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• Course title: 3D Animation 1
• Number of ECTS: 6
• Course code: DESSINANIM-49
• Module(s): 3D ANIMATION TECHNIQUES A
• Language: EN
• Mandatory: Yes

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PART 1: Introduction to 3D Animation

1) The 12 principles of Animation in 3D

a) Animating a 3D object with a rig

b) In-class exercise: animating the bouncing ball

2) Animating a multi-controller rig:

a) Assignment: recreate a given animation using cube and ball rigs

b) Assignment: posing a biped rig

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PART 2: Introduction to body mechanics

1) Introduction to body mechanics

a) Assignment: animate a series of action using a biped rig
2) Introduction to the animator’s production workflow

a) 3D Animation workflow: Planning, Blocking, Polishing

b) Assignment: animating a simple action shot with a biped character from planning to polishing

PART 1: Introduction to 3D Animation��

– Explain the 12 principles of animation applied to 3D animation��
– Apply constraint to 2 or more objects.��
– Manage the speed and acceleration of an object via the Graph Editor in Autodesk Maya��
– Create, delete, and move keys in the Graph Editor and Timeline in Autodesk Maya��
– Preview the animation for review��
– Create character poses based on a series of emotions��
PART 2: Introduction to body mechanics��
– Create body mechanic animations��
– Animate a short pantomime sequence��

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The objective of the course is to introduce the principles of animation, the software tools and workflows to design and create mechanical and organic movements in Autodesk Maya.����
The course is organized as a series of lectures and practical assignments of increasing difficulty.����
Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time.��

Assessment method:��
Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��

Assessment tasks:��
Take-home assignments.��

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

Attendance: Mandatory, minimum 70% attendance.��

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Bibliography:

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006.��
Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006.��
Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.����

• Course title: 3D Layout
• Number of ECTS: 2
• Course code: DESSINANIM-19
• Module(s): 3D ANIMATION TECHNIQUES A
• Language: FR
• Mandatory: Yes

PART 01: Basic knowledge and Production Planning
1.1 – Basic Knowledge
1 – Understand 3D Layout Utility
· Visual aid for the director
· Full sequences and project previsualisation
· Raise issues that may affect the following departments (animation, lighting, rendering, compositing)
· Block animation key poses and timing
· Visualize FX and some compositing elements thanks to proxy
· Test and check 3D assets and rigs
2 – Know Technical Terms and Theory
· 3D and animation jargon (storyboard, animatic, cam, shot, retake etc)
· Basic composition rules (thirds, line of force, horizon etc)
· Basic camera mouvements (truck IN/OUT, Dolly, Pan etc)
· Camera shot values (close-up, medium, cowboy, large etc)
· Focal utilisation
3 – Avoid errors and look for problem solving
· Problems inherent in 2D animatic and design (proportion problem, unclear acting, too tight timing, unfeasible action)
· Problems inherent in 3D layout (too much air around characters, edge frame, tangent, silhouette etc)
· Problems inherent in 3D scene (broken rig, offset or missing sound, incorrect duration etc)
· Problems inherent to the director (Unachievable request, lack of clarity etc)
1-2 – Plan
· Creation of a google sheet containing all the information concerning the sequence and used for production monitoring (duration, frame IN/OUT, assets, sequence and shot names, director’s preliminary comments, internal and external retakes, etc.)
· Use of an animatic breakdown before starting (placement in the 3D set, types of cameras mouvements and characters actions, continuity etc)
Exercise during the course: Do the sequence breakdown from an “Apollon le Grillon et les Drôles de petites Bête” episode and report the informations on the google sheet.
PART 02 : Scene Build and Layout Sequence
1.1 Preparation et Optimisation
1 – Scene Build
· Import the 3D assets (set, props, characters etc) needed for the sequence using the tracking document
· Create selection sets for each characters in the Maya outliner
2 – Create Maya sequencer
· Create the sequence according to the animatic, framings and nomenclatures
· Import audio tracks for each shot
Exercise during the course: Build the scene and sequencer of a sequence from an “Apollon le Grillon et les Drôles de petites Bête” episode
1.2 – 3D layout sequence
1 – Create Basic Continuity Layout
· Place characters and cameras according to the frame values and information of the animatic
· Animate the characters (step or linear, depending of the action) respecting the key poses of the animatic. Adjust the timings if necessary
· Animate the cameras in a linear way according to the animatic instructions
· Modify animation curves in the Graph Editor
· Use and modify the Pose Library (reut)
· Create a video playblast for each shot then an end-to-end video sequence (using DJV for exemple)
Exercise during the course (to finish at home if needed): Place and animate the first cameras and characters according to the animatic from an “Apollon le Grillon et les Drôles de petites Bêtes” episode, then create playblasts and an end-to-end video sequence for review.
2 – Create Advanced continuity Layout
· Understand and use of constraints (parenting) and motion paths
· Use of proxy to simulate Fx and compositing effects (ex: shadow, explosion, clouds etc)
· Create a basic rig (3 controlers) on a new camera.
Exercise during the course (to finish at home if needed): Create a rigged camera (rig), apply a spotting scope proxy to this camera (proxy compositing) then create and arc-rotate mouvement (motion path) around two characters playing with a ball (constraint)

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On completion of the course unit successful students will be able to:��
Explain the benefits and requirements of the Layout in the context of an audiovisual production��
Explain and use technical terms in the context of the layout task��
Prevent common technical mistakes and solve unexpected technical errors��
Create and update breakdown lists based on an animatic��
Build a layout scene from scratch��
Use the Maya Sequencer tool to organise a sequence��
Create and check basic continuity in the layout��

Create and check advanced continuity in the layout��

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This course introduces theorical and practical fundamentals to create 3D layout. This covers production techniques, tools, and workflows to transpose a 2D storyboarded sequence into an Autodesk Maya 3D scene, with the goal to create an accurate visual aid for the director and an operational environment for animation while respecting the production pipeline.��
The course includes the creation of a full 3D layout sequence broken into a series of practical exercises that will cover concepts such as set dressing, shot composition, assets referencing, character posing, camera animation and department management.��

Assessment method:��
End of course assessment.�� The student’s evaluation is based on the execution of a final assignment. The student will be asked to create a full 3D layout sequence based on a 2D animatic from an «Apollon le grillon et les drôles de Petites Bêtes» episode.��
Assessment tasks:��
Take-home assignment��
Assessment criteria:��
Accountability: respect for the assignment intermediate and final deadlines
Diligence: degree of the student’s note-taking and feedback implementation
Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��
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Attendance:��
Mandatory, minimum 50% attendance.��

Bibliography:

https://www.amazon.fr/dp/1933492953/?coliid=IK7Z7F647MPKYcolid=3CPJ4W5FT3QDTpsc=1ref_=list_c_wl_lv_ov_lig_dp_it��
https://www.youtube.com/@StudioBinder/videos��
http://theetheringtonbrothers.blogspot.com/2022/07/how-to-think-when-you-draw-spacing-in.html��

• Course title: 3D Rigging 1
• Number of ECTS: 1
• Course code: DESSINANIM-20
• Module(s): 3D FOUNDATIONS A
• Language: FR
• Mandatory: Yes

