.

References:
• Ed Hooks, Acting for Animators Heinemann, Reed Elsevier, 2000
• Eadweard Muybridg, The Human Figure in Motion, Dover Publication Inc., NY, 1995
• Richard William, The Animators Survival Kit, Faber and Faber, New York, London, 2002
• David Choquet, 1000 Game Heroes, Taschen. 2002
• Eadweard Muybridg, Animals in Motion, Dover Publication Inc., NY, 1957
• Alan Cholodenko (edited by), The Illusion of Life- Essays on Animation Power, Publication in association with Australian Film Commission, SYD, 1991
• Eric Smoodin (edited by), Disney Discourse – Producing the Magic Kingdom Routledge, London, 1994
• Jay Leyda (edited by), Eisnstein on Disney Seagull Books, Calcutta, 1986
• Ernest Pintoff, Animation 101, Michael Wiese Productions, CA, 1999

# AN 603 : Animation Process And Visual Form
Animation Processes
• Covers the entire process from script to screen in process for an animation film (short or feature)
• Overview of the Process
• Preproduction, Production, Post Production
• A comparison between live action film making & animation The primary difference being that an animation film tends to be pegged down pretty accurately by the end of the preproduction process itself whereas for a live action film it is close to completion only at the end of editing which is a post production process.
Preproduction
• Story to Script
•Whether adapted or original, taking the story from a verbal or spatial medium like a book or graphic novel to a form suitable for making a film. What makes a good story?
• Plot & Character: Action Plots & Mind Plots. Analysis of different types of plots
• Archetypes v/s Stereotypes - understanding of archetypes and a brief introduction to the monomyth (hero’s journey).
• Why Animation? (instead of live action)
• Animation as a story telling (narrative) medium
• Animation as an artistic medium
• Visual Concepts, Character Exploration & Storyboards
• Animatics
• Character Design & Model Sheets, Layouts & Scene Planning
Production
• Animation
• Acting - Animation is not about movingimages but moving people
• Traditional 2D anim
• a. Linetests - Keyframes & Timing (breakdowns & inbetweens) also brief introduction to thumbnailing (for quick exploration of alternative methods of animating a scene)
• Study comparisons between different rhythms of animation
• Executing straight ahead and inbetweened planned animation, limited animation full animation
• Drawing key frames, breakdowns, inbetweens, animation cycles
• Cleanups
Post Production
• Voice, Music & Effects
• Understanding the dynamics of sound design and use of sound as a key component of animation
• Designing a sound track for animation including • music, dialogue, voice overs, lip synch and FX
• Recording and mixing multiple tracks
• Post processing sound
• Compositing & Editing
• Work in Progress. Development of a film from Animatic to Edit with different scenes at different stages.
• Coming together of the various elements of the scene.
• Final Mixing of Sound & Final Edit
• Understanding the dynamics of camera moves and magnifications
• Experimenting with camera techniques and working directly under camera
• - Using registration fields, table moves and peg movements
• Screening & Feedback
• Pitching a Project, Financing, Production & Distribution
Visual Form
• Exploring the look and feel for animation through concept art
• Planning character design, layout design, illustration style, composition, staging, backgrounds
• A study of indigenous design and painting, both contemporary and traditional to understand and analyze a variety of styles and visual language
References for processes
• Shamus Culhane, Animation from script to screen, St.Martin’s Griffin Press, NY, 1990
• Richard William, The Animators Survival Kit, Faber and Faber, New York, London, 2002
• Kit Laybourne, The Animation Book, Crown Trade Paperbacks, NY, 1998
• Tony White, The Animator’s Workbook- Step by Step Technique of Drawn Animation, Watson-Guptill Pulications, 1988
• Mascelli Joseph V, The Five C’s of Cinematography: Motion Pictures Filming Techniques, Silman-James Press, 1998
• Daniel Arijon, Film Technique, Silman-James Press, 1991
• David Sonnensch, Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Michael Wiese Productions, 2001
• David Lewis Yewdall, Practical Art of Motion Picture Sound, Second Edition, Focal Press, 2003
• Tomlinson Holman, Sound for Film and Television, Second Edition, Focal Press, 2001
References for Visual Form
• Mark Cotta Vaz, The Art of Finding Nemo, Cronicle Books, 2003
• Gary Russell, The Art of The Fellowship of the Rings, Houghton Mifflin, 2002
• Gary Russell, The Art of The Two Towers (The Lord of the Rings), Houghton Mifflin, 2003
• Gary Russell, The Art of The Return of the King (The Lord of the Rings), Houghton Mifflin, 2004
• Will Eisner, Graphic Storytelling, Poorhouse Press, 1996
• Will Eisner, Comics and Sequential Art, Poorhouse Press, 1985
• Scott McCloud, Understanding Comics, Perennial Currents, 1994
• Bradford W. Wright, Comic Book Nation, Johns Hopkins University Press, 2003
• Stephen Missal, Exploring Drawing for Animation (Design Exploration Series),
• Thomson Delmar Learning, 2003

