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Animation Design Course Content:

Click on course number: / Download Pdf.. / IDC courses at a glance..

DE 629 Introduction to Photography
DE 631 Introduction to Typography
DE 643 Digital Animation 1
DE 645 Animation Theory 1
DE 613 Visual Language Syntactics
DE 647 Animation Principles 1
DE 649 Animation Design 1
DE 627 Indian Thought and Tradition
DE 651 Sketching and Anatomy-1
DE 614 Design Workshop
DE 624 Introduction to filmmaking
DE 632 Acting and staging
DE 634 Digital Animation 2
DE 636 Animation theory 2
DE 638 Animation Principles 2
DE 640 Animation design 2
DE 612 Design Issues
DE 642 Sketching and Anatomy 2
DE 709 Sound and Camera
DE 703 Arts design and society 1
DE 711 Animation Production
DEP 701 M.Des Project 1 (Mid May- Mid June)
DEP 703 M.Des Project 2 (mid July Nov)
DE 702 Arts design and society 2*
DEP 706 Design Research seminar (Dec Feb)
DEP 702 M.Des Project 3(Dec May) (Stage 1& 2)
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# DE 629 Introduction to Photography
Lens, Focal Length, Exposure (Shutter speed, Aperture, ISO), Depth of Field, Histogram, Picture Styles, RAW image, Digital Imaging, Sensor, Crop Factor, Light Metering (Incident, Reflected), Photographic Documentation.
References:
• Andrews, Philip & Langford, Michael, Langford`s Starting Photography: The Guide to Creating Great Images, Focal Press, 2008.
• Hirsch, Robert, Light and Lens: Photography in the Digital Age, Taylor & FrancisGroup, 2.Page, David A. &Zakia, Richard D., Photographic Composition: A Visual Guide, FocalPress, 2011
• Hunter, Fil&Biver, Steven & Fuqua, Paul, Light Science and Magic : An Introduction to photographic Lighting, Focus Press, 2.Zakia, Richard D., Perception and Imaging: Photography302227A Way of Seeing, FocalPress, March 2013.
• Berger, John, Ways of Seeing, Penguin, 25 Sep 2008.
• Arnheim, Rudolf, Visual Thinking, University of California Press, April 16, 2004.



# DE 631 Introduction to Typography
History of Typography, Type Terminology, Font Classification, Anatomy of Typefaces, Introduction to Indic Script Typography, Typesetting, Web Typography.

References:
• Gail Greet Hannah, Elements of Design, Princeton Architectural Press, 1 July 2002
Hoffman, Armin; Graphic design manual, Principles and Practice. Arthur Niggli Publisher, Multilingual edition. October 1, 2001
• Proctor, R.M.; The principles of pattern, Dover Publications Inc.; Revised edition edition(28 January 1991)
• Wong, Wucius; Principles of Form and Design, Wiley Publications, (1 September 1993)
Frutiger, Adrian; Signs and Symbols: Their Design and Meaning by, Ebury Press; New edition edition (12 November 1998)
• Itten, Johannes; The Art of Color: The Subjective Experience and Objective Rationale of Color, Wiley Publications, December 1997
• Kepes, Gyorgy; Language of Vision, Dover Publications Inc. (1 December 1995)
• Elam, Kimberly; Geometry of Design: Studies in Proportion and Composition, PrincetonArchitectural Press (1 August 2001)
• Hall, Edward Twitchell; The Hidden Dimension, Publisher: Anchor; Reissue edition (1September 1990)
• Bachelard, Gaston; Jolas, Maria (Translator); The Poetics of Space, Publisher: BeaconPress; Reprint edition (April 1, 1994)
• Livio, Mario; The Golden Ratio: The Story of PHI, the World302222s Most AstonishingNumber, Publisher: Broadway Books; Reprint edition (September 23, 2003)


#DE 647 Animation Principles 1
• Understanding principles that translate sequential images into action to make animation believable • Understanding properties of matter
• Making use of the wave principle, delayed secondary action, slow and fast action impact , speed, weight, tendency of weight to move in a certain way, recoil effects, squash and stretch related to weight, overlapping action, follow through
• Animating force acting on objects , object weight, construction, flexibility, object behavior when force acts on them
• Principles of Timing
• Gaining an insight into the invisible concept of time in nature
• Understanding the basic unit of time in animation
• Emphasizing the difference between caricature, drama, humor
• Timing governing acting and movement
• The use of anticipation, action, reaction
• Methods of doping, writing exposure sheets, bar sheets
• Planning accents, beats, scene timing, spacing of drawings, holds, easing in and out
• Animating to music
• Principles of Movement
• Understanding the meaning of movement and movement in nature and what movement expresses
• Awareness of how mood and feeling can be conveyed through movement and animate and inanimate object behavior
• Examining the laws of motion in the context of animation; cause and effect, thrown objects, rotating, force, oscillating movement, friction, resistance
• Studying the tendency of weight to move in a particular manner
• Simplification and exaggeration of movement
References:
• Harold Whitaker and John Halas, Timing for Animation, Focal Press; 2 edition (2 September 2009)
• 302225 Preston Blair, Cartoon Animation, Walter Foster Publishing Inc., CA 1995302225 Edited by Peter Hames, Dark Alchemy, The Films of Jan Savankmajer, Greenwood Press, 15 August 1995
• 302225 John Culhane, Disney302222s Aladdin 302226 The Making of an Animated Film Hyperion, Disney Editions; Reprint edition (2 September 1993)

