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The Art of Animation Master Class
October 4th - 8th 2010.
Overview
This program is perfect for the professional or the student that wants to learn animation at a faster pace.
During the one week period attendees will be required to animate one scene with in-betweens which demonstrates
their abilities as an actor. Our goal in the class is to create a working environment similar to an actual
production, with Mr. Bluth playing the part of your director.
October 4th - 8th 2010.
Monday - Friday from 8:00 AM - 3: 00 PM. Break for lunch 11:00 AM - 12:00 PM
Class Schedule
Acting
Portraying feelings on the faces and bodies of your hand drawn characters requires a careful
analysis of the principles of acting. It is not sufficient to merely draw stock faces using the
model sheet. Indicating believable emotions (feelings) of your characters, using facial expressions
and body language, requires careful thought. That is what we will study. You need to know how this is done.
Some say that animation is an illusion of life, well, so is acting.
Finding strong poses
The sensitive business of portraying feelings on the faces and bodies of your characters requires careful thought. Animation is more about acting than it is about movements defined in the graphic art itself. All art should draw inspiration from real life for the viewer and audience to appreciate its value. Acting is an illusion and so is animation. We can achieve the illusion of life successfully in our characters by studying the principles of acting .
Finding Strong Poses
Similar to the subtext message versus the dialogue in any given script, you will learn that the body language
of your character might be sending a different message than the dialogue that is coming out of his/her mouth.
If you “get,” that the dialogue, the pose and the silhouette can all work together to create a powerful scene,
you will be light years ahead of your peers.
Timing
“The rhythm of life is a wonderful beat; you can see it on the face, you can hear it in the street.” Dancers choreograph to a beat; musicians compose to a beat; poets write to a beat, and animators should move their characters to a beat. Animation, like music, should have rhythm. This wonderful principle is so easily accomplished if you know how to analyze your action and note it on the X-Sheet. This is an important principle you will learn in the class.
Entertainment
I am a great advocate of scene planning. Plan your scene before you animate it. Visualize your action before you draw it. If you would entertain an audience, you must give them something that they will comprehend. Both comedy and tragedy come from the human experience. Your mantra should be: take your inspiration from real life, but find a way to caricature it or “spin” it in a fresh new way. Following this advice, you will be able to touch the imagination of the audience and carry them to a greater awareness of their own lives, and that is entertainment.
Curriculum for the Master Class
Day 1
Lecture and Discussion:
1) The principles of acting – Stanislovsky to the Actor’s Studio.
Class Activity:
2) Class discussion on contemporary actors and their craft.
3) Class selection of the scene they choose to animate for the week.
4) Introduction of the metronome and the X-Sheet.
Daily Reading Assignment:
5) Literature to be handed out at the beginning of the week.
Day 2
Lecture and Discussion:
1) Knowledge and appreciation of acting and comedy.
An animator should know what creates laughter.
Class Activity:
2) Act your scene out in front of the class. If that thought is too scary, act it for your director in private.
3) Class will thumbnail their scenes then show their plan to the Director to get an okay to animate.
4) Begin animating your scene.
Daily Reading Assignment:
5) Literature to be handed out at the beginning of the week.
Day 3
Lecture and Discussion:
1) An animator should have the ability to think up gags and pull them off. We will discuss the value of pantomime in a study of Charlie Chaplin, Harold Lloyd, and Buster Keaton. .
Activity:
Class Activity:
2) Show your animation poses to the director to determine if your character design can be improved.
3) Shoot your first ruff posed pencil test.
4) Show your ruff posed pencil test to the Director for okay to animate.
Daily Reading Assignment:
5) Literature to be handed out at the beginning of the week.
Day 4
Lecture and Discussion:
1) Further discussion on the value of gags with an analysis of the work of Lucille Ball..
Class Activity:
2) Show you ruff pencil test to the director and get a critique.
3) Shoot your final ruff pencil test.
4) Use class time to complete you scene. Discussion with the director will be available.
Daily Reading Assignment:
5) Literature to be handed out at the beginning of the week.
Day 5
Lecture and Discussion:
1) Show pencil test to the director to get final approval
Class Activity:
2) Finish animating then shoot your final finished scene.
3) Viewing of student scenes for critique by their peers.
Daily Reading Assignment:
4) Literature to be handed out at the beginning of the week. All reading materials are yours to take back home.
Location
Xona Resort Suites
7677 East Princess Boulevard
Scottsdale, Arizona 85255
View Larger Map
Tuition Fees
This course was designed for serious professionals and students that are interested in learning animation techniques.
Enrollment for this one-week course is $1000. The tuition fee does not cover food or accommodations.
No refunds on partial participation!
Payment Methods
We accept Checks, Money Orders, Credit Cards and Paypal.
Please mail checks and Money Orders to:
Don Bluth Animation
8776 East Shea Blvd
Suite B3A - 125
Scottsdale, Arizona 85260-6629
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At Don Bluth Animation we offer you two ways to purchase your seat for the Animation Masterclass. Both methods are safe and secure so you can be assured your private information will not be shared with a third party when you shop with us.
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Purchase Ticket for
Animation Class
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Refund Policy
Our Promise
Your purchase of a Don Bluth Master Class comes with an unconditional money-back guarantee of satisfaction up to 24 hours before start date.
Credit Card Purchases
If the Master Class (s) were originally purchased with a credit card, a refund will be issued to the same credit card within 30 days of the date of cancellation.
Check Purchases
If the Master Class (s) were originally purchased with a bank draft or check, there will be a minimum of a 30-day waiting period before a refund check will be issued unless customer provides a copy of the bank draft or check from his or her financial institution.
Important Note
If a participant decides to leave before the end of the Master Class course week, he/she will not receive a refund for any days missed.
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