Classical Animation Program Guide

Classical Animation
Terms 1-6 Outlines
Term 1 Overview
You undertake intensive development in drawing, animation skills and basic art direction through life
drawing, composition and perspective courses. Your drawing skills are refined using live models. The
study of proportion, line of action, structure and basic anatomy is begun and continues through most of
the program. Art direction courses include character design while animation study focuses on basic
animation, animation assisting, clean-up and an introduction to doping. You also study foundation film
theory, history of animation, story concept and layout.
Course Descriptions
Animation 1 The core of an animated production is the animator and, regardless of the medium used,
the basic animation skills required are the same. This course covers the fundamental principles of
animation with a focus on traditional, hand drawn character animation. Following an explanation of a
typical animation production procedure, students are introduced to some of the terminology commonly
found in the industry. Students will learn how to differentiate between keys, breakdowns, in-betweens,
and the proper indicating and charting thereof. They will create camera keys and layouts, study basic
principles including squash and stretch, anticipation and settle, wave principle and overlapping action,
and apply these principles to assignments. Students will learn the proper labelling of all artwork, including
exposure sheets and folders.
Assisting Animation 1 In a traditional studio often the first job an aspiring animator is offered is that of
an "animation assistant" or "inbetweener." A popular misconception is that an assistant is merely an
animator's helper, when in fact, assisting can be considered a career in itself with its own unique
procedures and techniques. This course covers the fundamental procedures and techniques, and
prepares students for Assisting 2 as well as their Final Film projects. Following a general introduction to
assisting, students will practice the inbetweening of basic shapes, wave patterns, tracking shapes,
following arcs, and favouring positions.
Character Design 1 An animated production often requires many animators to bring just one character to
life. Yet the character has to look and act consistent. This is achieved by a set of 'model sheets' created
by the character design department. Besides a solid drawing ability, a character designer relies on
knowledge of design aesthetics, composition, and how the character will animate. This course covers
fundamental character design principles, professional techniques and procedures, and terms used in the
creation of characters and model sheets. Following an introduction and examples of various types of
model sheets and their uses, students will study the various disciplines of character design, including the
importance of the 3/4 pose, the use of different proportions to create a stereotype, character analysis,
developing complimentary and contrasting characters and exploring different character designs and
styles. Students will apply the various techniques to create concept drawings which can be used for their
final film project.
Clean-Up The goal of this course is to learn professional line quality skills and various “tricks of the trade”
used by professional clean-up artists.
Composition An artist is a visual communicator and the language of visual communication is

composition. Without a thorough understanding of the dynamics of composition, an artist is illiterate. This
course takes students through a series of assignments that range from the deceptively simple to the
increasingly challenging. Students will study and apply principles of composition and perspective such as
the principle of threes, placement properties in positioning, line and movement, depth of field for clarity
and impact, spatial relations of surface division, subliminal lead flow, and direction of lines.
To enable VFS programming to stay relevant, course content or sequence may be altered and/or software, equipment, materials &
texts may be substituted by VFS without notice. Such alteration, adjustment or substitution would not affect the intent or meaning of
the program(s).
Copyright © 2010 VFS Page 1 of 7 Last Revised: 3/16/10 8:28 AM
Classical Animation
Terms 1-6 Outlines
Film Theory Audio-visual media have a language of their own. Although the language of film began only
one hundred years ago, there is much to learn before one can communicate as a filmmaker, even at the
most basic level. This course takes students through a brief history of the development of film language,
highlighting major milestones of film technique.
History of Animation It is often said you can't know where you're going until you know where you've
been. This is especially true of the ever changing animation industry. Major events in animation are self
documented in milestone cartoons many of which students will view in this course. The course consists of
lectures followed by film clip screenings and discussions.
Layout 1 & 2 After a storyboard is complete and before animation begins, the stage must be set for the
scene to take place. This is the job of the layout artist. This course focuses on fundamental layout
principles, ranging from basic to complex. Following an explanation of the role of layout in animation,
students are introduced to the procedures, techniques and terminology encountered in this aspect of
production. Students will learn how to create layouts for the establishing shot, the repeating (or hook-up)
pan, and the vertical pan. Students will learn how to break down a storyboard sequence and create multi-
level scenes. They will learn about topics such as animated backgrounds, warped perspective, and soft
focus layouts.
Life Drawing Life drawing is the backbone of any art-related field, and animation is no exception. Regular
practice at life drawing improves one's artistic performance in all stages of animation production. In this
course, students will learn the fundamental principles of life drawing. Following a discussion of different
drawing mediums, students will study and practise torso structure, cephalic structure, 2D and 3D shape
blocking, line values, tonal range, highlights, negative space, drapery, and still life.
Perspective In order for an artist to draw dimensionally, a thorough understanding of perspective is

