You will hone your skills in 2D Animation, which preserves the elegance and warmth of traditional techniques, becoming a creative platform rich in narrative and stylistic possibilities"

2D Animation offers a wide range of benefits, not least because of its classic and timeless visual style, which allows for the creation of characters and environments, capturing the viewer's imagination in a charming way. In addition, its apparent simplicity facilitates complex storytelling in an accessible way, allowing for a deeper connection with the audience. The versatility of this format allows experimentation with visual and expressive styles, giving creators extraordinary freedom.

As a result, this Professional master’s degree in 2D Animation is created, which presents a comprehensive syllabus that will include modules designed to qualify designers in the facets of two-dimensional animation. Therefore, professionals will address the fundamentals of graphic design, understanding how the proper use of lines, shapes and colors contributes to the visual narrative in animation. In addition, they will delve into the basic principles that govern movement and expression in this format, creating convincing animated sequences.

Furthermore, the program will explore current technologies, providing knowledge of software and digital techniques essential for the creation of contemporary 2D animations. To this must be added a deep understanding of specific aspects, from character development to the application of advanced techniques.

Similarly, graduates will be prepared to plan animation projects effectively, considering aspects such as scripting and production design, and then focus on project execution, applying their knowledge in the creation of complete animations. Finally, students will be equipped with skills to perfect and promote their creations in the market, understanding the importance of marketing and commercialization in this industry.

As such, the educational program will offer a unique opportunity by presenting a fully online and flexible modality. This approach will give students an extended freedom to organize their study schedule, enabling them to reconcile their daily personal and professional responsibilities in a more efficient way.

2D Animation is easily adaptable to various platforms, from television to social media, making it an effective tool for reaching audiences of all ages. Enroll now!”

This Professional master’s degree in 2D Animation contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by experts in 2D Animation 
• The graphic, schematic and practical contents of the book provide theoretical and practical information on those disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies  
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments 
• Content that is accessible from any fixed or portable device with an Internet connection 

You will delve into the key concepts that govern movement in animation, such as anticipation, overload and action tracking, through the revolutionary Relearning methodology"

The program’s teaching staff includes professionals from the industry who contribute their work experience to this program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the course. For this purpose, the students will be assisted by an innovative interactive video system created by renowned and experienced experts.

You will combine artistic tradition with digital technologies, approaching animation projects from multiple creative perspectives"

You will refine and promote your creations in the market, understanding the importance of marketing and commercialization in the 2D Animation industry"

The Professional master’s degree in 2D Animation will cover a wide variety of content, designed to provide students with a deep and holistic understanding of two-dimensional animation. In addition, the program will include fundamental modules covering the theoretical and practical principles of animation, from character and scenario creation to visual storytelling.Advanced animation techniques will also be covered, as well as the use of specialized software to create and edit animated content. An expertly designed curriculum and quality content will be the key to your learning success"

An expertly crafted syllabus and quality content will be the key to your learning success"

Module 1. 2D Language

1.1. 2D Animation

1.1.1. Photograms
1.1.2. Frame Exposure and Types of Animation
1.1.3. 2D Animation Styles

1.2. Script

1.2.1. Audiovisual Script
1.2.2. Precursors of the Script. Synopsis, Storyboard and use of the Storybeats Application
1.2.3. Script Structure and Terminology

1.3. Use of Toon Boom Harmony Interface

1.3.1. Examination of the Working Area
1.3.2. Timeline
1.3.3. Basic Tools

1.4. Graphic Language

1.4.1. Drawing
1.4.2. Compositional Language
1.4.3. Language of Color

1.5. Cinematographic and Audiovisual Language - Mise-en-scène

1.5.1. Plans According to the Relation they Have with their Objective
1.5.2. Camera Movements, their Nomenclature and Usefulness
1.5.3. Morphological Elements of an Audiovisual Work