# DE 649 Animation Design 1
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 filmmaking& 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 moving images but moving people • Traditional 2D animation • 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, in between, 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 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:
• Shamus Culhane, Animation from script to screen, St. Martin`s Griffin; Reprint edition (15 August 1990)
• 302225 Richard William, The Animators Survival Kit, Faber and Faber, Faber & Faber; Second Edition edition (January 7, 2002)
• 302225 Kit Laybourne, The Animation Book, Crown Trade Paperbacks, NY, 1998
• 302225 Tony White, The Animator302222s Workbook- Step by Step Technique of Drawn Animation, Watson-Guptill Pulications, 1988
• 302225 Mascelli Joseph V, The Five C302222s of Cinematography: Motion Pictures Filming Techniques, Silman-James Press, 1st October, 1998
• 302225 Daniel Arijon, Film Technique, Silman-James Press, 1991
• 302225 David Sonnensch, Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Michael Wiese Productions, 26th, October, 2001
• 302225 David Lewis Yewdall, Practical Art of Motion Picture Sound, Second Edition, Focal Press, 2003
• 302225 Tomlinson Holman, Sound for Film and Television, Second Edition, Focal Press, 2001
• References for Visual Form302225 Mark Cotta Vaz, The Art of Finding Nemo, Cronicle Books, 2003
• 302225 Gary Russell, The Art of The Fellowship of the Rings, Houghton Mifflin, 2002
• 302225 Gary Russell, The Art of The Two Towers (The Lord of the Rings), Houghton Mifflin, 2003
• 302225 Gary Russell, The Art of The Return of the King (The Lord of the Rings), Houghton Mifflin, 2004
• 302225 Will Eisner, Graphic Storytelling, Poorhouse Press, 1996
• 302225 Will Eisner, Comics and Sequential Art, Poorhouse Press, 1985
• 302225 Scott McCloud, Understanding Comics, Perennial Currents, 1994
• 302225 Bradford W. Wright, Comic Book Nation, Johns Hopkins University Press, 2003
• 302225 Stephen Missal, Exploring Drawing for Animation (Design Exploration Series),302225 Thomson Delmar Learning, 2003


# DE 627 Indian Thought and Tradition
Visual Art • Traditional and contemporary schools of Indian Art, folk art Oral Traditions from the ancient to the present Music • Classical (Hindustani & Carnatic), Semi-classical, Folk, Fusion Dance • Classical, Folk, Contemporary Theatre • Traditional (Natashastra), Contemporary, Puppet Theatre Science • An understanding of the scientific approach to everything and the holistic approach to it and how it influenced all aspects like health, architecture, management and even the arts. Post independence understanding of India as a nation and bridging the wealth of the past with the potential of the future. Reflection of this exposure to the question • What is or what can be called • Indian• Design
References
• Iyer Bharatha K., Indian Art-a Short Introduction, Stosius Inc/Advent Books Division; Reprint edition (1 December 1983)
• Gandhi Indira, Eternal India, Allen & Unwin (1 August 1980)
• Boner, Sharma Baumer; Vastusutra Upanishad, Motilal Banarsidass Publishers; 3rd Revised edition edition (2000)



# DE 651 Sketching and Anatomy 1

To become fluent with capturing the human and animal formProportions, structure, volume and shading techniques
References:
• John.V.Vanderpoel, The Human Figure, Dover Publications; 2nd edition (24 April 2)
• George.B.Bridgman, Bridgman302222s Life, Drawing Dover Publications Inc.; New edition edition (5 June 1972)
• Betty Edwards, The New, Drawing on the Right Side of the Brain, HarperCollins; New edition edition (5 November 2001)
• Betty Edwards, The New, Drawing on the Right Side of the Brain, Souvenir Press Ltd (30April 2003)
• Stephen Missal, Exploring Drawing for Animation (Design Exploration Series), (Paperback) Delmar Cengage Learning (31 Oct. 2003)



 

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