Class 1:��
Concept Nodes (Node editor / connections / connections editor) (1h)��
Concept Transforms + Hierarchy (Outliner / Hierarchy view) (1h)��
Concept rig (exercise in classroom): simple rig of a stick (concept of controls) (2h)��
Exercise to do at home: simple rig of a ball (option: with a rigid tail in 2 parts)��
If we have time: advanced behavior of transforms and concept of constraint��
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Class 2:��
Constraints and connections on a mechanical (train piston / wheels with different sizes…) (3h)��
Organisation in a rig / Preparation a rig for animator (sets / attributes) (1h)��
Exercise: finish the work started in classroom��
If time: other mechanisms��
if time: use scripts without knowledge of script��
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Class 3:��
Concept of deformation / history stack (1h)��
Skinning with the rig of ball made in session 1 (Paint tool, component editor, skinning tools) (3h)��
If time: make a spring rig��
Exercise: Make a simple prop chosen by the student (with deformation by skin)��
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Class 4:��
Concept of blend shapes (Blend shape editor) (2h)��
Concept of Lattice (1h) (wheel exercise)��
If time: concept of ShrinkWrap (for detection on the floor: need all notions seen during courses (1h)

On completion of the course unit successful students will be able to:��
1. Explain and apply basic rigging techniques

2. Create clean structures for simple rigs

3. Explain the concept of parenting, constraints and joints

4. Create chains of joints and connect them to drive a mesh

5. Transform and deform geometry objects

6. Explain blend shapes and their applications

The course objective is to introduce the principles, tools, and workflows to create 3D rigs in Autodesk Maya.����
The course is organized as a series of lectures and practical exercises.��

Emphasis is given to production techniques and in-class participation.����

Assessment method��

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Continuous Assessment : The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

Attendance: Mandatory, minimum 50% attendance.

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Bibliography��

http://www.cultofrig.com/

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• Course title: Blender & Real-Time Engines
• Number of ECTS: 2
• Course code: DESSINANIM-75
• Module(s): 3D FOUNDATIONS A
• Language: EN, FR
• Mandatory: Yes

Introduction to Blender for modeling, texturing and animation��
Introduction to real-time engines for rendering��
Pipeline external 3D software to the Real-time engine��

On completion of the course unit successful students will be able to:��
1. Navigate Blender interface

2. Access modeling, texturing and animation tools in Blender

3. Animate a bouncing ball in Blender

4. Model and texture a simple set in Blender

5. Light render a simple environment in Blender

6. Explain the differences between an offline rendering tool and a real-time engine

The course provides insights into using Blender to create 3D assets and animation.

The student will also learn how a real-time engine can be leveraged to make audiovisual projects.

The course is organized as a series of live-demo workshops and practical assignments.

Emphasis is given to the experimentation with the possibilities offered by the tools.

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Instructor: Delfo Olimpo

– Introduction to Blender interface

– Modelling and Sculpting tools

– Simulation, 2d and 3d animation

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Instructor: Gil Galvao

– Lights in Blender

– Different ways of lighting and their uses

– Rendering in Blender

– Render Engines & Settings (Cycles & Eevee)

– Render Passes for compositing

Instructor: Jacopo Armani

– Introduction to real-time engines for animation

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

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Attendance: Mandatory, minimum 50% attendance.

Blender:

· https://docs.blender.org/manual/en/latest/

· https://www.youtube.com/user/BlenderFoundation

· Blender 2.80 Fundamentals (Youtube)

· https://www.youtube.com/@blenderguru

· https://www.youtube.com/@DefaultCube

· https://www.youtube.com/@Polyfjord

Unity:

· https://learn.unity.com/

Unreal:

· https://dev.epicgames.com/documentation/en-us/unreal-engine/unreal-engine-5-4-documentation

• Course title: Compositing
• Number of ECTS: 2
• Course code: DESSINANIM-53
• Module(s): 3D FOUNDATIONS A
• Language: EN
• Mandatory: Yes

The interface of After Effects (recap)��
Compositing workflows��
Layers and compositions��
Comping multiple render passes for characters and backgrounds����
Exporting in different formats��
Assignment: create a comped video from a rendered scene��

On completion of the course unit successful students will be able to:��
1. Explain the key features and applications of After Effects in production

2. Brief recap of After Effect interface

3. Explain the differences between layers and compositions

4. Locate and apply essential effects for compositing such as color correction, vignettage, motion blur

5. Improve the quality of a 3D render using different render passes and compositing techniques

6. Troubleshoot rendering issues at compositing using masks and keying

The course objective is to introduce the principles of compositing, the software tools and workflow to create comped shots in After Effects.��
The course is organized as a series of lectures and practical assignments of increasing difficulty.��
Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time.��

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

Attendance: Mandatory, minimum 50% attendance.

Bibliography:

Adobe After Effects CC Classroom in a Book, by Lisa Fridsma��
Learn After Effects in 10 Minutes! Beginner Tutorial – Ben Marriott��
https://www.youtube.com/watch?v=hb2bbfiNBXA��

• Course title: Editing
• Number of ECTS: 2
• Course code: DESSINANIM-55
• Module(s): 3D FOUNDATIONS A
• Language: EN, FR
• Mandatory: Yes

Introduction to Premiere Pro
Technical check list to import footage in Premiere Pro
Principles of editing Technical check list to export a master and a preview file
Assignment 1: cut together a video on music
Assignment 2: cutting your first demoreel

On completion of the course unit successful students will be able to:��
Explain the key features and applications of Premiere Pro in production

Navigate the Premiere Pro interface

Cut a given clip into sub clips

Displace and trim clips

Import audio and video clips

Export video with sound

Add labels and timecodes

Explain and apply technical best practices at import and export

The objective of the course is to teach the interface and basic functions of the editing software Premiere Pro.��
The course is organized as a series of lectures and practical assignments.��
Emphasis is given to time management and production techniques to enable students to balance quality with productivity.

Assessment method:����
Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��
Assessment tasks:����
Take-home assignments.��
Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��
Attendance:��
Mandatory 50% minimum

Bibliographie / bibliography

W. Munch, In the Blink of an Eye: A Perspective on Film Editing – 2nd Edition, 2001, Silman-James Press.

• Course title: 3D Modeling 1
• Number of ECTS: 4
• Course code: DESSINANIM-56
• Module(s): 3D MODELING TECHNIQUES A
• Language: EN
• Mandatory: Yes

Maya in its historical and industry-wide context

Introduction to the whole CGI pipeline

Introduction to Maya’s User Interface

The orthographic views

The perspective view (cameras)

Viewing modes: wireframe, shaded

Introduction to Polygonal Primitives

Move, Rotate, Scale tools and the Snap function

Vertices, edges, polygons, objects – as well as non-manifold geometry

Edge Loop, Edge Ring, Grow, Shrink, Lasso selection.