# AN 604 : Animation Scripting and Methods
• Experimenting with techniques for visual storytelling, structure, story building, writing for animation
• Examining indigenous narratives, both contemporary and traditional to gain an understanding of storytelling methods pertinent to our culture
• Creating dramatic flow, planning, pacing, sequencing, organizing visual flow and continuity in storyboards
• Co-ordinating character, scene length, pace of action
• Choreographing scene change and camera movement
• Planning, examining, analyzing and pacing character behaviour
• An exposure to various animation techniques
• Workshops using both 2D and 3D techniques on Computer, Film, Video etc.
• Production of professional stop-motion animation puppet and usable set props.
• Understanding how a stop-motion animation production works
• Sculpting, mould making, armature construction and casting techniques.
• Methods to fabricate a stop-motion animation puppet
• Techniques for set construction.
• Doping, animating, lighting and shooting
• Post production techniques
References for Methods
• Robert Russett and Cecile Starr, Experimental Animation, Origins of a New Art A Da Capo Paperback, NY, 1998
• Peter Lord and Brian Sibley, Cracking Animation –The Aardman book of 3D Animation, Thames & Hudson, 2000
• Richard Taylor, Encyclopedia of Animation Techniques, Book Sales, 2004
• Michael Frierson, Clay Animation: American Highlights 1908 to Present, Twayne Publishers, 1994
• Chris Patmore; The Complete Animation Course: The Principles, Practice, and Techniques of Successful Animation, Barron’s Educational Series, 2003
• Frank Thompson, The Making of The Nightmare Before Christmas, Disney Editions, 2002
• Peter Lord and Brian Sibley, Cracking Animation –The Aardman book of 3D Animation, Thames & Hudson, 2000
References for scripting
• Marilyn Webber, Gardner’s Guide to Feature Animation Writing: The Writer’s Road Map Garth Gardner Company, 2002
• Jeffrey Scott, How to Write for Animation, Overlook Press, 2002
• Marilyn Webber, Gardner’s Guide to Animation Scriptwriting: The Writer’s Road Map,
• Garth Gardner Company, 2002
• Jean Ann Wright, Animation Writing and Development: From Script Development to Pitch
• (Focal Press Visual Effects and Animation), Focal Press, 2005

# AN 605 : Computers for Animation Audit
• To enlarge the repertoire of tools to create animation
• An experience of working across varied Animation Software like Maya, Animo,
• 3D Studio Max, Flash etc.
References
• Dan Ablan, Digital Cinematography & Directing, New Riders Press, 2002
• Jeremy Birn, Digital Lighting & Rendering, New Riders Press, 2000
• Owen Demers, Digital Texturing & Painting, New Riders Press, 2001
• Glenn Kirkpatrick, Flash Cartoon Animation: Learn from the Pros, A-Press, 2003



# AN 606 : Animation Theory
• Understanding contemporary trends in animation making in terms of content, styling, techniques and applications
• Studying animation films through film viewing, appreciation, criticism, theoretical writings, essays , research studies
• Aesthetics: Introduction to Aesthetics (Indian and Western)
• Introduction to major art movements
• Narrative: Introduction to narrative structures (Indian and Western)
• Modes of Narrative
• Narrative Discourse
• Film Theory: Perception
• Representation
• Signification
• Genres
• Identification and Psychoanalysis
• Interpretation
References:
• Dark Alchemy, The Films of Jan Svankmajer
• Edited by Peter Hames, Greenwood Press 1995
• Disney’s Aladdin – The Making of an Animated Film
• John Culhane, Hyperion, NY, 1992
• The Illusion of Life- Essays on Animation
• Edited by Alan Cholodenko, Power Publication in association with Australian Film Commission, SYD, 1991
• Disney Discourse – Producing the Magic Kingdom
• Edited by Eric Smoodin, Routledge, London, 1994
• Eisnstein on Disney
• Edited by Jay Leyda, Seagull Books, Calcutta
• Animation 101
• Ernest Pintoff, Michael Wiese Productions, CA, 1999



# AN 608 : Anatomy and Drawing
• Understanding of the relationship of bones and muscles at rest and in movement to be able to translate this to creating and maintaining correct volumes
• Studying human and animal movement through sequential drawings, gesture drawing
References
• Victor Perard, Anatomy and Drawing, Dover Publications Inc., NY, 2004
• Steve Roberts, Character Animation in 3D: Use traditional drawing techniques to produce stunning CGI animation, Focal Press, 2004
• Christopher Hart, Drawing Cutting Edge Anatomy: The Ultimate Reference for Comic,
• Watson-Guptill Book Artists Publications, 2004
• Eadweard MuybridgE, Animals in Motion, Dover Publication Inc., NY, 1957
• Eadweard MuybridgE, The Human Figure in Motion, Dover Publication Inc., NY, 1995



