PROGRAMME OF STUDY...DA.003 Scriptwriting I Description programme (Core module) This is a core module for both specializations. The course covers every aspect of writing for film and

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PROGRAMME OF STUDY

BA (Hons) Digital Arts – with specialisation in Animation

YEAR 1 STUDY-UNITS ECTS Hours

DA.001 Introduction to animation and video games 4 100

DA.026 Digital illustration and visual narrative 6 150

DA.003 Scriptwriting I 6 150

DA.004 Character design and storyboard techniques I 10 250

DA.027 Multimedia design 6 150

DA.028 Introduction to film history 10 250

DA.007 Soundtrack and dubbing techniques 6 150

DA.W1 Workshops 12 300

Sub-total 60 1500


DA.008 2D design and animation techniques I 12 300

DA.009 English writing skills 4 100

DA.010 3D graphics I 12 300

DA.011 Directing techniques I 6 150

DA.012 Marketing and sociology of communication 6 150

DA.013 Digital video editing and compositing 6 150

DA.014 Intermediality theory 4 100

DA.029 Character design and storyboard techniques II 6 150


Sub-total 60 1500


DA.016 Scriptwriting II 4 100

DA.021 3D graphics II 10 250

DA.030 Directing techniques II 6 150

DA.019 Economics and business management 6 150

Elective unit 1 (see list of optional subjects below) 6 150

Elective unit 2 (see list of optional subjects below) 6 150


Internship 6 150

Final dissertation 10 250

Sub-total 60 1500

Total 180 4500

2 study-units are to be selected from the following list of optional modules.

YEAR 3 STUDY-UNITS (Elective) ECTS Hours

DA.022 Advanced 3D graphics 6 150

DA.023 2D design and animation techniques II 6 150

DA.031 New integrated media techniques 6 150

DA.032 Design portfolio and professional identity 6 150

ANIMATION stream

DA.001 Introduction to animation and video games

Description (Core module)

The course objective is to provide students with a sound theoretical

background about the history, the basics and criticism of animation and

video games through the study and analysis of the two sectors and the

origins of the productions that made them famous: from Atari to Disney,

Pixar Nintendo, Studio Ghibli to Sony and many others, paying attention

to other media such as film, TV, theatre and comics, and analyzing those

particular forms definable as artistic avant-gardes.

Learning outcomes

Learning outcomes

Competences: – at the end of the module/unit the learner will have

acquired the responsibility and autonomy to:

a) Classify the works based on the period and the historical context.

b) Analyse critically the works of gaming and animation.

c) Reflect on the links between the different media.

d) Analyse the contemporary media landscape.

e) Divide the works in broadcast products and cutting-edge.

f) Carry out research work in these fields.

Knowledge – at the end of the module/unit the learner will have been

exposed to the following:

a) History of the video game medium.

b) History of the animated film.

c) History of the classic and sound film.

d) History of the mainstream media.

e) Methodologies for critical analysis of the works of different media.

f) Theoretical and analytical approach of contemporary works.

Skills – at the end of the module/unit the learner will have mastered the

following skills:

Applying knowledge and understanding

The learner will be able to:

a) Form an analytical view of the works of different media.

b) Write about productions related to gaming and animation.

Judgment Skills and Critical Abilities


Analyse video game and animation productions in relation to the historic,

political, economic and social context, as well as to the overall

background reference.

YEAR 1

Additional Module-Specific Communication Skills


a) Summarize concepts.

b) Deliver oral and written presentations of his/her arguments.

Hours of total

learning for this

module

Contact Hours Supervised practice hours

Self-Study Hours Assessment Hours

Number of ECTS 4 ECTS

Teaching mode

This theoretical unit will be taught through lessons and lectures,

discussions and presentations, and through the study of different

productions. Such course organisation will provide students with at least

10 hours of practice.

Assessment

The unit will be assessed by means of the following:

- Written test (50%),

- Oral examination and/or presentations (50%).

Reading list

English texts will be selected to replace the following:

Cavalier, S., 2011, The World History of Animation, Berkeley, University of California Press

Sutton, D., 2009, Photography, Cinema, Memory: The Crystal Image

of Time, Minnepolis, University of Minnesota Press

Alrutz M., Listengarten J., Van Duyn Wood M., 2012, Playing with

Theory in Theatre Practice, New York, Palgrave Macmillan

Loguidice B., Barton M., 2009, Vintage Games: An Insider Look at

the History of Grand Theft Auto, Super Mario and the Most

Influential Games of All Time, Burlington, Focal Press

Lecturer/s Lecturer: Carlo Cuomo

Co-lecturer: Luca Papale

32

10

57 1

DA.003 Scriptwriting I


This is a core module for both specializations. The course covers every

aspect of writing for film and television series, with particular attention to

the specific features of the world of animation and video games. The

programme stimulates the aptitudes and skills of the students through

lectures and practical exercises, in order to provide them with the basic

tools of the screenwriter. At the end of the course, the students will write a

small bible for a web series and a script for a short animated film.

Learning outcomes

Learning outcomes



Develop and write stories and scripts for film, television and the web.

Write the script of a short animated film or video game.

Collaborate in the drafting of a literary bible for a web series.



a) How to develop a creative idea into a film subject and into a televised

bible.

b) How to switch from the subject to the screenplay through the practical

application of the narrative structure in three acts and the hero's

journey of Campbell.

c) Techniques for writing film dialogue and visual gags suitable for

animated stories.


following skills:



a) Write for drama.

b) Write for audiovisuals.

c) Use brainstorming and pitching techniques.

d) Use specific software (Celtx, Final Draft).



a) Analyse and evaluate from a narrative point of view films and TV series,

both animated and live action ones.

b) Identify the theme of a story and the different stages through which its

key moments are developed.

Hours of total

learning for this Contact Hours Supervised practice hours

48

40

module Self-Study Hours Assessment Hours


Teaching mode

This theoretical and practical unit will be taught through lessons and

lectures, practicum and hands-on sessions, project-based work and

tutorials. In particular, the student will be shown how to write a short

story, in practical terms.

Assessment


- Oral test (50%),

- Evaluation of the student’s practical work (50%), where the

student will be given two options of writing short stories, one

focused towards animation and one towards video games,

depending on the respective field of specialization.

Reading list

- Field, S., 1984, Screenplay: The Foundations of Screenwriting; A step-by-step guide from concept to finished script, New York, Dell Publishing

- Vogler, C., 2007, The Writers Journey: Mythic Structure for Writers, 3rd Edition, Los Angeles, Michael Wiese Production

- Seger, L., 2010, Making a Good Script Great, Revised and Expanded, 3rd Edition, New York, Samuel French Trade Publisher

- McKee, R., 2010, Story. Substance, Structure, Style, and the Principles of Screenwriting, New York, Harper Collins Publishers Inc.

- Truby, J., 2008, The Anatomy of Story: 22 Steps to Becoming a

Master Storyteller; New York, Faber and Faber


Co-lecturer: Luca Papale

60 2

DA.004 Character design and storyboard techniques I


This is a core module for both specializations. The course is divided

into two distinct parts: the first, character design, aims to show how

to conceive any character in an original and consistent manner,

starting from a simple idea and then structuring and characterizing

it for the production of animations and video games; the second,

storyboards, is meant to present how to manage individual scenes

effectively and how to communicate in a concise form, through the

tool of the storyboard, all the narrative passages. For the first part of

the course, students will use mostly paper and pencil and then go

digital with Adobe Photoshop and Adobe Illustrator, while in the

second part, they will use Toon Boom’s software Storyboard Pro,

one of the most popular at broadcast level worldwide, for the

creation of storyboards.

Learning outcomes



a) Develop characters for animation and video games.

b) Narrate through the storyboard.

c) Create artwork for pre-production.



a) Basics of design.

b) Theory of form and colour.

c) Basics of human anatomy.

d) Design of a scene.

e) Synthetic narration through images.


following skills:



a) Draw and paint digitally on Photoshop and Illustrator.

b) Create storyboards and movieboards on Storyboard Pro.

c) Draw freehand.



a) Learn how to conceive a character starting from a script.

b) Characterize through form and colour the personality of any character.

c) Develop panels and turnarounds useful for modelling and animation.

Learning outcomes

d) Learn to frame a scene according to its content.

e) Structure a storyboard, representing in a concise and correct way the

individual narrative passages.

Hours of total

learning for this

module




Teaching mode

This practical unit will be taught through lessons and lectures, practicum

and hands-on sessions, project-based work and tutorials. The students

will be guided to create a storyboard and characters of their own through

the applied software.