Backface Culling

Introduction to Maya’s node-based logic and its Attribute system

Introduction to Maya’s History system

Animation of attributes in the Timeline

Animation of attributes in the Graph Editor

Introduction to the Outliner: creating groups parenting

Channel Box: Key, Reset Freeze Transforms

Changing pivots, and axis orientation (world vs local)

Sculpting Soft Selection

Overview of the UV viewport

Presentation of the Smooth function and its role

Polygon Primitives

Outliner

Combining and Separating

Mirroring

Unfolding UVs

Modeling Tools

Hardsurface topology

Clean and dirty geometry

Creating UVs

Reference images

Workflow planning

Modelling techniques

Optimization techniques

References and Instances

Hiding Objects

Layers

On completion of the course unit successful students will be able to:��
Explain the overall pipeline for a 3D CGI project��
Navigate the Maya interface��
Operate the 3D Viewport����
Model simple volumes��
Explain and access manipulators��
Create, edit and remove Components��
Explain and use the various selection tools��
Access and modify object pivot points��
Explain the definition and use of Attributes����
Access and navigate the Outliner��
Access and navigate the Channel Box��
Save and manage the versioning of a model��
Access and use the modeling toolset of Maya��
Model a simple object from a given design using primitives��
Model a set of multiple objects based on a reference��
Unwrapping the UVs of the model.��
Explain and apply Subdivision to models��
Use sculpting tools��
Explain the difference between referencing and importing assets in a scene��

The objective of this course is to introduce the principles, tools and workflows to create 3D models in Autodesk Maya.����
The course is organized as a series of lectures and practical assignments of increasing difficulty.����
Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their models on time.��

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Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

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Attendance: Mandatory, minimum 70% attendance.

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Recommended reading material

https://youtube.com/playlist?list=PLD8E5717592CF5C26si=pnGnr5QN0cEaLZIT

https://youtube.com/playlist?list=PLC974FDC82DE46F4Fsi=AicTH_AJ0yZLDW9J

Autodesk Maya Documentation : https://help.autodesk.com/view/MAYAUL/2025/ENU/��

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• Course title: 3D Modeling 2
• Number of ECTS: 2
• Course code: DESSINANIM-57
• Module(s): 3D MODELING TECHNIQUES A
• Language: EN
• Mandatory: Yes

– Working with 2D model sheets in a 3D space����
– Considerations about topology��
– Modeling organic volumes��
– Unwrapping techniques for a character’s UVs

On completion of the course unit successful students will be able to:��
– Model a simple character����
– Explain the industry standard modeling techniques that make a character model usable for animation and rendering��

The course objective is to acquire and apply principles and techniques for organic modeling.��
The course is organized as a series of lectures and practical modeling exercises based on a given design (model sheets).��
Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their models on time.

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

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Attendance: Mandatory, minimum 50% attendance.

Bibliography:

Goldfinger, E. Human Anatomy for Artists: The Elements of Form. Oxford 8xav�������� Press, 1991
Tindal, B. The art of moving points. Hippydrome Publishing, 2013.��

• Course title: 3D Texturing
• Number of ECTS: 2
• Course code: DESSINANIM-58
• Module(s): 3D MODELING TECHNIQUES A
• Language: FR
• Mandatory: Yes

Introduction on materials properties in general and how they apply to shaders in CG��
Hypershade and shaders��
Theorical and practical knowledge about texture slots / channels and shading networks��
How to use Substance Painter to achieve a certain look��
How to use an organised folder structure and naming convention policy to work with files��
Worfkflow between Maya and Substance Painter��
Previzualisation of the surfacing in Maya��
How to improve the surfacing result step by step��

On completion of the course unit successful students will be able to:��
1. Navigate the interface of the Hypershade in Maya to create and update simple shading networks��
2. Navigate the interface of Substance Painter 3. Use the textures slots / channels to transfer information from Substance Painter to Maya��
3. Explain and use the textures slots / channels (painter to maya)��
4. Export and import textures between Substance Painter and Maya and adjust their shading parameters and maps.��
5. Texture an object completely in Substance Painter and render it in Maya��
6. Interpret the art style of a given design and transpose it into textures and shaders (respect of the art direction, good choice of materials and colors, level of details and polishing)��
7. Manage an organised folder structure and naming convention policy for the work files. Create production ready asset files, optimised to be used in the next steps of the production pipeline����

The objective of the course is to teach the interface and basic functions of Substance Painter in relation to Maya for texturing purposes.��
The course is organized as a series of lectures and practical assignments.����

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

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Attendance: Mandatory, minimum 50% attendance.

Bibliography

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https://substance3d.adobe.com/tutorials/courses/Substance-guide-to-Rendering-in-Arnold

• Course title: Digital Sculpting
• Number of ECTS: 2
• Course code: DESSINANIM-59
• Module(s): 3D MODELING TECHNIQUES A
• Language: FR
• Mandatory: Yes

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Introduction to ZBrush

Sculpting tools in ZBrush

Workflow Zbrush towards Maya and substance painter

Sculpting a simple object and complexe creature

On completion of the course unit successful students will be able to:
1. Explain the key features and applications of ZBrush in production
2. Navigate and Customise Z-Brush interface and viewport
3. Sculpt a simple object based on a given design
4. Explain the workflow from Maya towards ZBrush

The course aims to introduce students to ZBrush, focusing on its interface and essential tools for creating 3D assets. Students will learn how to retopologize their models, making them compatible with other software like Maya and Substance Painter. The course format includes in-class live workshops that demonstrate the complete sculpting process for both simple and complex models. Additionally, students will explore various applications of ZBrush through production examples, including concept art, modeling, medical visualization, and 3D printing.

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Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines
Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

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Attendance: Mandatory, minimum 50% attendance.

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• Course title: Programme Introductory Course
• Number of ECTS: 0
• Course code: DESSINANIM-94
• Module(s): CORE SKILLS
• Language: EN
• Mandatory: Yes

The 3D Animation and VFX Industry Studying at BDA :
– Goals
– Study plan
– Teaching approach
– Learning expectations Example of success from our alumni Student onboarding

–

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The introductory lecture will provide an overview of the 3D Animation and VFX industry and the role that an artist plays as a professional within it.
We will also cover an overview of life at the BDA, the program objectives, the study plan, and the teaching approach and set the learning expectations.
Finally, students will be introduced to the 3D Lab workstations.

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–

BDA Study Plan : /fhse-en/study-programs/bachelor-in-animation/programme/

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• Course title: Film Culture
• Number of ECTS: 2
• Course code: DESSINANIM-17
• Module(s): CORE SKILLS
• Language: EN
• Mandatory: Yes

The exact topics of the course will be developed in dialogue with the students and with regard to their intended final projects.

1. Explain key terms and concepts in film studies
2. Develop a personal research question in relation to one or more key paradigms in film studies
3. Analyse the visual grammar and narrative structure of a film with regard to the developed research question
4. Read and interpret criticism and apply it within the academic argument
5. Access and cite secondary sources

The aim of this course is to provide students a firm grounding in film culture in order to equip them as filmmakers in their own right. To this end, the course gives an introduction to selected aspects of academic film studies and their main research fields, which are film theory, film analysis and film history. Students will become engaged with the primary conventions of filmmaking, such as framing, mise-en-scène, montage, narrative structure and genre, and they will learn about a wide variety of national cinemas and movements, theoretical debates and cinematic styles. Moreover, they are encouraged to develop research methodologies and critical thinking skills in order to articulate their own perspective on selected films, directors, cinema trends or themes, and to locate their own ideas and works within cinematic traditions.

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Assessment method: Continuous examination

Assessment tasks: A short mid-term paper, an in-class presentation and a final essay.

The first two assignments are worth 40% of the overall course grade, and the final essay is worth 60%.

The assessment criteria for the written assignments will be:

(1) the ability to identify, explain and apply key concepts and ideas in film studies discussed in class

(2) the ability to identify key scenes in a film and their cinematic forms

(3) the ability to critically read their meanings.

Presentation skills include (4) the ability to engage the class and work collaboratively with other presenters.

Attendance: Mandatory, minimum 70% attendance.

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Bibliography��

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Bordwell, David / Thompson, Kristin / Smith, Jeff: Film Art. An Introduction. New York 2016.

