Animation Design

Master Courses - Milan

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5th edition - Studying Animation Design at IED means learning the art of telling stories through animation, imagining, creating and building characters and environments, to make them live in new scenarios.

The demand for Animation Designers is increasingly growing: from advertising to TV series, from feature to short films, from docufiction to games, cross and transmedia productions and special effects for film and TV productions. The Master in Animation Design trains animation professionals ready to work in new scenarios, providing technical skills and competitive professional tools to propose, write and realize cutting-edge projects: short films, series, cross-media projects.

The training programme enhances personal creativity and stimulates students to seek new forms of contamination between the different visual and stylistic expressions of animation.

  • Start date
    November 2022
  • Duration
    1 year
  • Attendance
  • Language

Get an insight: find out Master's activities

Target - The Master course is aimed at graduates in the fields of illustration, computer graphic, animation, or in disciplines such as painting, set design, and multimedia; graduates in comics and animation design coming from specialization schools; professionals with at least two years of experience in animation.

Methodology and Structure - The Master course enhances and updates the skills in the field of animation, analyzing the issues, contents and styles that characterize the current production. It identifies the points on which the evolution of the production workflow is focused, presented by the greatest studios that propose new artistic and technical solutions for the production of series and feature films: 2D/3D integration, cut-out, frame-by-frame paperless animation, post-production, VFX.

The teaching is divided into three macro areas: design, technical-instrumental, production and marketing.

At the end of the Master course, students are asked to develop a Final Project, individually or working in teams: a short film, a communication project on social or educational themes simulating a real situation, a pilot for a TV series, or a dossier to be presented at the pitches of the most important festivals. At the end of the course, the student will have produced a personal showreel to introduce him- or herself to the professional world.

Career opportunities - Animation Designers enter the professional world working in cross-media and transmedia animation production. The Master course offers a highly qualifying know-how for profiles like Concept Artist, Character Designer, Ambient Designer, Storyboard and Layout Artist, Character Animator 2D, Character Animator 3D, Production Assistant, Compositor.

In the past editions, students got in touch with: Bruno Bozzetto, Anna Laura Cantone, Mauro Carraro, Cicciotun, Melazeta, Group Gli Alcuni.

Facilities and Scholarships - In order to support participants in the coverage of the participation fee, IED has activated an articulated system of facilities: partial or total Scholarships on tuition fee; Early Bird are facilitations for students finalizing enrolment by given deadlines.; Financings with the possibility to pay the tuition fee by instalments thanks to agreements with mortgage companies.

Remarkable is that teacher who accomplishes himself what he teaches to others.
(Italian proverb)

IED faculty are professionals that daily face the market. Here you can read their bios.

Laura Fiori - Scientific Coordinator

Laura Fiori - Scientific Coordinator
She began her career as Art Director of La Lanterna Magica (Turin, 1984). Author and RAI counselor for L’Albero Azzurro (1989). In 1994, she directed the pilot for the series Zen Stories financed by Cartoon – Media. In 1998, she began making animated short films and projects for interactive media. Member of the RAI Product Innovation Commission, her last production is the short movie Simple Souls, awarded at Fano Film festival in 2011.

Lorenzo Lodovichi - Didactic Coordinator

Lorenzo Lodovichi - Didactic Coordinator
Born in Siena (Italy), he started his professional experience in 2010, after specific studies at Cinema National School in Turin. From 2011 to 2014 he joined different productions, with different roles such as Set Designer, Story board Artist, Compositing Artist. Then he had the opportunity to work for commercials and artistic short movies. In 2013 he started teaching Animation Design at IED.

Bruno Bozzetto

Bruno Bozzetto
He has produced many animated movies and shorts. Awarded many times, including with the Golden Bear at Berlin Film Festival 1990 for Mister Tao, he received an Oscar nomination for Grasshoppers, five Lifetime Achievement Awards and an Honorary Degree. Together with Piero Angela, he has directed over a hundred educational animated shorts on scientific topics. Since 2000, he has been working to flash animations for the web. Today, with his new Milan-based production studio, he has been working on new 2D and 3D animated television series. Personal website

​Fusako Yusaki

​Fusako Yusaki
Graduated in Tokyo in Creative Design, she arrived in Italy with a grant from the Ministry of Foreign Affairs to perfect her studies in 3D art at Brera Academy. She collaborated with Fernet Branca and the Lithosphere Department at the National Research Council of Genoa and won several prizes at various international festivals with her independent film productions. Her movie work is exhibited at Hara Museum of Contemporary Art in Tokyo. She has also served as a Jury Member for a number of important animated film festivals.  

