| Study programme competencies |
| Code | Study programme competences |
| A6 | CE6 - Conocer los fundamentos artísticos y técnicos que permitan conceptualizar gráficamente los elementos de una animación o videojuego, de cara a la creación de la documentación de arte de concepto. |
| A7 | CE7 - Capacidad para analizar e interpretar las formas, aspectos y movimientos a partir del mundo real o del arte conceptual para recrear digitalmente los elementos visuales de una animación o videojuego. |
| A8 | CE8 - Diseñar personajes animados con la personalidad y comportamiento definidos a partir de una historia. |
| B1 | CB1 - Que os estudantes demostrasen posuir e comprender coñecementos nunha área de estudo que parte da base da educación secundaria xeral, e se atope a un nivel que, se ben se apoia en libros de texto avanzados, inclúe tamén algúns aspectos que implican coñecmentos procedentes da vanguarda do seu campo de estudo |
| B2 | CB2 - Que los estudiantes sepan aplicar sus conocimientos a su trabajo o vocación de una forma profesional y posean las competencias que suelen demostrarse por medio de la elaboración y defensa de argumentos y la resolución de problemas dentro de su área de estudio |
| B3 | CB3 - Que los estudiantes tengan la capacidad de reunir e interpretar datos relevantes (normalmente dentro de su área de estudio) para emitir juicios que incluyan una reflexión sobre temas relevantes de índole social, científica o ética |
| B4 | CB4 - Que los estudiantes puedan transmitir información, ideas, problemas y soluciones a un público tanto especializado como no especializado |
| B5 | CB5 - Que los estudiantes hayan desarrollado aquellas habilidades de aprendizaje necesarias para emprender estudios posteriores con un alto grado de autonomía |
| B6 | CG1 - Capacidad de organización y planificación. Especialmente en el planteamiento de trabajos conducentes a la creación de los contenidos audiovisuales digitales que componen una producción de animación o un videojuego. |
| B7 | CG2 - Capacidad de resolver problemas de forma efectiva, principalmente de carácter tecnológico y en el campo de la creación de contenidos digitales interactivos y de animación. |
| B8 | CG3 - Conocimientos informáticos, en especial los relativos al uso de tecnologías y programas de última generación en el campo de estudio. |
| B9 | CG4 - Conocer los procedimientos, destrezas y metodologías necesarios para la adaptación del proceso creativo al medio digital y la producción de obras artísticas a través de tecnologías específicas. |
| B10 | CG5 - Valorar críticamente el conocimiento, la tecnología y la información disponible para su aplicación en la resolución de problemas. |
| B11 | CG6 - Capacidad crítica y autocrítica. Necesaria en todo proceso creativo en el que se busca un compromiso con la calidad del trabajo, los resultados y las soluciones propuestas. |
| B12 | CG7 - Trabajo en equipo. Capacidad de abordar proyectos en colaboración con otros estudiantes, asumiendo roles y cumpliendo compromisos de cara al grupo. |
| B13 | CG8 - Capacidad de aplicar los conocimientos en la práctica, integrando las diferentes partes del programa, relacionándolas y agrupándolas en el desarrollo de productos complejos. |
| C1 | CT1 - Adequate oral and written expression in the official languages. |
| C3 | CT3 - Using ICT in working contexts and lifelong learning. |
| C4 | CT4 - Acting as a respectful citizen according to democratic cultures and human rights and with a gender perspective. |
| C6 | CT6 - Acquiring skills for healthy lifestyles, and healthy habits and routines. |
| C7 | CT7 - Developing the ability to work in interdisciplinary or transdisciplinary teams in order to offer proposals that can contribute to a sustainable environmental, economic, political and social development. |
| C8 | CT8 - Valuing the importance of research, innovation and technological development for the socioeconomic and cultural progress of society. |
| C9 | CT9 - Ability to manage times and resources: developing plans, prioritizing activities, identifying critical points, establishing goals and accomplishing them. |
| Learning aims | |||
| Learning outcomes | Study programme competences | ||
| To represent and design an environment with all its elements, both in sketch, color, texture and shading so that it is feasible for its adaptation to 3D. | A6 A7 A8 |
B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 |
C1 C3 C4 C6 C7 C8 C9 |
| Contents |
| Topic | Sub-topic |
| LESSON 00: INTRODUCTION | Concept art: environments, characters and props. Concept art references. Thumbnailing. Art fundamentals: Perspective, composition, lighting, color and texture |
| LESSON 01: CONCEPT ART DEVELOPMENT TECHNIQUES | Thumbnailing. Depth planes. Focal points. Digital tools. |
