The setting of a house or the setting up of a trade in which all the elements agree for a single purpose; It is all part of what you learn during the interior design degree program where you are also instructed in what it has to do with measures, with functional combinations and with how to achieve effects by simply incorporating some details or modifying some variables present in the environment.

What is Interior Design as a career?

Interior design as a career form in the generation of an integral vision of the environment in terms of aesthetics so that, as a result of some decisions, it looks not only beautiful but also functional for the formerly agreed purposes. The courses in interior design teach how to combine shapes, textures, lighting, and colors while assimilating everything that corresponds to furniture and how it can be exploited to its fullest potential.

Since interior designers often collaborate in the development of plans, the interior design program also offers basic training in this discipline.

 “The Interior Design Career provides a comprehensive and global vision of all the issues that concern the creation of an environment from its functionality for life.”

The interior design course will also instruct in everything that has to do with human interpretation and its needs according to the circumstances in which it is immersed since the reading you make of your situation you will create according to the setting that you can produce at home or work.

Issues related to language, communication, and art, concern the curriculum of the interior design degree courses that depending on the field where you study can reach 3 or 4 years.

Once you have graduated with a degree in Interior & Spatial Design you will have acquired the ability to:

• Analyze and intervene in the training and design that the environments and spaces present.
• Distinguish the different building materials and their particular qualities.
• Recognize the different lighting methods and acoustic properties that can be developed in the environments.
• Interpret and reproduce graphics and representation languages ​​typical of interior design.
• Understand how intelligent systems are developed in buildings.
• Know the steps to follow in the implementation of new projects.
• Distinguish the stages and processes that take place in the administration of funds for a project.
• Project a design using computer techniques and the latest software.

What are the functions of an Interior Designer?

An interior designer can shape an environment so that it not only looks aesthetically pleasing but also responds to the requirement of the client. Good taste is usually decisive in professionals graduated from the interior design but it is not only of that quality from which it is based but of the combination of many other skills that are learned during the race and that have to do with the recognition and combination of materials, with the different colors and how objects or furniture should be placed within an environment so that they are functional.

The Interior Designer’s task is based on an integral vision of an entire environment that does not only have to do with decoration as can usually be thought, but that decoration would be part of one of the dependencies of which the designer can have dominion and You have to take charge.

The search for comfort is an aspect that the Interior Designer has to take into account in the decisions he/she makes but this goal is not reached at any price since he always works based on a budget and with certain variables that can not leave to be measured in most cases.

As a Professional in Interior Design, you may be in charge of setting up an office or dependency from your conception so that you also have to work side by side with the team of architects providing knowledge about the best distribution of internal spaces in the time to execute the plan.

From the same side, many times the Interior Designer gives the final look to the constructions already made or about to be specified so that some issues of terminations that make the aesthetics purely said are modified.

Interior Design Student Profile

You have always been attracted to the details of an environment and have even traveled many places looking for that picture that was just the one that would give the energy you wanted to transmit. With a certain obsession with the right combination, you can define the profile of the Interior Design Student but you can also find that:

• You like decoration
• You have a fondness for design.
• You enjoy beautiful environments.
• You look for details.
• You like the challenges.
• You don’t get along with monotonous life.
• You take advantage of every square inch with ideas of value.
• You decorate everything that gets in your way.
• You don’t take anything for granted if it doesn’t have your final touch.
• You enjoy drawing.
• You are creative

 “I want to study the Interior Design Career because I not only like decoration but I also like to organize the environment so that it is comfortable.”

• Analyze, synthesize and interpret the information.
• You act with leadership.
• Accounts with bargaining power.
• You know how to work in a team.
• Your link with technology.
• You have an entrepreneurial spirit.
• You promote actions with initiative.
• You carry an objective judgment.
• You are looking for equity and sustainable development.
• You have a restless soul and in search of change.

Advantages of Studying the B.Sc/BVA Degree in Interior Design 

You will have an imprint and a style with which they will recognize you and by which they will summon you for certain projects. You will become an expert when it comes to space optimization.

It is one of the careers that has been gaining the greatest flight in recent years due to the arrival of many new materials and the aesthetic search that precedes other issues, resulting in the enjoyment and satisfaction of the general population. You do not have to immerse yourself in an office schedule if you do not want it and you will always be in touch with diverse environments that will help you expand your look and your mind.

Disadvantages of Studying the Interior Design 

Many times you do not have intermediate points and you must add several stages of creation until you see the final result that may not be pleasant for your client.

You will have to be constantly updated with the fashion of international atmospheres because the demand for innovation is usually firm. In certain cases the clients will ask you impossible that you will have to try to log in to leave them satisfied and then your inventiveness will gain a fundamental role.

In which sectors and companies do an Interior Designer work?

The most classic job opportunity for the Interior Designer is to work independently as a freelancer, offering services to various clients who will be accustomed to work-spaces, domestic or both.

However, although autonomous work is the most common in this type of profession, it is not ruled out that many interior designers can work in a dependency relationship in Architecture or Design studies sharing the tasks with other construction professionals.

With less presence, spaces such as museums or artistic fields may require the vision of an interior decorator for the creation of scenery or settings to certain paintings.

What is a day in the life of an Interior Designer like?

The most radical difference will be found in the case that you work in a dependency relationship or autonomously. However, in any case, your day may not start too early because as long as what you have to set is linked to people, you cannot demand an early morning visit. Your day will be very different if the setting you have to do in a fair stand since in this case you are probably against the usual schedule when people arrive at the stand since you will have to see very early or the night before already.

In any case, your task always begins with the presentation of the space from which you have to put together a design. You will take note of the needs and functionality that will be given to the site. You can at that time already have some idea of ​​the materials to use and see if they are approved or not, or else, this task will have to be done later.

In the design decisions, you will have to get in touch with the suppliers of the objects you are going to use and with whom they will do the staging when the time comes.

It may not be just a matter of one day but if with the late afternoon you failed to gather all the elements you need for decoration, the next morning will have this task as privileged.

With the creation of the space you planned, your task ends and surely with this action, another project is already underway.

Demand and market of the Interior Design

The scope of work as an Interior Designer covers private homes, companies, public institutions and even transitory spaces such as the setting of stands at fairs.

With all the information that arrives through the magazines or the Internet, Interior Design is increasingly demanded to create unique sensations in domestic environments or in workspaces where the propagation of energy seems to be a search that with the Decoration can be achieved.

The aesthetic has been gaining ground and that presence also favors the search for designers that make the environments look as beautiful, modern and functional as it could have been sought, a while ago in a simple wardrobe.

Interior Design is a very creative profession which has vast possibilities for the future. If this is what excites you then grab a degree. Learn and explore the on-demand career.

Visit our website: www.animaster.com

Trends and strategies:

The rapid advancement of technology has made animation available to the masses and has made the animation industry emerge as one of the fastest-growing industries. The demand for animated shows is ever-expanding with the increase of cable and satellite TV coupled with the ever-growing popularity of the Internet. In the past, animated shows were aimed at children below the age of nine. However, in recent years, shows such as The Simpsons, Family Guy and South Park that are aimed at teenagers and adults have also found great success.

The major animation market includes the USA, Britain, Canada, Japan, France, Germany, and China among others. The current animation industry is influenced by large multinational studios apart from TV broadcast companies and cable channel companies. These companies are usually involved with the animation studios from pre-production to the post-production process. The fund, license, and syndicate the shows to other television networks.

Creativity and expansion of the target market are the major reasons for the massive registration of patents for animation. The U.S. leads the market for animation patents mainly due to wide scope and demand for locally generated animation contents as well as the presence of top industry players such as Disney and DreamWorks. There is a huge demand for 3D animation across the globe, and most of the animation industry players such as Disney Enterprises (Inc.), Adobe Systems (Inc.), and Sony Corporation are trying to grab a share of the 3D market.

Innovative gaming techniques such as multiplayer online games and online role-playing games have given a new outlook to the gaming market. The U.S. registers the maximum number of patents due to government support and the presence of industry giants such as Microsoft Corporation, Electronic Arts (Inc.) and Disney among others.

A major driving force behind the animation market is government initiatives; whereas the gaming market is pulled up by greater penetration and accessibility to high-speed broadband internet. The lack of skills and piracy remain the restraining factors. Key issues in the industry today are consumers’ shift from buying to renting and dropping prices due to the rise of freemium models.

The overall animation and gaming market is segmented based on animation and gaming sub-segments. Animation includes e-Education, web designing, and animation entertainment. Furthermore, animation entertainment includes segments such as movies, Visual Effects (VFX), TV & Broadcast, and Direct to DVD. Movies are further divided into 2D animation and 3D animation. Gaming includes PC games, mobile games, console games, and online games.

The multinational studios influence various forms of partnership, co-production, and joint ventures. Many countries subsidize their national film industries, including the animation industry and thereby strategies such as co-production, have been adopted to explore the global market in animation.

A trend that is occurring is the outsourcing of Animation content to Asia. Co-production has emerged as a popular strategy for studios in many countries. The biggest beneficiaries have been in China and India. The animation studios in China and India have become a popular destination for co-production partners of studios of Europe, Japan, and North America. The biggest advantage of co-production is that it provides flexibility while working with small studios and can bring in fresh ideas and talent from other countries.

