Class Movement and Drawing

  • Presentation


    Introduction to drawn animation cinema, through various exercises designed to equip all students with the elementary techniques and processes of drawn animation.
    Specific drawing work, associated with graphic language and cinematography.

  • Code


  • Syllabus


    1. Introduction to the basic principles of animated cinema applied to various plastic expression techniques such as drawing, painting and collage:

    a) Drawing time: time-frame relationship;

    b) Acceleration, deceleration ("ease-in", "ease-out");

    c) Action, reaction (anticipation, "straight-ahead" action and "pose-to-pose", "follow through");

    d) Rhythm, time;

    e) Trajectories ("arcs");

    f) Personality ("appeal").

    2. Representation in animation:

    a) Change in body and facial expression;

    b) Look for contrasts;

    c) Body language.

    3. Use of visual references:

    a) Movement study - Rotoscopy;

    b) Realism vs animated fantasy;

    c) The representation of space in movement; the setting as "character".

    3. Drawing as a research tool in Animation:

    a) Graphics

    b) Proportion

    c) Representation as inspiration :: exploration of representation as a path to a personal language

    d) Space-object/character relationship

    e) Figurative vs abstract character and space

  • Objectives


    • Recognizing the processes, techniques and means essential for performing painted, drawn and cutout animations;

    • Developing creative graphic solutions (abstract or figurative) for the most varied types of projects;

    • Demonstrate the ability to develop drawn characters and present them through layouts;

    • Create and produce animated movement through drawing, painting and cutouts;

    • Perceive drawn, painted and cut-out animation as a privileged means of developing an individual perspective on what surrounds us.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    Work developed in a personalized tutoring format, based on briefings given to the group of students, allowing the creation of individual/original responses.

  • References


    BERGALA, A. (2005). Le cinéma d'animation. Paris: Scérén-cndp. (cota: DVD/2-BC ULHT 34084).

    LORD, P. & SIBLEY, B. (2004). Cracking Animation. London: Thames & Hudson. (cota: AV/137-BC ULHT 32701).

    MATTESI, Michael D. (2006). Force : dynamic life drawing for animators. Amsterdam: Focal Press. (cota:

    AV/116-BC ULHT 31890).

    THOMAS, F. & JOHNSTON, O. (1995). The illusion of life : Disney animation. New York: Disney Editions. (cota:

    AV/230-BC ULHT 33072).

    WEBSTER, C. (2012). Action analysis for animators. Amsterdam: Focal Press, (AV/800-BC ULHT 40556).

    WELLS, P. (2006). The fundamentals of animation. Lausanne: Ava Publishing. (cota: AV/540-BC ULHT 29813).

    WILLIAMS, R. (2009) The Animator's Survival Kit, London: Faber and Faber.

    XAVIER, J. (2007). Poética do movimento. Lisboa: Monstra. (AV/682-BC ULHT 37163).

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