ART 380
(2D Computer Graphics Animation)
FALL 2011
CALIFORNIA STATE UNIVERSITY
LOS ANGELES
Professor JIM OVELMEN
jim@jimovelmen.com
Jim.Ovelmen@calstatela.edu
Meeting Time M/W 1:30pm-4:00pm
Office FA 227
Office Hours* Tues&Thurs; 11:30am-1:30pm
Phone Ext. 3-4033
Class Location Rm. FA 225, Art Department
COURSE DESCRIPTION
This course introduces students to basic priciples of llifelike, exaggerated, stylized, limited and experimental 2D animation via the use digital animation tools, namely Toom Boom Studio. Through increasingly challenging class assignments, students will first learn fundamental concepts and practices in creating basic character through both drawing and cut-out animation, which will prepare them for future courses, assignments, or positions requiring this as an expected skill.
The key ingredient in lifelike animation lies in weight and timing. This concept has many relatives including: exaggeration, anticipation, overlapping action, etc. These items will be focused upon throughout all weeks of instruction.
Students will learn how to create animated content which may be used for the web, broadcast, short subject, or as well as an introduction to the feature animated pipeline.
Students are also encouraged to experiment in their final project with different sources of 2D content including importing scanned flat-art from a variety of sources.
PREREQUISITES Art180, Introduction to Computer Graphics
INSTRUCTIONAL METHODS Class lectures, in-class assignments, and project related demonstrations will be provided from original or researched content. Supplemental homework assignments, specific tutorials from published sources may be given. Most of these assignments are, of course, to be done exclusively outside the hours of class time.
The expecation is 3 to 6 hours per week working outside of class on project assignments and homework. Lab hours will be posted.
There are literally thousands of books and online tutorials on animation.
I have listed recommendations of texts and URLs for specific study into
relevant topics. I will also distribute or web publish, images, and other
reference materials to supplement your studies.
PHYSICAL SUPPLIES USB Flash Drive (1 GIG recommended), external hard drive 80gig (recommended), Large sketchbook, graph paper, Pencils, markers, and other drawing materials
RECOMMENDED TEXTS
Timing for Animation, by Harold Whitaker and John Halas, Focal Press ISBN 0-240-51714-8
-The Illusion of Life, Disney Animation Walt Disney Productions ISBN 0-7868-6070-7
-The Animator’s Reference Book , Les Pardew & Ross WolfleyThompson Course Technology, USBN 1-59200-675-2
-The Animators Survival Kit, by Richard Williams, Faber, ISBN 0-571-20228-4
-Cartoon Animation, by Preston Blair, Walter Foster, ISBN 1-56010-084-2
EDUCATIONAL OUTCOMES
Demonstrate knowledge and proficiency at timing, weight, and locomotion of an lifelike animated content.-Have a proficiency of the Drawing and Sceneplanning tools in Toon Boom studio, with the ability to design, create and animated characters and/or elements in an animated scene(s)-Create a high-quality, expressive, short animated film, ready for broadcast, the web or short presentation.-Obtain an understanding of 2D planning of the animated production, including the workflow of staging scenes, templates, and framing the story.-Have a deep understanding of essential animation concepts and appreciation of the underpinnings of the craft and artform through exposure to historical and contemporary examples; which will broaden their experience, thus, approach to the animated form.
MON-9/26
CLASS INTRODUCTION and SURVEY of 2D ANIMATION
PERSONAL INTROS (Professor then Students) -instructor demo and student interview
- INTRO TO CLASS, SYLLABUS and EMBARKING ON 2D ANIMATION: Intro to classic 2D animation logic and its preservation in the Digital World. Highlight the continuity of technology and cultural use and purpose of animation.
HISTORY OF ANIMATION: in a succinct timeline: click here:
EARLY ANIMATION & VICTORIAN CURIOS:
· Magic Lantern 1671, Zoetrope 1832 , Phenakistascope 1933, flipbook 1868
· Muybridge's Zoopraxisope 1879, and...animals
· Gertie the Dinosaur 1914, and more
·1920's Otto Messmer, Felix, to Steamboat Willie and out of the Silent Era
·1930's Fleischer Betty Boop. Koko (rotoscoping)
EARLIEST COMMERCIAL FEATURE LEGNTH ANIMATION
· (full) feature animation, Snow White 1937, (limited, Japan) Momotaro's DSW1944
TV ANIMATION (ECONOMY) INTO THE 50's
· Waner Bros. Looney Tunes 1930-1969, Chuck Jones, Tex Avery, and remarkable TV animators.