Elsaesser, Thomas / Hagener, Malte: Film Theory. An Introduction Through the Senses. New York / London 2015.

• Course title: Life Drawing
• Number of ECTS: 2
• Course code: DESSINANIM-15
• Module(s): CORE SKILLS
• Language: FR, EN
• Mandatory: Yes

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Ergonomic recommendations
Drawing quick and long poses
Conditions for creativity
Various drawing techniques
Various drawing tools
Shapes
Intuitive perspective
Drawing shortcuts
Light and volumes
Discussion of the outcome

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1. Represent the model’s personality
2. Depict the essence of a pose
3. Represent a fleeting action or expression
4. Draw the human underlined anatomy
5. Draw the line of action and the energy points
6. Compose a model within his/her environment
7. Represent the effects of gravity
8. Identify and represent different light and shade values

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Students are given an overview of the technical possibilities of sketching and drawing.��
The aim of the course is to improve the students’ perception and analysis skills in order to draw the human body in many facettes.��
The course is mostly practical. Students react to the situation, the instructor reacts to the students’ work. This organic process depends on the abilities and the responsiveness of the participants. The teacher encourages students to experiment and surpass themselves.��
Structure of the classes:��
First day:����
Introduction and overview on the course and practice of drawing.����
Advice on ergonomics and general attitude.����
Presence of the nude model: Series of short poses (min 1 minute) alternate with medium and long poses (max 15 minutes). Standing, sitting and lying poses.����
Following classes:��
Description of the focus of the current course.��
The focus is chosen in the list of learning objectives. Presence of the model: Series of short poses (1 minute) alternate with medium and long poses (max 15 minutes). Standing, sitting and lying poses, decided on the spot according to the objective of the course.����
The model in motion.����
Exageration, squash and stretch��
The instructor reacts individually to the work of the students and suggests corrections and alternatives.��
Analysis and discussion

��

Assessment method:����
Continuous Evaluation��
��
The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes. Drawings will stay available for students to create a portfolio.����
Assessment tasks:����
Take-home assignments consisting of:��
In-class assignments: 70% of final grade��
End of semester life drawing portfolio: 20% of final grade��
Written essay: 10% of final grade��
Assessment Criteria:��
In-class assignments portfolio:��
Diversity of approaches according to the list of objectives.��
Diversity of observation methods applied.��
Diversity of materials and experienced tools.��
Sheet composition.����
Quality of expression.��
Vitality of the drawing.��
Experimentation, research, creativity.��
Evolution of drawing during the course series.��
��
Written essay:��
Independence and initiative��
Systematic approach��
Documentation and argumentation��
��
��
Attendance: Mandatory, minimum 70% attendance.

Bibliography

��

Walt Stanchfield. «Drawn to Life: 20 Golden Years of Disney Master Classes», Vol1-2, The Walt Stanchfield Lectures, April 2013. Routledge. ISBN: 978-1136138331.����
George Bridgman. «Bridgman’s Complete Giude to Draving from Life». November 2017. Sterling Publishing Co Inc. ISBN: 978-1454626535. Marcos Mateu-Mestre.����
«Framed Ink, Drawing and Composition for Visual Storytellers», August 2010. Design Studio Press. ISBN: 978-193342956.����
https://www.derekoverfield.com/small-works-on-paper-3.html����
https://www.jennifermcchristian.com/collections/7491����
https://www.markdemsteader.com����
https://rkarmel.com/category/exhibitions/�� ��
http://francois-matton.blogspot.com��
��
All these are optional suggestions��

��

• Course title: Thematic Lectures
• Number of ECTS: 1
• Course code: DESSINANIM-95
• Module(s): CORE SKILLS
• Language: EN
• Mandatory: Yes

1) Introduction to Visual Literacy (Ira Yeroshko, 22 TUs)

Course structure:

– 1 pre-course essay – image analysis.

– 10 Lectures of photography.

– 1 final essay – image analysis.

Table of content :

– On genres and their ambiguity

– Light as a source of everything

– Hybrid art informed by the sciences and the humanities

– Art of selection rather than invention

– Abstractions shaped by technology

-The role of chance in photography

– Meaning is nothing, context is everything

– Visual language and grammar (on composition)

– Never neutral, easily absused (on propaganda)

– Sense of time in photography

��

2) Making of “The Glass House” AI short film (1 masterclass 2TU online + Jacopo Armani 2TU on site with the class)

Course structure :

– 1 Lecture

– 1 final essay

Learning outcomes are based on the selected guest lectures and may vary each year. For this year’s course, the learning outcomes are:

– Analyze an image using the 10 Fundamental Concepts.

– Identify various photography genres and understand their intersections.

– Explain the basic history of photography.

– Describe advanced techniques for capturing images beyond traditional camera use.

– Conduct in-depth analysis of framing and composition.

– Articulate the significance of context in photography.

– Discuss the power of images in shaping perception.

– Analyze and explain how images can distort our sense of time.

– Explain the role of AI in creating original and meaningful audiovisual projects.

The aim of this course is to provide students with multidisciplinary knowledge that can further forster their growth as artists, academics and professionals in the Computer Graphics, Visual Storytelling and Media Studies fields. Each year guest speakers will bring fresh perspectives on different topics.

2024-25 Lectures and Guest Speakers:

– Introduction to Visual Literacy (Ira Yeroshko, 22 TUs): Unlock the secrets behind the images that shape our world. In this foundational course, we will explore the ten threshold concepts of photography, revealing how this essential medium forms the bedrock of many visual arts. Photography is not just about capturing moments—it’s about constructing, influencing, and interpreting the visual world around us. As aspiring animators, understanding these concepts will empower you to create more compelling, nuanced, and impactful visuals in your own projects.
Through engaging discussions and an examination of diverse photographic projects across various techniques and genres, you’ll gain insights into the evolution of image-making, the ways in which images can be manipulated, and the powerful role they play in visual storytelling. Although this course is entirely theoretical, it will provide you with the critical tools and inspiration to experiment with new ideas and integrate them into your animation work. Whether you’re just starting out or looking to deepen your understanding of visual media, this course offers a unique opportunity to enhance your creative toolkit and rethink how you approach your craft.

– “The making of” of The Glass House (Boris Labbé, 2 Tus)

Assessment method: – Continous Evaluation End of Semester Exam

Assessment tasks:

– 1 final essay, image analysis (Introduction to Visual Literacy)

– 1 final essay (“Making of” of The Glass House)

Assessment criteria:

– Ability to apply the 10 fundamental concepts to image analysis (Introduction to Visual Literacy)

– The assessment criteria will be the ability to presents personal thoughts about the ways AI can be utilized creatively and ethically in the development of an audiovisual project, demonstrating an understanding of its potential applications and referencing it back to the project « The Glass House », that was presented in class.

��

Attendance: – Mandatory, minimum 70% attendance.

Recommended reading:

Berger, John. Ways of Seeing : Based on the Television Series with John Berger. London: British Broadcasting Corporation, 1972. Print.

https://www.a-z.lu/discovery/fulldisplay?docid=alma990005646550107251context=Lvid=352LUX_EDU:BIBNET_UNIONsearch_scope=DN_and_CI_UCVtab=DiscoveryNetwork_UCVlang=fr
Barthes, Roland, and Richard Howard. Camera Lucida : Reflections on Photography. Repr. London: Vintage, 2000. Print.

https://www.a-z.lu/discovery/fulldisplay?docid=alma990013721730107251context=Lvid=352LUX_UNI:BIBNET_UNIONsearch_scope=DN_and_CI_UCVtab=DiscoveryNetwork_UCVlang=en

��

Consult with the instructor to receive a specific briefing for your exam re-sit.