This market is increasingly being tapped by North American film and television program producers. The major factors behind this shift of animation production to the Asia-Pacific region are low cost, lower labor rates, more powerful computer animation platforms, etc when compared to North America and Europe. The bulk of outsourcing happens for 2D animation content with some amount of 3D content.

 Licensing has also been extremely successful with the production of T-Shirts, Caps, Toys, etc. This merchandising has become a huge source of revenue for Animation companies. In Japan, several successful visual novels (manga) and video games have seen to the production of animated series like Pokémon, Monster Farm, and Detective Conan to name a few. Video games and movies are also relying on animation more so than ever. They are engaged in activities from pre-production to distribution as well as new sources of revenue such as DVD sales and intellectual property franchising

 Animation Industry Growth

Animation and Gaming have a direct connection to each other. The global animation and gaming market is divided into four geographies: North America, Europe, Asia-Pacific and Japan, and ROW (Rest of the world). North America forms the largest segment with 42% of the overall share, followed by Europe and Asia-Pacific-Japan is the fastest-growing region with an expected growth of 19.08% from 2011 to 2016. The global animation and gaming market is expected to grow from $122.20 billion in 2010 to $242.93 billion by 2016. 

Careers and opportunities:

2D animation jobs 

Pre-production: 

1. Production manager

2. Production coordinator 

3. Concept artist

4. Concept designer 

5. Script-writing

6. Voice recording

7. Character designing

8. Prop designing 

9. Storyboard artist

Production: 

1. Animation director

2. Animation supervisor 

3. Animation team lead 

4. Keyframe animator 

5. In-between artist

6. Quality checker 

7. Layout designer/ artist

8. Background painting artist

Post-production:

1. Compositing artist

2. Editor 

The animation industry is vast. There are countless opportunities for passionate and skilled artists and animators alike. Interestingly, even with the ever-advancing technology, 2D animation ad drawing hasn’t lost its sheen. Even today skilled artists with a good knowledge of 2D are sought by studios all over the world.

1.    Concept Artists: These are artists who convey an idea through visual means like sketches, paintings. They are mainly employed by the entertainment industry like film, comics, games and animation studios. Their application also extends to product design and architectural design. Concept artists are known for their style, creativity, and ideas.

2.    Storyboard Artists: A storyboard is a visual representation of the story. Very much akin to a comic strip, storyboard communicates the flow of the story and the actions in a particular scene. Storyboard artists have to tell a story through drawings. Storyboard artists must know camera angles and have a talent for storytelling.

3.    Layout Artists: Layout artists are those who create layouts for animated movies. Layouts are the locations where the scene in the movie takes place. These artists create locations based on the movie. Layout artists are known to have good drawing skills and perspective knowledge. (E.g. two-point and three-point perspectives)

4.    Key animators:  These animators manage pre-production by determining how the animation will be executed. Key animators also supervise the work of a team of animators and guide junior crew members.

 All animators must have a good sense of timing and strong animation principles.

5.    Inbetweeners: These animators perform an important function. After the keyframes/scenes are drawn by the animator, inbetweeners take the images and draw the character’s movements between each keyframe/scene. They also may take direction from assistant animators, animators, and animation directors at animation production studios.

6.    Clean-up-artists: Part of the workflow in producing traditional animation or hand-drawn animation involves the cleanup versions of rough animation that are created. In larger studios, this task is given to the animator’s assistant or a clean-up-artist. The clean-up-artist is responsible for the final line and finished look of the shot.

7.    Color-key-artists: A Color key artist creates color schemes that are appropriate for different lighting situations. For example: “at night’ or “underwater.” They work primarily for animation companies, production studios, and gaming companies.

3D Careers:

3d animation jobs 

Pre-production 

                             I. Production manager

                           II. Production coordinator 

                          III. Concept artist

                          IV. Concept designer 

                           V. Scriptwriting

                          VI. Voice recording

                        VII. Character modeling artist

                       VIII. Environment modeling artist

                          IX. Texturing artist

                           X. Rigging artist

                          XI. Storyboard artist

Production 

                             I. Animation director

                           II. Animation supervisor 

                          III. Animation team lead 

                          IV. Senior animator 

                           V. Junior animator 

                          VI. Lighting artist

                        VII. Rendering artist 

                       VIII. Matte painting artist

Post-production

                             I. Compositing artist

                           II. Editor 

3D Modelers: This refers to a person having a strong knowledge of form, volume, and anatomy. They make models of objects, environments, and characters for animation.

 3D Texture Artists: They create a surface texture for 3D modeled characters, objects or environment.

Rigging artists:  Rigging artists create virtual skeletons for characters, objects or the environment by making them animation ready.

3D Animators: Animators who manipulate rigged characters, objects and environments into keyframes based on the scene, mood and script. Though computers automatically create the animation sequence in between keyframes, 3D animators have to ensure that the smoothness of the resulting animation sequence happens. It depends on their keen understanding of expression, movement, and timing.

 Lighting artist – They create variations of shade, color intensity, and shadows.

Rendering artist – A rendering artist may combine models, textures, animation, lighting and produce the correct blend in the form of individual frames of animation.

Special effect artist – They ensure live-action footage with computer-generated imagery.

Compositor – Their Job is to bring all the different characters and backgrounds into a single animation frame.

Indian animation industry:

The history of Indian animation 

may not relate to the distant past, but isn’t as lengthy as other countries, but it isn’t short either.. Agkadyanchi Mouj(1917)or “Fun with Matchsticks” was India’s first animated film made by Dhundiraj Govind Phalke or Dadasaheb Phalke as he is prominently known. The cartoon film unit was started by the film division which was set up in the 1940s. The unit played a significant role in developing Indian animation.

G.K. Gokhale along with Clair Weeks produced the first animated film “The Banyan Deer” (1957), from the Cartoon Films Unit of the Film Division of India. Ram Mohan, one of the important animators in India, worked for them. Later, he would go on to set up his studio in 1972. In 1955, the children’s film society of India had been established by the Indian government. The organization would go on to produce many animated films.

The general theme of Indian animation is religion or biographies of eminent kings or personalities. It can be said that the main role of Indian animation was to propagate Indian culture. The animation was mainly broadcasted on TV through local TV stations or channels. 

One of the notable animated films, Ramayana: The Legend of Prince Rama (1992)was directed by a Japanese director Yugo Sako along with Ram Mohan. Another popular 2D animated film was Hanuman (2005that was created by Silvertoons.

 It was during 2004–2005 that the Indian animation industry came into the spotlight as an outsourcing friendly environment from an economic standpoint was ensured. Popular studios like Walt Disney, IMAX, Warner Bros. and Sony signed multi-million dollar contracts with Indian animation studios. Thus, cities like Mumbai, Bangalore, Hyderabad, and Chennai have become the major animation hubs.

Ek Anek Aur Ekta (1974), was a landmark animated short film from the Films Division of India. Its objective was to teach children the value of unity. It used to be frequently broadcasted on India’s state-run television channel Doordarshan. The first Indian animated television series was Gayab Aaya which was aired in 1986 and was directed by Suddhasattwa Basu. 

 The first Indian 3D and VFX were done for a television series titled Captain Vyom. The first Indian 3D animated film was Roadside Romeo which was a joint venture between Yash Raj Films and the Indian division of the Walt Disney Company. It was written and directed by Jugal Hansraj

 A list of Indian animated films and shorts:

India has enjoyed a host of animated films and shorts since the release of its first animated film, The Banyan Deer. As the Indian animation industry grew over the years, so did the frequency of theatrical releases and achievements of our animation.

The Banyan Deer (1957)

 EkAnekAurEkta (1974)

 Ramayana: The Legend of Prince Rama (1992)

 Pandavas: The Five Warriors (2000)

 Hanuman (2005)

 Krishna (2006)

 Bal Ganesh (2007)

 Roadside Romeo (2008)

 Dashavatar(2008)

 Ghatothkach (2008)

 Bal Ganesh 2 (2009)

 LavaKusa: The Warrior Twins (2010)

 Toonpur Ka Super Hero(2010)

 Ramayana: The Epic (2010)

 KoochieKoochieHotaHai (2011)

 Arjun: The Warrior Prince (2012)

 Delhi Safari (2012)

 Chhota Bheem and the Curse of Damyaan(2012)

 As shown above, we have slowly, but surely increased the number of theatrical releases over the years. This list will continue to grow as our interest and passion for animation are further explored in the coming years. 

 Current Trends of Indian Animation Industry:

India is a popular hotspot for outsourcing companies based in the USA, France, etc. According to NASSCOM, the size of the Indian animation industry in 2008 was $ 107 million, out of which about 27% is for domestic consumption. The rest (73%) is offshore demand. Indian animation studios prefer outsourcing work as it is a bigger business than the domestic market. In other words, the domestic animation market in India is still in its infancy and the popularity of Indian animation in India is yet to catch up. This is because India is currently producing animated shows and films mostly for children under the kindergarten and pre adolescents age range. This practice has led to the creation of subpar TV animated shows and films aired on kids’ channels like Pogo (India), and Disney (India). Research has also shown that the most popular animated TV shows and films are licensed productions from foreign countries, mainly the USA and Japan.