# AN 609 : Life Drawing
• To become fluent with capturing the human and animal form
• Proportions, structure, volume and shading techniques
References
•John.V.Vanderpoel, The Human Figure, Dover Publication Inc., NY, 1958
• George.B.Bridgman, Bridgman’s Life, Drawing Dover Publication Inc., NY, 197
• Betty Edwards, The New, Drawing on the Right Side of the Brain, Harper Collins Publishers, 2001
• Betty Edwards, The New, Drawing on the Right Side of the Brain, Workbook Souvenir Press Ltd., London, 2002
• Stephen Missal, Exploring Drawing for Animation (Design Exploration Series), (Paperback) Thomson Delmar Learning, 2003

# AN 610 : Sound and Camera
• Understanding the dynamics of sound design and use of sound as a key
• component of animation
• Designing a sound track for animation including music, dialogue, voice overs, lip synch and FX
• Recording and mixing multiple tracks
• Post processing sound
• Understanding the dynamics of camera moves and magnifications
• Experimenting with camera techniques and working directly under camera
• Using registration fields, table moves and peg movements
References
• Mascelli Joseph V, The Five C’s of Cinematography: Motion Pictures Filming Techniques, Silman-James Press, 1998
• Daniel Arijon, Film Technique, Silman-James Press, 1991
• David Sonnensch, Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Michael Wiese Productions, 2001
• David Lewis Yewdall, Practical Art of Motion Picture Sound, Second Edition Focal Press, 2003
• Tomlinson Holman, Sound for Film and Television, Second Edition Focal Press, 2001



# AN 611 : Representation Techniques For Animation
• Different techniques of representations for animation.
• Experiment with different methods of representation
• Exploring different skills, tools and medias to represent for animation.
References
• George.B.Bridgman, The Book of a Hundred Hands, Dover Publication Inc., NY, 1972
• Richard Taylor , Encyclopedia of Animation Techniques, Book Sales, 2004
• Robert Russett, Experimental Animation: Origins of a New Art Cecile Starr (Editor), Capo, 1988
• Alan Watt, M. Advanced Animation and Rendering Techniques Watt, Addison-Wesley Professional, 1992



# AN 613 : Animation Technology
• An exposure to the latest that technology has to offer when it comes to applications in the field of animation.
• Student will be kept abreast with innovative and ground breaking techniques adapted/invented which have pioneered the process of animation.
• Simulation (Environments etc.)
• Crowd Control
• MOCAP (Motion Capture)
• VR (Virtual-reality)
• Rendering Technologies
• Digital Lighting
• Compositing Techniques
• Effects - reflections, refractions, global illumination and caustics.
• Motion Building
• Alternative Modelling Methods – eg.: Luxology Modo,
• CLOTHFX
• Studio visits



# AN 614 : Design Research-Seminar
• The course involves student researching in an area related to design and is expected to produce an insightful report or a paper on the topic. Students need to choose a topic suggested by a faculty member and work under faculty guidance. The work may involve primary and secondary research, creative exploration out alternatives, experimental set-ups and methodical documentation. Students are encouraged to explore new fields, materials and media, with a focus on analysis. The student is required to present a seminar on the topic at the end of the semester



# ANP 601: Summer Project I
(Mid June to mid July)
This is a summer project that can be done with an industry, professional design firm, an institution or an organisation like an NGO. The objective of this project is to be part of the process where design is being implemented, contribute towards the process and learn from the situation. The project is meant to expose the student to design practices in his chosen area of interest. This project is expected to influence the degree project in many cases.



# ANP 602 : Design Project II
(Mid July to November end)
An independent project with one of the following focus:•
Design project of student interest and / or • faculty interest and / or industry project
Re-design project that relooks at an • existing problem or situation
Research project, delving into • methodological or pedagogic issues
Exploration project, exploring application possibilities • in a new technology or medium or variations



# ANP 603 : Degree Project III Stage1
• Duration: 3 months from December – end of February.
• This project could be an extension of the previous project (if the scope of the project justifies the extension) or it could be an independent project with one of the following focus:
• Design project of student interest and / or faculty interest and / or industry project
• Re-design project that relooks at an existing problem or situation
• Research project, delving into methodological or pedagogic issues
• Exploration project, exploring application possibilities in a new technology or medium or variations
• The evaluation of the Stage 1 of Project II is done internally with a panel appointed by the DPGC in consultation with the guide. The panel will consist of the guide and two other faculty members.



# ANP 604 : Degree Project III Stage 2
• Duration: 2-4 months from March – end June.
• This project will be an extension of the project II and should include development of the final design concept. The defense presentations will be held during the month of April and time given till the end of June to complete the jury feedback, final drawings and finer detailing of the project
• The evaluation of the Stage 2 of Project II is done by a panel of examiners appointed by DPGC. The panel will consist of external jury member along with an internal examiner, the guide and the chairman (A Professor or an Associate Professor from another Department of IIT Bombay)
Animation Design



 

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