• Course title: Applied 3D techniques
• Number of ECTS: 20
• Course code: DESSINANIM-84
• Module(s): ADVANCED 3D ANIMATION TECHNIQUES
• Language: EN
• Mandatory: Yes

1. Design and direct a short audiovisual project from pre-production to post-production based on a predefined concept and production plan given by the instructor
2. Access and cite research sources��
3. Present and explain their work-in-progress to peers and supervisors
4. Understand and critically incorporate feedback into the project
5. Deliver a complete audiovisual project according to the specifications (Given by instructor)

Facultative participation to Demoreel lectures and mid-semester presentations.

Take-home Assignment

• Course title: Research Project
• Number of ECTS: 10
• Course code: DESSINANIM-101
• Module(s): MEDIA STUDIES
• Language: EN
• Mandatory: Yes

• Course title: Lookdev
• Number of ECTS: 1
• Course code: DESSINANIM-98
• Module(s): 3D FOUNDATIONS B
• Language: FR
• Mandatory: Yes

• Course title: Advanced 3D Lighting
• Number of ECTS: 2
• Course code: DESSINANIM-96
• Module(s): 3D FOUNDATIONS B
• Language: FR
• Mandatory: Yes

• Course title: 3D Production Pipeline
• Number of ECTS: 1
• Course code: DESSINANIM-97
• Module(s): 3D FOUNDATIONS B
• Language: EN
• Mandatory: Yes

• Course title: 3D Rigging 2
• Number of ECTS: 1
• Course code: DESSINANIM-62
• Module(s): 3D FOUNDATIONS B
• Language: FR, EN
• Mandatory: Yes

Class 1:��
Feedback on knowledge from the previous year (1h)��
Anatomy: documentation, adaptation for animation (1/2h)��
Global human structure (1/2h)��
Concept IK (2h)��
Exercise in classroom: make a simple IK structure of legs��
Exercise at home: finish the rig of the legs��
If time: make the structure IK/FK��
If time: concept of foot roll��
��
Class 2:��
Make an automatic structure with MGear (4h)��
Exercise at home: start a MGear structure on a character chosen by the student��
��
Class 3:��
Technical of skinning with Maya tools (paint, mirror, copy skin…) (4h)��
If time and if possible: Skinning technics with NGSkin Tools��
Exercise at home: create or continue the MGear character rig with skinning��
��
Class 4:��
Return on student rig progression (2h)��
If time: create facial with blend shape (2h)

On completion of the course unit successful students will be able to:��
Explain human anatomy concepts in relation to animation needs��
Create IK chains for a character��
Use the rig setup system MGear to create a biped rig��
Use Maya skinning tools to connect the mesh to a biped rig�� ��

The course objective is to acquire and apply principles and techniques for rigging biped characters in Maya.��
The course is organized as a series of lectures and practical exercises.��
Emphasis is given to production techniques and in-class participation.�� ��

��

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

��

Attendance: Mandatory, minimum 50% attendance.

��

Recommended:

http://www.cultofrig.com/��

• Course title: Blender & Real-Time Engines
• Number of ECTS: 2
• Course code: DESSINANIM-75
• Module(s): 3D FOUNDATIONS B
• Language: EN, FR
• Mandatory: Yes

Introduction to Blender for modeling, texturing and animation��
Introduction to real-time engines for rendering��
Pipeline external 3D software to the Real-time engine��

On completion of the course unit successful students will be able to:��
1. Navigate Blender interface

2. Access modeling, texturing and animation tools in Blender

3. Animate a bouncing ball in Blender

4. Model and texture a simple set in Blender

5. Light render a simple environment in Blender

6. Explain the differences between an offline rendering tool and a real-time engine

The course provides insights into using Blender to create 3D assets and animation.

The student will also learn how a real-time engine can be leveraged to make audiovisual projects.

The course is organized as a series of live-demo workshops and practical assignments.

Emphasis is given to the experimentation with the possibilities offered by the tools.

��

Instructor: Delfo Olimpo

– Introduction to Blender interface

– Modelling and Sculpting tools

– Simulation, 2d and 3d animation

��

Instructor: Gil Galvao

– Lights in Blender

– Different ways of lighting and their uses

– Rendering in Blender

– Render Engines & Settings (Cycles & Eevee)

– Render Passes for compositing

Instructor: Jacopo Armani

– Introduction to real-time engines for animation

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

��

Attendance: Mandatory, minimum 50% attendance.

Blender:

· https://docs.blender.org/manual/en/latest/

· https://www.youtube.com/user/BlenderFoundation

· Blender 2.80 Fundamentals (Youtube)

· https://www.youtube.com/@blenderguru

· https://www.youtube.com/@DefaultCube

· https://www.youtube.com/@Polyfjord

Unity:

· https://learn.unity.com/

Unreal:

· https://dev.epicgames.com/documentation/en-us/unreal-engine/unreal-engine-5-4-documentation

• Course title: 3D Animation 2
• Number of ECTS: 3
• Course code: DESSINANIM-65
• Module(s): 3D ANIMATION TECHNIQUES B
• Language: FR, EN
• Mandatory: Yes

Block-in poses from a given storyboard and layout scene: tools and scripts��
Polish a section of a given Block-in to a production level animation: tools and scripts��
Effective file versioning��
Constraints for animators in Maya (Bonus)��

On completion of the course unit successful students will be able to:��
1. Explain the key terms of the animator’s workflows��
2. Access and reference sources for motion and performance��
3. Plan a shot based on a given briefing and rigged character and prop��
4. Block in poses and timing to establish motion��
5. Manipulate keys and tangents in the Graph Editor to achieve a motion��
6. Save and manage the versioning of an animated shot

The objective of the course is to learn how the various steps of an animator’s workflow enable an animator to create mechanical and organic movements in 3D software.����
The course is organized as a series of lectures and guided practical assignments.��
Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time.

��

��

Assessment method:��
Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��
Assessment tasks:����
Take-home assignment��
Assessment criteria:��
Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��

Attendance:��
Mandatory, minimum 50% attendance.

��

��

��

• Course title: 3D Animation 3
• Number of ECTS: 2
• Course code: DESSINANIM-66
• Module(s): 3D ANIMATION TECHNIQUES B
• Language: EN
• Mandatory: Yes

Animating on dialogue��
Lip sync��
Facial animation��

On completion of the course unit successful students will be able to:��
1. Explain the key mouth shapes needed for a lip sync��
2. Analyse a given dialogue line to create a performance��
3. Apply animation principles to polish the lip sync��
4. Create believable expressions that support the acting and the dialogue

The objective of the course is to explain the principles of facial animation.��
The focus is to analyze a given dialogue and learn how to create convincing mouth shapes and learn how to handle eye movement, blinks and brow animation in relation with the rest of the face.��

Assessment method:��
Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��

Assessment tasks:��
Take-home assignments.��

Assessment criteria:��
Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��

Attendance: Mandatory, minimum 50% attendance.

