IN THIS SUBJECT THE FIELD OF WORK IS ANIMATION

BRIEF DESCRIPTION OF THE SUBJECT

Time-based media is a theoretical-practical subject in which the fundamental theme is the moving image and its core, the frame, is what we explore and take as a tool to make the path from the still image to the moving image. For this we will use animation techniques in all their diversity and we will create movement.

Using different current digital animation and film tools, as well as the analog tools collected in the last century, we will experiment with the moving image in a field that goes from narrative to abstraction. Drawing both on paper and on a digital tablet, camera animation through digital photography, digital effects and motion graphics, all of them and their possible combinations are our tools. Once the subject is finished, the students will begin the Final Degree project and will do so very well prepared if they work well on the theoretical and practical concepts of this subject.

The subject analyzes the methods and processes of artistic projects related to animation, establishing appropriate methodologies to face them, from concept to formalization, highlighting collective projects.

Importance is given to the relationship between production, analysis and the artistic project of artistic practice, and in this sense, the making of moving images is an instrument of discursive practice and formalization of artistic projects.

This subject takes into account the tools, concepts and formats to formalize contemporary animation.

Compulsory activities: It is compulsory to read the texts issued in the classroom and it is advisable to read the essential basic bibliography, as well as watch the videos recommended in the classroom as a complement to the teaching material.

On the other hand, it is highly recommended to go to film festivals such as Zinebi and Animakom, as well as to visit audiovisual exhibitions at the Guggenheim and other galleries and museums. For this, extracurricular activities will be organized



CONTEXT:



This subject is part of the Art Degree, where we plan to train professionals in the visual, sound and multimedia fields, among others.



Among the general objectives of the Degree are, among others:



1.-Train students to use the media of art disciplines and influence the configuration and representation procedures.

2.- Know the history, theory and notions of art and the thought of artists through their works and texts.

3. – Recognize the technical knowledge of art and train students to use the computer tools for the creation, production and dissemination of the work of art, as well as the materials, procedures, technologies and resources related to the fields of work of art in general, to develop in the identity and local aspects of Art.

4.- Know the management system (platforms, festivals, contests, associations and the framework of scholarships, subsidies and aid), its operating mechanisms and its professional incorporation. Know the ways of operation and the problems of copyright and intellectual property.

5.- Know the relationships between the different artistic modes and their social contexts, understanding their functions and meanings, a critical point of view of the history of art and contemporary culture and their importance in the acquisition of values of equality, non-discrimination and culture of peace.

6.-The use of research resources and critical opinion, creative and/or scientific methodologies, as well as the initiative and the ability to make individual and collective decisions.



Degree Orientation:

The art degree has two aspects, the theoretical and the practical. In most of the subjects, except for the purely theoretical ones, both aspects are worked on: on the one hand, students are provided with tools to be able to analyze the social, cultural and economic aspects of creation, and on the other, the skills to use materials are worked on. procedures, technologies and resources related to art in general. In this matter we work on theory but above all we have a very large practical load.

From the compulsory subjects, Arts and Technology I, II and III, in this 4th Year subject, the student knows the technology of video creation from the two aspects of image and sound and is capable of dealing with both conceptual and more complex practices.

This subject, framed in the 4th year, coincides with other electives, the closest being Records and performative artistic practices and contexts and Installations and sound space, since all of them work on advanced theoretical topics and are based on experimentation.

COMPETENCIAS / RESULTADOS DE APRENDIZAJE DE LA ASIGNATURA



Competence/subject learning outcomes:



The competencies of the subject described in the program are the following:



G1.Knowledge of production (animation) as technical knowledge 10.0%

G5.Information on the management of recruitment and consultation resources, as well as the creation methodology, demonstrating its determining individual and group nature. 20.0%

G7. Know the History of Art (animation), the theory and basic notions, and the thought of artists through their texts and works. 10.0%

G1 Know and use computer resources and tools, both in artistic creation and in production and dissemination.

20.0%

G3. Use materials, procedures and technologies, be competent in the different processes and work areas of art. 10.0%

G4 Possibility of proposing and channeling artistic projects.30.0%



In summary: All these skills enable students to understand the theoretical and practical concepts of current artistic practices and to face the Final Degree Project.



From the theoretical and practical analysis of the artistic practice linked to contemporary cinematography and animation, we will address the derived concepts: definition of terminology, critical analysis of collective projects, creative formats, tools and tools to formalize or show and conceptualization or theorizing.

These skills are related to the skills of the Art degree and assess the ability to work (individual, collaborative and collective), to invent, produce and formalize multidisciplinary projects (theoretical, practical and theoretical-practical).