· limited animation: 1950's (nonrealistic), UPA Gerald McBoingBoing,
· JAPAN, anime and TV : SR, SRj, Astroy boy, Gigantor, C.C.
HISTORY of ABSTRACTION & EXPERIMENT in 2D ANIMATION
commercial:
·pshychadelic animation: 1960's, TV, Yellow Submarine G. Dunning '68,
The Dot and the Line C. Jones '65,
ANIMATE PRO
You can download the TRIAL version of Animate Pro here: http://www.toonboom.com/products/animatepro/trial.php
HOMEWORK:
Watch the Animate Pro (Ch.1) Introduction: http://www.toonboom.com/products/animatepro/how-to/video-tutorials/
Continue to Watch Chapter 2-5 (from "Creating a Project" to "About the Interface"
WED-9/28
Independent Animation:
Lotte Reiniger:, Adventures of Prince Achmed 1926, SPOTLIGHT on Reiniger
-James/John Whitney Arabesque 1975, Catalogue 1961, Lapis 1966, Permutations 1966, shdkjhf
-Osar Fischinger, Composition in Blue 1935, Norman McLaren Synchromy 1970, Dots, 1940, Mary Ellen Butte/McLaren Spook Sport, 1940, Len Lye A Color Box, 1935; Free Radicals 1958
-Harry Everett Smith, Early Abstractions 1946-57, Jorden Belsen
CONTEMPORARY INDEPENDENT ANIMATION:
· jump to contemporary, autuer/independent animation:
Bill Plympton how to kiss,
Don Hertzfeldt rejected, David Shrigley: what happens..., who I am...
· Intro to 2D digital animation and design concepts
· INTRO TO TOON BOOM ANIM PRO, vector explanation. Navigating in Drawing View: Z/X zooming, Spacebar tracking.
· Creating basic shapes and manipulating lines, drawing, and color.
· Practice drawing in the Camera View: Practice at the Brush Tool/Center-line Tools
· study of basic timing of inanimate objects
· Exporting short movies as QTs (or AVI's) and/or exporting to Flash (.swf)
· Creating Color Swatches, create and color a character.
· More explanation of the X-sheeet and managing keys/exposures
· Learning keyboard shortcuts
IN-CLASS ASSIGNMENT:
-Squash and Stretch bouncing ball animation: utilizing two techniques: Straight Ahead Animation & Pose-to-Pose (or Key-to-Key) Animation
HOMEWORK:
Watch the Animate Pro (Ch.6) Drawing Basics: http://www.toonboom.com/products/animatepro/how-to/video-tutorials/
MON-10/3
IN-CLASS DRAWING ASSIGNMENT
drawing tools
-Draw a turnaround of your head, or use a model
BOUNCING BALLS and the ESSENCE OF TIMING
DRAWING IN ANIMATE PRO
drawing tools, x-sheet; copy, moving, adding removing exposures. working in Elements. Priciples of layering/Exposure, Auto-Light and Onion-skinning. Exporting Movie, x-sheet.
Essential Properties and Tools of Animation:
· two approaches to drawn animation: STRAIGHT-AHEAD and POSE-to-POSE
field size, x-sheet, ball-bounce full, Bowling ball down, ball-bounce Part1, ball-bounce Part2, ball compare, inanimate object nature, anything a ball, parabolas, water balloon, weight and force, fast action antic
Apply these concepts in ANIMATE PRO:
· Creating elements: drawing, image. make a background, understand exposure,
layering, navigation and AP's x-sheet
HOMEWORK:
Animate Pro Tutorials:
http://www.toonboom.com/products/animatepro/how-to/video-tutorials/
-watch "Understanding Timing and the X-sheet View" (Ch 88) in Pack 17
WED-10/5
IN CLASS ASSIGNMENTS
1) making drawings in the X-SHEET, creating animation with a variety of weights: BOWLING BALL, BALLOON, SOCCER BALL, and/or WATER BALLOON.