Assessment

An ongoing assessment of the student’s practical work will be carried out

throughout the year. The final mark will be based on the individual

student’s creation of a storyboard and overall production to deliver the

assigned project.

Reading list

- Winslow, V. L., 2009, Classic Human Anatomy. The Artist's Guide to

Form, Function, and Movement, New York, Watson-Guptill

- Brandford, T., 2006, Creating Characters With Personality, New

York, Watson-Guptill

- Rea, P. W. and Irving, D. K., 2015, Producing and Directing the Short

Film and Video, Burlington, Focal Press, Taylor&Francis Group

Lecturer/s Lecturer: Domenica Amoroso

Co-lecturer: Alessandro Faiella

80

40

100 4

DA.007 Soundtrack and dubbing techniques


This is a core module for both specializations. The course has the objective

of making students autonomous in editing, assembling and composing the

soundtrack and dubbing. This will be achieved through a theoretical

section about the theories on sound and film sound history, a practical

part on Audition, as an integration of the Adobe package, and an active

practice session in a recording studio, where students can get direct

feedback of the tools constituting the software.

Learning outcomes

Learning outcomes



Select, compose, edit and arrange different kinds of sound materials aimed

at the production of the soundtrack of a trailer.



a) History of film sound.

b) The basics of the theory of sound.

c) The conceptual tools needed for mixing and for sound effects.


following skills:



a) Use the medium-advanced functions of Audition.

b) Use a digital mixer.

c) Generate a synchronized audio file for video editing.



a) Analyse and evaluate the narrative devices of sound.

b) Analyse and reproduce a sound environment.

c) Identify the characteristics of the sound in video games derived from

movies and know how to exploit them.



Have basic knowledge of music, tempo and notes.

Hours of total

learning for this Contact Hours Supervised practice hours

48

20

module Self-Study Hours Assessment Hours


Teaching mode


discussions and presentations. The students will also have 20 hours of

practical sessions focused on the application of Adobe Audition software

for dubbing of a trailer for a video game or animated film.

Assessment


- Oral test (50%) on the basics of the theory of sound,

- Evaluation of the student’s practical work (50%) in dubbing.

Reading list

- Alrutz M., Listengarten J., Van Duyn Wood M., 2012, Playing with

Theory in Theatre Practice, New York, Palgrave Macmillan

- Chion, M., 2009, Film, a Sound Art, New York, Columbia University

Press

- Marks, A., 2009, The Complete Guide to Game Audio. For Composers,

Musicians, Sound Designers, and Game Developers, Elsevier, Focal

Press

- Owsinski, B., 2013, The Mixing Engineer's Handbook, Boston,

Cengage Learning.

- Huber, D. V. and Runstein, R. E., 2014, Modern Recording

Techniques, 8th Edition, Burlington/Abingdon, Focal Press

- Maes, J., Vercammen, M., 2013, Digital audio technology, 4th Edition,

in association with Sony, Burlington, Focal Press

Lecturer/s Lecturer: Pasquale Davide Pennino

Co-lecturer: Domenica Amoroso

80 2

DA.026 Digital illustration and visual narrative


This is a core module for students in the Digital Animation stream. This

module provides an introduction to the theory and practice of

illustration as an art form. It examines the development of the visual

narrative through the medium of cartoons. The course will outline a

brief history of illustration, before going into its traditional forms and

recent developments leading up to the digital images of today.

Students will learn of the different components making up an

illustration, as well as the materials and software used. They will also

study about the contexts for which it is produced – whether for

publication in comics, books or newspapers, or to form videos,

animated films or other creations. At the end of the course, students

will produce their own set of illustrations in different formats.

Learning Outcomes



a) Analyse the relationship between text and image and apply the most

effective form of illustration to the text.

b) Critically review illustrations on different media and in different

contexts.

c) Recognize the different styles of illustrations, in both traditional and

digital formats.

d) Apply the appropriate techniques and software used for creating

digital illustrations.

e) Create visual narratives for different contexts.

f) Apply techniques of narrative construction to comics, graphic novels

and animated films.

g) Appreciate and analyse the significance of the context, including

materials and target audience, for which the illustration is used.

h) Carry out research work on the topic and related fields.



a) Understanding of the theory and practice of illustration as an art

form.

b) Brief history of the genre and development of the visual narrative.

c) Knowledge of the basic elements that make up an illustration, as

well as its different styles and formats.

d) Understanding of the strategies used and techniques employed in

creating visual narratives.

e) Understanding of the techniques and software used for digital

illustration.

f) Knowledge of the relationship between the illustration and text,

context, materials and audience/readership.

Learning Outcomes

Skills – at the end of the module/unit the learner will have mastered

the following skills:


The learner will be able to: a) Produce traditional and digital illustrations; apply images – hand-

drawn or digitally generated – to accompany text or to enrich

specific contexts.

b) Discuss key elements of illustrations and visual narratives, and their

application in comics, animated films and other media.

c) Create the best style of visual narrative for the context and

readership.

d) Develop a critical appreciation of the illustration as an art form.


The learner will be able to: a) Form an analytic view of an illustration and a visual narrative from

an aesthetic and stylistic perspective, as well as within a historic,

political, commercial and social context.

b) Evaluate the suitability of the illustration to the text or narrative.

c) Critically evaluate a form of visual narrative.

d) Analyse the use of illustrations in different media, particularly in

comic strips and animated films.



a) Deliver oral and written presentations on the significance of the

illustration in different contexts and for various styles of visual

narrative.

b) Apply visual narratives to enhance messages or content in

communications.

Hours of total learning for this Module/Unit




Teaching mode

This theoretical and practical unit will be taught through lectures,

hands-on sessions, project-based work and tutorials. The theoretical

side of the module will introduce the illustration as an art form, its

history and different genres and movements, as well as the

development of the visual narrative in different media, particularly

comics and animated films. The practical, hands-on part of the course,

on the other hand, will cover traditional and digital applications,

including software and materials used.

48 50

50 2

Assessment


- Written/oral exam;

- Project consisting in the production of a set of illustrations in

different formats.

Reading List

- Duncan, R., Smith, M. J., 2009, The Power of Comics: History, Form and Culture, New York, Continuum

- Heller, S., Chwast, S., 2008, Illustration: A Visual History, New

York, Abrams

- Male, A., 2007, Illustration: A Theoretical and Contextual

Perspective, New York, Watson-Guptill Publications

- Zeegan, L., 2012, The Fundamentals of Illustration, Lausanne,

AVA

Lecturer/s The lecturer/s who will be teaching this module still has to be selected.

DA.027 Multimedia design


This is a core module for students in the Digital Animation stream. The

course provides a practical approach to multimedia design, addressing

issues related to interactive, integrated and complementary media

products. It explores the potential and the context for which such

products are made, as well as their distribution and promotion. Students

will learn about the basic evolution of graphics and audiovisual design, the

psychology and perception of colours and applications, two- and three-

dimensional graphic compositions, types of communication products for

advertising campaigns, and website solutions in terms of usability,

accessibility and readability. The practical side of the course will also

cover design techniques for the graphic and audiovisual industry, the

stages of design of a graphic and audiovisual product, graphics and

animation software, as well as 3D display techniques and specific

software.

Learning outcomes



a) Design and create graphics and multimedia products; select the right

channels for distribution and promotion.

b) Design, create and publish content for the web.

c) Design, manage and critically review communication campaigns via

different media.

d) Master the use of the technological tools of the trade, including

dedicated software packages, to create the required products.

e) Identify the right media and materials for communication products, in

line with the context for which they are intended and the production

techniques available.

f) Apply the appropriate techniques during the various stages of

production – from concept to product realization – of the

communications and audiovisual industry.

g) Use the relevant IT networks and tools in the study and research

activities on the topic.



a) Identification and use of modern forms of visual and multimedia

communications.

b) Knowledge of the historical evolution of graphics, audiovisual design

and related industries.

c) Understanding of the graphics and multimedia production processes

and their various stages.

d) Knowledge of the relevant software packages.

e) Understanding of the psychology and perception of colours and

applications.

Learning outcomes

f) Understanding of the context for which multimedia products are

made, as well as their potential impact.

g) Knowledge of the historical, typological and expressive elements of

fonts when creating graphics and multimedia products.


following skills:



a) Design and create products for advertising and promotion campaigns.

b) Select the appropriate forms of media and modes of expression for a

more effective communication and a higher visual impact.

c) Design a website or cross-media product, taking into account the

interactions with users.

d) Design, implement and present graphics and multimedia products on

the basis of content, context, the intended interaction with users and

communication purpose.

e) Apply 2D and 3D display techniques.

f) Adapt the design of graphics and communication products to printing

process and techniques.

g) Apply project management methods and techniques and identify the

right collaborative tools for the required team work in delivering a

project.



a) Evaluate the suitability of communication products for advertising

campaigns.

b) Critically evaluate the quality of 2D and 3D graphic compositions.

c) Draw up technical reports and document the individual and group

activities related to professional situations.

d) Apply the ethical and professional standards of the industry to one’s

creative work.



a) Deliver oral and written presentations on the topic.

b) Use multimedia content in presentations and communications

products.

c) Respect the rules of usability, accessibility and readability for

websites.

d) Choose the software applications and hardware devices needed for

the acquisition and processing of basic communicative elements.

e) Use platforms for collaboration and sharing of information on the net.

