| 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 | ||
| The learner will be able to analyze and interpret forms, aspects and movements from the real world or conceptual art to digitally recreate the visual elements of an animation or video game. | A7 |
B1 B3 B8 B9 B10 |
C1 C8 |
| The learner will 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 |
B2 B4 B5 B6 B7 B11 B12 B13 |
C3 C4 C6 C7 C9 |
| The learner will design animated characters with defined personality and behavior based on a story. | A8 |
B2 B4 B5 B6 B7 B11 B12 B13 |
C3 C4 C6 C7 C9 |
| Contents |
| Topic | Sub-topic |
| INTRODUCTION | Concept art: environments, characters and props. Concept art references. Thumbnailing. Art fundamentals: Perspective, composition, lighting, color and texture |
| CONCEPT ART DEVELOPMENT TECHNIQUES | Thumbnailing. Depth planes. Focal points. Digital tools. |
| ART FUNDAMENTALS I: PERSPECTIVE AND LANDSCAPE | Basic principles of perspective. The point of view. Linear perspective. Axonometric perspective. |
| ART FUNDAMENTALS II: COLOR | Color theory: color meanings and color combinations Color properties: luminosity, saturation and hue. Color analysis. Colorkey. Color scripts. |
| ART FUNDAMENTALS III: LIGHTING | Color brightness and volume in two-dimensional drawing. Light and shadow projection. Digital lighting treatment. Atmospheric perspective. |
| ART FUNDAMENTALS IV: TEXTURE | Organic drawing fundamentals. Digital editing techniques: phototexturing, photobashing, digital matte painting. |
| CHARACTER DESIGN | Ideation. Character, attitude and personality. Technical definition. |
| IMAGE COMPOSITION AND LAYOUT | Image Composition Areas of interest (Focal points). Layout (Model sheets). Storyline. Typography. |
| PARTICULARITIES IN ENVIRONMENT DESIGN | Texture and color: atmosphere sensations. Urban fantasies and reinvented cities. Architecture. Landscape. 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 B1 B3 B4 B8 C1 C8 | 26 | 26 | 52 |
| Workshop | A8 B2 B5 B6 B7 B9 B10 B11 B12 B13 C3 C4 C6 C7 C9 | 25 | 59 | 84 |
| Student portfolio | A6 A8 B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 | 0 | 12 | 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 | Lecture consists of oral presentation with audiovisual media and the introduction of student doubts in order to solve knowledge problems and facilitate learning. Likewise, collective feedback sessions will be held with the intervention of students. |
| Workshop | The student actively participates in the learning process, applying all the knowledge in the elaboration of concept art. |
| Student portfolio | On the exam date, a portfolio of the subject work will be delivered following the indications indicated. |
| Personalized attention |
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| Assessment | |||
| Methodologies | Competencies | Description | Qualification |
| Workshop | A8 B2 B5 B6 B7 B9 B10 B11 B12 B13 C3 C4 C6 C7 C9 | The professor will propose theoretical exercises (case studies) and practical exercises (individual or collective), 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. |
80 |
| Student portfolio | A6 A8 B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 | 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 | |||
First Chance AssessmentEach student must actively attend 80% of the theoretical and practical sessions. All practices must be delivered in a timely manner to be eligible for evaluation at the first opportunity. The objective is to encourage continuous monitoring of the subject through weekly collective or individual feedback. Academic dispensation (class attendance exemption) Second chance assesmentStudents who do have not passed the subject in 1st chance assesment or those who have not followed the course( 80% attendance) must attend the second chance call. In any case, the student will deliver the practices of the course (80%) and will be evaluated through a face-to-face graphic-theoretical test (20%) in which they must obtain a grade of 5 out of 10 or higher. Academic fraud |
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| Sources of information |
| Basic |
Sean Lagh (ed.) (2020). Art fundamentals: light, shape, color, composition, perspective, depth & anatomy. 3D Total Publishing