2) Animate Pro Tutorials:
http://www.toonboom.com/products/animatepro/how-to/video-tutorials/
HOMEWORK
-watch "All About Pegs" (Ch 68) in Pack 12
PEG and CAMERAS
·introduce concept of pegs for attaching camera and for elements, and the upcoming choice between pose-to-pose animation (individual drawings, and tweened animation via animated pegs.
· Creating a SQUASH-and-STRETCH animation (Bouncing Ball)
· can also copy and paste same ball into exposures, but must PASTE OBJECT if you want to see placement change. (you must also click once again in the Drawing View)
MON-10/10
CUT-OUT ANIMATION versus POSE to POSE
both historical and contemporary cut-out animated films:
Anthony Lucas: Holding Your Breath, The Mysterious Geographic Explorations of Jasper Morello
Lotte Reiniger, the Little Chimney Sweep, Secret of the Marquise, Hansel and Gretel, Prince Achmed,
Walter Ruttman
· Show sceneplanning and the timeline
· Show pegs, explain and create peg animation
HOMEWORK:
watch ENTIRE Tutorials Pack 3
Drawing, Tracing, and Cleaning:
http://www.toonboom.com/products/animatepro/how-to/video-tutorials/
WED-10/12
Understanding layering, and different Play>Previews: use a character and BG for tests.
· In X-Sheet: L is Top, R is bottom; in Timeline: Top to Bottom. Ctrl-clickDrag to change postion of Element. This is the same as changing layer order in Timeline. Doing one effects the other as well.
· Animating drawings/Animating Pegs
· Different Steps for attaching a figure to a Peg, and instant parent-peg.
· What is a cut-out character and peg hierachies?
· Sceneplanning Tools: select, transform, rotate, scale and motion.
· description and understanding of pegs and moving/animating/attaching pegs, reminder about adding exposures R and E, adding blank cells shift+R, shift+E,
if time allows...
· building pegs and hierachies.
· Add new cameras, and study natures of each, how to render differents cams.
FIRST PROJECT [15 points] jumping character that uses pegs. ASSIGNED today, DUE: 2nd class of WEEK 4
1) Create/prepare a simple character for animation. Make sure your character has a sense of volume and dimentionality
2) Animation your character doing a simple JUMP. limbs and head can overlap animate to fling in the air, then settle, landing back on the ground, some sense of wieght, overlap, anticipation and timing shound be displayed.
3)Put this jumping character also on a PEG which is animated (ie: West to East or West to East), so that the figure appears to jump in a parabolic arc.
5) create a simple background/environment your character is jumping within.
OPTIONAL: animate the camera following the jump. Put the camera on a PEG and animate.
EXPORT THE RESULT TO A MOVIE (HD size at 24fps) turn in to the DROPBOX (I will give you instructions on how to place in my dropbox later)
DUE: the SECOND CLASS of week 4
MON-10/17
BODY MECHANICS and CHARACTER DESIGN
TIMING PRICIPLES:
anticipation explained, antic grab, antic cartoon, follow through, flag_cycle, stick_and_string, force,
body mechanics and anatomy:
Human Anatomy, joints, pelvis, rib cage, arcs, arcs_movie, spine, shoulders, skull and jaw,
CHARACTER CONCEPTS:
Character Exercise (lift)
WALK CYCLE CONCEPTS:
WALK CYCLES:
basic walk, even more walks, more walks, overlap,vibration, walk moods, norman walk,
STYLIZED WALK CYCLES:
WED-10/19
FIRST PROJECT DUE (jumping Character) at the beginning of class, review student work.
-Human Locomotion Animations:
dive, lift_2D, lift_3D, pull, push,
-Walk Cycle Animation:
basic walk, angry walk, cool walk, depressed walk, dreamy walk, happy walk, macho walk, run, run_away, run_toward, skip, sneak, tip toe
-Animal Locomotion Animations:
dog_canter, cartoon_dog, dog_gallop, dog_trot, horse_gallop, horse_trot, horse_walk, panto_horse, cat_walk, cow_walk
IN CLASS ASSIGNMENT:
-Create Another cut out character, this time draw it in a SIDE VIEW.