essential. This applies not only drawing to backgrounds but placing characters within those backgrounds.
This course covers principles that range from the basic, traditional perspective to the more complex as it
pertains specifically to animation. Students will learn one, two and three point perspective, grids, three
point curved perspective, 360° rotation and shadow perspective. These principles will be applied to a
series of in-class assignments.
Additional Sessions (Non Credit)
Camera Technique The goal of this course is to learn about fundamental camera techniques and
terminology. The student will learn professional standards for creating titles and credits for audio-visual
productions.
Digicel Training Students learn Digicel Flipbook: A software program used for shooting animation line
tests
Doping Fundamentals Dope sheets are the blue prints of an animation production, and students will
learn the correct methods of doping animation as they are practiced in the animation industry.
Story Concept In this course students learn basic story construction theories, both literally and visually.
the program(s).
Classical Animation
Terms 1-6 Outlines
Term 2 Overview
In this term, you continue development of your drawing skills through life drawing and expand your study
of art direction to include storyboard and background design. You also continue the study of character
design and layout, and begin to interpret storyboards, create character model sheets and layout scenes in
preparation for a broader animation context. Intermediate animation and effects animation commence
along with advanced properties of character animation such as walks, reactions and rotations.
Course Descriptions
Animation 2 This course builds upon the subject matter learned in Animation 1. Students will learn how
to solve the problems involved with rotating a character in three-dimensional space. They will be
introduced to “explosion” timing and composition in character animation and the techniques required for
both the two-legged and four-legged walk, including the calculation of foot slip and arm and leg patterns.
Background Design The look and setting of an animated production can take the viewer away to
fantastic, imaginary places. Setting the tone for a cartoon world requires the skills of the background
designer.
This course covers the fundamental principles of background design, exploring a variety of graphic design
styles. Students will learn the terminology used in this aspect of production and the difference between
design and layout. They will learn how to match an existing design style and create an environment that
establishes the identity of a character. Through the development of thumbnail sketches, students will
piece together a location from storyboard panels.
Character Design 2 This course builds upon the subject matter learned in Character Design 1. Students
will analyze design styles of given materials to see how elements of that world are constructed and apply
that knowledge to create prop designs. Using a mirror to study their own expressions, students will create
expression sheets for their characters. They will learn the importance of a construction map, character
rotations and full-body gestures. Using techniques learned, students will create a production model pack,
a series of drawings showing their Final Film characters in various poses and expressions.
Effects Animation 1 Just as the Classical animation course centers on character action, the Effects
course concentrates on animating the environment --things such as fire, smoke, water and bubbles.
Natural elements have their own physical laws to guide their actions and consequently require a unique
discipline of their own.
Students will study natural laws through the use of stop-frame examples and put these techniques to use
on their assignments. They will apply the correct principles to perform animation tasks such as flame and
smoke, water drop, explosion, bubbles, curtains, pixie dust and water bucket.
Storyboarding 1 Before animation begins, a storyboard is created to visually tell how the events will
unfold in the cartoon. A storyboard uses small, sequential drawings, much like a comic book. Often the
most challenging, yet most creative role in the creation of an animated project, storyboarding draws upon
one’s skills as a storyteller, actor, director and artist.
Following an introduction to visualizing camera angles, students are introduced to the breakdown of
board panels and the use of thumbnail sheets. They will learn proper labeling and presentation
techniques as well as the various camera and shot choices. Students will create storyboards that include
emphasis on action and acting and dialogue.
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the program(s).
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Terms 1-6 Outlines Formatted ... [3]

