In week 1, a briefing session (3 hours) to launch the module will open discussion and present key learning aims – setting the learners on an independent path of enquiry in to critical, aesthetic, and technical outcomes in line with stated career goals and artistic objectives.

Practical outcomes will be tailored to the individual with supervisory support and will be mapped by the student to the existing module/programme learning aims. The individual will, through reflection on prior learning, devise practical goals that are appropriate to their professional trajectory and knowledge and skills development needs.

Utilising appropriate resources students will undertake the necessary research required to solve given problems and to generate proofs of concept – be that in critical thinking, design, technical innovation, or other. Learners will be encouraged to be daring and experimental in approaches to animation outcomes – to push boundaries and to delve deeply to find the most effective and engaging sequences – testing to refine methods.

Supervisor meetings will be scheduled (12 x 30 mins)

Students will be strongly encouraged to collaborate with Level 5 and 6 Undergraduates on the BA Hons Animation Award.

Level 6 Animation will be involved in their ‘INCUBE8’ Modules: Collaboration and ‘Live Brief’ Activities

Student will also be encouraged to seek out collaborative opportunities with learners from other awards and departments.

University facilities across all departmental and school areas will be promoted to encourage interdisciplinary collaboration and mutually beneficial learning experiences.

Students will be encouraged to draw on prior and concurrent learning experiences (see ‘Module 4 Animation Industries and Ecosystems’) to help frame ideas and to energise purposeful directed study.

Students will be expected to maintain a live blog for this module, to be open to continuous feedback and receptive to opportunities for sharing and knowledge exchange.

Submission will be in the competition and presentation of the Blog and Portfolio – being weighted equally.

Blog should include the timely onboarding of feedback, iterative outcomes (3.) knowledge exchange (4) activities and reflective responses from the student (5), and evidence of clearly defined objectives in the form of animation, or related research (1).

Portfolio should clearly present outcomes in an appropriate way so as to illustrate the efficacy of development processes and methodologies, and to awareness of industries expectations and norms.

Specialised supervision for regular formative feedback
Access to Technical instruction in specialist technologies and techniques
Access to all appropriate university specialist facilities, software and apparatus.
Guided Independent study
Seminars
Cross level knowledge exchange
Studio model incubation
Digital forum
VLE’s e.g. Blackboard and Teams
Linkedin Learning
Engagement in social media

1.Demonstrate an individual approach to the application of animation theory and conceptual knowledge, together with a practical understanding of how established and emerging techniques of research and enquiry are used to generate professional standard animation outcomes.

Application

2.Communicate clearly how you have undertaken your exploratory animation processes and determined the efficacy of selected methodologies, techniques, and approaches by systematically documenting activities and presenting artifacts of animation in effectives ways.

ommunication

3.Evaluate complex conceptual, theoretical and, or practical animation challenges systematically and creatively, making informed judgements and developing effective solutions to problems by employing appropriate animation support and resources.

Problem solving

4.Demonstrate advanced expertise in selected areas of animation practice and enquiry by documenting significant moments of enhanced understanding, providing the context to decision making, and by informatively presenting artifacts of animation.

Knowledge and Learning

5. Demonstrate your ability to adjust your approach fluidly and reflexively to animation practice when faced with unpredicted outcomes, or opportunities that necessitate changes in direction by maintaining an informative and chronological journal of activities and personal responses.

Reflection

Technical instruction in specialist technologies and techniques (T.I’s)
Access to all appropriate university specialist facilities, software and apparatus.
Maker Spaces
Digital Academy forum
3D Factory
PC and Mac Labs
VR/AR suits
3D Scanning
Print Bureau
VLE’s: eg. Blackboard and TEAMS
Campus Library and online resources
Specialist 3D and Games development software
Wodd, Metal, Fine Metal, Ceramics, Resin, and Plastics Workshops
Cadman Studios – Green Screen Stage
Audio Production Studios
Media Centre AV production kit.
Motion Capture Stage
Acting and Performance Spaces
Life Drawing Studios

Walsh, C. 2019, Stop motion filmmaking: the complete guide to fabrication and animation, Bloomsbury Academic, London.

Shaw, S. 2017, Stop motion: craft skills for model animation, 3rd edn, CRC Press, Boca Raton Selby, A. (2009). ‘Animation in Process’ Laurence King

Mamgain, P. 2019, Autodesk 3ds Max 2020: a detailed guide to modeling, texturing, lighting, and rendering, Padexi Academy, India.

Purves, B. 2008, Stop motion: passion, process and performance, Focal Press, Oxford.

Gasek, T. 2012, Frame-by-frame stop motion: the guide to non-traditional animation techniques, Focal, London; Amsterdam.

Priebe, K.A. 2007, The art of stop-motion animation, Thomson Course Technology, Boston, Massachusetts.

Brierton, T. 2002, Stop-motion armature machining: a construction manual, McFarland, London.

Brierton, T. 2004, Stop-motion puppet sculpting: a manual of foam injection, build-up, and finishing techniques, McFarland, London.

Roberts, S. 2011, Character animation fundamentals: developing skills for 2D and 3D character animation, Focal, London; Amsterdam.

Johnson, G. 2014, Getting started in ZBrush: an introduction to digital sculpting and illustration, Focal Press, Abingdon.

Zeman, N.B. 2015, Essential skills for 3D modeling, rendering, and animation, CRC Press, Boca Raton.

Mitchell, B. 2017, Independent animation: developing, producing and distributing your animated films, CRC Press, Boca Raton.

Katatikarn, J. & Tanzillo, M. 2017, Lighting for animation: the art of visual storytelling, CRC Press, Boca Raton.

O'Hailey, T. 2010, Hybrid animation: integrating 2D and 3D assets, Focal, Oxford.

Buchan, S. 2013, Pervasive animation, Routledge, London.

Winder, C., Dowlatabadi, Z. & Miller-Zarneke, T. 2011, Producing animation, 2nd edn, Focal, London.

Wells, P. 2009, Drawing for animation, AVA Academia, Lausanne.

Hooks, E. 2017, Acting for animators, 4th;4; edn, Routledge, London.

Lord, P., Sibley, B. & Aardman Animations 1998, Cracking animation: the Aardman book of 3-D animation, Thames and Hudson, London.

https://www.disneyanimation.com/publications/