Animation Sketching Course

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Animation Sketching Course

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We embrace a learning environment that will prepare you for the path ahead. Our classes incorporate traditional learning styles as well as hands-on experiences.

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With a decade of experience in quality education, your success is our priority. To support our inclusive community, we provide a personal approach, tailoring learning methods to each student’s needs.

Animation Sketching Course

Animation Sketching Course

Animation Sketching Course

Animation and illustration are dynamic disciples at the forefront of the creative industry.

This course is for you, if you want to animation sketching and apply it to practical applications.

The course will cover all the basics of traditional drawn animation, including matter, characters, acting and live movements.

It is also for students interested in developing sketching portfolios for admission to college-level programs, and for individuals looking to create paintings for personal enrichment and other professional opportunities.

Learn how to manipulate your artworks to stunning effect, get hints and tips on working and re-working your paintings as they dry, and discover sketching techniques that will add a stunning depth, light and character to your work.

The Certificate Programme can be completed in 3 months validity period

Animation Sketching Course

  • Animation Sketching – Shading Techniques
  • Drawing Animation –
  • Basic Figure
  • Study People in Action Poses
  • Pictorial Compotion
  • Character Designing
  • Story Boarding
  • Basic Walk Cycle
  • Basic Jump Cycle
  • Basic Run Cycle
  • Animation Sketches to a Concept – Create your own 
    ———-
    Assignments – Self Study

It is flexible program. You can start the course anytime. Classes are held from Mon to Sat. You can choose the days (subject to availability)

Kindly check with Mr. Dass, Manager – Programmes on +91 9902739994 for the schedule.

Once the schedule fixed, changes cannot be made unless approved by the management.

Animation Sketching Course

The students will be awarded a “Certificate of Completion” on completion of all the sessions and submission of assignments & evaluation by the faculty. 

The certificate issued under the brand name “Konsult Art and Design Academy’ , a brand of M/s Konsult Global Education, Bangalore.

Please read https://konsultart.com/wpautoterms/certification/

Animation Sketching Course

  • Rigging Artist
  • Texture Artist
  • 2D Animator
  • Rendering Artist
  • Higher Studies in Animation

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Add Rs. 500/- towards Registration (On Admission) for new admissions.

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The currency is in USD.

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$7 towards Registration (On Admission) for new admissions.

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International fees in US Dollars. Registration (New Admission): Rs.500 for Indian Students) / $7 for International Students will be added On Admission | Secured Razorpay Payment Gateway | PayPal Option for International Payments | EMI Option thru Razorpay available for Indian Students only upto 24 months..

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Animation Sketching Course

Animation is not the art of drawings that move but the art of movements that are drawn.” – Norman McLaren

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Animation - Wikipedia

Animation

Once the animatic is finally approved by the director, animation begins.

In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using colored pencils, one picture or “frame” at a time.[2] A peg bar is an animation tool used in traditional (cel) animation to keep the drawings in place. The pins in the peg bar match the holes in the paper. 

It is attached to the animation desk or light table, depending on which is being used. A key animator or lead animator will draw the key drawings in a scene, using the character layouts as a guide. 

The key animator draws enough of the frames to get across the major poses within a character performance; in a sequence of a character jumping across a gap, the key animator may draw a frame of the character as he is about to leap, two or more frames as the character is flying through the air and the frame for the character landing on the other side of the gap.

Timing is important for the animators drawing these frames; each frame must match exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between sound and visual will be distracting to the audience. 

For example, in high-budget productions, extensive effort is given in making sure a speaking character’s mouth matches in shape the sound that the character’s actor is producing as he or she speaks.

While working on a scene, a key animator will usually prepare a pencil test of the scene. A pencil test is a much rougher version of the final animated scene (often devoid of many character details and color); the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. 

This allows the animation to be reviewed and improved upon before passing the work on to his assistant animators, who will add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have his scene sweatboxed, or reviewed by the director, producer, and other key creative team members. 

Similar to the storyboarding stage, an animator may be required to redo a scene many times before the director will approve it.

In high-budget animated productions, often each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. 

For scenes where two characters interact, the key animators for both characters will decide which character is “leading” the scene, and that character will be drawn first. The second character will be animated to react to and support the actions of the “leading” character.

Once the key animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the lead and assistant animators’ drawings and trace them onto a new sheet of paper, making sure to include all of the details present on the original model sheets, so that the film maintains a cohesiveness and consistency in art style. 

The inbetweeners will draw in whatever frames are still missing in-between the other animators’ drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.

At each stage during pencil animation, approved artwork is spliced into the Leica reel.[3]

This process is the same for both character animation and special effects animation, which on most high-budget productions are done in separate departments. Effects animators animate anything that moves and are not a character, including props, vehicles, machinery and phenomena such as firerain, and explosions

Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s by filming slow-motion footage of water in front of a black background, with the resulting film superimposed over the animation.

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