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Term 3 Overview
Continuing to study life drawing, animation, effects animation, and animation assisting, your focus shifts Formatted ... [5]
to more subtle and sophisticated techniques of animating a character's thoughts and emotions through control! 1/16/09 10:11 AM
acting principles. You are introduced to doping & slugging and colour theory, along with the process of Deleted: to
creating production storyboards. Daniel Dickson! 1/16/09 3:10 PM
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Course Descriptions
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Acting for Animators Acting techniques are an important part of animation studies as they enable
students to make animated characters more lifelike and believable. In this course, students are Daniel Dickson! 1/16/09 3:10 PM
introduced to many principles of acting, movement and story telling. The emphasis of the work is based Formatted ... [8]
on theory, scene study and acting exercises. Students will build and present scenes for the class and, as Daniel Dickson! 1/14/09 2:18 PM
these are considered to be rehearsals, students will be coached and reworked by the instructor during Formatted ... [9]
class time. As characters begin to think, act and react within the structure of drama, students learn the Daniel Dickson! 1/16/09 3:10 PM
language and craft of acting. Formatted ... [10]
Animation 3 This course builds upon the subject matter learned in Animation 2. Students will learn the Daniel Dickson! 1/16/09 3:10 PM
importance of timing and posing as well as 'stagger timing' in simulating the properties of weight, force Formatted ... [11]
and inertia. Students will be introduced to reaction and gag timing and the pros and cons of animating in Daniel Dickson! 1/14/09 2:18 PM
silhouette. They will learn how to time out animation that has a set length. They will understand the Formatted ... [12]
importance of body pose to reinforce expression as well as the importance of timing to make these
actions believable. The students will break down a complex set of actions using strong posing and clear Daniel Dickson! 5/8/08 3:27 PM
staging. Deleted: 1
Unknown
Assisting Animation 2 This course builds upon the subject matter learned in Animation Assisting 1. Deleted:
Students will work on an actual studio assisting test scene. They will learn techniques such as re-pegging Daniel Dickson! 1/16/09 3:10 PM
rough keys, using under colour, erasing back colour line and putting a final line on top of a rough colour Formatted ... [13]
line. Students will learn about the various pencils used for clean-up. Daniel Dickson! 1/14/09 2:16 PM
Deleted: The various properties of colour...and
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Colour Theory Colour is often an overlooked, underestimated, and misunderstood basic element of its use in composition are explored in hands-on
visual design. This is usually due to a number of factors: limitless possibilities, seeing colour as an work with painting and colour palettes. The
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students are then able to put these theories into
afterthought, and over-simplification of colour schemes. The aim of this course is to break down the practice continuing into the2:18
colouring
Daniel Dickson! 1/14/09 PM and art
complexities of colour theory into basic elements within the greater context of design. We build upon the direction of their final fil
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importance of colour in design as we explore more sophisticated approaches to colour mixing. The
course will allow students to learn these principles through lecture, examples, discussion, and, most Daniel Dickson! 1/16/09 3:10 PM
importantly, practical application. Students will gain a basic understanding of colour theory and Formatted ... [17]
corresponding terminology with which they can use to analyze, reference and create their own colour Daniel Dickson! 5/8/08 3:27 PM
schemes. With continued exploration of these powerful tools, students can begin to create personal Deleted: Life Drawing 3 ... [18]
colour “signatures” that give their work confidence and power. A continuation of study from Term 2, with an
emphasis on portraiture, drapery and light and
Formatted
shadow. ... [19]
Effects Animation 2 A continuation of study from Term 2. This course introduces and progresses with
more complex subject matter. Unknown
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Storyboarding 2 A continuation of study from Term 2. This course was designed to assist students with Daniel Dickson! 1/16/09 3:10 PM
their Final Film storyboard. Formatted ... [20]
Deleted: 2, with an emphasis on creating their
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To enable VFS programming to stay relevant, course content or sequence may be altered and/or software, equipment, materials & Daniel Dickson! 5/8/08 3:31 PM
texts may be substituted by VFS without notice. Such alteration, adjustment or substitution would not affect the intent or meaning of Deleted: ... [22]
the program(s).
Copyright © 2010 VFS Page 4 of 7 Last Revised: 3/16/10 8:28 AM Animation 3
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course continues the study of Animation
and staging,
Daniel simplicity,
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2:18 PM of character
acting is covered through the use of pantomime
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and silhouette. ... [24]
FX Animation
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Classical Animation
Terms 1-6 Outlines
Additional Sessions (Non Credit)

DIP Prep This course is designed to give students an idea of the capabilities and limitations of Toon Formatted: Font:Arial
Boom so they can better plan their film projects before they enter Digital Ink & Paint. Daniel Dickson! 1/14/09 2:18 PM
Doping and Slugging Students will learn the correct methods and terminology of doping animation as Formatted: Left
they are practiced in the animation industry. Daniel Dickson! 1/14/09 2:18 PM
Final Film Concept In this course students will learn the basic concepts of telling a short story. Formatted: Left
Intro to Digital Animation This course is added as a supplemental Flash Animation Course Daniel Dickson! 1/16/09 3:10 PM
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Term 4 Overview Formatted: 1 word, Space After: 0 pt
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The class moves into the production component of the program as you begin to apply your skills to the Daniel Dickson! 1/16/09 3:10 PM
production of your graduate animated film project. You develop original concepts through storyboarding, Formatted: Font:Arial
character model sheets, layouts, and final animation artwork for rendering. Your script, production design
work, and voice track for lip-synch are completed, as life drawing and advanced animation continue. Unknown
Each student is assigned a Final Film Project mentor. Regularly scheduled production meetings as well Deleted:
as theater presentations provide feedback from instructors as well as the department head. Daniel Dickson! 1/16/09 3:10 PM
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Course Descriptions Daniel Dickson! 1/14/09 2:18 PM