 Future of the Indian Animation Industry:

Predicted growth (International market)

 The animation industry has seen a growth spree since 2004 and is steadily continuing to grow. It has become one of the fastest-growing industries. It has been projected to grow by $2.9 billion by 2015 from the present $1.8 billion. The growth estimates are projected by NASSCOM, who maintain that the industry requires the availability of skilled workforces and resources in vast numbers.

 At present, India has a shortage of skilled animators and companies lack the necessary infrastructure required to get started. The industry is still heavily reliant on outsourcing segments of the international market. But despite this, the domestic market is expected to grow in the future. The gaming sector is poised to witness a massive 72% growth to reach $424 million.

Lack of a developed domestic market, India’s general view on animation, lack of enthusiasm and professionalism, along with minimal investment in technology are some of the problems currently faced by the Indian animation industry. The current problems must be overcome on a priority basis to put the industry on its growth trajectory. 

 Animation studio and companies in India:

 Animation studios in India including television channels and production studios.

DQ Entertainment

Technicolor India

Prana Studios

DreamWorks Dedicated Unit

Reliance Media Works

Toonz Animation India

Tata Elxsi

Crest Animation Studios

Videogame production studios and companies in India:

Electronic Arts India

Game Shastra

Ubisoft

Gameloft

Zynga

Dhruva Interactive 

Lakshya Digital 

 List of animated TV series produced in India:

Akbar and Birbal: It was aired on Hungama TV. It showed the wisdom of Mughal Emperor Akbar’s minister, Birbal.

The Adventures of Tenali Raman: The Adventures of Tenali Raman (26 X 11 min) is India’s first animated 2D television series by Toonz Animation India. This series has another version which was broadcast in 2009 – 2010.

Little Krishna: 13 episodes 3D animated series produced for a global audience by BIG Animation Pvt. Ltd. and The Indian Heritage Foundation in both Hindi and English. Aired on Nickelodeon in May 2009.

ChhotaBheem: Superhit series on Pogo ‘ChhotaBheem’ produced by Green Gold (co-production with Turner International). It started as a 13-episode TV series, and based on the popularity it got extended and more than 312 episodes were delivered and work is underway on more episodes.

Krishna Balram: 26 episodes of 22 minutes duration each, follow through the capers of Krishna, Balram, and Radha. Done once again by Green Gold Animation. This series aired on Cartoon Network.

Shaktimaan Animated: It is the animated sequel to the hugely successful Shaktimaan live-action series from the 1990s. The animated series is aired on SONIC.

Keymon Ache: by DQ Entertainment, India. Keymon Ache is a crazy mix of fun, frolic, and naughtiness. The title character of the show is a magical creature who comes into the home Rohan Tendulkar bringing with him loads of magic, love, and laughter.

Asian Animation Industry: 

For nearly forty years, Western studios had established and maintained production facilities in Asia. The first was in Japan followed by South Korea, Taiwan, the Philippines, Malaysia, Singapore, Vietnam, Thailand, India, Indonesia, and China. Asia was an ideal choice for the animation industry, as 

about 90% of all American television animation is produced in Asia.

This procedure is commonly used for pre-production, which involves preparing the script, storyboard, and exposure, which is done in the United States or other countries. This is later sent to Asia for production which involves drawing cels, coloring by hand, inking, painting and camera work.

Once production is done, it is sent back to the U.S. or other headquarters for post-production work such as film editing, color timing, and sound. Asian animation industries are in support of outsourced work as it provides employment and skills for young people, brings in foreign capital and adds on to the creation or enhancement of the local animation industry. Offshore animation has led to the creation and nurturing of many local industries.

 

When choosing a university career, in addition to analyzing your interests, talents, and goals, you must also consider what the demands for the career are. Therefore, today we will talk about the BVA Degree in Animation & Multimedia Design, an academic option that responds to current needs. That said, if you are looking for advice to boost your professional and personal growth, studying this prestigious degree in animation can be an excellent option for you.

So, your next step must be to know what characteristics are needed to succeed in the study of the Animation Design career, so, be sure to read this blog!

Just as all professional careers require that their students and professionals have a certain profile, the Degree in Animation & Multimedia Design demands people with some skills, abilities, and qualities that are very helpful during their study and then professional practice.

Personal & Professional Requirements

1. Creativity

When talking about design, both digital and traditional, this is one of the key aspects. Students and professionals who choose a career in animation should be characterized by having the facility to create and invent new things. So if your imagination flies, especially when planning or making drawings and other compositions, this degree is ideal for you. Besides, it is important that, even if you are organized, you can improvise.

A good animation designer must be able to find the inspiration to get out of the schemes on some occasions and create unique and memorable compositions that allow him/her to excel in the exercise of career.

2. Tilt by technology

If you live with technology daily and use it as a tool to facilitate your tasks, perfect! That means that you have another of the ideal characteristics that the students of the degree in animation design have. Being an inclination for technology is very important for a student who wants to excel in digital animation.

Flexible attitude towards the new trends and technological tools that arise is another element to shine in this profession. The student will have to be in constant learning as a career in animation is dynamic and diverse.

3. Ability to work in a team

This is another key aspect of the entry profile of this interesting degree. The ability to work in teams is essential in the field of communication, especially in areas related to design. In the processes of producing visual and audiovisual messages, the contribution of different professionals and specialists is required, who must work under unified parameters and complement each other. The same happens with the practical exercises of the career that will require you to compliment yourself with your classmates to build an excellent final result.

On the other hand, you must have the ability to understand and execute instructions. In the case of the university, you must understand the guidelines that professors provide about a design project and comply with them, at the same time that you add your stamp to each composition.

As for the labor field, you will have to stick to the needs and demands of your clients, although that does not mean that your opinions cease to be valuable during the process of planning a message.

4. Orientation to excellence

When it comes to creating audiovisual compositions, there are always new techniques, trends or methodologies to implement that can help you improve your projects. For that reason, a student of Animation & Multimedia Design must be willing to improve himself every day and do his best in each of his work.

In addition, to develop your orientation to excellence you have to propose to learn every day. For example, you can take some hours eventually to study, from a technical point of view, the highest-grossing digital animation films in history. That will help you identify the best practices and methodologies when making animation projects.

 

5. Ability to work under pressure

Even if you find a job in a nice place with an excellent organizational climate, it is likely that, on occasion, you will have a lot of pressure when doing certain professional projects. The same happens in quality universities that focus on making the most from each of their students. In the practical exercises and projects of the career, you will have a high level of demand, which will require your mastery of the programs and design techniques and, at the same time, speed. For that reason, a student who aspires to become a graduate in Animation & Multimedia Design must have the ability to work under pressure and give his or her full potential.

All right! You already know 5 of the main features of the entry profile of this excellent degree.

Now that you know what skills you need to be successful in this university career, the time has come for you to learn about their educational program.

Keep reading!

 

The academic plan of the BVA Degree in Animation & Multimedia Design is characterized by having various subjects related to technology, which is of great value in the current market. And it is that the knowledge that you will acquire is adapted to the needs of modern society.

Do you want to know about some of the subjects that you will study in this academic option?

Course Curriculum

1. Animation

This is one of the key chairs of the academic program of the BVA Degree in Animation & Multimedia Design. Thanks to this subject you will understand the processes that are carried out to give a sense of movement to images and drawings. Also, this subject will show you animation techniques with paper, clay, plasticine and other materials, while teaching you how to form interactive elements through digital tools.

2. VFX

Being a training alternative of the digital era, this university career places great importance on VFX training program. For that reason, in this class, you will be instructed on what are the best practices and techniques to plan and develop the best. That will allow you to create special effects for games, films, TV programs, advertisements, digital media, etc. In addition to this, the degree in animation & multimedia will teach you the art mixing real film shooting with false or animated images.

3. Infographic workshop

Infographics are one of the pillars of digital and traditional design. For that reason, it is important that you master this informative visual representation technique. Luckily, this degree will help you achieve it, specifically through the infographic workshop. It is a matter of practical approach that will teach you to manage graphics, symbols and linguistic signs to explain topics easily and quickly.

Keep in mind that, although previously the infographics were mainly applied in print media, nowadays they are also common in electronic platforms such as online brochures, web pages, and social networks.

4. Video Production and Editing

One of the potentialities of the animation design career is that it trains experts in the audiovisual area and this is due to subjects such as Production and Video Editing. This chair will give you solid learning about the tools and practices that allow you to improve and even improve audiovisual materials and content.

5. Management Skills

Regardless of the academic option a person chooses, your university must provide you with leadership tools. For this reason, in your curriculum, you will study subjects related to the management and management of work teams, as is the case of management skills. This will teach you methodologies, techniques, and principles of business leadership. You can also find in your academic program other subjects oriented to the management and management activity of organizations and departments, such as Development and Project Management.

As you can see, the degree in BVA Degree in Animation & Multimedia Design will provide you with comprehensive training, adapted to the latest technological and visual communication trends. You must know that, in addition to including these subjects, a good educational program is endorsed by the competent authorities. It is also important that you look for a university that has extensive experience training professionals in the degree you choose and that suits your needs and expectations.

If you fit on the subjects mentioned above with the characteristics mentioned, you will have everything you need to aspire to excellent job opportunities when you graduate from the BVA Degree in Animation & Multimedia Design career.

If you are looking for a BVA Degree in Bangalore, Animaster College of Animation & Design is an option for you. The College will endorse you with a prestigious BVA Degree in Animation & Multimedia Design as it is affiliated to Bangalore Central University.

