LEARNING OUTCOMES
1. Demonstrate individuality in the high-level application of animation theory and conceptual knowledge, within selected aspects of established and emerging animation practice, producing one, or more expertly realised artifacts e.g., animation sequence(s), academic research outcome(s), or other firmly contextualised response.
Application
2. Demonstrate your ability to clearly present animation concepts and ideas through visual and, or written means, and present conclusions effectively within the context of appropriately specified animation audiences, and for assessment by academic staff.
Commnication
3. Within the context of producing major animation output, demonstrate your ability to pre-empt potential problems and to respond effectively to unforeseen challenges by maintaining appropriate methods of documentation that clearly elucidate your efforts at manging complex aspects of animation output.
Problem solving
4. Demonstrate clearly the context of your personal learning journey by referencing prior knowledge and skills development opportunities and explain how you have expanded your expertise through the undertaking of major animation output, and how this prepares you effectively for future employment.
Knowledge and Learning
5. Explain and illustrate how conversations and dialogues between yourself and others, such as industry professionals, academic staff, peers, collaborators, assistants, and technical specialists, have allowed you to maximise the potential of your animation output and how your specific skills have developed to better prepare you for professional teamwork.
Reflection
TEXTS
Walsh, C. 2019, Stop motion filmmaking: the complete guide to fabrication and animation, Bloomsbury Academic, London.
Mamgain, P. 2019, Autodesk 3ds Max 2020: a detailed guide to modeling, texturing, lighting, and rendering, Padexi Academy, India.
Mitchell, B. 2017, Independent animation: developing, producing and distributing your animated films, CRC Press, Boca Raton.
Hooks, E. 2017, Acting for animators, 4th;4; edn, Routledge, London. Purves, B. 2008, Stop motion: passion, process and performance, Focal Press, Oxford.
Shaw, S. 2017, Stop motion: craft skills for model animation, 3rd edn, CRC Press, Boca Raton.
Gasek, T. 2012, Frame-by-frame stop motion: the guide to non-traditional animation techniques, Focal, London; Amsterdam.
Selby, A. (2009). ‘Animation in Process’ Laurence King
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.
Katatikarn, J. & Tanzillo, M. 2017, Lighting for animation: the art of visual storytelling, CRC Press, Boca Raton.
Buchan, S. 2013, Pervasive animation, Routledge, London.
Jones, A. & Oliff, J. 2007, Thinking animation: bridging the gap between 2D and CG, Thomson/Course Technology, Boston, Mass.
Winder, C., Dowlatabadi, Z. & Miller-Zarneke, T. 2011, Producing animation, 2nd edn, Focal, London.
Wells, P. 2009, Drawing for animation, AVA Academia, Lausanne.
Lord, P., Sibley, B. & Aardman Animations 1998, Cracking animation: the Aardman book of 3-D animation, Thames and Hudson, London.