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Daniel Dickson! 9/16/08 10:40 AM
Animation 4 This course builds upon the subject matter learned in Animation 3. Students will be Deleted:
introduced to mouth charts and doing limited animation to dialogue. They will learn the technique of
planning and thumbnailing an acting scene and learn to animate to a pre-recorded soundtrack.
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Final Film Project Now that the students have learned the basic elements that go into making an Daniel Dickson! 1/16/09 3:10 PM
animated film, they will focus this knowledge and create their own animated projects. The students go Formatted: Font:Arial
through the entire production process from initial concept to finished film, completing projects Unknown
approximately 90 seconds in length. This encompasses storyboard, layouts, character and background Deleted:
design, rough and clean animation, and ink and paint and sound. This course continues through Term 5.
Films are not censored though instructors strongly encourage tasteful content. All completed films are
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compiled onto a class show reel for graduation screening as well as the school libraries. Whenever
possible, the VFS staff selects the best projects to enter into competitions and festivals. Daniel Dickson! 1/16/09 3:10 PM
Formatted: English (US)
Additional Sessions – Non-Credit Formatted: Font:Not Italic
Art Direction Students are provided with feedback and direction for colour choices in the early stages of
their final projects Daniel Dickson! 9/16/08 10:47 AM
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Layout Re-Cap Layout is revisited to recap from the courses taken in terms 1 and 2.
Premiere This course is intended to help inform students how to produce better Leica reels. Daniel Dickson! 1/16/09 3:10 PM
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Sound Breakdown Students learn how to break down pre-recorded dialogue and how to write it out on
exposure sheets. Daniel Dickson! 1/16/09 3:10 PM
the program(s).
Classical Animation
Terms 1-6 Outlines
Voice Over Prep & Voice Over Recording Session These courses instruct students how to record
voice talent for dialogue purposes.
Term 5 Overview
As you make progress on your animated short film, you move from animation to the digital ink and paint
phase of production. A focus on art direction and final look development is incorporated with digital
training. Computer applications that provide you with rendering, camera moves, effects, and compositing
are used as you digitize and finish the films. Regularly scheduled production meetings as well as theater
presentations continue to provide feedback from instructors as well as the department head.
Course Descriptions
Digital Ink and Paint Computers have dramatically transformed how we perform traditional tasks and
animation is no exception. Rendering and post production are the roles in traditional animation production
that have been most altered by digital technology. Students are trained on Toon Boom’s state of the art
Opus software, which is widely used by top professional studios throughout the world. They will learn all
the Opus functions including scanning drawings, x-sheet entry, painting, scene planning, special effects,
camera moves and compositing. This course continues through Term 6. Additionally, they will receive
basic training in art direction and rendering backgrounds in Adobe Photoshop. Finally, students will learn
professional computer working procedures and organizational skills, professional working habits, and the
standards of handing off client deliverables. Basic computer knowledge is beneficial but not essential as
training starts from the absolute basics of operating a computer.
Additional Sessions – Non-Credit
Animation Check Students are taught how to check for mistakes in both the animation and exposure
sheets.
Term 6 Overview
Completing post-production on your short film, you assemble a traditional animation portfolio in
preparation for graduation. In the last four weeks, you are introduced to Flash, an animation software
package currently being used by a number of animation studios for television series production work. You
get the opportunity to work either in a crew setting or independently on a Flash production. Both your final
film and Flash projects are shown at graduation, which is often attended by industry. Many students' films
are sent to international festivals where they are viewed by numerous industry professionals and win
significant awards.
Course Descriptions
2D Digital Animation This course is designed to allow classically trained animators to gain a
fundamental and functional understanding of two of the major 2D digital animation software packages
available: Flash and Toon Boom. The students will work in a simulated production environment to create
a short animated film in Flash. Special attention is given to the pipeline specifically as used in studio
production rather than for web application. Collaborations between students are encouraged. Following
their short films, they will learn the Toon Boom interface through an exercise in which they create and
animate a character.
the program(s).
Classical Animation
Terms 1-6 Outlines
Additional Sessions – Non-Credit
Art Direction This course explores the various properties of lighting, colour, composition, camera
techniques, and their uses in the final composition of their film project.
Portfolio Preparation and Review Students will learn professional, industry wide standards expected in a
classical animation portfolio presentation, resume, and cover letter as well as their overall animation
industry awareness and interview skills. Every class has at least one field trip to a local animation studio,
to see firsthand what working in a real studio entails. Artistic leaders at the studio spend time with each
group of students, in informal presentations and Q & A sessions.
Sound To achieve the sound for their final film, students are given the opportunity to work with a sound
designer
the program(s).

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Classical Animation

Terms 1-6 Outlines

Composition An artist is a visual communicator and the language of visual communication is

Perspective In order for an artist to draw dimensionally, a thorough understanding of perspective is

Additional Sessions (Non Credit)

Terms 1-6 Outlines Formatted ... [3]

Additional Sessions (Non Credit)

Course Descriptions Daniel Dickson! 1/14/09 2:18 PM

Additional Sessions – Non-Credit

Additional Sessions – Non-Credit

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