We will talk about a key piece in any production, Compositing, and VFX for special effects.

It surrounds us, it is in front of us, we look directly at it and we are not yet able to say if its real or not. VFX is a procedure of creating imaginary Effects using live action footage which are captured using Cameras. It can be a mixture of real and animated images, for example shots form TRANSFORMERS, AVENGERS etc. Compositing is the final step of the VFX pipeline. A professional compositor layers together various elements in his way to make it appear natural in the same space. Compositing and VFX for special effects account for 99% of all productions in film, television or advertising Industry.

Let’s explore the power of visual effects that change reality, deceive and create scenarios and worlds that seem perfectly real and feasible.

VFX 

Normally it is being managed by a small group of TDs (Technical Directors) very specialized in this discipline. The VFX is quite expensive, not only in managing the resources of a company but also on a personal level. You just have to see the budgets, for example, ‘The Avengers‘ has had a budget of 220 million dollars and “Avatar” even older, 237 million. 

VFX operators are highly qualified and scarce people in the Audio-Visual Industry, this is because the software used form Autodesk, Foundry or from Adobe is very complex and also usually requires knowledge of trigonometry and basic vector algebra.

These people can spend several weeks dedicated to a single VFX plane. In fact, it is common for several operators to work simultaneously on the same effect. A VFX operator requires a lot of talent, intelligence and practice. Even the simplest VFX on the screen may have taken a lot of development time in production. 

One of the characteristics of VFX professionals is that they have technical profiles that normally require an artistic direction behind. It is very easy to get lost in creating a functional effect or solving a complicated plane so that the complete operator who possesses the technical and artistic capacity will be invaluable.

Due to the difficulty associated with this profile, many operators are very capable when executing an effect but they lack that artistic vision to be able to create a magnificent final result. It is a highly valued position in the industry today and it is strange to find FX TDs that are not active.

Compositing, what is it about?

Compositing serves to make up reality in an audiovisual production chain. All the effort, the material generated and the final result fall into the hands of the Compo department, were using software such as The Foundry Nuke, is given the final finish and all the pieces of the puzzle are put together.

All raw materials such as recorded or photographed elements from different places (shooting sets, landscapes, 3D images, etc) must be integrated into a single image, which must seem real to the final viewer. This is where it makes all the work look and gives a punch to the final quality of the product.

On the contrary, if the compositing part did not exist, the final product would lose strength and would not look like a solid and unique piece. It would lose intentionality, nuances and even that the final piece is left with a mediocre finish. That is the power of Compositing in VFX for special effects.

Many different sources supply material to compositing, for example, matte painting backgrounds, motion graphics elements, lighting, and VFX passes, real shooting, photographs, art references, color studies. There are many elements, formats, and departments involved in serving all this material.

The Compositing department is not only concerned with mixing all this material, but it is also responsible for correcting render failures, helping the FX department in some planes, providing advice on lighting and rendering layers or how to illuminate a certain element to finish completing it, and so on. It is a department of “surgeons”, rather small, within the CGI animation studios. It requires specialized, effective and functional profiles in which all responsibility and the final weight of the production rests. They can take all the material to a higher level, which not only requires technical knowledge on how to solve the plans or fix inherited problems but a great taste and artistic knowledge, which is really what is behind everything. That is the strength, versatility and what makes a few people able to turn around an average product and turn it into a masterpiece.

As we can see, Compositing and VFX for special effects are two very different departments that complement each other perfectly. Both are key pieces in any film or animation studio and are also the two of the most “senior” disciplines we can find.

An operator who can solve the technical problems of effects on a plane and possess the artistic ability to compose them becomes a ‘white blackbird’ of the industry. A profile with many possibilities and that has the option to specialize later in one discipline or another. Someone with this knowledge, together or separately, becomes someone of great value for companies who are dealing with effects.

Best of all, our potential is defined by ourselves. Our dedication and perseverance will take us as far as we want. So, if you see yourself in this career then your first step will be knowing what you should study to become an expert in VFX & Compositing. There are many VFX courses and even diplomas offered by many colleges in Bangalore. One of them is Animaster College of Animation & Design. They have designed career and short term programs to help students opt with the ever-competitive environment of students.

For more details, visit our website: http://www.animaster.com

Design is a discipline of anticipation, which is why drawing is a very valuable and irreplaceable tool during the creation process. Drawing is a powerful process to use as it always helps discover the best ideas and solutions to a design problem. Along with that, it will also help in achieving the closest possible result in the product that has been designed. Therefore, the drawing will always remain an important step in the design and development process. The drawing must be adjusted to reality. Training in this discipline through the practice of it is essential to be good designers in the future.

“The most original ideas have always been made in the form of a freehand sketch or sketch for the first time.”

However, today, the use of design programs has caused us to relegate the design base: the drawing. This translates into a lack of originality and a lack of a designer’s ability to represent his most creative ideas.

According to what professionals believe, drawing is one of the first forms of art that human beings can access to express themselves even unconsciously. Thus, as children we are encouraged to draw and practice our expressiveness through drawing, a creative way much more accessible than for example sculpture. This goal of this topic can be extended to state that we intend to show the necessity of drawing during all the developmental stages of design. Sketching/drawing is the perfect device as it facilitates one to conceptualize thoughts. When the use of a sharpie or a pencil and a chunk of paper, you’re able to form a realm without limits that you need to explore and discover. You are therefore in a creative sandbox, generating thoughts and deep principles from your heart and soul, concepts with a view to animate your layout project. It gives one the possibility to discover variables in ideas effortlessly, as a concept is being set up for the primary time hundreds, heaps of variables input the sketching board and inside the seek of incredible, within the try to locate the proper stability and composition one ought to discover the alternatives to sketching, drawing and conceptualizing on paper.

When you get to sketch, your thoughts start to play diverse instructions which the sketches that you are making will assist you in filtering the excellent options for you. When you draw out the different thoughts that can work, you are capable of being aware of any potential problems an awful lot earlier, before investing time and assets into futile concepts. Sketches additionally foster very vital discussions concerning thoughts together with your colleagues or the client that you are operating for. A not unusual practice is to simply create a comic strip then invite the customers to exchange ideas, to make adjustments and remarks on sketches, taking as plenty facts as feasible from this early design step before going ahead into deep processing and technicalities.

If the designer can transfer his ideas to a graphic medium through freehand drawing, he will be freer when creating and will not have to abide irremediably to what the internet offers or the clip art galleries.

But, despite how old the sketch tool is, it is not about being against technological advances, on the contrary. The drawing has been adapted to historical events and continues to do so. In the History of Art it began with drawing on the rock with fingers and blood, today we continue to draw, even if we do it on graphic tablets and in front of a computer.

Despite the enormous advantages offered by the use of specialized design software, it cannot be believed that the possibility of using them in an advanced way will make us exceptional designers by magic.

A design project requires much more than that. First of all, we must be able to conceptualize and thus be able to graphically interpret a design. And to develop our ideas we must resort to the sketch from the initial stage of the process. If not, we will not be able to define our creative concept, we will not be able to develop our idea, the one that lives inside our mind and thus transport it to the real world through drawing, a fundamental part in the development of a project.

An important element of drawing

One of the most important elements of the drawing is that it can easily convey ideas, concepts, sensations, and feelings, regardless of the group to which one belongs, having a different language from the author, living in extremely distant places. This does not happen with all branches of art and without a doubt, drawing, painting, and sculpture are privileged when transmitting even to those who feel farther away.

Unlike what happens with the painting, the precision and technique in the drawing seem to be still very present. While there may be abstract sketches or drawings in which objects and figures seem to lose their natural form, most of the time the drawing requires certain technical elements such as perspective, depth, proportion, etc. Otherwise, you run the risk of being considered simply a scribble.

“Drawing can help us on many different occasions, not only in the creative process but also as a technical representation.”

The drawing in the creative process appears:

• When we generate ideas in the form of small drawings without any detail.
• By further developing an idea with drawings of larger size and detail with which we can solve the design problems that are presented.
• In larger-scale details of complex elements to be resolved.
• When it becomes necessary to represent the user using the object, to illustrate its use.

The technical drawing appears:

• Having to represent the technical specifications for the manufacture of the product, showing here the actual measurements of the object, details, manufacturing specification, etc.

In conclusion, learning the different techniques of representing a product based on sketches, freehand sketches, and the technical drawing is of great importance to allow us to create more independently and communicate effectively.

Learning the techniques of representing a product is of great importance because it allows us to think differently, makes us more observant, increases our creativity, and helps us to communicate effectively.

So what is the importance of artistic drawing?

Artistic drawing is the expression in a two-dimensional plane of various ideas, representations of the real world or feelings. It mainly uses pencils and paper, highlighting in this regard a great appreciation for simplicity. In this way, artistic drawing can be understood as a form of graphic expression framed within the so-called visual arts. It is distinguished in this sense from other types of drawings, where what prevails is another type of intention other than mere expression. The drawing is, therefore, a way of expression that in some cases can reach a high level of refinement.

The background of the drawing as a practice can be traced to the most remote of human history. Indeed, the findings of paintings made on the wall of a cave by primitive men are celebrated, paintings that reflected the ordinary circumstances of these times, such as hunting and gathering. From this moment the painting will follow its course, being an area that continuously evolved and provided technical tools for drawing. In this way, circumstances such as the proportion in human bodies or perspectives were also applied in the implementation of artistic drawing.

