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bachelor + master audiovisual arts kunsten, graduating option animation film
3 + 1 year

ABOUT THE PROGRAMME

In 1966, Raoul Servais, the internationally renowned animation filmmaker, founded the animated film programme at KASK. It was the first of its kind in Europe. Servais’ pedagogical vision was one of a technically well-founded education in which far-reaching individual artistic determination had to be allowed to flourish. Today, this vision remains alive and well. In the meantime, animation has expanded into a broad and diverse working field, ranging from classical animation to installations or performances in which animation is central.

Specific to animation film at KASK & Conservatorium are its artistic and investigative points of departure. The attitude of the artist is central. Animation is not so much taught as a technical skill, but as a personal way of expressing oneself in the medium of film animation. During their study, students have the opportunity to discover what animation can be for their own artistic practice. Drawing and 2D animation are still the foundation for learning to animate. Students are stimulated to use the medium of animation in their search for their own universe, their own reality.

Interactions with other disciplines, such as theatre, performance and the visual arts are encouraged, so that the study is not only specific to film animation.

The study programme consists of practical studio courses and general and theoretical subjects that support the practice: artistic practice is central. Here, students are confronted with different aspects of animation and film animation as a medium: the qualities of movement, styling, narrative structures and musicality. In addition to a basic fundamental knowledge, technical knowledge and skill is cumulatively achieved in the service the personal projects of the students. Each school year consists of a first semester, with an emphasis on the transfer of knowledge and skills, and a second semester in which students are given the time and space to process this into their own personal projects.

Fifteen studio practice teachers guide students in the bachelor and master’s studios, each with his or her own specific artistic vision and technical expertise. In addition to an open attitude to learning and boundless curiosity, students are expected to be tenacious in finding their own way in the richness offered by the film animation genre.

Graduate students working towards their master’s deepen their artistic research to the fullest extent. They are responsible for their own trajectories, each supported by two mentors: a practical mentor and a theoretical mentor for their written thesis. Master seminars provide a theoretical framework in the form of discussion platforms with students from different disciplines. In the studios, there is frequent consultation with fellow students, following and discussing each other’s working process. This testing and nurturing of individual practices find expression in their relation to the outside world in the form of ‘art in the working field’ internships.

Master projects, which can take forms beyond that of the film medium, are judged by an external jury of experts.

The working field of this programme is extremely broad. Our film animation alumni are found not only throughout the audiovisual arts, but also in theatre, fine art, graphic novels, social artistic projects, art education and more.

kaskfilms.be

TEACHERS

Rob Breyne
Edwin Carels
Geert Clarisse
Emma De Swaef
Mario Debaene
Luc Degryse
Paul Demets

Jean-Marie Demeyer
Emmanuel Depoorter
Johan Derycke
Michel Druart
Martine Huvenne
Steffie Van Cauter
Raf Schoenmaekers

Carl Van Isacker
Geert Vergauwe
Evelyn Verschoore
Pascal Vermeersch
Peter Vermeersch
Els Viaene

Publications
VISIT US

INFORMATION DAYS
JUN 25 2022, 09:30-12:30
SEP 10 2022, 09:30-12:30

More information about how and when to visit us.
Receive invitations for our info moments and open days.

REGISTER

If you want to enrol for an academic Bachelor of Audiovisual Arts, you first have to pass an artistic admission test. To enter the master’s programme, you take part in an orientation test. These are organised several times per academic year.

APPLICATION PROCEDURE

  1. Check the admission requirements.
  2. Bachelor: check the contents of the admission test (in Dutch).
    Master: check the application guidelines.
  3. Register for an admission test or orientation test via webreg.hogent.be.
  4. Take part in the test.
  5. After passing the test, you can complete your enrolment online.

Do you have a question? Contact the student’s office.

PRACTICAL INFO

Study programme
Curriculum
Study costs
Study and learning track counselling

animation film

Samia Dzair, 5,148 x 1018 Le poids de la Terre en Gramme
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Daylen Chiang
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Stan Lievens, Krak
Illiana Ballegeer, Een bloem zonder vaas
1 / 6
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1 / 7
Ada Guvenir
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Interview met Santiago Perez R., bekijk hier zijn film 'Rhizoma'.
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Geertrui De Vijlder
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Tekenen in functie van animatie is complementair aan tekenen vanuit observatie en noodzakelijk om te kunnen animeren. Het kan omschreven worden als een tekenen vanuit het acteren en het lichaam als zintuig om een houding van een personage in zijn context te (be)grijpen en op papier weer te geven. Animatietekenen is eveneens de basis van storytelling: studenten tekenen kleine ensceneringen. Het gaat dus niet om enkel observerend tekenen, maar eerder om een tekenen dat de kern vormt van een animerend creatief denken. Animatietekenen sluit aan bij de workshop ‘bewegen voor animatie’. De studenten worden uitgedaagd om een rol te spelen. De studenten poseren zelf in deze lessen.
Kasper De Graeve
Nils Martens
Sacha Brauner
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Nina Eggermont
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Filmische Vorming, omzetten van ideeën naar film

Een onderdeel van de filmische vorming en een beproefde techniek, om ideeën om te zetten naar een film, is een storyboard maken. Een storyboard bestaat uit tekst en afbeeldingen. Het bevat alle info die nodig is om een film samen te stellen wat betreft verhaal, actie, dialoog, geluid, muziek, sfeer, timing, camerastandpunten en – bewegingen, beeldovergangen en speciale effecten. Het is een krachtig werkinstrument, puur persoonlijk of voor een heel team. Soms ook een kunstwerk op zich. Het storyboard leren doorgronden vergt oefening. Daarom vragen we de studenten van de eerste bachelor om, van een bestaand filmfragment, een zo volledig en inspirerend mogelijk storyboard te maken. Hiermee zou een filmmaker, die het fragment nog niet zag, een film moeten kunnen realiseren die qua inhoud, stijl en sfeer heel dicht aansluit bij het origineel.

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Vincent Van Driessche, Wil je me iets beloven.
Suus Van Laere, Aardkruipers
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Sofie De Cleene
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