1.6. Cinematographic and Audiovisual Language - Semantic Aspects

1.6.1. Montage and Editing
1.6.2. Transitions and Rhythm
1.6.3. Description of Shots and Sequences According to their Narrative Purposes

1.7. Production Language

1.7.1. Workflow and Flowchart in the Production of an Animated Project
1.7.2. The Animator and its Relation with the Production Area
1.7.3. The Animator and its Relation with the Direction Area and Other Creative Areas

1.8. Adobe Animate Interface

1.8.1. Exploration and Examination of the Working Area
1.8.2. Timeline

1.9. Adobe 2D Traditional Animation Applied to Digital Media

1.9.1. Comparative Terminologies in Toon Boom Harmony
1.9.2. Comparative Terminologies in Adobe Animate
1.9.3. Terminologies Specific to Digital Media

1.10. Additional Languages

1.10.1. Sound Language
1.10.2. Color and Narrative Language
1.10.3. Tone, Genre and Discourse of the Audiovisual Work

Module 2. 2D Animation Principles

2.1. Squash y Stretch

2.1.1. Squash and Conservation of the Mass
2.1.2. Stretch and Conservation of the Mass
2.1.3. Application in Digital Media and other Deformations

2.2. Anticipation, the Composition of Parallel and Inverse Forces and their Narrative Value

2.2.1. Physical Anticipation
2.2.2. Narrative Anticipation and other Types of Anticipation
2.2.3. Anticipation of Anticipation

2.3. Staging

2.3.1. Staging
2.3.2. Visual Appeal and Solid Drawing
2.3.3. Secondary Animation

2.4. Straight Ahead Animation

2.4.1. Straight Ahead Animation
2.4.2. Pose-To-Pose Animation
2.4.3. Hybrid Animation

2.5. Character Pose Changes (Breakdowns)

2.5.1. Direct Inbetweens and Inbetweens with Breakdowns
2.5.2. Directional Changes
2.5.3. Speed Changes

2.6. Complementary and Superimposed Action

2.6.1. Complementary Action
2.6.2. Combing
2.6.3. Overlapping Action

2.7. Accelerations, Decelerations and Pace

2.7.1. Deceleration
2.7.2. Acceleration
2.7.3. Acceleration Curves

2.8. Arcs

2.8.1. Pivot and Axis of Rotation
2.8.2. Movement Arcs
2.8.3. Other Organic Movement Routes

2.9. Exaggeration

2.9.1. Pose Exaggeration
2.9.2. Rhythm Exaggeration
2.9.3. Character Reactions (Take and Double Take)

2.10. Contacts and Friction

2.10.1. Records
2.10.2. Contacts
2.10.3. Friction and Resistance

Module 3. Advanced Traditional Animation

3.1. Position Animation

3.1.1. Silhouette
3.1.2. Lines of Action
3.1.3. Contraposes and Reversals

3.2. Lip Synchronization

3.2.1. Mouth Movements
3.2.2. Vocalization Inbetweens and Mouth Performance
3.2.3. Digitally Automated Synchronization

3.3. Walking Cycles

3.3.1. Contacts and Position Changes
3.3.2. Walk Cycle Position Changes
3.3.3. Cycling of a Linear Walk and Cycles in Animate and Toon Boom

3.4. Walks, Running Cycles and Alternate Cycles

3.4.1. Walks
3.4.2. Racing
3.4.3. Alternative Cycles

3.5. Full Turns

3.5.1. Of the Head
3.5.2. Full and Object Turns
3.5.3. Truncated Turns

3.6. Exaggerate and Calm Down

3.6.1. Exaggerate
3.6.2. Calm Down
3.6.3. Bounces

3.7. Rotoscopy, Reference and Documentation

3.7.1. Rotoscopy
3.7.2. Video Reference
3.7.3. Integration with Live Action

3.8. Sweeps, Multiples and Blurring

3.8.1. Sweeps
3.8.2. Multiples
3.8.3. Blurring

3.9. Cleaning Traces and Assistance

3.9.1. Assistance
3.9.2. Inbetweening
3.9.3. Cleaning of Traces

3.10. Color Application

3.10.1. Shading as a Second Level of Animation
3.10.2. Shadow Casting
3.10.3. Digital Automation of Color and Shadows using Toon Boom