When we speak about artistic drawing, reference is made mainly to the use of pencils and paper. In particular, the artistic drawing is usually carried out with shades of black, shades that serve to account for the shadows of a figure that represents an object of real-life or a completely fictitious one. As we have said, the artist who dedicates himself to this discipline uses a series of techniques that facilitate his work, such as the application of basic geometric figures, the use of a vanishing point, etc. These techniques added to the customary practice of them may result in a progressive aggregate of details in what is drawn.

Finally, it should be noted that the first manifestations of artistic drawing must be found in childhood. Indeed, it is the children who naturally begin to experiment on the possibilities that exist when it comes to drawn shapes. As we see, there is a great inclination of human beings concerning the expression of their interiority from the traces of drawing, a situation that some privileged people take to the point of transforming it into an art. 

Drawing is very important for both the concept and the end result alike. The projects that can take advantage of one’s experience with drawing may vary from logos, icons, UI designs, websites, illustration and last but not least, architecture.

You may feel the desire to skip sketching and bounce immediately to the laptop or workout your solutions as digital sketches. There is nothing incorrect with that, mainly for your very own experimental work. There is no quicker technique for exploring multiple visual answers than sketching though. Try to weigh the advantages of sketching in regard to the assignment at hand.

Hand-drawn sketching plays an essential role inside the digital arts. The larger a mission is, and the more principles a patron will want to see, the greater sketching will prove it’s well worth to your design process. Consider using tough sketches for composition or layout alternatives in your next challenge. Or push yourself to do any other handful of thumbnail sketches before firing up Photoshop.

Drawing is applying your creativity to imagine things which have never come in existence before. There are many career options if one likes to draw and express. Animation & multimedia, graphic design, architecture, interior, product design, and so on. These careers have vast opportunities if one is really passionate about the design field. These fields are competitive and demanding. There are many colleges in India which are offering courses in design education. If you are looking for a design education career program in Bangalore, you can go for Animaster College of Animation and Design. They provide various courses in design education from over the past two decades. They have degree oriented programs such as Bachelor’s of Visual Arts BVA which is also affiliated to Bangalore Central University. There are many short-term programs as well which will add as a great career path. 

Explore these on-demand careers.

For more details, please visit our website www.animaster.com

Learn with the best animation colleges in Bangalore about the 12 main principles of Animation.

Every profession or trade requires basic rules or at least a common language to unify some criteria. In most cases, there is an elementary guide that allows the development of this activity, facilitating the way for new generations. That guide, which has been shaped by those who experience has allowed them to innovate and wish to transmit that knowledge. Animation does not escape this, although we always seek to renew in this industry, it is important to maintain some aspects and respect them whether we do traditional animation or if we are a motion graphics company, our duty is to know the principles that govern our field.

What are the 12 principles of animation?

This is how in 1981, animators Ollie Johnston and Frank Thomas of Walt Disney Animation Studio presented their book ‘The Illusion of Life: Disney Animation’. In this work, they compiled the experience obtained in Disney studios since 1930. Since then, it has been considered one of the main lessons to be taught among animators who begin their journey in this fascinating world.

This great legacy has left us with 12 principles of animation that should follow every animated story, at least in its traditional conception and that allows its adaptation to 3D animation. These are a series of rules and guidelines that are still very valid today. Originally they were intended to be applied in Disney cartoons, but much of what they propose is perfectly extrapolated to Japanese animation.Without further ado, let’s see each of these principles.

Stretch and shrink / Compression and extension (Squash & stretch)

This principle adds to the idea of weight and flexibility. Stretching and shrinking consist of deforming the object of animation, increasing the sensation of movement. In turn, a more comical or dramatic effect is created. It is the technique that gives the object a feeling of flexibility, from a bouncing ball to the stretching of a figure or character to produce a comic effect.

Anticipation

Anticipation helps guide the viewer’s gaze to where the action is about to occur. In other words, the observer is prepared for an action which makes the realization more realistic. Thus we have that, through this technique, we seek to keep the audience expectant. With this technique, the animator intends to anticipate an action that is going to happen, such as a look of a character outside the scene, or a jump anticipating him bending his knees. Through this technique, it is intended to keep the audience expectant before a new event.

Staging

Among the 12 principles of animation, this is to direct or define the most important in the field of view of the observer. This can be done using lights, shadow, boxes, among others. The objective is to make clear the idea of ​​what happens on stage. It is based on the presentation of an idea in a clear way so that the viewer does not get distracted and focuses on the really important part of the scene. The use of the lights and shadows, the expressions and position of the characters involved, etc. They are some of the techniques used.

Direct animation and pose to pose

They are two different animation techniques. The direct involves drawing a scene frame by frame from beginning to end. It creates an illusion of fluidity and dynamism in the movement, allows to produce realistic sequences, although it is difficult to maintain precise proportions and perspectives.

While the pose to pose involves starting the process of drawing the pictures or key poses and then filling in the spaces. Direct animation is based on directly drawing a scene frame by frame from beginning to end, creating a more fluid and realistic scene. For its part, the pose-to-pose technique is based on drawing the key poses of the characters and then completing them with the secondary poses, it saves work but makes it more difficult to create compelling poses. Usually, these two techniques are usually combined. 

Complementary and overlapping actions (Follow through & overlapping)

They are closely related animation techniques since they help to give realism to the movement and provide the illusion that an object moves to respect the principle of inertia. With the complementary action, the detached pieces of the object must continue their movement even after the object stopped moving. While the superimposed action is applied when the different elements of the object move in different ways, depending on their relationship with the main object and the speed at which it moves. Both techniques make the movement more realistic. The complementary action is based on what elements outside the body of the character must continue in the independent movement even if the character stops moving. On the other hand, the superimposed action refers to the different elements of the body of the character that must be moved differently, the movement of an arm is not the same as that of the hair or clothes, for example.

Accelerate and decelerate / Slow Inputs and Slow Outputs / Ease In – Ease Out

In reality, objects do not pass from absolute rest to continuous movement in one step. On the contrary, it takes time to speed up or slow down. In this sense, a starting and braking effect that gives more realism must be created. It applies to both characters and objects to create naturalness. It is carried out by creating more movement at the beginning of the action and at the end. This gives prominence to the key pose. 

Arcs 

In the real world, movements generally follow a circular path, very few things move in a straight line, the same should happen in an animated story. Without this element, the created would feel rigid and mechanical. So they must create arcs in the movements of the characters. This technique is based on natural movements to follow a circular path. So any movement will have to have some curvature to give the feeling of realism. As an exception to this principle are strong movements since these normally occur in straight lines.

Secondary action

The main action can be emphasized by adding additional movements. The secondary action should never be marked more than the dominant action so that the viewer is not distracted consists of adding secondary actions to the main action. Thus giving more emphasis to the main action that is more enriched.

Synchronization (Timing)

It refers to the times when something happens in the animation. This element adds rhythm and emotion to the work. It is directly related to the speed of the action in the scene, that is, it determines the rhythm and duration in which a character performs the action. This technique allows creating humor and emotions in a character. It has to do with the speed of the action in a scene that adjusts with the number of frames that are added. This technique is important to create humor and emotions in a character.

Exaggeration

The exaggeration presents the characteristics and actions of the characters in an extreme way to achieve a comic or dramatic effect. With this resource, the emotional appeal is increased and the narrative is exalted. However, it is important to maintain harmony between the elements using the technique with a specific objective. This is a resource widely used in animated films but you have to be very careful not to ruin the truth of the scene, you must maintain a harmony between the elements and use the technique of exaggeration with the specific objective that we have set.

Solid / solid drawing

It means, represent shapes giving the illusion of volume and weight on a flat-screen. To achieve this it is necessary to apply basic concepts such as perspective, volume, weight, balance, lighting, etc. Another aspect to take into account is that the assembly must maintain consistency and be consistent both in an individual pose and with all those that make up that animation. Creation of the three-dimensional space of the drawings so that they are seen in 3D. To do this you have to take into account the volume and weight of the character to avoid falling into symmetry.

Attractive (Appeal)

Finally, the last principle, it has to do with what the spectators will remember at the end of the work. The characters that feel real, interesting and attractive, are the ones remembered, which is what we would call the character’s charisma. What is sought is that the public connects with those characters. After all, the task of the animator is to give soul and life to a character. The appearance must also be solid and attractive.

So far they have brought us these 12 principles of traditional animation, which every animator must follow to adapt it to their needs and what they want to convey. This legacy, which left great animation should not be taken as unbreakable rules, on the contrary, they should be a guide that will allow you to obtain the best possible results. In addition, we must not lose sight of the fact that technology is advancing and to that extent, we must have an open mind to adapt and reinterpret these principles to the new times.

If you are interested in the world of animation, you can train with us through the BVA Degree in Animation & Multimedia Design, it is a 4 year degree program. We are also affiliated to Bangalore Central University. There are also Diploma in animation and many other short term courses in animation offered by the institute. 

For more details please visit our website www.animaster.com

Making a video can be a complicated undertaking. You’ve got to come up with a storyline, manage lots of small details, and decide how to edit the finished product. Luckily, there’s a low-tech tool that can make every aspect of video creation easier: a storyboard.