-animate your character lifting a heavy object, see: animating a lift
if you finish this, with-in class time, then move on to...
-animate your character in a basic walk cycle, see: basic walk
MON-10/24
MUTI-PLANE & DEPTH
-look over "animated lift" (in-class assignment)
Demo on Motion Paths, creating a later, creating a simple Mulit-Plane (putting the camera on the peg)
· ToonBoom MOTION POINTS in Motion Paths: adding a CONTROL POINT (green), (shift-click), as apposed to an KEYFRAME (red) (alt/Option-click) on your Motion Path.
-turn a CONTROL POINT into a KEYFRAME (click "Lock in Time" in Properties)
-you can make a character flip or "turn a corner" by adding a "-1" in scale on the Key.-show FUNCTION EDITOR: (can drag blue line in function editor to move): you can change the shape of a motion path (Motion), and you can teak the velocity down the path (Velocity). In Velocity, you can't move the first and last points, and each point has a limitatio: (only up-and-down, and limited in height, always sum to100)
-ADD a function point, by moving the blue line in Function Editor, or Subtract. This will NOT add or subtract Keys from the timeline. It will only puts points on the Function Curve.
-Look at the FRAME MARKS, as Velocity INCREASES, there are LESS marks. · More on Locomotion and Timing: Anticipation, Overlapping Animation,
· Walk Cycle, drawing man, woman, or animal walking, and animating background· Observation of Nature, weight and locomotion everywhere: motivation and acting
MIDTERM PROJECT [25 Points] "Walk Cycle in a MultiPlane" Assigned today; DUE: beginning of 2d class of Week 6
WED-10/26
MUTI-PLANE CONT.
·discuss story ideas and storyboarding process for Midterm and Final Projects.
· multi-planing, and controling scene and composition
·Creating multiplane Scenery, recyling imagery using "clone element"
· Creating multiple Scenes, (Window>Scene Manager)
-Creating cycles in Drawing, Drawn in Exposure Sheet, select drawing>Elements>Cell>Cycle (this cycles "drawings" bitmaps only)
-Creating Cycles on Cutout Characters: slelect ALL layers of elements in TIMELINE, copy, then go to the last/next open frame, and paste. The animation/elements are duplicated.
·Create a timeline for Final Project with weekly deadlines
·Working with the Library
-Creating a template, pick element or layer in timeline>drag to Library
MON-10/31
ACTING & OBSERVING
Lecture on Acting:
BillieJean, FandB, see Pixar examples saved to Intructor HD.
Secondary and Tertiary Animation, Getting in and out of Poses.
(go over specific question and solutions for assigned projects)
CLASS TIME WORKING ON MIDTERM PROJECT, Q & A of any technical or conceptual problemns
WED-11/2
FIELD OBSERVATION
if its not raining, go outside (out on campus) find a corner or comfortable spot where you can observe people walking, or if not easy or appropriate, other kinds of nature (birds, wind moving leaves). BUT look for CYCLICAL movements and rhythms...
Take notes while making sketches of the rhythms at which living things move in cycles. You can easily count to yourself: "ONEonethousand, TWOonethousand" Make inferences about the timing of a walk. ie:How long does it take to take from stride pose to stride pose? how different is that from person to person. Make rough sketches of key poses that you think you might use if you needed to animate them. Make at least SIX observations on the rythmic cycles of living these and report you findings in you notebook back in class.
MIDTERM PROJECT is DUE (beginning of 2d class of Week 6)
MON-11/7
FINAL PROJECT COMMENCEMENT & SOUND
BELOW IS THE CRITERIA FOR THE Final Project (film)
1)The standard and quality of animation must be very high (matching the most rigorous evaluation grading cirteria (in blue below)
2)The film should reflect a SINCERE ATTEMP BY THE STUDENT TO COMMUNICATE something of personal, or social importance. It does not have to be heavy or hit the viewer over the head with import. It also can use humor to lead the viewer to the message, or can be poetic or deep as well.
3)The piece MUST have something to say to specific audience, group, or general audience.
4)The film must be AT LEAST ONE MINUTE LONG, without title.