Hours of total

learning for this

module




Teaching mode

This theoretical and practical unit will be taught through lectures, tutorials

and hands-on sessions, while actively involving students through

discussions and presentations. The lectures will be supported by videos to

provide practical examples of the topic. During the practical sessions,

students will have the opportunity to experiment with the design

techniques and software applied in graphics and the audiovisual industry.

They will also be assigned project work to hone their skills.

Assessment


- Written/oral exam; - Implementation of a multimedia project to be assigned at the start

of the semester.

Reading list The reading list will be drawn up together with the lecturer who will be

selected to deliver this study unit, before the commencement of the

academic year.


48

15

85 2

DA.028 Introduction to film history



course aims to provide students with a sound theoretical background of

film history and a critical appreciation of the medium as cinematic art.

The first part introduces different film genres and serves as an overview of

world cinema, from mainstream to avant-garde, silent to post-modern, art

house to neo-realist, alternative to documentary. After familiarising

themselves with film theory and the key concepts and language of film,

students will explore a few cinematic masterpieces, from the pioneering

efforts of the film-makers of the silent era to the classic productions of our

times. The second part of the course will delve deeper into film animation

from its birth up to the digital animation techniques of today. In this

context, cross-media influences will also be analysed.

Learning outcomes



a) Classify films based on the period of their production and the historical

context.

b) Analyse films critically and artistically.

c) Analyse the contemporary media landscape.

d) Define world cinema and identify different genres, using the

appropriate film language.

e) Discuss cinematic masterpieces and classics from different periods.

f) Reflect on mutual influences between different media.

g) Carry out research work on the topic and related fields.



a) Overarching understanding of film history: distinguish between

different genres, movements, periods and world cinema features.

b) Specific history of the animated film.

c) Basic knowledge of film theory.

d) Understanding of the narrative strategies of some film classics.

e) Understanding of the relationship between films across countries and

through time.

f) Methodologies for critical analysis of works produced in different

media; analytic approach to contemporary audiovisual works.


following skills:



a) Overarching understanding of film history: distinguish between

different genres, movements, periods and world cinema features.

Learning outcomes

b) Specific history of the animated film.

c) Basic knowledge of film theory.

d) Understanding of the narrative strategies of some film classics.

e) Understanding of the relationship between films across countries and

through time.

f) Methodologies for critical analysis of works produced in different

media; analytic approach to contemporary audiovisual works.



e) Discuss film genres and classics, particularly with reference to their

historic, political, economic and social context.

f) Use analytic tools to critically evaluate film production.

g) Form an analytical view of works in different media.



a) Deliver oral and written presentations on various aspects of film

history, theory and practice.

b) Use film-specific vocabulary to describe and summarize concepts

related to film studies.

Hours of total

learning for this

module




Teaching mode

This theoretical and practical unit will actively involve students through

discussions and presentations. Besides regular lectures, screenings of

early silent and world cinema classic films will be held to illustrate their

narrative strategies. Students will be required to carry out their own

research in order to deliver presentations and participate in reading-

based discussions during tutorials on specific film classics or other

cinematic topics.

Assessment



- Assignment (students to write an essay on a topic to be chosen from

a list of titles) and presentation on a classic film or cinematic

theme.

Reading list The reading list will be drawn up together with the lecturer who will be

selected to deliver this study unit, before the commencement of the

academic year.

80

66

100

4


DA.010

Title of the module/unit

3D graphics I

Module/Unit Description (Optional - please explain your reasoning behind wishing to provide this module/unit and/or how it fits within the whole course.)

This is a core module for both specializations. The purpose of the course consists in giving to the students a basic understanding of all the stages that make up the pipeline of work necessary for the production of a 3D cartoon or a video game through the Autodesk Maya software. The course will be divided into theoretical and practical sections: Interface, Modelling, UV Mapping, Texturing, Rigging, Animation, Lighting and Rendering. At the end of the course, students will create short Demo Reels or animated short films.

Competences: – at the end of the module/unit the learner will have acquired the responsibility and autonomy to: a) Analyse all the stages of a 3D production. b) Use the Autodesk Maya software. c) Perform 3D modelling with both NURBS and polygonal

methodologies. d) Create the UV maps of the models and associated textures. e) Rig a character. f) Animate a character. g) Make a model of an environment and equip it with lighting. h) Render own works. i) Make a reel and an animated short. j) Export models compatible with the world of gaming. Knowledge – at the end of the module/unit the learner will have been exposed to the following: (This can be a list of knowledge/content items)

a) Maya interface. b) Modelling. c) UV Mapping. d) Texturing. e) Rigging. f) Animation. g) Lighting. h) Rendering.

Skills – at the end of the module/unit the learner will have mastered the following skills:


The learner will be able to perform tasks related to:

Maya interface Shortcut Tools

Modelling Basic theory of modelling Main controls and functions NURBS modelling

YEAR 2

Learning Outcomes

Learning Outcomes

Polygonal modelling Inorganic modelling Creating a suitable work environment for modelling Box modelling Topology Creating an organic character

Texturing Main controls and functions UV mapping Hypershade and materials Photoshop for texturing Bump map and normal map – Zbrush

Rigging Theory of rigging Main controls and functions Skeleton and weightings Controls allocation Advanced rigging with switch techniques, inverse skeleton,

attributes creation and script Animation

Basic theory of animation Main controls and functions Keyframe animation, timeline and graph editor Dynamics Advanced character animation

Lighting Basic theory of lighting Main controls and functions Render view and basic lighting Advanced lighting – ambient occlusion, shadows, etc.

Rendering Basic theory of rendering Main controls and functions Formats and specifications Render layers, programming render.

Judgment Skills and Critical Abilities (This section has been made sufficiently open to accommodate both vocational and academic orientations. Applicants can refer to Judgment Skills, or Critical Abilities (critical skills, dispositions, values and actions), or both.) The learner will be able to: Evaluate 3D works and recognize the degree of optimization and compatibility of the models in relation to the sectors of application.

Additional Module-Specific Communication Skills, if required. (Over and above those mentioned in Section A)

Additional Module-Specific Learner Skills, if required. (Over and above those mentioned in Section )

Hours of total learning for this Module/Unit

Contact

Hours

Supervised

practice hours

(During these hours the learner is

supervised, coached or mentored, without

new content being presented.)

Self-Study

Hours

Assessment

hours

Total Number of ECTS of the module/unit

12 ECTS

Explain how this module/unit will be taught in line with Section A

This practical unit will be taught through lessons and lectures, practicum and hands-on sessions, project-based work and tutorials. The students will be given hands-on practical training in the selected software, applied to their field of specialization.

Explain how this module/unit will be assessed in line with Section A


5 mid-term tests (modelling, texturing, rigging, animation, and lightening and rendering);

Practical test to evaluate the student’s mastery of the required skills through the evaluation of his/her work in 3D computer graphics (Autodesk Maya);

Final multiple choice test.

Reading List

- Keller, E., 2009, Mastering Maya 2009, San Rafael, Autodesk

Press.

- Su, H., 2011, Alive Character Design. For Games, Animation

and Film, London/Beijing, CYPI Press - Autodesk official manuals (available online on the official

website).

Lecturer/s Lecturer: Carlo Cuomo Co-lecturer: Alessandro Faiella

DA.011

Title of the module/unit Directing techniques I

Module/Unit Description

(Optional - please explain your

reasoning behind wishing to

provide this module/unit and/or

how it fits within the whole

course.)

This is a core module for both specializations.The course objective is to

provide practical and manual knowledge on the art of cinematography

as applied to the games sector, which today closely follows

developments in the film industry. This will be done through the study

of the different techniques and theories of directing, with practical

exercises and screenings of films which have spawned video games, or

vice versa. The course aims to furnish the student with all the technical

and psychological elements that a director has to master to create

audiovisual products. It will also explore how directing techniques have

been mutually influenced and inspired by the game and cinema worlds.