������

Bibliography:

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006.��
Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006.��
Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.����

• Course title: 3D Animation 4
• Number of ECTS: 2
• Course code: DESSINANIM-67
• Module(s): 3D ANIMATION TECHNIQUES B
• Language: FR
• Mandatory: Yes

��

– Acting principles for animators: character bios, personality, scene conflict, director’s intention, status transaction����
– Planning for a single-character acting shot (pantomime)��
– Shot planning for the Character Animation Project 2 course

��

On completion of the course unit successful students will be able to:��
Create a character’s bio��
Access and reference multiple sources (video references, film scenes, illustrations, …) to explore acting options��
Create acting objectives (intentions) for an assigned shot��
Create thumbnails to establish acting and action choices via poses��
Establish rough timing for a series of key poses�� ����

The objective of the course is to explain how to research and plan for animating a full body single-character acting shot without dialogue.��
The course is organized as a series of lectures and guided practical assignments.��
Emphasis is given to time management and production techniques to enable students to balance quality with productivity and deliver their shots on time.��
The course is a required preparatory work to the Character Animation Project 2.��

Assessment method:��
Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��

Assessment tasks:��
Take-home assignments.��

Assessment criteria:��
Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��

Attendance:��
��Mandatory (minimum 50%)��

������

��

Bibliography:

��

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006.��
Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006.��
Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.��
Ed Hooks. Acting for Animators.����

��

• Course title: Character Animation Project 1
• Number of ECTS: 3
• Course code: DESSINANIM-92
• Module(s): 3D ANIMATION TECHNIQUES B
• Language: FR, EN
• Mandatory: No

Applied workflow and techniques for animating action shots�� �� ����

On completion of the course unit successful students will be able to:��
Access and reference storyboard and reference videos for the thumbnailing, blocking and polishing stages��
Apply the process of block-in poses and timing to establish motion for an advanced body mechanic shot��
Apply a professional workflow to polish a shot in the Graph Editor to achieve a final animation pass��
Save and manage the versioning of an animated shot��
Listen to and incorporate the supervisor’s feedback at all stages of the process until final validation����

In this course the student will apply what was learned in 3D Animation 2 to create a complete body mechanic shot based on a given storyboard, layout and rig.��
The main focus is to be able to follow a professional animator’s design process from block-in to final delivery.��
This course is OPTIONAL, but it requires the completion of 3D Animation 2. It cannot be taken at the same time with 3D Modeling project.

Assessment method:��
Continuous Evaluation��
The student’s evaluation is based on the weekly integration of the feedback given on the take-home assignment (motivation time management) and on the final delivery result (time management execution).��

Assessment tasks:��
Take-home assignment��

Assessment criteria:��
Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��

Attendance: Mandatory, minimum 70% attendance.�� �� ����

������

Bibliography:

Jones, Angie; Oliff, Jamie. Thinking Animation: bridging the gap between 2D and CG; Thomson Course Technology; 2006.��
Whitaker, Harold; Halas, John. Timing for Animation; Focal Press; 2006.��
Williams, R. The Animator’s Survival Kit; Faber and Faber; London; 2001.�� �� ���� ��

• Course title: Character Animation Project 2
• Number of ECTS: 4
• Course code: DESSINANIM-93
• Module(s): 3D ANIMATION TECHNIQUES B
• Language: FR, EN
• Mandatory: No

Applied techniques for animating acting shots����

On completion of the course unit successful students will be able to:��
Access and reference multiple sources (storyboard panels, layout scene, reference videos, supervisor’s acting directions, …) and integrate them into the thumbnailing, blocking and polishing phase��
Apply acting principles to design engaging and original performances��
Apply the process of block-in and polishing learned in 3D Animation 2 to establish acting and motion directions that create a performance��
Present work-in-progress and incorporate the supervisor’s feedback at all stages of the process until final validation

In this course the student will be able to create a complete acting shot (pantomime or dialogue-based depending on their skill level)��
The main focus is the study of the feeling and thoughts of the characters, and the way to express them properly through acting, to achieve an appropriate and believable performance.��
This course is OPTIONAL, but it requires the completion of 3D Animation 2, 3, 4 and Character Animation Project 1. It cannot be taken at the same time with Advanced Digital Sculpting Project.

Assessment method:����
Continuous Assessment. The student’s evaluation is based on the execution of the assignment given during the course.����
Assessment tasks:����
Take-home assignment (project)��
Assessment criteria:����
Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��
Attendance:��
Mandatory (Minimum 70%)��

This course is optional and cannot be taken at the same time with 3D Modeling Project.��

• Course title: Advanced Texturing
• Number of ECTS: 1
• Course code: DESSINANIM-99
• Module(s): 3D MODELING TECHNIQUES B
• Language: FR
• Mandatory: Yes

• Course title: 3D Modeling 3
• Number of ECTS: 2
• Course code: DESSINANIM-69
• Module(s): 3D MODELING TECHNIQUES B
• Language: FR, EN
• Mandatory: Yes

Character modeling workflows��
Advanced modeling techniques and theories��
UV unfolding and scene organisation��
Basic shading and lighting�� �� ����

On completion of the course unit successful students will be able to:��
1. Explain the different workflows to create a semi-realistic cartoon character.

2. Choose the most appropriate workflow depending on modeling goal.

3. Plan the work by gathering references and set up Maya to speed up the modeling process.

4. Breakdown a given design, analyzing the anatomy, and blocking the shapes.

5. Explain the fundamentals of a good topology.

6. Cleanup the meshes, organize uvs and optimize the scene for the next departments.

7. Setup a turntable to enhance their workflow.

The course provides advanced theory in organic modeling in Maya and is linked to the Advanced Digital Sculpting course. This course is a required preparatory step for the 3D Modeling Project.

Assessment method:��
Continuous Assessment. The student’s evaluation is based on the execution of the assignment given during the course.��
Assessment tasks:��
Take-home assignment:��
1. Blocking and anatomy

2. Retopology

3. Modeling a hand

4. Mesh cleanup and Uvs

��

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment��

Attendance:��Mandatory, minimum 50% attendance.��

• Course title: 3D Modeling Project
• Number of ECTS: 3
• Course code: DESSINANIM-72
• Module(s): 3D MODELING TECHNIQUES B
• Language: FR, EN
• Mandatory: No

Modeling techniques��
Basic Shading and Lighting setup�� �� ��

On completion of the course unit successful students will be able to:��
Model a full character from a given design or a design of their choice.��
Cleanup the mesh, unfold Uvs and make it ready for Texturing and Rigging.��
Present the final model with a professional turnaround.�� ��

The course is a follow-up to the 3D Modeling 3 course, designed to apply the modeling techniques and principles acquired.��
This course is project-based; students will receive weekly mentoring and feedback to help them create a finished model.����
While designs (model sheets) will be provided, students can also propose their own models during the first session. These proposals will need to be validated and adjusted with the instructor, taking into consideration the complexity of the chosen model.

