Automated Lip-Sync for 3D-Character Animation, T. Frank, M. Hoch, G. Trogemann. 5. Academy of Media Arts 6. Animation from pencils to pixels: classical techniques for digital animators, Tony White 7. Knowledge-based and intelligent information and engineering systems:13th, Juan D. Velásquez 8. http://en.wikipedia.org/wiki/Lip_synch 9. Facial Expressions: A Visual Reference for Artists, Mark Simon, Publisher: Watson-Guptill, ISBN-10: 0823016714, ISBN-13: 978-0823016716

OPEN ELECTIVES Course Title: Image Editing

SYLLABUS (TOPICS AND SUB TOPICS) Course Description: Editing images to build digital art with technical expertise is the primary focus of this course Image making, process and meaning concepts Editing and combining images to create images and effects for visualization Photo Enhancement - colour adjustments, background enhancement, Colourization, and image cropping Image Cropping - cropping unnecessary elements and tightening of the image Blemish Removal Technique - Spots, sunburns, cuts of the subjects in the picture are removed through photo retouching techniques Background Enhancement – replacing the background to give importance to the subject in the picture Colour Density - correcting the picture for variations of colour density and contrast to make it look closer to the original due to the Correction of Colour – restoring colour, while brightness and contrast of digital images are balanced Removal of Colourcasts - unnecessary Colourcasts in digital pictures that occur apart from the natural light, correcting these Colourcasts flaws Moving image editing – narrative building, continuity and cutting of the film to tell a story Goal: To sensitise students to the creation of interesting images by combing parts of stock images shot by them with a sensitive and awareness towards image quality Taking stock footage from films and building a story Course Objectives: The course aims at cultivating and ability in students to conceptualize and visualize images with technical skill and sound concepts. Content: Unit I Combing images – with attention to space, perspectives, colour, texture, and other aspects of visual design to coordinate with one another to build compositions that covey meaning Using effects with discretion to blend the images into a unified composition Unit II Stringing stock footage with a sound track to build a story Course Title: Digital Intermediating Course: Open Elective SYLLABUS (TOPICS AND SUB TOPICS)

Course Description: This course is an introduction to the fundamentals of the finishing process in digitizing a motion picture. Goal: To provide students with an understanding, method and process of using digital tools enhance motion picture resolution and therefore quality with enhanced colour grading techniques. Course Objectives: Acquire knowledge on the fundamentals of Digital Intermediating Understand colour-grading techniques Understand fundamentals of digitizing a motion picture Content: Unit I Fundamentals of Digital Intermediating Unit II Telecine transfers Unit III Digital cinematography and projection Unit IV Colour grading and techniques Unit V Fundamentals of Digital Intermediate References: Digital Intermediates for Film and Video - Jack James, Elsevier Inc. 2006 http://www.finalColour.com/acrobat/Dataorvideofc.pdf Course Title: Visualization Drawing Course: Open Elective

Course Description: Observation as an important asset in creating images Exercising the imagination to create beyond the expected and the real Combining experiences of the different senses to push the boundaries of visualization Understanding learning and valuing the impact of surprises in visualization Goal: This course aims at enhancing the visualization capability of the student and introducing them to techniques and methods that will enable to maximize on their skills and imagination Course Objectives: Unit I Exercising the mind in drawing not what confronts you in reality but what is behind Assessing what you see and interpreting how the view could get completed and drawing that to complete a 360 degree view Unit II Combining observation, exaggerated visual methods, techniques, materials, behaviour of living and non-living forms and experiences to create scenarios of people and worlds that could be caste in an animation film Course Title: 3D Special Effects OR Web Design Course: Self Study

Course Description: This self-study course aims at encouraging students to use the process oriented method and mode of learning taught through the programme and teach themselves how to learn A short introduction to both the areas at the end of the semester will serve as a starting point and initiate the student into taking on the task independently Goal: This self-study course aims at making students self-sufficient with an ability to work independently To provide students with the confidence to handle both ideas and production as being an integral part of each other and know how to manage both Course Objectives: To understand the introduction to the topics and know how to take it further Understanding the systematic learning methods in the classroom of concept development, technology and craft skills and knowing how to apply this to areas not traversed Content: To be defined by the student which starts with definition of the problem…..?

Semester 4 Course Title: Short Film/Graphic Novel

Course: Project Credits: 24 Duration: 540 Hours Project Description Students are expected to take up and independent study and production of a Short Film or – maybe a narrative or information visualization – for education Duration - 2 minutes Graphic Novel The project must be well researched with adequate time spent on information collection Thorough documentation of all the sources with appropriate credits for assistance provided – books, websites, people, organizations etc… The project must be a culmination and seen as opportunity to bring all learning together The student is expected to demonstrate sensitivity to content, cultures, and people and take responsibility for what is being conveyed through the product. The product must be a clear indication of the maturity, responsibility and concern the student is capable of demonstrating: This must be conveyed in the project through the communication in the product Concept and craft skills Execution of the product with professionalism Time frames and deadlines Contact with the teacher Integrity of the product in terms of credits and following copyright laws Eventually through the finished product and its documentation.