Learning Outcomes



Draw up creative storyboards for the audiovisual sector. Produce works such as animated films, apps, TV ads and video

games.


exposed to the following: (This can be a list of knowledge/content

items)

The language and technique of cinematography. The different rules of editing. The production phases of the making of a cartoon.


following skills:


The learner will be able to use:

- Toon Boom Storyboard. - Adobe Photoshop. - Adobe Premiere.


(This section has been made sufficiently open to accommodate both vocational and

academic orientations. Applicants can refer to Judgement Skills, or Critical Abilities

(critical skills, dispositions, values and actions), or both.)The learner will be able

to:

Analyse an audiovisual project. Understand strengths and weaknesses of own production.

Learning Outcomes

Additional Module-Specific Communication Skills, if required.

(Over and above those mentioned in Section A)

Additional Module-Specific Learner Skills, if required.

(Over and above those mentioned in Section )

Hours of total learning for

this Module/Unit

Contact

hours

Supervised

practice hours

(During these hours the

learner is supervised,

coached or mentored,

without new content being presented.)

Self-Study

hours

Assessment

Hours

Total Number of ECTS of

the module/unit 6 ECTS

Explain how this

module/unit will be

taught in line with Section

A

(Please provide module/unit-

specific details as applicable.)

This theoretical unit will be taught mainly through lessons and lectures,

discussions and presentations. However, students will also benefit from

20-40 hours of supervised practice, where they will be mentored and

coached on the topic and its importance for the production of animated

films and video games.

Explain how this

module/unit will be

assessed in line with

Section A




Oral exam (50%); Presentation (50%) consisting in the description of an animated

film or video game sequence showing the approach chosen from a directorial perspective.

Reading List

(Please distinguish between core

and supplementary texts as

applicable. Courses at MQF L5 and

above should not just present the

main legislation or one

textbook/source, but present also

other viewpoints and perspectives

as applicable. For texts/sources

with different editions, it is

recommended that the latest

version is included. For courses at

MQF L5 and above it is

Oldman, G., 1995, First Cut. Conversations with Film Editors, UOCP

Cavalier, S., 2011, The World History of Animation, Berkeley, University of California Press

Rizzo, M., 2013, The Art Direction Handbook for Film, Burlington, Taylor&Francis Group

recommended that texts should not

be older than 10 years, although

this threshold may be too low for

higher MQF Levels especially in

particular content areas. The

exception is ‘classic/canonical’

texts, such as the original texts by

Piaget in psychology or Plato’s

Republic in Philosophy, to give two

examples.)

Lecturer/s

Lecturer: Domenica Amoroso

Co-lecturer: Francesco Colombo

DA.012

Title of the module/unit

Marketing and sociology of communication


This is a core module for both specializations. The course will provide

students with the tools to develop specific reflections on the sectors of

animation and video games and on their respective marketing

strategies – marketing management, strategic and operational

marketing. The course will delve into the sector studies and the useful

analytical diagrams, as well as corporate communications between

brand and visual identity. It will also explore the basic concepts of the

marketing mix, such as the study of the 7 Ps (product, place, price,

promotion, people, physical environment, process), the study and

identification of a core market, the study and identification of the core

target, and the importance of benchmarking for the improvement of the

production, organizational, strategic or energy processes of a business.



Conduct a market analysis. Identify a core target. Develop marketing strategies based on a good basic

understanding of the fundamental components of the marketing mix.

Understand how advertising agencies and press offices work. Knowledge – at the end of the module/unit the learner will have been exposed to the following: (This can be a list of knowledge/content items)

The enterprise system and business organization.

Strategic and operational marketing.

Marketing planning.

Business communication and communication tools (advertising,

press office, events, promotion, sponsorships, institutional

relations, web and social media).

Communication plan and measurement of results; analysis of

offline and online media.

International market scenarios; international marketing and the

internationalisation of enterprises.

Business relationships with international markets and models of

intercultural relations.

Skills – at the end of the module/unit the learner will have mastered the following skills:



Draw up a business plan. Develop marketing plans.

Learning Outcomes

Collect, analyse and interpret quantitative and qualitative data of a market research. Develop ad hoc communication plans.

Adapt to foreign markets through the study of patterns of cultural interaction.




(critical skills, dispositions, values and actions), or both.)


Understand what constitutes a “market”. Distinguish between the different markets. Identify the most suitable market for one’s own capacity. Deepen the knowledge of one’s own core market. Identify the most suitable core target for one’s own products or services. Systematically organize the various processes for the realization of one’s own product or the provision of one’s own services. Study the direct and indirect competitors to improve some aspects of one’s own business. Develop or evaluate a communication or promotion plan of one’s own product.




Learn the terminology related to the world of business management and communication in general.

Additional Module-Specific Learner Skills, if required. (Over and above those mentioned in Section )

Hours of total learning

for this Module/Unit


Self-Study hours Assessment Hours

Total Number of ECTS

of the module/unit 6 ECTS

Explain how this

module/unit will be

taught in line with

Section A

This is a theoretical and practical unit which will be taught through

lessons and lectures, discussions and presentations, as well as tutorials

and hands-on sessions focusing on the development of business and

marketing tools.

Explain how this

module/unit will be


Section A


- Oral exam; - Assignment consisting in the drawing up of a business plan for a

video game/animated film;

- Production of an advertising spot.

Reading List

English texts will be selected to replace the following ones being used in the IUDAV course offered in Italy:

- Kotler, P., Keller, K. L., 2006, Marketing Management: Analysis, Planning, Implementation and Control, 8th Edition, Englewood Cliffs, NJ: Prentice-Hall

- Lindstrom, M., Underhill, P., 2010, Buyology. Thruth and Lies about Why We Buy, Broadway Book

- Lindstrom, M., 2012, Brandwashed: Tricks Companies Use to Manipulate Our Minds and Persuade Us to Buy, Kogan Page Publishers

- Wesley, D. T. A., Barczak, G., 2010, Innovation and Marketing in the Video Game Industry: Avoiding the Performance Trap, Gower Publishing Ltd.

Lecturer/s Lecturer: Michele Citro

Co-lecturer: Carlo Cuomo

DA.013

Title of the module/unit Digital video editing and compositing


This is a core module for both specializations. The aim of the

course is to enable students to complete and improve their own

audiovisual products with the help of compositing software, such

as Photoshop and After Effects, and editing software, such as

Premiere (all part of the Adobe suite). To achieve this, the

theories of compositing and editing will be analysed through the

works of major players of the industry, such as Walter Murch,

Orson Welles and James Cameron, and through the analysis of

movies. On the other hand, the practical part of the course will

deal with the different compositing processes, such as particles,

production layers, blend modes, masks and others, as well as with

editing processes, such as fading, connections, sync, movie clip,

etc. At the end of the course, the students will create an animated

intro in motion graphics, a trailer for a cartoon, and a scene in

compositing.

Competences: – at the end of the module/unit the learner will

have acquired the responsibility and autonomy to:

Create images in static compositing.

Edit trailers.

Create motion graphics intro in dynamic compositing.

Knowledge – at the end of the module/unit the learner will have

been exposed to the following: (This can be a list of

knowledge/content items)

a) Theories and techniques of video editing and compositing.

b) Setting work based on levels.

c) Setting a common workflow to multiple software.

Skills – at the end of the module/unit the learner will have

mastered the following skills:



- Apply the common language of the Adobe suite.

- Apply the basics of colour correction and keying.

- Properly import and export the materials produced.

- Create, edit and mount static and dynamic material.

Learning Outcomes

Judgment Skills and Critical Abilities (This section has been made sufficiently open to accommodate both vocational

and academic orientations. Applicants can refer to Judgement Skills, or Critical

Abilities (critical skills, dispositions, values and actions), or both.)


Analyse the narrative and dramatic devices of the editing, as

well as the technical quality.

Evaluate an image and recognize the type of intervention.

Develop the creative expression through the knowledge of

different compositing techniques.




Have a basic knowledge of Adobe suite.

Form a general knowledge of the world of film and

animation.



Hours of total learning for

this Module/Unit

Contact hours

Supervised practice hours


supervised, coached or mentored,


Self-Study hours Assessment hours

Total Number of ECTS of the

module/unit 6 ECTS

Explain how this

module/unit will be taught

in line with Section A (Please

provide module/unit-specific details

as applicable.)

This predominantly practical unit will be taught through lessons

and lectures, practicum and hands-on sessions, project-based

work and tutorials. Emphasis will be placed on the practical demo

sessions and project-based work.

Explain how this

module/unit will be

assessed in line with Section

A (Please provide module/unit-



- Oral exam;

- Evaluation of the student’s practical work (animated intro

in motion graphics or a trailer for a cartoon).

Reading List

(Please distinguish between core and

supplementary texts as applicable.