Module 4. Digital Tools

4.1. Miniatures

4.1.1. Importance of the Storyboard as a Narrative and Production Tool 
4.1.2. Basic Storyboard and Previews
4.1.3. Thumbnails and Initial Scripts

4.2. Voice Recording

4.2.1. Voice Recording
4.2.2. Dialog Editing
4.2.3. Music and Sound Effects Editing

4.3. Preparation

4.3.1. Format and Aspect Ratio
4.3.2. Composition
4.3.3. Safety Zones

4.4. Symbology

4.4.1. Standardized Symbology
4.4.2. Simulation of Camera Movements
4.4.3. The Digital Storyboard

4.5. Using Storyboard Pro

4.5.1. IInterface
4.5.2. Sound Line and Timeline
4.5.3. Additional Tools

4.6. Digital Alternatives

4.6.1. Photoshop Storyboard
4.6.2. Adobe Animate Storyboard
4.6.3. Storyboarding in After Effects

4.7. Storyboarding for Animators

4.7.1. The Storyboard Artist
4.7.2. Animation Keys in the Storyboard
4.7.3. Working in Layers

4.8. Using Roughboard

4.8.1. Graphic Exploration
4.8.2. Rough Board Preparation
4.8.3. Implementation

4.9. Graphic Script

4.9.1. Composition
4.9.2. Backgrounds
4.9.3. Working with Characters

4.10. Animation

4.10.1. Real-Time Editing
4.10.2. Review
4.10.3. Post-Production

Module 5. Character Design and Animation

5.1. Character Design

5.1.1. Silhouette and Proportion
5.1.2. Color, Style and Personality

5.2. Character Guide

5.2.1. Character Analysis
5.2.2. Consistency and Tolerance
5.2.3. Writing and Structure of a Character Guide

5.3. Model Sheet

5.3.1. Presenting it in Different Poses
5.3.2. Expressions and Body Language Sheet
5.3.3. Vocalization Sheet, Scale and Additional Sheet

5.4. Text Interpretation

5.4.1. Text, Genre and Tone. The Information that We Can Obtain from it
5.4.2. Subtext and Irony
5.4.3. Narrative Function and Authorial Intention

5.5. Action Tools

5.5.1. Formal and Experiential Action
5.5.2. Character and Background Analysis
5.5.3. External and Internal Stimuli

5.6. Pantomime and Body Language

5.6.1. Body Language, Interactions
5.6.2. Hand Gestures
5.6.3. Rhythm, Minimal Movements and Scenic Task

5.7. Facial Expressions

5.7.1. Study of the Facial Features and Facial Expressions
5.7.2. The Eyes and their Expressive Properties
5.7.3. References and Documentation

5.8. Animation of a Dialog

5.8.1. The Voice Actor's Contribution
5.8.2. Examination of a Recorded Dialog
5.8.3. Exploiting the Pause

5.9. Self-Reference in Video

5.9.1. Self-Reference
5.9.2. Transcription and Reinterpretation
5.9.3. Cleaning and Polishing

5.10. Character Animation

5.10.1. Body Animation Workshop
5.10.2. Addition of Facial Acting
5.10.3. Addition of Vocal Synchronization

Module 6. Vector Animation

6.1. Bitmaps and Vectors

6.1.1. Bitmap
6.1.2. Vector Drawing
6.1.3. Comparisons and Applications

6.2. Using Adobe Animate

6.2.1. Symbols, Graphics and Movie Clip Tool
6.2.2. Motion Interpolation and Semi-Three Dimensional Motion
6.2.3. Shape Interpolation and Virtual Camera