Ernesto Paganoni

Ernesto Paganoni
Having begun his professional career in 1982, he began working as a Traditional Animator in 1987, extensively experimenting 2D and 3D animation, including digital technologies. In 1992 he founded Locomotion Srl. He resumed his freelance work in 1998, providing 2D and 3D animation services for commercials, music videos, film and television, while at the same time developing his own projects. He has been a professor at the European Institute of Design in Milan since 1992.

Mario Addis

Mario Addis
Cartoon Film Director, Animator and Illustrator. He has worked with directors such as Roberto Benigni and Dario Fo among others. His work includes the opening credits for Roberto Benigni’s featured film The monster, the commercial serie Fai la cosa giusta, the sequence Il sogno di Nina for La gabbianella e il gatto, the animation sequences for featured film The fever with Vanessa Redgrave and Angelina Jolie. His latest works are the TV movie Robin Hood with Veronica Pivetti and the self-produced short movie Pene e Cruditè.

Fabrice Beau

Fabrice Beau
He discovered the animation field in 1992, during an internship at Disney Paris. He became 2D Animator working on videogames kinematic scenes and evolved his career as Producer and Director at Carnitoons Studio and Dreamcatcher. He collaborated as Author, Director and Development Manager with several production companies in USA, France and Canada. For DIC Entertainment (USA) and LST (France) he co-created Evolution: the Animated Series. Today he manages his own animation production company, Animlps Productions.

Alfio Bastiancich

Alfio Bastiancich
Series and TV programs Producer. Founder and President of the Italian sector of ASIFA, the Association Internationale du Film d’Animation, he is also author of many articles, essays, books, including two monographs on Norman McLaren and Lotte Reiniger. He has been a Board Member of the National Cinema Museum in Turin and Professor at the Experimental Center for Cinematography in Rome. The Hollywood’s Animation Magazine placed him among the fifteen most influential people of the European animation industry.

Patrizia Russo

Patrizia Russo
Born in Milan, she started her experience in the animation after specific studies at the Civic School of Milan. Along the years, she joined different productions with many roles, from inbetween to compositing, from character design to animation. She had the opportunity to work for movie productions, commercials, tv series, artistic short movies and educational film for schools and institutions.

Silvia Zappalà

Silvia Zappalà
Graduated from the Turin Experimental Cinematography Center, she was employed at Maga Animation as Production Assistant for one year. After Maga, she worked with Rainbow CGI and Clan Celentano, where she improved her managerial skills on production animation process. In 2014, after achieving a Master in audio-visual production and distribution management in Turin, she joined Movimenti Production as a Production Coordinator.   

Mauro Paffi

Mauro Paffi
Motion Graphics Artist, Editor. After having attended the Literatures and Philosophy Faculty in Bologna, he moves to Milan, where he graduates at IED in computer Graphic and starts teaching. In 2000, he founds Good Times Bad Times-Quality Design & Flawless Execution. He currently collaborates with the most important postproduction and production houses in Milan.

Paolo Bernardelli

Paolo Bernardelli
He is an italian screenwriter and author. He as journalist at il Resto del Carlino, Il Gazzettino and 35mm cinema magazine. In 2013 he published the novel Come non ci fosse un domani. He wrote Milano Underground for Bananas, The RAI series La scuola della note. For the cinema, he wrote the screenplay for the film Zeta, produced by 9.99films and Panama film. In 2017 Paolo was selected for the Serial Eyes international serial development project at the DFFB in Berlin. Currently, he is one of the screenwriters of the Isla Blanca series produced by Indiana.

Valentina Bracaletti

Valentina Bracaletti
Graduated in Illustration at IED Roma, she also followed specialistic short courses in animation at UAL in London, before deciding to deepen and improve her skills attending the Master in Animation Design at IED in Milan. During the master course she created the short movie PAIRS, winner of Giuseppe Laganà Award, at Cartoons on the bay 2019. She currently lives in Milan where she works as free lance animator and illustrator.

Lorenzo Di Tria

Lorenzo Di Tria
Audio Designer and Music Producer, he began his career as classical musician and then as DJ. In 2015, at the age of 18, he won the Italian championship IDA (International Dj Association) and challenges some of the biggest in the world, placing fourth in the standings. From here born a great passion for collecting records in search of always new - sound. Today he works in his studio in Milan as Audio Designer and Music Producer, designing sound effects and soundtracks for movies, video games and interactives.  