4b) Project FRAME RATE of the Exported Movie should have 30fps (or the same rate you play back), and have a resolution of 640x480 (set in Animation Properties) check this rendersize chart for reference
5)The must have TITLE and CREDITS.
6)The film must show a DEFINATE STYLE, a graphic or aesthetic strategy used by the artist. (see previous examples in week 1 for just a few historical examples)
7)The film must attempt to master a technique or use: ie :cut-out animation, pose-to-pose, scanned drawings, etc; and have a unique aethetic (drawing style or look)
8)The film must should have some element of sound. The sound may come from a sound library or be recorded by you. It does NOT have to be lipsynch or synched sound. This is optional.
9)The film should contain camera moves. If the style dictates fewer camera moves, then this must be supported in you storyboard.
10)The film may contain multiple scenes, or contain just one scene, depending again on style and desgin of the story and animation.
11)You must turn in your 640x480 rendered video as a Quicktime or AVI, and also turn in the original ToonBoom file, in the same folder with your name, ie: YourName_Final
WED-11/9
SOUND & LIPSYNCHING in ToonBoom
ROUGH STORYBOARDS for the FINAL PROJECT due beginning of class
· introduction to sound and how lipsych is used in Toon Boom, (phonemes)
· lipsyching tutorial
· importing your own sound and lipsynch in ToonBoom
· using the automatic lipsynch tool in Toon Boom
Final Project Production
MON-11/12 & WED-11/16
FINAL STORYBOARDS for the FINAL PROJECT due beginning of class
Final Project Production
MON-11/21 & WED-11/23
Final Project Production
MON-11/28 & WED-11/30
Final Project Production
METHOD OF EVALUATION
Homework assignments will be given points based on accurate completion of assigned readings, assignments and tutorials.
Projects 1, 2 and the Final project will graded based on these criteria:
*Timing of each elements (parts) of Animation
*Timing and Quality of Overall Animation
*Staging and Strength of the Overall Design
*Success of its Animation's Communication
*Originality, Creativity and Uniqueness of the Content and/or techniques
SEE GRADING RUBRICs below to see how I grade on each item
Each given an equal weight of 20%, to compose your grade for each project
It is, of course, the responsibility of each to ensure his/her work in completed an handed in on due dates (see below)
Critical review of your work will provide the source most assessments. Participation grade includes the extent and quality of the participation in the critiques, presentation of projects and positive interaction with classmates and professional approach toward the class. Students requiring any kind of special assistance should speak with the instructor at their earliest convenience.
GRADING
Attendance: % 10 (click to see rubric)
Class Participation: % 5(click to see rubric)
Homework & In-Class Assignments %5
FIRST PROJECT %15 (click to see rubric)
MIDTERM PROJECT %25
FINAL PROJECT %40 (click to see rubric)
GRADE SCALE A 90%-100%B 80%-89%C 70%-79%D 60%-69%F Below 60%
POLICIES
Class attendance is also part of your class participation grade. Arriving on time is equally important. You will be considered absent one class period for every three tardies. (more than five minutes late)
Expect to spend from three to six hours a week on your working outside of class. Lab hours will be available and posted by the end of the first week.
Students are responsible for any material missed due to tardiness or absence. Readings, and assignments, and projects are expected at the beginning of class on their due dates.
Late submissions will be lowered one grade per class day late.
MAKE-UP WORK
Late assignments, or absences due only to emergency or illness may be granted leniency only per the instructor's discretion.
EXTRA CREDIT
Students may be able to re-submit any assignment for an improvement points as long as that assignment was turned in the original due date. The policies are specific to each assignment. Check specific project descriptions for more details.
Other opportunities for extra credit are possible involving visiting realted exhibits, films, museums, specific research, attending relevant shows or conferences, or related study, etc. Such points are limited and per the instructor's discretion
HOMEWORK: Due at the beginning of class the next class after assigned.
IN-CLASS ASSIGNMENTS: Due at the end of class.
ALL PROJECTS DUE AT THE BEGINNING OF CLASS
FIRST PROJECT: due WED-10/19 (week 4)
MIDTERM PROJECT: due WED-11/2 (week 6)
FINAL PROJECT: due MON-12/5 (Finals Week)