6.3. Use of Toon Boom Harmony

6.3.1. Libraries
6.3.2. Bones and Deformers
6.3.3. Auto Color

6.4. Preparing a Character for Adobe Animate

6.4.1. Separation of Elements and Tracing
6.4.2. Internal Key Tracing
6.4.3. Character Building

6.5. Preparing a Character for Toon Boom Harmony

6.5.1. Tracing
6.5.2. Bones and Digital Control
6.5.3. Adjustments

6.6. Lights and Shading in Toon Boom Harmony

6.6.1. Setting Volumes
6.6.2. Virtual Lights and Camera
6.6.3. Shadow Casting

6.7. Using Story Board Pro

6.7.1. Interface
6.7.2. Timeline
6.7.3. Digital Edition

6.8. Alternative Software

6.8.1. Krita
6.8.2. Animation Paper
6.8.3. Open Toonz - Anime

6.9. Using Moho

6.9.1. Exploration of Interface
6.9.2. Smart Warp Tool
6.9.3. Smart Bones and Pin Bones Tools

6.10. Using Blender's Grease Pencil

6.10.1. Software Recognition
6.10.2. Drivers and Additional Features
6.10.3. Automated Lip Synchronization

Module 7. Specialized Animation

7.1. Walking Cycles of Non-Bipedal Beings

7.1.1. Quadrupeds
7.1.2. Other Non-Plantigrade Animals
7.1.3. Alternative Locomotion Cycles

7.2. Additional Practical Movements

7.2.1. Flight Cycles
7.2.2. Ladders, Weight Lifting, Drops
7.2.3. Bumping, Interactions, Dancing

7.3. Special Effects, Fluids

7.3.1. Small Bodies of Water
7.3.2. Large Bodies of Water
7.3.3. Viscous Fluids

7.4. Special Effects, Fire and Smoke

7.4.1. Fire
7.4.2. Smoke
7.4.3. Fires, Flares and Lava

7.5. Animation of Weather and Climate Phenomena

7.5.1. Rain, Thunderstorms and Lightning
7.5.2. Snow and Wind
7.5.3. Refractions

7.6. Fantastic and Science-Fiction Special Effects Animation

7.6.1. Magic Effects
7.6.2. Emphatic Effects
7.6.3. Science Fiction Effects

7.7. Hair and Cloth Animation

7.7.1. Hair
7.7.2. Cloth
7.7.3. Paper, Ropes and Others

7.8. Explosions, Collapses and Breakages

7.8.1. Collapses
7.8.2. Explosions
7.8.3. Breakages

7.9. Light Effects and Shadow Projection

7.9.1. Shadows on the Figure
7.9.2. Lighting Effects
7.9.3. Shadow Casting and Digitally Automated Shadows

7.10. Image Transitions and Transformations

7.10.1. Image Transitions
7.10.2. Extreme Deformations
7.10.3. Orbits

Module 8. Pre-Production

8.1. Animation Management

8.1.1. Style and Vision
8.1.2. Responsibilities, Proactivity, Willingness and Delegation
8.1.3. Communication with Creative and Production Teams

8.2. Script Breakdown

8.2.1. Planning Software
8.2.2. Identification of Animation Resources (Assets)
8.2.3. Creating a Script Breakdown

8.3. Online Production and Workflow

8.3.1. Online Production
8.3.2. Workflow
8.3.3. Introduction to the Shotgun Software

8.4. Conceptual Art

8.4.1. From Script to Concept Art
8.4.2. Visual Style
8.4.3. Working with the Director and References

8.5. Location Design

8.5.1. Structure and Narrative Needs of a Location
8.5.2. The Out-Of-Frame Location, Atmospheres and Color
8.5.3. Concept Art and Location Design for Final Project

