The basis of this module is to explore actions in "opposites". Lectures will introduce charactersfrom traditional folk tales which use a variety of personality traits to articulate myth and legends.
It will explore psychological factors in a variety of narrative treatments in animation based upon the concept of "The Bogeyman".
This module will enhance and build development in stop motion puppet making and animation in the production of 2 fully articulated stop motion puppets based loosely on your Light and Dark side. These will be animated together in a short performance-driven narrative on a simple single camera stage set.
You will be introduced to a range of lighting and camera techniques which will build upon your skills from Level 1 practice.
Emphasis will be on strong character performance, facial expression and gestures to articulate the narrative rather than on dialogue.
Students will be introduced to keying techniques and composite methods which will be used to form a seamless effect in the short animation.

Studio learning takes place in timetabled sessions with academic staff who introduce key contextual and practice based lectures focused on the development of puppet design and stop motion animation.
Through these initial lectures you will gain an understanding of the core concepts, theory and practical tools necessary to complete all the assignments for the module.
Independent study will form the majority of time spent "answering the brief" through evidence of character research, preparation drawings, studio strategy and application of methods and processes necessary for completion of an appropriate response to the assignments.
You will access studio and pre-recorded material for review and consolidation of critical animation and composite software knowledge during the production.
Attendance at Technical Instruction sessions will be crucial for the understanding and application of specific camera and lighting practice.
Seminars and group Critiques support your studio practice through formative evaluation and will take place at critical points of the semester to review working progress.
Summative assessment takes place at the end of the module where showreels will be presented for final assessment.
There will be two designated tutorials set up to enable students to discuss their work individually with key members of delivery staff.

Coursework consists of 3 components:
- Light and Dark puppet animation (This component will form the majority of the assessment due to time constructing models) [Learning Outcomes 2,3,4,5].
- Live keying [Learning Outcomes 1,4].
- Camera and Lighting techniques [Learning Outcomes 3,4].

Portfolio of preproduction designs and preparatory artwork showing puppets in different positions and angles demonstrating different expressions and gestures to articulate a sense of believability [Learning Outcomes 2,5].
Creation of a short showreel with soundtrack starting and ending with 2 stop motion animation in a simple set [Learning Outcomes 3,4].
Integrated live action with puppets in an animation sequence using keying techniques developed in technical instruction sessions [Learning Outcomes 1,4].
Creation of a simple set or scene to act as a stage for puppet performance [Learning Outcomes 3,4]

All animation content to be presented on Mini DV tape only.

Susannah Shaw, Stop Motion, Craft Skills for Model Animation, Focal Press, 2004, ISBN 0-240-151659-1
Frank Thompson, Tim Burton's Nightmare Before Christmas, Roundtable Press Book, 1993, ISBN 078685378-6
Lord & Sibley, The Aardman Book of 3D Animation, Thames & Hudson, 1998, ISBN 0-0500-01881-2
Making of Corpse Bride, Tim Burton, 2005
Tony Dalton, "Ray Harryhausen: An Animated Life", Aurem Press Ltd, 2003, ISBN 185109405

Animation Production Workshops
Portable media equipment, Video Cameras
The Library