Course Description

This course has been designed for animation students who have a keen interest in bringing characters to life. The structure and content of this course are based on the concepts of traditional character animation; the focus is on conveying a convincing sense of weight and emotion, as well as on drawing and observation. In addition to two assignments, students will complete in-class exercises, each of which are followed by critiques and discussions. While technical issues are covered in this class, this course focuses on creating expressive motion.

Entry Requirements

Students are required to have successfully completed CG 300 and CG 310. Thus students are expected to be comfortable with the Maya interface, as well as with basic to intermediate modeling and animation techniques.

Goals of the Course

The assignments and exercise of this course have been designed with a three-part goal in mind. The focus is on:

Drawing: Studying the principles of traditional animation, students will learn to use drawing as a tool in visualizing motion and in planning the performance of a 3D character.

Quality of Motion: Translating the sketch from paper to the screen, students will learn how to create convincing character animation and how to make motion expressive by focusing on subtlety and details.

Critique: Animation is a process of improvement. Students will learn to hone their observation skills, to formulate their observations during critiques, and to use industry-related terminology.

Course Requirements

Students are expected to complete two character animations and three in-class exercises. While the animations are short, students should not underestimate the scope of each assignment. Students are required to follow the detailed outline of each project. The assignments and exercises are:

Assignment I: Expressing Weight: Pushing, Pulling, Lifting
Assignment II: On the Streets of New York

In-class exerciseI: Animating a Walk Cycle
In-class exerciseI: Animating a Jump
In-class exercise: Animating a Moving Hold
In-class exercise: Basic Facial Animation


The exercises and assignments of this class focus on expressive characters and the quality of motion. We will use simple character riggs (based on Maya's HumanIK Skeleton and Rig generator), in this class. Students who are interested in using their own rigs should consult with their advisor.

Students will use the same character for all exercises and assignments. With regard to character design and modeling issues, students are expected to think creatively and to take into consideration their modeling skills (be realistic). An expressive character does not have to be complex, nor complicated! Character designs have to be approved by the instructor.


Students are expected to study and use real-life references for each assignment. For example, when animating a character lifting a heavy object, students should observe the action being carried out in real life as well as act out the motion themselves (don't hurt your back!).

Quality of motion aside, students are expected to focus on basic yet dynamic compositions, on the effective staging of characters, and on the thoughtful use of color. The background is but a stage for action - here is an example. Also important is the space outside the frame: See "The Fallen," by Nick Fredin.

Students are further advised to think creatively about motion and the idea of "frame by frame"... are encouraged to carefully think through any camera cuts or moves; we'll look at examples of do's and don'ts. (First animate the character and then -- maybe -- the camera. Avoid animating the camera before the character, or worse, animating the camera and character at the same time... eeks!)

Time limitations are part of the requirements for each assignment. Creating animations that either do not meet those requirements, or that exceed the limitations, will not be graded.

It is assumed that students attending this course have a career interest that involves 3D animation. Students are expected to conduct themselves as professionals and come to class prepared. Students are also expected to be considerate and helpful to their peers and to actively participate during class critiques. Completed assignments are expected to be of portfolio quality.

WEEKLY SCHEDULE

Methods of Assessment

Attendance represents 10% of the final grade.
Three unexcused absences constitute failure.
Two late arrivals that exceed 15 minutes or more count as one absence.

Each assignment will be graded according to its:
a) quality of motion
b) expressiveness
c) creativity & content
d) treatment of lighting & surface, overall look

It is the responsibility of each student to ensure his/her work is completed and handed in on time. There is a one-letter-grade per week deduction for work turned in late.

Students are expected to regularly back up their work. Work missing due to technical difficulty, disk error or similar can not be graded. No exceptions.

At mid-term, students will be advised of their grades in writing.

No incompletes will be given, except for documented medical or family emergencies.

Readings/Bibliography

Class Text:
How to Cheat in Maya 2012: Tools and Techniques for Character Animation by Eric Luhta, Focal Press, (2012).


Recommended Readings:

Ed Hooks, Acting for Animators: A Complete Guide to Performance Animation
(Portsmouth: Heineman, 2000).

Preston Blair, Cartoon Animation
(Laguna Hills: Walter Foster, 1994)

Richard Williams, The Animator's Survival Kit
(New York: Faber and Faber, 2001).
(This text will mostly serve as a visual aid.)

Supplementals

Final output medium is DVD.

Further required are:

One harbound sketchbook.

Materials to sketch and draw.

One binder 81/2 x 11.

The purchase of a stopwatch for timing of motion is advised.

Plagiarism Policy

Digital Copyright and Intellectual Property Protection
When you copy work that was actually created by another person, without giving credit to the original author, you are implying that you yourself did the work. This is called plagiarism. It is dishonest and is not acceptable at Pratt Institute.

It is the policy of DDA and Pratt to emphasize respect for the creative works of others. Infringement takes place when -- without permission -- a substantial part of a work is copied, made available to others, or adapted into a new form. Images, text, logos, software, sounds, film/video clips, email, postings to newsgroups, and other works distributed electronically are protected by copyright, just as they are in traditional media. Appropriate use of the internet and digital storage media implies responsibilities and is encouraged. Protection technologies such as watermarking and encryption are supported and must be respected. DDA does not condone copyright infringement and disciplinary action will be taken if this policy is violated.