- Be able to apply their knowledge to the management and production tasks of multidisciplinary projects similar to the area of specialization, with special attention to those intended for the application of new technologies.

- Being able to analyze, value and interpret the complexity of contemporary animation, as well as the multiple aspects of a creative project in which new technologies and performative strategies are involved.

- Being able to effectively disseminate and communicate underlying projects and ideas to specialized and general audiences.

- Being able to work individually and in a team (multidisciplinary and interdisciplinary teams) in new or little-known environments.

Agenda: theoretical-practical contents.

- Definition of the work field: Cinema and animation, drawing and cartooning, painting and abstract animation, sculpture and 3-dimensional animation.

- Definition of the artistic framework in which we move: the art of multiple techniques, the drawing that is seen and heard, conceptual art and the resource that transversally crosses other artistic fields.

- Fundamentals of analog exercises. Representation of the movement. Frame as a unit and relationship between frames. Movement perception.

- Types of movements. Smooth and awkward movement, significant use. Analytical exercise of the page.

- Acceleration and deceleration of the gravitational representation: Exercise of the ball. Questions of style and evolutions throughout history: Europe and America.

- Simultaneous movement and three-dimensional space: Exercise of solids.

- Flexibility and shooting rhythms. The multiple behaviors of water: The analytical exercise of water. Representation of water in Asia.

- Man and animals, certain behaviors. Analytical exercises with rotoscoping.

- Under camera animation programs and practices: animation of objects, plasticine and residual animation from rotoscoping.

- Pre-camera animation: light motion, pixilation and architectural animation.

- Representation of camera movements and available analog and digital resources.

- Motion graphics to create complex animations and use them in the artistic field.

- Pitching for animation. How to defend your project within the framework of a call.

- How to build animation projects from the initial idea, between editing and sound and distribution.

- Networks and distribution tools for audiovisual works: platforms.

The subject is organized in 15 classes of 4 hours. Each class is structured as a didactic unit in which one of the 15 topics mentioned above will be addressed.

In addition to the theoretical and practical classes to learn the representation of movement, in each school we will be able to see the works of the great masters and the most important samples of animation styles in the world.



In the 12th school, students will have the opportunity to practice pitching and present and defend their final project in front of the whole class.

Therefore, the subject methodology is based on the following formats:



- Analyze and criticize documentary references to artistic processes and projects

- Experimental dynamics and practices proposed for development in the classroom,

- Know the work of other artists as a methodological reference.

- Special sessions dealing with specific topics



The teaching staff of the subject will be available to the students to resolve doubts, provide references and complementary documentation and carry out the tutoring of the students' projects, both individually and in groups.



The students must complete the face-to-face time to complete the proposed exercises, the assignments and the final project. For this they can also use the classroom after school hours.



Learning strategies:

- Master classes

- Directed autonomous learning

- Study of cases

- Analysis of situations

- Group learning.

- Project-oriented learning

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Oral defense (%): 5
  • Realization of Practical Work (exercises, cases or problems) (%): 15
  • Individual works (%): 70
  • Team projects (problem solving, project design)) (%): 5
  • Exhibition of works, readings ... (%): 5

Orientations



The evaluation system will be continuous by the presentation at the end of the course of the works and a final project (individual or group).



Group dynamics in the classroom and their work, both individual and collective, will be evaluated.



Attendance and participation are key to the correct development of the teaching-learning process throughout the course and will be taken into account in the evaluation.



To pass the subject, students must obtain at least half of the score established in each evaluation instrument.



Students will have the right to be evaluated through the final evaluation system, regardless of whether or not they participate in the continuous evaluation system, provided they renounce continuous evaluation under the terms provided in the regulations. If any of them do not exist, other forms of accreditation of knowledge will be established that prove that the student has the necessary level of practical theoretical training.



Rejection of the evaluation system



To reject the call, students must submit their resignation in writing to the professor responsible for the subject one month before the official date of the exam.



Students will have the right to be evaluated through the final evaluation system. To do this, you must submit a written resignation to the continuous assessment system and you will have a period of 9 weeks for four-month subjects and 18 weeks for annual subjects from the start of the semester or course, respectively.

Students will have the right to be evaluated through the final evaluation system. To do this, you must submit a written resignation to the continuous assessment system and you will have a period of 9 weeks for four-month subjects and 18 weeks for annual subjects from the start of the semester or course, respectively.



Regarding the extraordinary evaluation, the candidate will be required to do the same exercises and work as those required in the ordinary evaluation, once the appropriate time has been established for the exam necessary to demonstrate the level of knowledge before the teacher.