So, What is a Storyboard?

A storyboard is a plan, a way of figuring out the story of the film before you put in the enormous amount of work of the animation itself. A graphical representation of how your video will unfold, shot by shot. 

Basically, it is the story of the movie drawn in pictures, very much like a comic strip.

To start a small definition borrowed from Wikipedia will open the ball:

The storyboard (often called drawn continuity, storyboard) is a technical document generally used in cinema in pre-production to plan what will make up the film.

It describes all the details of the film, with the greatest possible accuracy, in order to view and plan the shooting of the film. It, therefore, constitutes a reference tool during the production of the film. It is the central pillar of a project, written by a project manager in a firm. It is a documentation that will be describing each functionality that the application contains. Though the description will always be functional, not technical. All animation colleges in India teach the art of storyboarding as it is an essential tool for the young animator. 

Initially, the storyboard was used in the cinema sector. However, due to its visual impact and its ease of use, it is increasingly replacing the specifications in project management.

What is a storyboard for?

In addition to the script, it is possible to create a storyboard: it is a kind of comic strip that describes all the shots in the film. If the script describes the film in written language, the storyboard introduces a first visual approach. It will allow you to transmit your vision of the story to the rest of the team, and it is also a good way to prepare the shooting.

That said, the storyboard is not a work of art, it is a simple working tool. It is, therefore, unnecessary to spend months making very detailed drawings, simple annotated sketches are enough. There are many animation degree colleges that give value to drawing. It is not necessary to know how to draw, “stickmen” can do the trick very well. There is not really a rule when it comes to creating a storyboard, everyone is free to adopt the format they want, for example by detailing the entire film plan by plan or simply by sketching the outline, or still showing camera movements by arrows, etc.

Having a very detailed storyboard will allow you to be very well organized, on the day of filming you will know exactly which shots must be shot at this will allow you to advance more quickly. The disadvantage is that this requires considerable preparation time. Besides, some directors find that it tends to make filming more rigid and harms creativity: with a storyboard, we often just roll out the plans without thinking too much. However, in the heat of the moment, we may very well have the idea of ​​an original plan which would have been impossible to think of without having the scene before our eyes. A few things to help convey the story:

• Write captions under the drawing
• Use arrows to show camera movements
• Color the object to differentiate it from the background.\

So, how does this process take place?

Design your canvas

It will be the support of your storyboard: it is simply a sheet on which are drawn simple rectangles, each thumbnail corresponding to a plan. Now you have to decide how many thumbnails per sheet: two, four, eight? There is not a precise rule, it will depend on the level of details you want to give to your storyboard.

Also plan to leave a notes area for each thumbnail to add annotations (camera movements, desired light, etc). Optionally, consider leaving a good margin around each sticker, in case you want to add details on the sides. Finally, you can also add a title and or numbering area, to find your way there later. Degree in animation teaches different aspects of storyboarding, learning to perfect is important.

When your canvas is established, you can simply photocopy it in multiple copies, and voila!

First draft: Test, try, iterate

The first pass consists of drawing a very rough draft, useless therefore at the beginning to launch out in a very detailed drawing worthy of the fine arts. Bring your script, and just start reading the sequence you’re working on. For each sentence or action in the scenario, draw a corresponding thumbnail in the simplest way possible, as you think.

A technique that is followed by many is to follow the use of a table, and to cut out each sticker (or to use post-its), so that one can very easily reorder, move, delete a sticker, decline it in another version, separate it into sub-thumbnails, etc. Again, the idea here is to try different combinations of planes, transitions, compositions, etc.

Rendered clean

After the first step, you should now have a more precise idea of ​​the structure of your sequence.

So you can start cleaning on another blank canvas. It will now be necessary to further detail the composition of each plan, as well as to add annotations which may be useful to the production team:

• Camera or character movements. You can indicate them by arrows or use a color code
• Technical information on the light, the type of framing (eg close-up) or even the type of lens desired for the shot in question.

In short, the idea is to provide all the details possible so that the teams can understand the intention behind the storyboard. Again this is a communication tool, so favor clarity, and try to add all the possible indications so that everyone can project themselves.

Sometimes the dialogues are inscribed under the thumbnail if this can help the understanding of the storyboard. But beware, it is not recommended to write them in bubbles like a comic strip! Though many animation colleges will give you an insight about this. Your bubbles could hide an important area of ​​the image, it is a distraction that could affect the readability of your thumbnails. Do not forget that the storyboard is used to describe the images in your film, the dialogues are detailed in the scenario.

Objectives and challenges

The objective of a storyboard is to have a comprehensive overview of everything the user will be able to do in the application, both in cases of normal use of the application, and in cases where the user is wrong, and this, so that it never reaches an impasse, and that it is always guided in its navigation.

Having a storyboard that describes in-depth all these case management is, therefore, a crucial issue because it will allow the client to have a real overview of his application and define it for development. When the client is satisfied with the storyboard, it is validated, then it serves as a reference document for the development teams.

How to build a storyboard?

The storyboard must, therefore, be a very easy document for the client to understand. To do this, each page is structured in the same way: a visual model represents a functionality accompanied by an explanatory text, which will describe this functionality and its case management.

Is the storyboard and specification the same?

No, at first glance, a storyboard and a specification seem identical, because they both serve to describe a project in depth. The two main differences come from the fact that a specification will be drawn up from a technical angle, because it is mainly intended for developers, and that it does not integrate models concerning functionality. There is, therefore, a double risk of having a forbidding document to read. The first being that the client does not understand all the challenges of his application, and the second, that the development teams do not read the entire document. 

How hard is it to become a storyboard artist?

Usually, multimedia artists and animators, including storyboard artists, need at least a bachelor’s degree. While there is not a specific degree for storyboarding, aspiring artists may pursue a wide range of artistic majors, such as fine arts, animation, game design, and development, or other related fields. 

Animaster College of Animation & Design is one of the best animation colleges in Bangalore. They offer BVA Degree in Animation & Multimedia Design where storyboarding is a crucial part of the course curriculum. They are renowned and known as the best animation college in Bangalore and they are also affiliated to Bangalore Central University.

For more details, please visit our website: http://www.animation.com

The USP of any film is the story. Same for animated movies. And impediments galore obstructing ways for a good story animated movie. The creative black-out where ideas don’t leap. It is even harder to perceive an idea and on paper. The probable hack is to come up with multiple ideas. Not all the ideas will be mind-blowing and some may be just average. The trick is to create and re-create. The more you do the more you attempt perfection. This adds to the whole process. Indulging into an idea for a movie that adheres to your interest, and commitment to a project can take you a cut above the entire clan of animators. As you will devote huge time to the work it has to captivate the target audience.

Keep in mind that your range for the target audience has to grow every day. The deadlines have to be considered and met with priority. Selecting apt words for the dialogues or verses is equally important as the storyline. You may play a hunch by picking random words from the dictionary. Referring to varied works helps a lot at the initial level. Pick a word, colors or shapes and let it tickle your imagination. This can be your initiation point and improvisation to follow.

“Animation is not the art of drawings that move but the art of movements that are drawn.”

In the advanced stage, referring to online and printed articles, short stories, novels, and verses will help you to understand and create a lovely piece of artwork. There are many poems, folklores, and ballads that can constitute a fine story of the movie. Making précis of the existing examples can save time, energy and give a better impetus to your work. The other issue that comes across is the lack of clarity. The storyline somewhat babbles midway. Just after seeding the idea, branch it to the flow. A script develops over time.

There are a few steps one can follow while making a scene. 

1. Storyboard

A simple drawing is the first step. A graphical representation of how your video will unfold, shot by shot. Basically, it is the story of the movie drawn in pictures, very much like a comic strip. 

2. Concept art or color script.

This art will visualize & create the concept and color of the characters, creatures, vehicles, environments, and other creative assets. Concept art is not only used to develop the work but also to show the project’s progress to directors, clients and investors. 

3. Modeling process

At this stage, the technical directors (TD) create the character and include the shading to give it more dimension and that they do not look flat. The 3D modeling process produces a digital object capable of being fully animated, making it an essential process for character animation and special effects.

4. Design process

It is made entirely on a computer, a virtual camera is placed, the characters are placed on the base of the camera angle and animated.  

5. Animation and Simulation

This step brings the characters to life, textures and colors are added. It goes with the characters in the background to the movement of the slightest thing like hairs as it is meant to be real.   

6. Lighting

It is the last step, the most important and the most complicated, since the way the scene is illuminated will give a more natural structural aspect and that everything works in accordance.       

“A lot of the time in animation is spent getting the story right – that’s something you can’t rush.”

You need to define the idea of the story right from the start of your film. At the same time, indulge the audience into intriguing the climax. Inciting the audience is the key to success. A good story has a satisfying end. What’d clasp the audience from the Title to Credits is how you have weaved the idea top to tail. You need to have a clear picture of where to start and where to end.

Once you are sure of the beginning and the end sections, the rest becomes easy as it falls under organic logic. This way of working also means that you can jump around and work on different sections developing one, then leaving it to work on another, working in a bit more of an organic way. Yes, edits do take place. But when you work in a sequential approach, completing the job takes place. The elements of the plot need to tickle the curiosity of the spectator. Remember, your story can be about a ‘Letter’, but should not read as a letter.