Sara Airace

Sara Airace
Animation Freelancer Stop Motion

Roberta Tufigno

Roberta Tufigno
Visual Content Creator

Fabio Rossin

Fabio Rossin
Animation Designer, Editor and Background Artist

  • Design area

    • Concept Design for Animation

      The concept design is the base for a short movie, a series, a cross-media project, an advertising. It goes from the knowledge of artistic subjects, defines the project main guidelines, produces documentation and mood boards. Objective of the teaching is the development of a project methodology shaping creativity.

    • Character Design

      Starting from the script, the teaching deals with the character’s look, psychology, backstory and relations with archetypes. Students will then search for iconographic and media references, with first inspiration sketches, a selection of them and descriptive boards. The last step is doing the model sheet, a dossier about the final synthesis.

    • Ambient Design

      Study of the script applied to the different animation techniques: animation, stop motion, modeling and tridimensional animation. The teaching starts from the concept design guidelines, to the first inspiration sketches till the creation of boards or 3D scripts. Study and execution of wings and prop: elements that complete the scene.

    • Preproduction: from the subject to the storyboard

      Integrated development of all the video’s design steps, from the subject to the storyboard. The purpose is the creation of the preproduction “bible”, a dossier containing: concept, subject, synopsis and treatment, media and iconographic research, notes on style, technical output and soundtrack, character design, storyboard. The teaching includes the videoboard editing.

    • Previsualisation Techniques

      From the videoboard to the layout, up to the 3D set preparation.

    • Animation: Stylistic Research, Recitatives, Innovation

      The teaching deals with style research, recitative models, different methods and settings, following on from the work of the most famous 2D and 3D animators. Classical animation: drawing from Disney to the present experimenters. Layout, staging, posing. Innovation with paperless and direct animation. In-depth on: playing, lipsync, timing. Cycles, reuse and optimization methods, timing chart and intercalations, innovative solutions for cleanup and assistance.

    • Direction

      The teaching deals with: the 2D and 3D animation’s film narrative; the rules for visual and composition continuity, such as framing, central line, gaze line; the point of view’s choice, objectives and depth of field; fields, levels and angles; the editing, solutions and rules; usage of camera movements, shadows and lights.

    • Soundtrack

    • Development of interactive Digital Content - Cross and Transmedia

      “Cross media” means the possibility of connecting different communication media thanks to the development and diffusion of digital platforms. The animation project extends on many media: television programming, Internet, apps for tablet, a game with the project’s characters. The project is transmedia when the narrative itself refers to more than one media.

    • Storytelling

      Identifying the different production typologies  in animation: short movie, long movie, trailer, advertising communication. Defining target and reference.
      Develop the text in its different steps: from the starting idea (logline), to the plot, to the scenes coordination. Research and follow-up on themes and characters (identikit).
      Processing and fine-tuning of the text, from the first draft to the step outline.

    • Previsualization Techniques

      The previsualization is the final step of pre-production, especially in 3D animation.
      It allows to verify timing and ways of telling, the precision of frames, direction guidelines, but also to make significant optimizations in production.
      It demands a proper knowledge of a 3D software for modeling and animation; it is based on storyboard, videoboard, modeling of background elements, basic rig of the main characters.

  • Technical and instrumental area

    • Character Animation 3D with Autodesk Maya

      The teaching deals mainly with 3D character animation: tools for rigging the characters, skinning, deforming, inverse cinematic use, creation of a controlling interface. Motion capture and keyframing: the state of the art. Software used: Autodesk Maya.

    • In-depth on Autodesk Maya

      Study of rigging, shading, lighting and rendering.

    • Previsualisation Techniques

      Previsualisation is an integral part of production pipeline. It generally comes after the videoboard with dedicated softwares. It allows the director to have full control on animation and camera movements from the beginning, to create libraries in order to reuse assets, optimizing production costs. Autodesk Maya.

    • 2D Animation: ToonBoom Harmony T.B. Storyboard

      An intensive week focused on the two most used animation software on a professional level: Toon Boom Harmony and Storyboard.

    • Advanced Compositing and Effects

      The centrality of compositing, 3D render finalization, integration of contents from different media on a work guideline. Cutout animation. Mixed digital techniques: evolution of compositing and visual effects for animation. Adobe CS 6 and After Effects.

    • Workshop: Stop Motion - Performance Capture

      Workshop: puppets creation, integration of materials, objects and digital work. Blue and green screen.

  • Production and marketing area

    • Production Management

      The Product Manager deals with the technical and logistic production, controls the daily progresses, ensuring the timing scheduled in the work plan and the budget’s prescriptions. The teaching explains tools, prediction and planning methods and dedicated software, giving budget’s guidelines and estimate with an operative planning approach.

    • Business Management: Financing, International Co-productions, Licensing and Distribution

      Business Management: Financing, International Co-productions, Licensing and Distribution.