Courses at MQF L5 and above should

not just present the main legislation

or one textbook/source, but present

also other viewpoints and

perspectives as applicable. For

texts/sources with different editions,

it is recommended that the latest

version is included. For courses at

MQF L5 and above it is recommended

that texts should not be older than 10

years, although this threshold may be

too low for higher MQF Levels

especially in particular content areas.

The exception is ‘classic/canonical’

texts, such as the original texts by

Piaget in psychology or Plato’s

Republic in Philosophy, to give two

examples.)

Murch, W., 2001, In the Blink of an Eye: A Perspective on Film Editing, Silman-James Press

Oldman, G., 1995, First Cut. Conversations with Film Editors, UOCP

Wright, S., 2010, Digital Compositing for Film and Video, Waltham, Focal Press

Lecturer/s Lecturer: Pasquale Davide Pennino Co-lecturer: Domenica Amoroso

DA.014

Title of the module/unit Intermediality theory


This is a core module for both specializations. The course analyses the

concept of intermediality / cross-media, considering the exchange and

hybridization not only in content, narratives and fictional worlds, but

also in terms of languages, narrative techniques and stylistic features

among old and new media, such as literature, visual arts, animation,

comics, movies, video games, television and music. The teaching of the

theories of intermediality will be accompanied by the presentation of

several case studies (such as Pokemon, The Walking Dead, The Lord of

the Rings). The course therefore aims to provide students with food for

thought and critical tools to think in terms of intermedia, and to learn

how to use, mix and reinvent languages and tools for the creation of

video game and animation works by tapping into those endemic to

other media.

Learning Outcomes



Work in teams in the design and pre-production process of

making a cross-media product.

Develop concepts for cross-media productions.

Convert the concept into pitch.



items)

a) The concept of remediation.

b) The various forms of cross-media.

c) The narrative and production techniques to create captivating and

enduring cross-media worlds.

d) The most famous case histories of cross-media projects.

e) The theoretical concepts related to the exchange of content,

languages, techniques and styles among video games, films,

television, comics, fiction, art and internet.

f) The role of fans in the process of co-creation of the fictional worlds.





Create compelling cross-media narratives that have different

points of entry and convergence.






a) Recognize the influences of a medium on another medium.

b) Contextualize historically and culturally adaptations, remakes and

reimagining of stories of different media.

c) Recognize the fundamental issues of a cross-media universe.







Contact hours Supervised practice hours


supervised, coached or mentored,


Self-Study

hours

Assessment

Hours



Explain how this

module/unit will be

taught in line with

Section A (Please provide

module/unit-specific details as

applicable.)


discussions and presentations.

Explain how this

module/unit will be


Section A (Please provide

module/unit-specific details as

applicable.)

The unit will be assessed by means of a written and/or oral exam.

0 32

1 67

Reading List

(Please distinguish between

core and supplementary texts

as applicable. Courses at MQF

L5 and above should not just

present the main legislation or

one textbook/source, but

present also other viewpoints

and perspectives as applicable.

For texts/sources with different

editions, it is recommended

that the latest version is

included. For courses at MQF

L5 and above it is

recommended that texts should

not be older than 10 years,

although this threshold may be

too low for higher MQF Levels

especially in particular content

areas. The exception is

‘classic/canonical’ texts, such as

the original texts by Piaget in

psychology or Plato’s Republic

in Philosophy, to give two

examples.)

English texts will be selected to replace the following ones used for the IUDAV course in Italy:

- Peperoni, C., 2010, Narrazione crossmediale 1.0. Introduzione ai nuovi universi finzionali, Roma, Aracne.

- Giovagnoli, M., 2009, Cross-media. Le nuove narrazioni, Milano, Apogeo.

- Bolter, J. D., Grusin, R., 2003, Remediation. Competizione ed integrazione tra media vecchi e nuovi, Milano, Guerini e Associati.

- Grigoletto, F., 2006, Videogiochi e cinema. Interattività, temporalità, tecniche narrative e modalità di fruizione, Bologna, CLUEB.

- Bittanti, M. (a cura), 2008, Intermedialità. Videogiochi, cinema, televisione, fumetti, Milano, Edizioni Unicopli.

Lecturer/s Lecturer: Luca Papale


DA.029

Title of the

module/unit Character design and storyboard techniques II

Module/Unit

Description

(Optional - please explain

your reasoning behind

wishing to provide this

module/unit and/or how it

fits within the whole course.)


course builds on the first module delivered on the subject. Students will

delve deeper into character performance, learning how to express

personality through moods, body language, emotions, actions and

general stagecraft. They will be challenged to create credible characters

in their productions, using the knowledge learnt and the software

applications mastered. The second part of the course deals with

storyboard techniques and explores further the narrative side of

animations. It focuses on the development of a story idea, key

storytelling conventions, as well as creative writing methodologies.

Students will also use their knowledge of drawing techniques in order to

improve their visual communication skills, generating a story from a

script to the screen. The practical sessions will serve to help them

become more accustomed with the software packages introduced in the

first module (Adobe Photoshop and Illustrator, and Toon Boom’s

Storyboard Pro).



a) Render characters more credible and increase level of detail.

b) Develop ideas of new stories through creative writing and

storyboard techniques.

c) Produce more elaborate and detailed artwork.

d) Improve digital drawing / painting and storytelling skills through

the use of the appropriate software.



items)

• Understanding of character performance and expression of moods, emotions, personality, body language, etc.

• Knowledge of storytelling conventions. • Creative writing and generating stories from basic ideas. • Constructing stories, from script to screen. • Visual communication skills to render the narrative more

effective. • Improved application of Photoshop, Illustrator and Storyboard

Pro. Skills – at the end of the module/unit the learner will have mastered the

following skills:

Learning Outcomes

Learning Outcomes



• Use images to tell stories synthetically. • Frame scenes which contribute to the narrative. • Digitally draw and paint better. • Develop characters and storyboards.




(critical skills, dispositions, values and actions), or both.)The learner will be able to:

• Critically evaluate a script and its production on screen. • Assess the character performance and the way its

personality has been expressed. • Analyse and review the storyboard structure.



• Deliver oral and written presentations on the topic. • Give practical demonstrations (for instance, during the events of

the Institute such as the planned Playmont festival for schoolchildren, or elsewhere).





Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



30 48

2 70

Explain how this

module/unit will be

taught in line with

Section A



This practical unit will be taught through lessons and lectures,

practicum and hands-on sessions, project-based work and tutorials. The

students will further elaborate the storyboard and characters created in

the first module on the topic. The supervised practical sessions will

enable the lecturer and tutors to guide the students on a one-to-one

basis.

Explain how this

module/unit will be


Section A





- Evaluation of the student’s practical work throughout the

semester.

Reading List (Please

distinguish between core and

supplementary texts as

applicable. Courses at MQF L5

and above should not just




and perspectives as

applicable. For texts/sources



version is included. For

courses at MQF L5 and above

it is recommended that texts

should not be older than 10

years, although this threshold

may be too low for higher

MQF Levels especially in



texts, such as the original texts

by Piaget in psychology or

Plato’s Republic in Philosophy,

to give two examples.)

The lecturer will add further texts to the ones, listed below, used for the

first module on the same topic (“Character design and storyboard

techniques I”):

• Brandford, T., 2006, Creating Characters With Personality, New York, Watson-Guptill.

• Winslow, V. L., 2009, Classic Human Anatomy. The Artist's Guide to Form, Function, and Movement, New York, Watson-Guptill.



DA.008

Title of the module/unit 2D design and animation techniques I






course.)

This is a core module for both specializations.

The course aims to provide students with knowledge of animation, from

the basics to the modern 2D techniques – thanks to Adobe Flash – both in

the field of cartoons as well as in that of apps, the graphic novel, and

graphic design illustrations. The analysis of the different phases that

make up the standard pipeline necessary for the production of a cartoon

enables students to create their own product, from concept to export

through drawing and animation. At the end of the course, students will

produce their own animated short.The software concepts and techniques

to create vector graphics applied in this module are also essential for

video game development in 2D graphics.



Create animated shorts. Create web ads. Create animations for apps and video games with Flash. Create model packs (character, background, props).


exposed to the following: (This can be a list of knowledge/content items)

- Theories of the storyboard. - The theoretical basis for directing animation. - The rules for traditional and cut-out animation.


following skills:



Use Adobe Flash Professional.

YEAR 3

Learning Outcomes

Learning Outcomes






Create own audiovisual/cartoon project, from concept to completion. Assess the quality of an animated work. Read a storyboard in a critical manner.







Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A



This practical unit will be taught through lessons and lectures, practicum

and hands-on sessions, project-based work and tutorials. The supervised

practice sessions will guide the student in the correct use of Adobe

Animate CC (Flash Professional) software, in order to enable him/her to

apply animated vector graphics in a confident manner.

Explain how this

module/unit will be


Section A




Written/oral test (50%), Evaluation of the individual’s practical work (50%): every

student specializing in Digital Animation will be required to produce an animated cartoon in 2D graphics, while those opting for the Video Games specialization will be asked to create animations for a video game in vector graphics.

Reading List










editions, it is recommended that

the latest version is included.

For courses at MQF L5 and

above it is recommended that

texts should not be older than 10


may be too low for higher MQF

Levels especially in particular

content areas. The exception is



psychology or Plato’s Republic in

Philosophy, to give two

examples.

Williams, R., 2009, The Animator’s Survival Kit, Londra, Faber & Faber

Blair, P., 1994, Cartoon Animation, Lake Forest, Walter Foster Publishing

Hogart, B., 2003, Dynamic Anatomy, New York, Watson-Guptill Publications

Fernandez, I., 2001, Macromedia Flash Animation and Cartooning. A Creative Guide, Columbus, McGraw-Hill Companies

O’Neill, D., 2013, The DC Comics Guide to Writing Comics, Potter/Ten Speed/Harmony



DA.009

Title of the module/unit English writing skills






course.)

This is a core module for both specializations. The course has two main

objectives. Initially, it will offer students the opportunity to improve their

English writing skills, particularly those related to storytelling. The

second part of the course will then focus specifically on the terminology

used in the animation and video games industries.

Learning Outcomes



- Create and narrate stories in English. - Understand and join technical discussions in the two related

fields of specialization. Knowledge – at the end of the module/unit the learner will have been

exposed to the following: (This can be a list of knowledge/content items)

Storytelling techniques. The specific English terminology used in the animation and video

games industries.


following skills:



Write good English. Apply writing skills to storytelling. Apply a localization kit.


(This section has been made sufficiently open to accommodate both vocational

and academic orientations. Applicants can refer to Judgement Skills, or Critical

Abilities (critical skills, dispositions, values and actions), or both.)


Evaluate the localization of an animated film or video game, comparing the original text and audio to the English translation.



Learning Outcomes





Contact

hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A



This unit will be taught through lessons and lectures, discussions and

presentations. Practical language sessions will focus on the use of English

for storytelling and scriptwriting suitable for animated films and video

games.

Explain how this

module/unit will be


Section A



The unit will be assessed by means of a written (50%) and oral (50%)

examination.

Reading List











the latest version is included. For

courses at MQF L5 and above it

is recommended that texts



may be too low for higher MQF

Levels especially in particular

content areas. The exception is



psychology or Plato’s Republic in

Philosophy, to give two

examples.)

Esselink, B., 2000, A practical guide to localization, Amsterdam, John Benjamins Publishing Company.

Collins Dictionaries, 2009, Easy Learning Grammar and Punctuation, London, HarperCollins.

Stevenson, A., 2010, Oxford Dictionary of English, Oxford, Oxford University Press

Lecturer/s The lecturers delivering this unit have not yet been identified.

DA.016

Title of the

module/unit Scriptwriting II

Module/Unit

Description



provide this module/unit

and/or how it fits within the

whole course.)

This is a core module for both specializations.

During the course, students will learn the most advanced writing

methods following an analysis of the conventions of storytelling for

films and television series, with particular attention to the specificities

of the animated film. Methodologies and conventions will then be

analysed with reference to writing for video games and other forms of

interactive storytelling. After completing the course, the students will

write a script for a video game or a short cartoon.



Write and present animated shorts and feature films, TV series and web

animation, and video game projects.



items)

• Advanced techniques of writing for films, TV and the web. • The conceptual tools of the trade of the scriptwriter.


following skills:



• Apply advanced techniques for the development of the narrative plot and the characters.

• Apply techniques of displaying the script for the animation. • Write dialogues and interactive dramatic articulations.




(critical skills, dispositions, values and actions), or both.)The learner will be able

to:

• Analyse in depth the dramaturgy of the more complex forms of film animation.

• Understand video games from a narrative point of view.

Additional Module-Specific Communication Skills, if required. (Over

and above those mentioned in Section A)

Additional Module-Specific Learner Skills, if required.(Over and above

those mentioned in Section )



Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A





tutorials. The student will be coached to apply techniques to develop

the narrative plot, including dialogue, for shorts and feature films.

Explain how this

module/unit will be


Section A





- Evaluation of the student’s skills through practical work, building

upon the scriptwriting project carried out for the related 1st year

module (“Scriptwriting I”).

Reading List








and perspectives as









• Scott, J., 2004, How to Write for Animation, New York, The Overlook Press.

• Marx, C., 2006, Writing for Animation, Comics, and Games, Waltham, Focal Press.

One additional text will be selected to replace the following:

• Vorhaus, J., 2004, Scrivere il comico. Principi, strutture e pratica di sit-com e comedy, Roma, Dino Audino Editore.

20 32

1 47









Lecturer/s Lecturer: Angelo Pastore

Co-lecturer: Giacomo Giubilini

DA.019

Title of the

module/unit Economics and business management

Module/Unit

Description





whole course.)

This is a core module for all students. The course analyses the economic

processes in general, starting from the distinction between micro and

macro economy. Particular attention will be paid to legislation related

to enterprises and the various types of businesses of persons and capital

– limited liability company (Ltd.), partnership, corporation, and small

and medium sized enterprise (SME), amongst others, as well as the

figure of the self-employed, with related NACE codes and the different

contractual forms, in order to enable the students to orient themselves

in the labour market. As a detailed study of the contemporary context,

the course will analyse funds for young entrepreneurs, new forms of

companies such as start-ups, and innovative funding practices such as

crowdfunding. The specificities of enterprises operating in the

animation and game sectors will also be examined in this unit.

Learning Outcomes



Gain competences on economic and legal aspects of the different forms of companies.

Get general information about the business world. Classify the product or the service provided, within the NACE

codification. Knowledge – at the end of the module/unit the learner will have been


items)

• Economic and legal definition of entrepreneur. • Economic and legal definition of self-employed. • Categorization of entrepreneurs. • Types of company. • The concept of distinctive signs: firm, sign, brand. • Advantages of registration of the trademark. • Regulations on patents. • Start-up or new enterprise. • The business plan in its various steps (operational, marketing

and financial plan). • Creation, organization, launch, management and control of the

new enterprise. • Crowdfunding as a practice of bottom-up micro-financing that

mobilizes people and resources. Skills – at the end of the module/unit the learner will have mastered the

following skills:



Learning Outcomes

• Evaluate the company form that is more suited to one’s professional needs.

• Develop a business plan. • Draw up estimates of various kinds for starting a business:

financial, sales, economic, and return on investment (ROI) and on equity (ROE) estimates.

• Know how to start a crowdfunding initiative. Judgment Skills and Critical Abilities





• Handle matters related to Commercial Law. • Evaluate the pros and cons for starting a new business. • Understand what support programmes, financial or otherwise,

are available for starting new businesses, and how to access them.


and above those mentioned in Section A)The learner will be able to:

Learn the terminology related to the world of business management in

general.





Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A



This theoretical unit will be taught through lessons and lectures.

Practical examples of enterprises active in the animation and video

game industries, as well as their marketing strategies, will be presented

and discussed in class.

0 48

2 100

Explain how this

module/unit will be


Section A




- Written/oral exam (50%);

- Assignment (50%), consisting in the drawing up of a business

plan for an animated film or video game company.

Reading List








and perspectives as

















Italian texts being used for the IUDAV course in Italy are being

substituted by English ones on similar lines:

• Campobasso, G., 2013, Diritto Commerciale. Vol.I: Diritto d’impresa, Milano, UTET.

• Foglio, A., 2001, Start-up. La guida completa per chi vuole mettersi in proprio e creare da zero un'impresa di successo, Roma, FrancoAngeli.

• Vassallo, W., 2014, Crowdfunding nell'era della conoscenza. Chiunque può realizzare un progetto. Il futuro è oggi, Roma, FrancoAngeli.

Lecturer/s Lecturer: Michele Citro


DA.021

Title of the module/unit 3D graphics II

Module/Unit

Description





whole course.)

This is a core study unit for students who opt for the Digital Animation

specialization. The course is split up into two sections. The first part

covers the history of graphic design, whereas the second follows up on

3D graphics I. For the second part, therefore, it requires an depth

knowledge of the Autodesk Maya software. It provides students with

some background on the processes and effects of graphic design and

also aims to give them the skills to use ZBrush for digital painting and

Mudbox for texturing. The second part of the course starts from the

conceptualization of any model, which it proceeds to create in the

general mesh structure, and ends with the completion of the model

through digital painting and sculpture techniques and the creation of

maps useful in defining the final project.

