Class Design

Training in drawing through direct teaching and student practice.
Introduces drawing processes and technical skills used in animation practice. To equip students with the skills to explore and achieve visual communication through various drawing media. 
Initially based on observation, using formal and informal drawing techniques as in the syllabus.
- approaches to experimentation and personal expression through skills development.
Work is progressive; starting with natural composition, perspective and proportion, applying the rules of informal perspective to real and imaginary subjects. Development of skills more specifically related to animation practice: 
- awareness of graphic elements, line quality, tone, texture, positive and negative space
- use of geometry and perspective, proportion and shape in the development of the cinematographic frame (composition and spatial design) 
- storyboarding.

Description of content

Expressive and experimental drawing:

• Line quality, tone and textures
• natural composition 
• awareness of the picture plane and illusory depth.
• use of sketchbooks

Observation drawing

• contour drawing
• perception of positive and negative space
• perception of relationships (perspective and proportion)
• Informal perspective rules for real and imaginary subjects

Drawing exercises for animation

• Storyboarding
• Geometry and perspective applied to framing and movement within the frame
• Proportion and form for facial expression 

Thematic projects where students have to apply technical exercises and cinematographic theory to personal creative projects.

In this CU innovative methodologies are at the forefront of the teaching-learning process. The combination of theory and practical exercises that allow the students to explore and challenge preconceived ideas about the field of animation are in themselves innovative processes. This CU gives contemporary and historical practitioner contexts, and the students are encouraged to learn from these and devise their own processes of investigation and experimentation. This is done through a methodology of testing known theories alongside experimental practices and approaches, individual research for theme and story development and group work to test ideas and encouraging collaboration

Obras Impressas

• Stanchfield, Walt  (2013)- Drawn to Life: 20 Golden Years of Disney Master Classes. Volume 1: The Walt Stanchfield Lectures. London:Routledge. Hahn Don (ed), .
• Edwards, Betty - ( 2012.) Drawing on the Right Side of the Brain Workbook. The Definitive, 4 edition. US:TarcherPerigee
• Wells, Paul - Drawing for Animation. Edição. UK:Bloomsbury Publishing Plc. 2008. Book. Series;Basics Animation.
• Canemaker, John (2006).- Paper Dreams: The Art And Artists Of Disney Storyboard.  New York:Disney Editions; 2nd edition  
• BLOCK, B., (2008)The Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media 2nd Edition. Oxford: Focal Press
• Chelsea, David (1997)- Perspective For Comic Book Artists US:Watson-Guptill. Also published on line (2000) https://archive.org/details/PerspectiveForComicBookArtists/page/n7/mode/2up
• Paez , Sergio.  Jew, Anson (2012) Professional Storyboarding: Rules of Thumb. Focal Press; 1st edition