The materials to be used in the matter are the following: in a first phase we will learn through a series of analytical exercises that can be done on paper or digitally, for which formats and qualities will be determined on the first day of teaching the subject. Regarding what is necessary to carry out the subsequent exercises (materials for stop motion animation, 2D animation in different graphic methods such as suitable software, cameras and other materials for recording images), our workshop and the department to which the subject is attached will provide students with these materials at the time they are needed.

Basic bibliography

Bakedano, José Julián. Norman Mclaren obra completa 1932-1985. Museo de Bellas Artes de Bilbao, 1987.

Bendazzi, Giannalberto. Cartoons. Le cinéma dánimation, 1892-1992. Liana Levi, 1991.

Bendazzi, Giannalberto. Definir la animación – Una Propuesta, 2004.

Cook, Benjamin y Gary Thomas. The animate! Book: rethinking animation. Lux, 2006.

Crafton, Donald. Before Mickey. 1898 – 1928. Chicago: University of Chicago Press Edition, 1993.

De la Rosa, Emilio. “Cine de animación en España”, cap. 29 en Cartoons. 110 años de cine de animación. Ocho y medio, 2003.

De Vries, Tjitte. They Thought It Was a Marvel: Arthur Melbourne-Cooper (1874-1961), Pioneer of Puppet Animation. Pallas Publications, 2009.

Faber, Liz y Helen Walters. Animación ilimitada. Cortometrajes innovadores desde 1940. Ocho y medio, 2004.

Furniss, Maureen. Art in Motion. Animation Aesthetics. John Libbey Publishing, 2007.

Keefer, Cindy y Jaap Guldemod. Oskar Fischinger 1900 – 1967. Experiments in Cinematic Abstraction. Thames & Hudson, 2013.

Reynaud, Paul. Émile reynaud. Peintre de Films. Cinémathèque Franҫaise, 1945.

Russet, Robert y Cecile Starr. Experimental animation. Origins of a New Art. Da Capo Press, Inc, 1988.

Selby, Andrew. Animación - Nuevos proyectos y procesos creativos. Parramón Ediciones, 2009.

Rondolino, Gianni. Storia del cinema d'animazione. Giulio Einaudi editore,1974.

Sifianos, George. Esthétique du cinema dánimation. Editions Cerf – Corlet, 2012.

Wiedemann, Julius. Animation now! Taschen, 2007

Whitney, John. Digital Harmony. On the Complementarity of Music and Visual Art. Mcgraw – Hill. Inc., 1980.

Wells, Paul. Understanding Animation. Routledge, 1988.

Wells, Paul. The Fundamentals of Animation. AVA Publishing, 2006.

Zinman, Gregory. Making Images Move: Handmade Cinema and the Other Arts. University of California Press, 2020.





Webgune interesgarriak



Animatzaile independienteak:

http://www.acmefilmworks.com/

http://www.acmefilmworks.com/directors



Nacional Film Board Canada:

https://www.nfb.ca/animation/

https://www.nfb.ca/directors/



Musica bisual (webs, timeline, etc.):

http://www.centerforvisualmusic.org/

https://rhythmiclight.com/videos/

https://rhythmiclight.com/timeline/

https://rhythmiclight.com/websites/



kamerarik gabeko zinea:

https://handmadecinema.com/?v=full



Animazo abstraktoa:

https://www.puntoyrayafestival.com/es/

http://www.iotacenter.org/



TimeLapse eta Hiperlapse:

http://www.robwhitworth.co.uk/index.html

http://timelapses.tv/timelapse-en-la-red/

https://vimeo.com/mindrelic





Stop Motion, Pixilazioa, etab.:

http://animationhome.net/works/

http://www.acmefilmworks.com/directors/yuval-and-merav-nathan/ https://vimeo.com/user5863896

https://pesfilm.com/



Arte mugimenduan (Award Winners):

https://artanimated.org/



Animazio esperimentala:

http://www.edgeofframe.co.uk/

http://www.animateonline.org/



Publikazio eta Aldizkariak:

https://conadeanimacion.upv.es/

https://www.awn.com/ http://www.asifa.net/news/category/magazine-articles http://www.stopmotionmagazine.com/



Software 2D Animazioa:

https://opentoonz.github.io/es/indexhtml

https://www.pencil2d.org/

https://krita.org/es/

(Bideo esportazio Codec-ak: Krita eta OpenToonz): https://opentoonz.readthedocs.io/es/latest/using_ffmpeg_with_opentoonz.html https://www.ffmpeg.org/download.html



Software 3D Animazioa:

https://www.blender.org/