Marisa Lewis (ed.) (2016). Beyond art fundamentals: A guide to emotion, mood and storytellig for artists. 3dtotal Publishing
Juan Díaz Canales y Juanjo Guarnido (2005). Blacksad: cómo se hizo. Barcelona: Norma Editorial
James Gurney (2010). Color and light: a guide for the realist painter. Kansas City: Andrews McMeel
Hans P. Bacher (2018). Dream worlds: production design for animation. Abingdon, Oxon: Routledge
Robh Ruppel (2021). Graphic L.A. Los Angeles: Designstudio Press
James Gurney (2009). Imaginative realism: how to paint what doesn't exist. Kansas City: Andrews McMeel Publishing
Ed. Ghertner (2015). Layout and composition for animation. Burlington: Focal Press/Elsevier
Ian Roberts (2007). Mastering Composition: Techniques and Principles to Dramatically Improve Your Painting. North Light Book
John Canemaker (1999). Paper dreams : the art & artists of Disney storyboards. New York: Disney Editions
Alex Galuzin (2016). Preproduction Blueprint: how to plan game environments and level designs. North Charleston: CreateSpace
Hans P Bacher (2015). Sketchbook: composition studies for film. Laurence King
Amid Amidi (2011). The Art of Pixar: The Complete Colorscripts and Select Art from 25 Years of Animation. San Francisco: Chronicle Books
Tia Kratter (2017). The color of Pixar. San Francisco: Chronicle Books
3dtotal Publishing (2017). The ultimate concept art career guide. Worcester, United Kingdom: 3dtotal Publishing
Hans P Bacher (2016). Vision: Color and Composition for Film. Talisman |
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| Complementary |
Akira Toriyama (2011). Dragon Ball: compendio / ilustración de Akira Toriyama. Barcelona: Planeta de Agostini
Amy Phoeler y Pete Docter (2015). Inside Out. The Art of Disney Pixar Inside Out. San Francisco: Chronicle Books
Ramin Zahed (2018). Spider-Man, into the Spider-Verse : the art of the movie. London: Marvel: Titan Books
Lisa Fitzpatrick (2009). The art of Avatar : James Cameron's epic adventure. New York: Abrams
Chris Allcock (2019). The art of Borderlands 3. San Rafael, California: Insight Editions
Michael Neilson (2020). The Art of Crash Bandicoot 4 : It's About Time. Santa Monica, California: Activision Publishing
StudioMDHR (2019). The art of Cuphead. Milwaukie: Dark Horse Books
Titan Books (2020). The art of Death Stranding. London: Titan Books
Ian Tucker (ed.) (2020). The art of Ghost of Tsushima. Milwaukie: Dark Horse Books
Eric S. Trautmann (2004). The art of Halo: creating a virtual world. New York: Del Rey
Paul Davies (2017). The Art of Horizon zero dawn. London: Titan Books
Tracey Miller-Zarneke (2010). The art of How to train your dragon. New York: Newmarket Press
Disney, Pixar (2021). The art of Luca. San Francisco: Chronicle Books
Bioware (2017). The Art of Mass Effect : Andromeda. Milwaukie: Dark Horse Books
Hayao Miyazaki (2006). The Art of Miyazaki's Spirited Away. San Francisco: VIZ Media LLC
Future Press (2020). The art of Ori and the Will of the wisps: a Future Press Art Book. Hamburg: Future Press
Barbara Robertson (2014). The Art of Penguins of Madagascar. London: Titan Books
Danny Graydon (2009). The art of Planet 51. San Rafael: Insight
Hayao Miyazaki (2014). The Art of Princess Mononoke. San Francisco: VIZ Media LLC
Jessica Julius (2018). The art of Ralph breaks the internet. San Francisco: Chronicle Books
Karen Paik (2007). The art of Ratatouille. San Francisco: Chronicle Books
Mark Cotta Vaz (2004). The art of The Incredibles. San Francisco: Chronicle Books
Naughty Dog Studios (2020). The art of The Last of Us: part II. Milwaukie: Dark Horse Books
Disney, Pixar (2022). The Art of Turning Red. San Francisco: Chronicle Books
Jennifer Lee (2012). The Art of Wreck-It Ralph. San Francisco: Chronicle Books
ArenaNet (2020). The complete art of Guild wars : ArenaNet 20th anniversary edition. Milwaukie: Dark Horse Books
Nick Stuttner y Wil Murray (2017). The last Guardian : an Extraordinary Story. Hamburg: FuturePress
Nintendo (2018). The Legend of Zelda: Breath of the Wild, Creating a Champion. Milwaukie: Dark Horse Books |
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| Recommendations | |
| Subjects that it is recommended to have taken before | |
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| Subjects that are recommended to be taken simultaneously |
| Subjects that continue the syllabus |
| Other comments | |