8.6. Props Design and Model Sheets

8.6.1. Practical Needs of Props Design
8.6.2. Vehicles and Practicables
8.6.3. Props Design for Final Project

8.7. Color Script

8.7.1. The Narrative Value of Color
8.7.2. Color Keys
8.7.3. Color Script for Final Project

8.8. Storyboard Interpretation

8.8.1. Interpretation of Storyboard
8.8.2. Layout Design
8.8.3. Final Layout for Final Project

8.9. Recording of Final Voices

8.9.1. Direction of Voice Actors
8.9.2. Digital Audio Editing
8.9.3. Voice Over Position for Final Project

8.10. Test Animation and Pilot

8.10.1. Pencil Test
8.10.2. Integration with Locations and Color
8.10.3. Pilot Adjustments and Corrections

Module 9. Production

9.1. Using Rough Animation

9.1.1. First Pass
9.1.2. Masses, Arcs and Contacts

9.2. Motion Design

9.2.1. Body Acting and Narrative Cues
9.2.2. Facial Acting
9.2.3. Breakdowns and Spacing

9.3. Key Poses

9.3.1. Resolution of Key Poses
9.3.2. Review of Masses
9.3.3. Lip Sync Keys

9.4. Inbetweening

9.4.1. Principles of Inbetweening
9.4.2. Inbetweening of Arcs and Routes
9.4.3. Digital Inbetweening

9.5. Cleaning of Traces and Assistance

9.5.1. The Animation Assistant's Task
9.5.2. The Line in Trace Cleaning
9.5.3. Trace Cleaning and Digital Assistance

9.6. Digital Shading and Trace by Trace

9.6.1. Shading, a Second Level of Animation
9.6.2. Gradients, Halftones and Shadow Layers
9.6.3. Automated Shading Workshop

9.7. Additional Animation

9.7.1. Special Effects Animation
9.7.2. Introduction to After Effects
9.7.3. Digital Effects

9.8. Digital Compositing and Cameras

9.8.1. Digital Composition
9.8.2. Camera Animation
9.8.3. Multiplane and 2.5D Camera

9.9. Rendering

9.9.1. Industry Standards
9.9.2. Delivery of Tests
9.9.3. Final Deliveries

9.10. Title Design

9.10.1. Introduction to Motion Graphics
9.10.2. Title Design
9.10.3. Practice of Input and Output Credits

Module 10. Post-Production and Marketing

10.1. Editing and Final Composition

10.1.1. Assembly
10.1.2. Transitions
10.1.3. Motion Blocking

10.2. Sound Design

10.2.1. Definition and Analysis of Examples
10.2.2. Management of the Sound Designer
10.2.3. Scores and Soundtrack

10.3. Sound Mixing

10.3.1. Definition and Analysis of Examples
10.3.2. Management in Sound Mixing
10.3.3. Final Mix

10.4. Color Correction through DaVinci Resolve

10.4.1. Introduction to DaVinci Resolve
10.4.2. Color Balance
10.4.3. Dynamic Range

10.5. Demo Reel

10.5.1. Task Selection and Editing
10.5.2. Sound Aspect
10.5.3. Platforms and Promotion

10.6. Markets

10.6.1. Advertising
10.6.2. Self-Management of Social Networks
10.6.3. Animation, Technical, Medical and Other Specialties

10.7. Self-Representation

10.7.1. Negotiation
10.7.2. Animation Tests and their Quotation
10.7.3. Operational and Situation Questions

10.8. Project Financing

10.8.1. Channels and Proposals Calls
10.8.2. Folder Creation
10.8.3. Mixed Financing

10.9. Private Financing

10.9.1. Equity and Creative Partnerships
10.9.2. Micro Sponsorship
10.9.3. Treatment and Sales Strategy

10.10. Registration and Rights of the Artwork

10.10.1. Registration of Artwork
10.10.2. International Copyright Law
10.10.3. International Royalties

The teaching materials of this program, elaborated by these specialists, have contents that are completely applicable to your professional experiences”