��

��

��

��

Assessment method:��
Continuous Assessment. The student’s evaluation is based on the execution of the assignment given during the course.��
Assessment tasks:��
Take-home assignment��
Model of a full body character��
Assessment criteria:��
Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

Attendance:��
Mandatory (Minimum 70%)�� �� ��

��

This course is OPTIONAL, but it requires the completion of 3D Modeling 3. It cannot be taken at the same time with Character Animation Project 1.�� ����

• Course title: Advanced Digital Sculpting & Grooming
• Number of ECTS: 2
• Course code: DESSINANIM-88
• Module(s): 3D MODELING TECHNIQUES B
• Language: EN, FR
• Mandatory: Yes

Advanced sculpting techniques

Semi Realistic style

Grooming

Quick basic shading and lighting

��

ADVANCED SCULPTING:

1. Gather references and setup Zbrush to work as efficiently as possible.

2. Breakdown a given design, analyzing the anatomy and blocking the shapes.

3. Understand and use the Zbrush basic tools.

4. Step up the quality of their sculpt by increasing the level of detail.

5. Explain how to create a Displacement and Normal Map.

GROOMING:

1. Explain the fundamentals of Grooming.

2. Create a classic haircut on a given model

The objective of the course is to provide students with theoretical principles and workflows of intermediate modeling and sculpting combining Autodesk Maya and Pixologic Zbrush and an introduction to the grooming workflow using the Xgen plugin in Maya. This course is a required preparatory step for the Digital Sculpting Project.

Assessment method:��

Continuous Assessment. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.
Assessment tasks:��
Take-home assignments.

Digital Sculpting:

1. Head sculpting

2. Clothes folds

3. Displacement and Normal Maps

Grooming:

1. Create a classic haircut on a given model

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

��

Attendance: Mandatory, minimum 50% attendance.

��

Bibliographie

https://www.artstation.com/anatomy4sculptors

• Course title: Digital Sculpting Project
• Number of ECTS: 4
• Course code: DESSINANIM-87
• Module(s): 3D MODELING TECHNIQUES B
• Language: EN, FR
• Mandatory: No

Advanced sculpting techniques��
Semi Realistic style��
Quick basic shading and lighting in ZBrush�� ��

On completion of the course unit successful students will be able to:��
1. Model and sculpt a small scenery including a character in a small environment, in the style of Tsume figures, from a given design or a design of their choice

2. Present the final model with a professional turnaround.

��

The course is a follow-up of Advanced Digital Sculpting and Grooming course designed to apply the techniques and principles acquired. The course is project based; students will be mentored with weekly feedback to accomplish a finished model. Designs (model sheets) will be suggested by the instructor, but the student can propose their own design during the first session. Student’s designs will have to be discussed and adjusted under the instructor’s supervision, to keep the scope of the model reasonable. This course is OPTIONAL, but it requires the completion of 3D Modeling 3 and Advanced Digital Sculpting. It cannot be taken at the same time with Character Animation Project 2.

��

Assessment method: Continuous Assessment.

The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.

Assessment tasks: Take-home assignments.

Assessment criteria:

Accountability: respect for the assignment intermediate and final deadlines

Diligence: degree of the student’s note-taking and feedback implementation

Technical Execution: degree of understanding and execution of the software tool(s) and technique(s) involved in the assignment

��

Attendance: Mandatory, minimum 70% attendance.

• Course title: Sculpture
• Number of ECTS: 1
• Course code: DESSINANIM-89
• Module(s): 3D MODELING TECHNIQUES B
• Language: EN, FR
• Mandatory: Yes

Sculpting tools and materials
Sculpting techniques
Sculpture of a fantasy character or creature, from a student’s creation or a given design (maximum 30cm of height)

1. Apply sculpting techniques to the creation of a character
2. Adapt and represent the dynamism of the pose in a sculpted form
3. Represent the underlying anatomical structure and dynamic tensions of a given model

The objective of the course is to provide students with observational skills and sculpting techniques to create sculptures with different materials.

Assessment method:

Continous Evaluation. The student’s evaluation is based on the execution of assignments given during the course. Each assignment is linked to one or more of the Course Learning Outcomes.��
Assessment tasks:��
Take-home assignment��
Assessment criteria:��
Time management (10%)��
Execution (Mastery of the treated material, plastic quality) (80%)��
Presentation of works (10%)��
Attendance:
Mandatory, minimum 50% attendance��

Recommended reading material:��

Philippe Clarisse Faraut: Modeling of the human body: Plans and techniques of construction in clay. Eyrolles. 2015. ISBN-13 978-2212141740, 240 pages
Philippe Chazot: Modeling Animals. Ulysse Editions, 2013. ISBN-13 978-2844152046, 80 pages��

• Course title: Group Project
• Number of ECTS: 2
• Course code: DESSINANIM-73
• Module(s): PROJECT A
• Language: EN
• Mandatory: Yes

Group project defined by the instructor��

On completion of the course unit successful students will be able to:��
��
1. Analyze project objectives and requirements��
2. Communicate and organize tasks to achieve a common goal��
3. Deliver a project on time and on specifications��
4. Take a role and accomplish the needed tasks to contribute to the project goals��
5. Present work in progress and gather feedback from peers and supervisors/clients��

The objective of the course is to create an audiovisual project in collaboration with other students of the class.��
The course is project based. The instructor will mentor the students in weekly classes.��
Emphasis is given to the collaboration of the students taking different roles in the production and in self-directed activities to find creative and technical solutions to achieve the project goals.��
A focus on troubleshooting issues and selecting the appropriate production techniques is also applied in order to balance quality with productivity and enable students to deliver their finished project on time.��

Assessment method:����
End-of-course assessment��
Assessment tasks:����
Take-home assignment: Audiovisual project based on a given briefing����
Assessment criterias:��
Clear and effective distribution of tasks (per group)��20%��
Autonomy and problem solving (per group)��20%��
Originality technical execution (per group)��20%��
Proactive Communication of project progress (per group)��20%��
Individual Contribution to the project (per student)��20%��
��
Attendance��
Mandatory, minimum 50% attendance��

Recommended (not mandatory):

C. Winder. Producing animation. CRC Press; 3rd edition (January 3, 2020)�� ��

• Course title: Final Project Pre-production
• Number of ECTS: 3
• Course code: DESSINANIM-3
• Module(s): PROJECT A
• Language: EN
• Mandatory: Yes

Table of contents:

– Class: Course Structure, Project Ideation

– Guest Lecture: Pre-production Masterclass

– Guest Lecture: Story Development Masterclass

– Guest Lecture: Visual Development Masterclass

– Class: Pipeline set-up

– Class: Project Concept Review

– Guest Lecture: Storyboarding Masterclass

– Class: Pipeline set-up

– Class: Storyboard Review

– Guest Lecture: Animatic Masterclass
– Guest Lecture: Sound Design Masterclass

– Class: Pipeline set-up

– Class: Animatic Review

– Guest Lecture: Color Script Masterclass

– Class: Pipeline set-up

– Class: Project Scope + Exam Checklist

On completion of the course unit successful students will be able to:��
1. Conceptualize the demo reel idea and organize its research sources

2. Elaborate and communicate the demo reel goals and production plan to an audience of animation professionals

3. Scope and plan the final project with respect to personal skills, career objectives and time constraints

4. Set up the folder structure and technical pipeline for production

The objective of the course is to provide students with critical analysis techniques for elaborating and planning for their final project and create the pre-production and pipeline setup that will enable them to begin production in semester 6. The course is organized as a series of regular lectures, masterclasses and feedback sessions, with a final exam in the form of a take home assignment and an oral presentation of the project pre-production (project summary, graphic bible, animatic, breakdown and production plan)

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Assessment method: End of Semester Exam

Assessment tasks:

· Preproduction documentation and pipeline set up

· Oral Presentation

The student’s work is assessed on the preproduction documentation (project summary, graphic bible, animatic, breakdown and production plan) and its presentation and discussion at the exam.