Learning Outcomes



Detail basic three-dimensional models through the use of digital sculpting.

Create texture maps, through 3D painting programmes, in order to define the final shader of the model in a clean and detailed manner.



items)

Topology and optimization of the models. Basics of classical sculpture. Human surface anatomy. Understanding and management of colours and patterns for

texturing. Basic knowledge of graphic design history.





Apply digital sculpture with Zbrush. Apply texturing with Mudbox. Use CG shader in Maya. Discuss graphical designs from a historical perspective.






Structure properly for digital sculpting a basic three-dimensional model.

Understand and manage the topology of a 3D mesh. Assess carefully quantity and quality of texture map, according to

the project. Improve the performance of an engine, using correct and lighter

models without sacrificing detail. Critically evaluate graphic productions.



Enhance visual communication strategies through the use of 3D graphics.

Deliver presentations on graphics-related topics.





Contact 80

Hours

Supervised

practice hours 66





Self-Study 100

Hours

Assessment 4

hours



66 80

4 100

Explain how this

module/unit will be

taught in line with

Section A





tutorials. Whereas the theoretical first part will focus on graphic

design history, students will then have supervised practice sessions to

improve their skills in developing digital sculptures and texturing with

ZBrush and Mudbox.

Explain how this

module/unit will be


Section A





- Evaluation of the student’s practical work, consisting in the use

of ZBrush and Mudbox for the digital sculpting and texturing of

the assigned three-dimensional model.

Reading List











the latest version is included.

For courses at MQF L5 and

above it is recommended that

texts should not be older than

10 years, although this

threshold may be too low for

higher MQF Levels especially in







Spencer, S., 2011, ZBrush Character Creation. Advanced Digital Sculpting, Hoboken, Sybex Inc.

Yuji, K., 2014, Anatomy Sculpting, Gurafikkusha.

A textbook on graphic design history will be added, while another text

in English will be selected to replace the following:

Keller, E., 2010, Introduzione a ZBrush, Guidonia Montecelio, Imago Edizioni.



DA.030

Title of the

module/unit Directing techniques II

Module/Unit

Description





whole course.)


course is a continuation of the second-year module on the same topic. It

focuses on the role of the director and the changes brought about by the

new technologies. It will explore further approaches to directing,

elaborating on the theories and techniques introduced in the first

module. Moreover, it will examine the relationship between the roles of

the director and other figures in the production, starting with the

producer, performers and the audience itself. Students will carry out

their own research on some of the issues related to the creative and

cultural industries in contemporary society, and their impact on the

directing of audiovisual productions. Screenings of films of specific

directors, including animated ones, will accompany the lectures.

Learning Outcomes



• Apply project management skills in producing audiovisual output on time and within budget, according to the approved schedules and financing.

• Improve creative visual skills and techniques through an understanding of the technical issues related to the actual production and postproduction.

• Develop collaborative skills essential to establish relationships for the preproduction, production and postproduction phases.

• Apply creative and technical collaboration skills in working with other members of the crew.



items)

Understanding of the various aspects of the creative, technical and managerial role of the director.

Understanding of the aesthetic and technical values of an audiovisual production.

Understanding of the audiovisual production skills required to bring the director’s vision to life.

Knowledge of the various stages of producing animated films.


following skills:



Learning Outcomes

• Apply the skills and techniques required in cinematography. • Form a critical understanding of performance and the ability to

respond to its challenges. • Apply his/her knowledge of the screenwriting and editing

processes to fulfil the director’s interpretation of the narrative. Judgment Skills and Critical Abilities (This section has been made sufficiently

open to accommodate both vocational and academic orientations. Applicants can refer to

Judgement Skills, or Critical Abilities (critical skills, dispositions, values and actions), or

both.)The learner will be able to:

• Reflect critically on the directing process. • Critically evaluate the director’s work in an audiovisual

production. • Produce technical reports and documentation to support his/her

creative efforts in directing. • Form a critical opinion when reviewing films or other

audiovisual productions. • Follow the ethical and professional standards and values that

apply to the director’s role. Additional Module-Specific Communication Skills, if required.






Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A


This theoretical and practical unit will be taught through lectures,

discussions, presentations, tutorials and hands-on sessions. Film

screenings will accompany the lectures. During the supervised practical

sessions, the students will be coached to develop their skills in directing.

30 48

2 70


Explain how this

module/unit will be


Section A




Written/oral exam; Essay and presentation on a specific director’s work or

approach taken from a directorial perspective.

Reading List








and perspectives as

















• Dancyger, K., 2006, The Director's Idea, Focal Press. • Oldman, G., 1995, First Cut. Conversations with Film Editors,

UOCP. • Proferes, N., 2005, Film Directing Fundamentals, Focal Press. • Wilkinson, C., 2005, The Working Director, Michael Wiese

Productions.

Other texts will be suggested by the lecturer at the start of the course.



STUDY-UNITS (Elective)

DA.022

Title of the

module/unit Advanced 3D graphics

Module/Unit

Description





whole course.)

This optional study unit may be selected by all students.The course

represents the core business within the area of competences of three-

dimensional graphics. It focuses on 3DS Max in general, with particular

attention on the module on digital filaments (Hair and Fur) and the one

on Rendering in global illumination, aimed at developing architectural

projects through V-Ray.Starting from the knowledge acquired by

students in Maya, in digital sculpting and texturing – Zbrush and Mudbox

– through the first two graphics courses of the syllabus, this last study-

unit will complete their basic training through the teaching of another

software useful for the labour market, 3DS Max. This software equips

students with specific skills in the creation of digital filaments and in

rendering, in order to widen their job opportunities even to the VFX

industry and to architecture. At the end of the course, students will

exploit all the knowledge learnt throughout the three years to create

their own demo reel or animated short in CG 3D.



• Design and develop 3D objects in low poly and high res, from the stages of box modelling and flat mesh up to the optimal performance in terms of mapping the swaps and complex rigging structures.

• Approach the world of digital filaments to create complex characters aimed at the VFX industry and high quality architectural rendering.



items)

Virtual graphic techniques for composing animations or video games


following skills:



• Use advanced features of 3D modelling in low poly and high res.

Learning Outcomes

Learning Outcomes

• Checking sculpting vortex in Hair and Fur. • Management of the fundamental parameters for a proper

development of the Rendering in global illumination.

Judgment Skills and Critical Abilities (This section has been made sufficiently

open to accommodate both vocational and academic orientations. Applicants can refer to

Judgement Skills, or Critical Abilities (critical skills, dispositions, values and actions), or

both.)The learner will be able to:

• Make a proper geometric analysis of Mesh Objects. • Detect a possible mismanagement of overlapping concerning the

swapping. • Assess the quality of a rig in order to be able to correct a collapse

mesh in case of an error of skinning. • Evaluate and optimize a rendering.


and above those mentioned in Section A)

Additional Module-Specific Learner Skills, if required.(Over and above

those mentioned in Section )



Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A




practicum and hands-on sessions, project-based work and tutorials. The

students will have supervised practice sessions to improve their skills in

deploying 3DS Max software for their productions.

Explain how this

module/unit will be


Section A



Written/oral exam; Evaluation of the student’s practical work, assigned at the

start of the course (on the use of 3DS Max).

36 48

2 64


Reading List








and perspectives as

















English texts will be selected to replace the following:

• Stoneham, B., 2011, Come realizzare arte fantasy per i videogiochi, Foggia, Il Castello

• Boldrin, S., Fanton, E., Ranzato, M., 2007, 3D Studio Max Guida completa, Guidonia Montecelio, Imago Edizioni

Lecturer/s Lecturer: Maurizio Pocci


DA.023

Title of the

module/unit 2D design and animation techniques II

Module/Unit

Description





whole course.)

This optional study unit may be taken by students who choose the

Digital Animation specialization. The course aims to give students the

knowledge needed for the design, development and publication of

interactive stories through the use of the software PubCoder. During

the course, students will put into practice many of the skills learned

in the previous years through the study-units on 2D graphics,

animation, screenplay and visual programming, in order to write,

illustrate, animate, programme and export their interactive stories in

formats compatible with Google Play Books and iBooks. The course

also analyses the different stages of development of a human being,

as well as communication in other media to provide students with the

basics of a proper way of communicating. At the end of the course,

the students will create their own interactive story.