There are certain steps if followed can make an animated series successful.

1. Focus on the story

Brainstorm your characters and expand a plot on your story. Sometimes it’s easier to focus on a terrific main man or woman and revolve everything around them. Who might be this character’s friends/enemies? Who would be their parents? What are their desires in life? What is their regular attitude? Try to add a topic to this individual’s life. Will this be comedy or tragedy?

2. Create a storyboard

Draw a precis of what will take region in your movie. This may be easy sketches given that it may not be in the very last film and may even be replaced or cut. Think of these as every page of a book. Don’t draw every detail but specific the point of every part.

3. Prepare a script

The scene heading, action, dialogue, character name, parenthetical, extensions, transition, and shots everything has to be written down in the script. Be sure to include everything. Every detail counts.

4. Define the character profile

A character profile is wanted to further expand the stars of your lively film. Include lots and lots of details. You can even consist of trends about your individual. Is your man or woman the comedian of the film or is your man or woman something else?

5. Animate

You have to have determined what animation method you’ll use through this point. Flipbooks are inexpensive and funny, however, they have several downsides (no sound, limited movie length). Traditional animation has brilliant quality, however, it takes an extended time, isn’t very efficient, and is pretty costly. You could constantly use an animation software program as well. It’s all as much as you, the creator!

6. Edit the film

Decide if there is anything you would like to change about your film or something you don’t like about the film. Crop it out if so. It is the creator who will decide how certain parts of the film will be directed to bring the most from the film. 

Whether you’re operating on an abstract animation or a complicated character-driven plot, you have to have a feel of what story your animation is telling well earlier of sketching out your initial idea. The design of your work will be one of the most important strengths or weaknesses of your film. Now whether it really works or doesn’t will come down to how well you have researched and evolved the idea.

 “Any storyboard or animation, even if it doesn’t have a voiceover or any text, should be able to be explained through words, like a story.”

If you are interested in the world of animation, you can train with us through the BVA Degree in Animation & Multimedia Design, it is a 4-year degree program. We are also affiliated to Bangalore Central University. There are also Diploma in animation and many other short term courses in animation offered by the institute. 

For more details please visit our website www.animaster.com

The animation industry for quite some time has created an up storm. But how many of us actually know that the origin of this word goes back to the medieval period? If one looks at the etymology of this word, it comes from the Latin word animationem which means the action of imparting life. However, this word, in the commercial sense, has been in vogue since 1912. Being the best animation college in Bangalore, we have always tried to come up with article that spreads knowledge.

When we talk about animation as a process, it can be referred to as creating continuous motion and changing illusions by a rapid display of a sequence of static images that may differ from each other. In other words, inanimate objects appear to come to life by flashing minutely changed images at a rate at which our brain is able to interpret the movement. For this, it becomes necessary to understand the phenomenon of persistence of vision (PoV). As per PoV, any image that flashes in front of our eyes remains in our brain for about 1/25th of a second. In short, if our eyes see 25 images in a second, they would appear seamless and the sequence would have no gaps in between them.  This is the principle that both motion pictures and animation work on.

As a top of the mind recall, Disney is the name that comes to one’s mind whenever anyone is asked to tell the name anyone associated with animation. However, even before Walt Disney, there were few notable individuals who have contributed to the field of animation when it was still in its infancy. As we read on, we will get to know about four such men who had remained unsung for a long time for their contributions.

Pioneers in animation

Eadweard Muybridge 

Eadweard Muybridge’s life could be adapted to the cinema without difficulties. He arrived in the United States in 1850, almost died in a car accident ten years later, became a photographer during his recovery, killed his wife’s lover in ’74, and started a photographic expedition through Central America a year later, but claimed a privileged place in the history of animation with his work in animal locomotion, including his famous Horse in Motion, experiment that resolved the doubt of the governor of California Leland Stanford between 1872 and 1873, who believed that the horses placed all four legs in the air while running. Muybridge used a configuration of twelve cameras, and during the next twelve years, he dedicated himself to perfecting his method, giving rise to devices such as the zoopraxiscope.

James Stuart Blackton

1875 born Blackton was a talented artist who started off by making caricatures in the New York World. He debuted as a cartoonist in 1896 along with Albert Smith. Recognizing his talents as a cartoonist, he was hired by Thomas Alva Edison’s Black Maria studio to make three 150-foot films.  It was for this studio that he made Humorous Cartoon, Political Cartoon and Sketching Mr. Edison and when these premiered at the Proctor’s Pleasure Palace in New York on the 12th September 1896, it made the audience take note of Blackton’s talents. This also helped him to enter the film world. The next year, he founded Vitagraph along with Albert Smith as well as acted in The Burglar on the Roof and produced Tearing Down the Spanish Flag in 1898. As the 20th century dawned, Vitagraph had become a major American film production company and Blackton had introduced techniques like stop camera techniques and under-cranking. Being regarded as the father of the American animated cartoon, he directed Raffles the Amateur Cracksman in 1905. Returning back to cartoons, he delivered hits such as The Enchanted Drawing (1906), Humorous Phases of Funny Faces (1906), Lightning Sketches (1907) and The Magic Fountain Pen (1909). His studio went on to make serials, feature films and series in the 1910s and is credited for making the first British full-color film The Glorious Adventure in 1922. However, the Wall Street Crash of 1929 reduced Blackton to a pauper and he died in 1941 in an accident.

Emile Cohl

Emile Eugène Jean Louis Courtet or Émile Cohl as the world knows him now was born in Paris in 1857. He began as a caricaturist and joined the Gaumont film company as a writer. As a versatile director, he made comedies and fantasy subjects. He was gradually drawn to animation and began experimenting on it by using line drawings, silhouettes, and puppets. It was in 1908 that he made Fantasmagorie (Fantasy in English) which is regarded as the first all-animated film in history. Over 650 drawings of the character Fantoche were created and individually photographed! Post Fantasmagorie, Cohl created 200+ animated films till 1923 for leading studios like Eclair and Pathe. Unfortunately, the Great Depression of 1929 ruined his savings and he died in abject poverty in 1938.

Otto James Messmer

Otto James Messmer was born in 1892 and is even now remembered for the Felix the Cat that he created in 1919 for the Pat Sullivan studio. After his initial training in art, he started off making illustrations for fashion magazines. But being inspired by McCay’s How a Mosquito Operates and his love for cartooning made him start creating cartoons for local newspapers. After initially working with “Henry-Hy-Mayer”  on The Travels of Teddy series, Messmer joined the Pat Sullivan studio wherein he created the character of Felix the Cat. Felix has the distinction of being the character that was created and developed for the 70 mm screen as well as the mass merchandised character. This character appeared in over 130 cartoons till 1931 and entered comic books in the 1940s. By the time Messmer died in 1983, Felix the Cat had made his debut on TV as well and he was being recognized as its official creator.

Zenas Winsor McCay 

Zenas Winsor McCay obtained great recognition through his comic strips Little Sammy Sneeze, Dream of the Rarebit Fiend, and his masterpiece, Little Nemo in Slumberland, so popular at the time that it ended up adapted to a play. His formal entrance to the world of animation happened in 1911, inspired by the folioscopes that his son brought home. Logically, his first short film was based on Little Nemo, with 4,000 drawings made on “rice paper.” Even more impressive was what he did in Gertie the Dinosaur, where it is possible to enjoy detailed backgrounds, a remarkable depth effect, and special attention to the dinosaur’s muscle movement. This required pure brute force, with more than 10,000 drawings.

Lotte Reiniger 

Obsessed since childhood with the cut of Chinese paper and the puppets of silhouettes, Lotte Reiniger had a really meteoric rise. After animating the wood rats in Paul Wegener’s “The Pied Piper” and directing Das Ornament des Verliebten Herzens in 1919, Reiniger had plenty of merits to rub shoulders with the great German animators of the time. Finally, Reiniger claimed her place in history by becoming the first woman who directed a full-length animated film, The Adventures of Prince Achmed. Each scene and each character made in black paper was animated frame by frame, a work so arduous that it took three years to complete it (from 1923 until its debut in February 1926).

Though Walt Disney is remembered for revolutionizing animation and introducing a large number of lovable characters into this world, it is equally important for us to acknowledge and recognize the contributions made by these animators as well.  Though their volume of work may appear trivial, they will be remembered for ensuring the success of animation especially during its initial phases which even leave us all in awe when we get to see them.

Want to know more about the world of animation? Come with us and get trained for Animation and Multimedia. We offer you a degree from the prestigious Bangalore Central University. Apart from this 4 year degree program, we also provide a wide range of diploma in animation and short-term courses. 

For more details, please visit our website www.animaster.com

Read our blog and know the pioneers of animation.

Animation has evolved over time. The earliest forms involved ‘toys’ that were based on the principle of persistence of vision. In later stages, time-based and cinematic forms were used to form visuals. Modern animation needs computer-oriented software to create models by adding mesmerizing special effects to the movie or clip created. By having properties like exaggeration and simplification, animation can be extensively used for showing complex and abstract processes via visuals in a simplified manner. Also, anything can be brought to life- be it personalities, drawings, objects, etc. Therefore, experts have remarked that animation is ‘timeless, nimble and future proof’ apart from being very ‘hot’.