| LESSON 02: PERSPECTIVE AND LANDSCAPE | Basic principles of perspective. The point of view. Linear perspective. Axonometric perspective. |
| LESSON 03: SHAPE ANALYSIS:COLOR | Color theory: color meanings and color combinations Color properties: luminosity, saturation and hue. Color analysis. Colorkey. Color scripts. |
| LESSON 04: SHAPE ANALYSIS: LIGHTING | Color brightness and volume in two-dimensional drawing. Light and shadow projection. Digital lighting treatment. Atmospheric perspective. |
| LESSON 05: TEXTURE | Organic drawing fundamentals. Digital editing techniques: phototexturing, photobashing, digital matte painting. |
| LESSON 06: IMAGE COMPOSITION AND LAYOUT | Image Composition Areas of interest (Focal points). Layout (Model sheets). Storyline. Typography. |
| LESSON 07: PARTICULARITIES IN THE DESIGN OF ENVIRONMENTS | Texture and color: atmosphere sensations. Urban fantasies and reinvented cities. Imaginary spaces. Monument and drawing. The life of the concept from the detail, the trace of time. |
| Planning | ||||
| Methodologies / tests | Competencies | Ordinary class hours | Student’s personal work hours | Total hours |
| Guest lecture / keynote speech | A6 A7 B2 B3 B5 B6 | 26 | 31.2 | 57.2 |
| Workshop | A8 B4 B7 B8 B9 B10 B11 B12 B13 C1 C3 C4 C7 | 25 | 25 | 50 |
| Case study | A6 A7 A8 B1 C6 C8 C9 | 0 | 28.8 | 28.8 |
| Student portfolio | A6 A7 A8 | 12 | 0 | 12 |
| Personalized attention | 2 | 0 | 2 | |
| (*)The information in the planning table is for guidance only and does not take into account the heterogeneity of the students. | ||||
| Methodologies |
| Methodologies | Description |
| Guest lecture / keynote speech | The teacher gives an educational talk to the students concerning the course contents, supported by audiovisual media. Also, issues are debated with the students in order to facilitate learning. In the 2020/21 academic year it will be done online on the Teams platform. |
| Workshop | The student actively participates in the learning process, applying all the knowledge in the elaboration of concept art. |
| Case study | A previous step to practical experimentation will consist in the analysis of references: from works to conecpt artists workflows. The idea of this methodology resides in the acquisition of theoretical knowledge from its detection in existing cases. |
| Student portfolio | On the exam date, a portfolio of the subject work will be delivered following the indications indicated. |
| Personalized attention |
|
|
| Assessment | |||
| Methodologies | Competencies | Description | Qualification |
| Workshop | A8 B4 B7 B8 B9 B10 B11 B12 B13 C1 C3 C4 C7 | The teacher will propose certain practical exercises, which the student will have to solve in the classroom and finish at home. The pursuit of the cognitive progression of the student is pursued over all the development of the vision space, with incidence in the scenographic atmosphere. The presented work is evaluated as well as the progression, evolution and the interaction with the group. |
60 |
| Case study | A6 A7 A8 B1 C6 C8 C9 | The study of cases will be evaluated following the criterion of adaptation of the same to the approaches of analysis, reflection and presentation. | 20 |
| Student portfolio | A6 A7 A8 | The evolution of the student, the level of the results, the composition of sheets and the adjustment to the delivery standards required in the call will be assessed. | 20 |
| Assessment comments | |||
|
Students who do not attend the sessions must also take a tutoring of the works in order to be able to deliver the portfolio on second call. The reason is to demonstrate the veracity of the author of the graphic-artistic works. |
|||
| Sources of information |
| Basic |
Marisa Lewis (editora) (2016). BEYOND ART FUNDAMENTALS: A guide to emotion, mood and storytellig for artists. 3dtotal Publishing - ISBN 9781909414365
Tony Davis (2001). ESCENÓGRAFOS. Artes escénicas. Oceano - ISBN 84 494 2075 X
James Gurney (2009). Imaginative realism : how to paint what doesn't exist. Kansas City: Andrews McMeel Publishing
Lino Cabezas y VVAA (2007). La representación de la representación. Cátedra - ISBN 978-84-376--2425-9
Tia Kratter (2017). The color of Pixar. San Francisco: Chronicle Books
3dtotalPublishing (2017). The ultimate concept art career guide.. 3dtotal Publishing - ISB 9781909414518 |
|
|
|
| Complementary |
Eliott Lilly (2017). The big bad world of concept art for video games : how to start your career as a concept artist. California: Design Studio Press |
|
|
| Recommendations | |
| Subjects that it is recommended to have taken before |
| Subjects that are recommended to be taken simultaneously |
| Subjects that continue the syllabus |
| Other comments | |