Learning Outcomes



Create interactive stories independently, going through the stages of

design, development and publication by using PubCoder.



items)

• Interactive storytelling techniques for fables and fairy tales. • Mechanisms and interfaces for interactive stories and fairy

tales. • How to publish an interactive story on Android and IOS

devices. Skills – at the end of the module/unit the learner will have mastered



The learner will be able to: Use PubCoder.

Judgment Skills and Critical Abilities (This section has been made

sufficiently open to accommodate both vocational and academic

orientations. Applicants can refer to Judgement Skills, or Critical Abilities



Identify what structure to use for the creation of an interactive story according to the target audience.



Additional Module-Specific Learner Skills, if required.(Over and

above those mentioned in Section )



Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A




practicum and hands-on sessions, project-based work and tutorials.

The supervised practice sessions allow for individual coaching

according to the student’s needs.

Explain how this

module/unit will be


Section A




Written/oral exam; Evaluation of the student’s assigned practical work (use of

PubCoder).

Reading List








and perspectives as






• Loewen, N., 2009, Once upon a time. Writing your own fairy tale, Picture Windows Books.

The following texts will be replaced by English ones:

• Santagostino, P., 2004, Come raccontare una fiaba... e inventarne centro altre, Red Edizioni.

• Antoniazzi, A., 2007, Labirinti elettronici. Letteratura per l’infanzia e videogame, Milano, Apogeo.

36 48

2 64














DA.031

Title of the

module/unit New integrated media techniques

Module/Unit

Description





whole course.)

This is an optional module for students in the Digital Animation

stream. The course aims to highlight the opportunities brought about

by the convergence of different media that result from the advances

made by the new information and communication technologies. It

focuses on the key industry trends, particularly on applications in the

field of audiovisual communication. Students will learn about the

theory and practice of this form of communication, as well as the

evolution taking place in its technical components and in the

production techniques used for the creation of animated works. On

the practical side, the students will enrich their video editing and

compositing skills acquired in the second year module through the

mastery of the Avid and Nuke software applications.



• Integrate different kinds of media and multiple software applications.

• Enrich skills in video editing and compositing. • Master the use of Avid and Nuke and their range of features

compared to other software packages. • Improve skills needed for the creation, editing and mounting of

static and dynamic content. Knowledge – at the end of the module/unit the learner will have been


items)

• Be familiar with the theory and practice of contemporary integrated media.

• Use a wider range of video editing applications. • Improve knowledge of compositing techniques. • Understand the background and potential of new integrated

media techniques. • Have a basic knowledge of Avid and Nuke.





• Design and produce own works using a wider range of editing and compositing software.

• Practice use of applications needed for new integrated media professions.

• Apply Avid editing suite and Nuke compositing software.

Learning Outcomes

Learning Outcomes


sufficiently open to accommodate both vocational and academic orientations.

Applicants can refer to Judgement Skills, or Critical Abilities (critical skills,

dispositions, values and actions), or both.)The learner will be able to:

• Analyse the technical quality of an edited audiovisual work. • Analyse the quality of the video editing in terms of the

storytelling sequence and the dramatic devices employed. • Evaluate the quality of the pictures created through the digital

image assembling compositing process. • Draw up technical reports on new integrated media

applications. Additional Module-Specific Communication Skills, if required.

(Over and above those mentioned in Section A





Contact

Hours

Supervised

practice hours





Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A



This predominantly practical unit will be taught through lessons and


tutorials.The supervised practice sessions, complemented by

exercises and project work, allow for individual coaching according to

the student’s needs.

Explain how this

module/unit will be


Section A




- Evaluation of the student’s practical work.

36 48

2 64


Reading List








and perspectives as

















The reading list will be indicated before the start of the academic

year. For digital video editing and compositing texts, the following

are suggested:

• Oldman, G., 1995, First Cut. Conversations with Film Editors, UOCP.

• Wright, S., 2010, Digital Compositing for Film and Video, Waltham, Focal Press.

Lecturer/s

Lecturer: Pasquale Davide Pennino

Co-lecturer: Domenica Amoroso

DA.032

Title of the

module/unit Design portfolio and professional identity

Module/Unit

Description





whole course.)

This is an optional module for students in the Digital Animation

stream. This module provides students with the skills needed to

create a design portfolio, giving them the opportunity to develop

their individual artistic character and visual identity, highlighting

distinctive creative traits while enabling them to work in a

professional team. It will guide students through all the stages of the

process, from the selection of artworks, creative projects and design

content, to the presentation of the material in printed and online

portfolio formats. The course will support students in forming their

professional identity, showing how to launch a private practice and

explore methods of self-promotion .It will introduce them to cultural

and entrepreneurial services offered by public institutions and

business networks mentoring independent creative artists. Finally,

students will also explore how to assemble visual collections and

curate exhibitions, create static and dynamic digital displays and

organise cultural design events. At the end of the course, students will

have developed a professional portfolio containing design and

promotional material, which will be showcased in the Institute’s

annual exhibition.



• Design and present concepts for a professional portfolio. • Develop tools for self-promotion (creative cv, stationery

package, online content like websites and social media accounts).

• Identify personal distinctive creative traits. • Produce online version of portfolio. • Use collaborative tools for working in a team with other

professional figures involved in delivering a design project, as well as project management techniques when required.

• Curate visual art exhibition and organise design events. • Carry out research on innovative materials, highlighting

different aspects (e.g., impact of texture, graphics, and colour). Knowledge – at the end of the module/unit the learner will have been


items)

• Understanding of showcasing techniques to highlight creative qualities.

• Knowledge of skills needed to launch private practice as a creative artist.

• Production of plans for curating visual art exhibition, organizing cultural or design thematic event.

• Collection of different artworks and creative outputs into coherently narrated document.

Learning Outcomes

Learning Outcomes

• Demonstrate the design process through research, development and presentation stages.





• Produce professional printed portfolio for potential job opportunities in the animation, entertainment, media or related industries.

• Develop ability to coherently select a series of artworks or creative products for inclusion in portfolio, exhibition, etc.

• Produce higher visual impact in the representation of ideas. • Document the design process through sketchbook,

presentation boards, written statements, etc.


sufficiently open to accommodate both vocational and academic orientations.

Applicants can refer to Judgement Skills, or Critical Abilities (critical skills,

dispositions, values and actions), or both.)The learner will be able to:

• Reflect critically on transition from a student identity to a professional one.

• Critically assess the level of excellence of a design portfolio. • Evaluate the quality level of promotional material. • Reflect on digital skills mastered and future artistic prospects

and creative career. • Apply principles of the code of conduct of the industry to own

professional practice.



• Convey a winning approach in the overall presentation of the design portfolio.

• Develop a visual communication strategy to create a lasting impact via all forms of media.





Contact

Hours

Supervised

practice hours




36 48


Self-Study

Hours

Assessment

hours



Explain how this

module/unit will be

taught in line with

Section A



This predominantly practical unit will be taught through lessons and


tutorials. The supervised practice sessions leading to the creation of

the design portfolio, allow for individual coaching according to the

student’s needs.

Explain how this

module/unit will be


Section A



The assessment of this unit will be entirely project-based. The

lecturer and his/her assistants will evaluate the student’s practical

work throughout the semester. The final mark will reflect how the

student produced his/her design portfolio, using course work and

other personal projects, as well as the various forms of promotional

material. The assessment will also cover the organization of the end-

of-year exhibition to showcase the students’ work.

Reading List








and perspectives as

















The reading list will include the following texts, but additional ones

may be added later:

• Caldwell, C., 2010, Winning Portfolios for Graphic Designers, Barron’s Educational Series.

• Clazie, I., 2010, Creating Your Digital Design Portfolio: A Practical Guide for Showcasing Your Work Online, Rotovision.

• DiMarco, J., 2006, Web Portfolio Design and Applications, Hershey.

• Eisenman, S., 2008, Building Design Portfolios: Innovative Concepts for Presenting Your Work, Rockport Publishers.

• Keller, M., 2010, Design Matters: Portfolios 01: An Essential Primer for Today’s Competitive Market, Rockport Publishers.

• Marshall, L., Meachem, L., 2010, How to Use Images, Laurence King Publishers.

• Taylor, F., 2010, How to Create a Portfolio and Get Hired: A Guide for Graphic Designers and Illustrators, Laurence King Publishers.

• Trede, F., Macklin, R., Bridges, D., 2012, Professional Identity Development: A Review of the Higher Education Literature, Studies in Higher Education, Vol. 37, Issue 3, Routledge.

Lecturer/s The lecturer/s who will be teaching this module still has to be

selected.

2 64

Documents

PROGRAMME OF STUDY...DA.003 Scriptwriting I Description programme (Core module) This is a core module for both specializations. The course covers every aspect of writing for film and