Assessment criteria:

§ Engaging and fully researched idea for the final project

§ Exhaustive assessment and organization of student’s resources into a viable project schedule

§ Clarity of the presentation

§ Engaging academic thesis subject

§ Pipeline set up coherent to industry standards

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Attendance: Mandatory Minimum 70%

��

Recommended (not mandatory):��
Catmull, Ed. Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration. Random House. 2014.��
Levy, B. David. Your Career in Animation: how to Survive and Thrive. Allworth Press. 2006.��
Levy, B. David. Animation Development: from Pitch to Production; Allworth Press. 2009.��
Winder, Catherine; Dowlatabadi, Zahra. Producing Animation. CRC Press. 3rd Edition. 2020.

��

• Course title: Advanced Compositing
• Number of ECTS: 2
• Course code: DESSINANIM-100
• Module(s): FINAL PROJECT B
• Language: EN
• Mandatory: Yes

Compositing a proof of concept

Assessment method:��
Take-home assignment
Attendance:
Mandatory, minimum 50% attendance.

• Course title: Final Project Production
• Number of ECTS: 20
• Course code: DESSINANIM-77
• Module(s): FINAL PROJECT B
• Language: FR, EN
• Mandatory: Yes

Tools and techniques for the production and post-production of a 3D animation audiovisual project.

The content is personalized to the student’s subject.

��

1.Design and direct a short audiovisual project from production to post-production based on a concept, pre-production package and plan elaborated in the previous semester
2.Access and cite research sources��
3.Present and explain their work-in-progress to peers and supervisors
4.Understand and critically incorporate feedback into the project
5.Deliver a complete audiovisual project ready for screening

��

The objective of the course is to create a professional audiovisual project under the form of a technical demoreel or a shortfilm.
The course is project based. Instructors will mentor the students in weekly classes and online via the tool SyncSketch. A series of lectures will be provided to give insights on the technical workflows of each production task.
Emphasis is given to the creation of an audiovisual videoclip that showcases the student’s skills and applies advanced techniques in 3D Computer Animation.��
A focus on troubleshooting issues and selecting the appropriate production techniques should be applied in order to balance quality with productivity and enable students to deliver their finished project on time.

Exam:

Take Home Assignment + Oral Presentation + Continous Evaluation
Attendance: Mandatory 70%

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The students are required to sign an agreement that enables the 8xav�������� of Luxembourg and the Competence Centre to use their final projects for the promotion and marketing of the programme.

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Students must consult with the Study Programme Director to receive a specific briefing for your exam re-sit.

• Course title: Internship
• Number of ECTS: 0
• Course code: DESSINANIM-41
• Module(s): FINAL PROJECT B
• Language: FR, EN
• Mandatory: No

n/a – Depending on selected studio or institution

1. Explain the production objectives and constraints of a professional environment
2. Develop a first network of professional contacts

n/a – Depending on selected studio or institution

• Course title: Professional Skills
• Number of ECTS: 2
• Course code: DESSINANIM-79
• Module(s): FINAL PROJECT B
• Language: EN
• Mandatory: Yes

The objective of this course is to give students strategies to create a personalized career plan, to develop their professional network in the animation industry in Luxembourg and internationally and to redact the necessary documentation and self-promoting materials to communicate their skillset and roles to potential recruiters.

Career Planning and Networking Strategies
1.Research the main players of the Animation Industry
2.Analyze personal motivation and strengths
3.Research prospective studios for recruiting purposes
4.Create presentational material for recruiters��

��

��

Overview of the Animation Industry in Luxembourg and Internationally: funding agencies, associations, festivals and conferences, production companies and animation studios
Self-Promotion Tools: CV/Resume, motivation letters, showreels and breakdown lists
Networking techniques
Assignment: create an “application pack” to apply for a job opening in a given animation studio��

��

Assessment method:��
Exam
Assessment tasks:��
Take-home assignments
Attendance:
Mandatory, minimum 50% attendance.

��

Career Planning:
Levy, B. David. Your Career in Animation: how to Survive and Thrive. Allworth Press. 2006.

• Course title: Project Management
• Number of ECTS: 2
• Course code: DESSINANIM-80
• Module(s): FINAL PROJECT B
• Language: EN
• Mandatory: Yes

The objective of the course is to provide students with analysis and scheduling techniques to create and maintain a project plan for their final project.
The course is organized as a series of lectures, guided activities and student presentations.

��

Principles and Tools for Project Management
1.Explain the structure and design an audiovisual project plan
2.Track the progress of an audiovisual project with a spreadsheet tool or similar tool
3.Identify schedules issues and make adjustments to the plan to deliver the project on time
4.Document and estimate quotas for different production tasks
5.Present work-in-progress stages and acquire feedback
6.Take the necessary actions to deliver an audiovisual project on time and according to a given specification

How to analyse and schedule tasks
How to prioritise tasks
How to report on the progress of a project
Troubleshooting schedule issues
Milestones and Deliverables
Work-in-progress reporting and feedback acquisition

Assessment method:��

Continuous Assessment +exam
Attendance:
Mandatory, minimum 50% attendance.

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This course is connected to the “Demoreel” course
The following documents will be available on Moodle:
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���𳾴ǰ��������������������ڴǰ������ٳ�2023-24.��dz���

Consult with the instructor to receive a specific briefing for your exam re-sit.��

• Course title: Thesis
• Number of ECTS: 4
• Course code: DESSINANIM-78
• Module(s): FINAL PROJECT B
• Language: EN
• Mandatory: Yes

Academic essay based on student’s objective

��

1. Select a relevant academic subject related to the student and the animation field
2. Research and cite sources in an essay in relation to the selected�� subject��
3. Read and interpret criticism and apply it within the academic argument
4. Present a coherent story about the subject
5. Present work-in-progress stages and acquire feedback

Assessment method:��
Continuous end-of-course evaluation

Assessment tasks:��
Presentation (Thesis Outline presentation)
Take-home assignment (Final Thesis document)
Assessment criteria:
Independence, Initiative

Are own solutions or solution strategies found? Are own decisions made? Is information acquired independently? Are own suggestions made for the approach? Does the student identify with the tasks? Can an interest in the work be detected?

Systematic approach

Are methods applied systematically? Are priorities applied reasonably? Is there a focus on the essential? Are thoughts consistently followed and elaborated? Does a clear structure of the content of the report emerge? Is the task approached in a structured way (set goals, plan, do, check)?

Documentation

Is the outline logical and well-balanced? Is the development of thought clear and reasonably structured? Are the texts concise, precise, and comprehensible? Is there a short, to-the-point and comprehensible summary of the report that is limited to the essential? Is the comprehensibility supported by illustrative examples, figures, graphics and tables? Is the terminology technically correct? Is the written expression adequate/colloquial/artificial? Are sentence structure, orthography and punctuation correct? Are company specific terms and terms outside of the subject area explained?

Literature research

Are all relevant and current sources included in the literature used? How comprehensively was the literature researched? Are partial problems / aspects of the problem also probed by a deep literature search? Are all sources used in the text cited completely and correctly in the bibliography?

Use of literature

Were the citations quoted exhaustively discussed and critically thought through? How completely were the sources evaluated and processed? Were statements supported and further developed by literature cited?
Attendance: No classes

Students can contact the instructors to receive feedback and guidance via Moodle/Email.
Please refer to the “Thesis delivery instructions” document that will be posted on Moodle for further requirements and instructions.
Students can contact course instructor to request a supervisor for their thesis.