An animation is an art form that combines various movements by sequencing them in small intervals of time. An illusion is created which can be manipulated in various ways as per our imagination and requirement. Today, animation is creating history on the small and big screen and animated films are raking in a fortune, spanning learning from classroom training to online courses, with enormous scope for growth and sizable job opportunities in the animation industry.

For a very long time, it was assumed that animation was a profession meant for men. When we look back in history, we see many male artists who have carved a niche for themselves. Most of the earlier animators were men. It is not because women did not have the needed creativity but perhaps lacked the scope to earn.  It is true that the artistic talent of women never saw the light of the day as they were suppressed. With time, women started entering the workforce and broke through the male bastion of animation. Hence, creative youth target the best animation college, as their battlefield to prove creative-superiority in the battle of sexes. Through this article, we will try to find out a few female animators who traversed the road less travelled by, and that has made all the difference.

Prominent Female animators

Gayatri Rao: 

To start with, Rao is probably the earliest and best example in India, who achieved a rare distinction of doing an internship at Walt Disney Studios, Florida sponsored by UNICEF. She quenched her hunger by learning the skills of classical animation which she passed on to the creative clan in India. One of the founders of Animagic, Gayatri also pioneered stylized animation commercials in India and directed the animation for Mahakapi, a film based on the Jataka tale of the Monkey King, for CFSI, which won the prestigious UNESCO Award in 1998. She kept her habit of winning awards in her sector, the recent being National Award for Best Animation Director for the film ‘Raju & I’ in 2015. She has always satiated the audiences and critics with her social awareness messages through short animated films.

Kirsten Lepore: Another distinct name in modern animation, Lepore came to the limelight at a very early age, through her undergraduate thesis, a short stop motion film entitled ‘Sweet Dreams’. According to Lepore, as a child, she was fascinated by the animation techniques used by both Disney and the Jim Henson Company. During her high school days, she started exploring art, thereby pursuing a Bachelor of Fine Arts (BFA) at Maryland Institute College of Art, where she studied ‘experimental animation’. She also reaped accolades for her creative short films Bottle and Move Mountain.

Retta Scott: The success of 1942 released ‘Bambi’ is attributed to many animators who worked on it by being on rolls of Disney’s studios. One such person who was actually the first woman to animate for Disney was Scott. Originally, she had been hired as a story development artist but went to draw animal characters for Disney. It is said that Scott had a talent for drawing animals from all angles and perspectives which was due to her hobby of drawing animals during her student days. Apart from animations, Scott also worked on the war propaganda that Disney studios did during World War II. She was lucky to have her name mentioned in the credits of movies like ‘Fantasia’ (1940), ‘Dumbo’ (1941) and ‘Bambi’ (1942).  Much later while she was working as a freelancer, she received appreciation for the 1982 released ‘The Plague Dogs’.

Lotte Reiniger: Reiniger has been regarded among the pioneers of animated films. Her technique of silhouette animation was something that she learned on her own and adapted it successfully for the silver screen. Though she was unable to become an actress, Reiniger started off in 1916 by making silhouettes for the titles of movies ‘Rübezahls Hochzeit’ and ‘Der Rattenfänger von Hameln’ both made by Paul Wegener. Wegener helped Reiniger by introducing her to a group of young men who were trying to set up an animation studio at the Berliner Institut für Kulturforschung under Hans Cürlis. It was at this institute that Reiniger met Carl Koch (whom she married in 1921 and lived till his death in 1963). Koch helped her to make her make ‘Das Ornament des verliebten Herzens’ by being its producer and cameraman.  Deriving themes from fairy tales, Reiniger made ‘ Aschenputtel ‘ and ‘Dornröschen’ in 1922. The success and appreciation she got motivated her to do her last works- ‘The Rose and the Ring’(1979) and ‘Die vier Jahreszeiten’ (1980) before her last breath.

Lillian Friedman Astor: Astor was initially a student of animation and fashion design who began her career in animation in 1930 at Fleischer Studios as an inker. Her talents got recognized and soon became an in-betweener for 1931 released cartoon ‘Mendelssohn’s Spring Song’. She began as an assistant to the animator James “Shamus” Culhane. She was later ‘promoted’ as an animator and that was when she made cartoons like Betty Boop (1934) and Olive Oyl. She is often recognized as the first female animator mainly for the work she did on the latter. Also, she was the first woman to work on Popeye and her work on him can be seen in 1934 released ‘Can you take it?’. Her other works include ‘Making Stars’(1935), ‘Judge for a Day’(1935), ‘Be Human’(1936), ‘Honest Love and True’(1938), and the ‘Color Classic Hawaiin Birds’(1936). Out of many of her creations, Astor received credit for only six cartoons in her lifetime!

Laverne Harding: Emily Laverne Harding is remembered for the cartoons that she created for animation as well as comics for the Walter Lantz studio. The first character she created upon graduation was Cynical Susie in 1935 for the United Feature Syndicate.  She also created the ‘Woody Woodpecker’ cartoon the same year for Walter Lantz studio and it was her design that the studio used from 1950 to 1999! The ‘Yogi Bear’ cartoon which was one of Hanna-Barbera’s famous cartoons was actually animated by Harding! Other works included ‘Pink Panther’ cartoons (1963) for the DePatie-Freleng Enterprises. For all her contributions, she was the recipient of the Winsor McCay Lifetime Achievement Award in 1980.

Bianca Majolie: Majolie’s entry into the Disney studios as its first female artist was coincidental. During the 1930s, Disney studios never employed any female candidates for its animation department. However, Disney launched with Majolie who was one of his classmates from the McKinley High School and Chicago Art Institute. It is said that Disney was so impressed by her artwork and skills that he immediately hired her as the first employee for his story department! Her first character was Elmer Elephant for the 1936 released animated film ‘Silly Symphony’. Though her stint at Disney lasted only for four years, Majolie’s contributions can be seen in like ‘Pinocchio’ (1940), ‘Fantasia’ (also 1940), ‘Cinderella’ (1950), ‘Peter Pan’ (1953) to name a few.

Sylvia Moberly-Holland: It is said that after watching 1937 released ‘Snow White and the Seven Dwarfs’, Holland made up her mind to work for Disney. Since she was an excellent artist, Disney hired her as the second woman for his story department. Her first assignment was the 1940 released ‘Fantasia’ and most of the sequences were done by her. In fact, Holland along with Majolie and Ethel Kulsar made the art, character designs and backgrounds for many of the sequences. Though her contract ended after World War II, Holland continued to create art all through her life.

Mary Blair: Robinson Blair’s claim to fame is being one of the most influential artists to have worked in the Disney studios. Films like ‘The Three Caballeros’ (1944), ‘Cinderella’ (1950), ‘Alice in Wonderland’ (1951) and ‘Peter Pan’ (1953) are examples that show how good she was in the mastery of color usage in animated films. Apart from animations and designing jobs, Blair was responsible for costumes, sets, locations as well.

Kazuko Nakamura: Japanese born Nakamura picked her skills in animation while being trained at the Toei Doga company. She started in the same company as an in-betweener for 1956 released ‘The Legend of the White Serpent. Her other works include Tales of a Street Corner (1962), 1001 Nights (1969), Cleopatra (1970). Since she could do the complete animation, Nakamura worked in 1974 released ‘Jack and the Beanstalk’ and 1975 hit Chiisana Jumbo.

Brenda Banks: Banks was the first Black woman to work as an animator. She began a career in the 1977 movie ‘Wizards’ for Ralph Bakshi’s productions. Her other works include ‘The Lord of the Rings’ (1978), ‘Daffy Duck’s Movie: Fantastic Island’ (1983), ‘This Is America, Charlie Brown!’ (1988), ‘Tom and Jerry Kids Show’ (1990-1994), ‘King of the Hill’ (1997-2010), etc.

Elizabeth Case Zwicker: Zwicker started out as a fine artist for Disney in 1956 and worked on the 1959 ‘Sleeping Beauty’. It is said of her that she never animated for money-instead she did it for the joy she got from it! The remainder of her creative life was spent in drawing, painting and illustrating books for children apart from teaching painting and writing poetry.

Tissa David: Thérèse “Tissa” David was known for her sensual, witty hand-drawn lines. Originally born in Hungary, she trained as a draftsman from the Academy of Beaux-Arts in Budapest. Just like Sylvia Moberly-Holland, she too made up her mind to be an animator after watching ‘Snow White and the Seven Dwarfs’. Her opinions about animation like  “Animation is all caricature” and “Always think of how your character feels” is something that animators can take back and imbibe in their professional lives.

Whoever scoffed at the idea of women animators, were made to eat humble pie from the late 1920s. These women’s animators have proved that creativity doesn’t limit any gender. Creativity, hard work, sheer persistence and above all the dare to dream the unimaginable were the qualities these women possessed in might. These names cited above are a testimony to it and will surely inspire many more women in the years to come.

If you are also an aspiring animator who thinks he/she can achieve success in the world of animation then the first step for you is learning about animation. Animaster College of Animation and Design offers you a prestigious BVA Degree in Animation & Multimedia Design. This program offers extensive knowledge in fundamental animation principles, cell animation, digital animation, visual thinking, color theory & composition in an effort to build a very strong foundation for the students. The college is affiliated to Bangalore Central University. Apart from the degree courses in animation, there is diploma and other short term career courses. 

For more details please visit our website: http://www.animaster.com