This document provides information about academic programs at the Lisaa School of Design in Paris, France. It describes undergraduate degree programs in Designer-Maker of Digital Content, including options in 2D animation, 3D animation, special effects, and 2D and 3D video game design. For each program, it outlines the teaching aims, methods, and content for the first, second, and third years. The programs aim to develop students' technical skills in areas like animation, visual effects, and game design through projects, workshops, lectures, and other hands-on learning experiences to prepare them for careers in related industries.
Zoom on the Telecom ParisTech Master of Science in EngineeringTélécom Paris
Télécom ParisTech trains its engineer students to be major stakeholders of our digital society. Our engineers manage projects and teams that create the systems, products and services of tomorrow.
Zoom on the Telecom ParisTech Master of Science in EngineeringTélécom Paris
Télécom ParisTech trains its engineer students to be major stakeholders of our digital society. Our engineers manage projects and teams that create the systems, products and services of tomorrow.
The ArchiSurance Case Study is a fictitious example developed to illustrate the use of
the ArchiMate® modeling language in the context of the TOGAF® framework. The
Case Study concerns the insurance company ArchiSurance, which has been formed as
the result of a merger of three previously independent companies. The Case Study
describes the baseline architecture of the company and then a number of change
scenarios.
This Case Study is required to be used as an example throughout accredited
ArchiMate training courses. However, it is not part of the definition of TOGAF. This
work supports The Open Group vision of Boundaryless Information Flow by
illustrating the combined use of the TOGAF and ArchiMate standards for consistent
representation of architectural information across diverse organizations, systems, and
initiatives.
Natioanal Institute of Fashion Design.
The idea is to create a relationship between the built & the unbuilt spaces.
There are evidences of blend of traditional and contemporary architecture.
Aesthetics are cared for, sometimes at the stake of comfort if not function.
The site is well-segregated into various zones w.r.t the functions.
Circulation spaces are minimised to obtain efficiency in design.
Concept study of mahindra united world college,pune and pearl academy of fash...harshita batra
this presentation discusses the architectural concept behind these two buildings-mahindra united world college by christopher charles benninger and the pearl academy of fashion.
I did this as a literature study for designing an engineering college for design
A Framework for campus planning - Case Study - IndiaShubh Cheema
Report on the existing framework of one the upcoming Engineering college in South India . The focus of the report was to give suggestion to the board on how they can improve upon the existing campus .
Mughal art and architecture - Thesmi ThomasThesmi Thomas
The slide give a basic idea about the lifestyle of during Mughal rule. This slide mainly focus on Mughal architecture, Mughal music, Mughal literature and Mughal paintings.
The ArchiSurance Case Study is a fictitious example developed to illustrate the use of
the ArchiMate® modeling language in the context of the TOGAF® framework. The
Case Study concerns the insurance company ArchiSurance, which has been formed as
the result of a merger of three previously independent companies. The Case Study
describes the baseline architecture of the company and then a number of change
scenarios.
This Case Study is required to be used as an example throughout accredited
ArchiMate training courses. However, it is not part of the definition of TOGAF. This
work supports The Open Group vision of Boundaryless Information Flow by
illustrating the combined use of the TOGAF and ArchiMate standards for consistent
representation of architectural information across diverse organizations, systems, and
initiatives.
Natioanal Institute of Fashion Design.
The idea is to create a relationship between the built & the unbuilt spaces.
There are evidences of blend of traditional and contemporary architecture.
Aesthetics are cared for, sometimes at the stake of comfort if not function.
The site is well-segregated into various zones w.r.t the functions.
Circulation spaces are minimised to obtain efficiency in design.
Concept study of mahindra united world college,pune and pearl academy of fash...harshita batra
this presentation discusses the architectural concept behind these two buildings-mahindra united world college by christopher charles benninger and the pearl academy of fashion.
I did this as a literature study for designing an engineering college for design
A Framework for campus planning - Case Study - IndiaShubh Cheema
Report on the existing framework of one the upcoming Engineering college in South India . The focus of the report was to give suggestion to the board on how they can improve upon the existing campus .
Mughal art and architecture - Thesmi ThomasThesmi Thomas
The slide give a basic idea about the lifestyle of during Mughal rule. This slide mainly focus on Mughal architecture, Mughal music, Mughal literature and Mughal paintings.
French-American Digital Lab // Connecting Cultures - Welcome PackFrançois Guern
The French-American Digital Lab is an exchange program for cultural entrepreneurs. 10 startups are selected for a 10 days intensive program to coach them on how to adapt their product to the US market.
Here is the Welcome Pack describing the program to the participants.
Virtually Real Open Practice presentation #1527 at OER17
Theme: Participation & Social Equality
Author: Chris Follows
Technology is rapidly transforming the way we live, learn, work and interact. This paper aims to highlight and support debate around how we ‘teach digital’ in creative arts education and what potential impacts the UK digital economy could have on current and emerging digital practices and open education.
Emergent technologies such as Virtual Reality (VR) can present new challenges for teachers who are struggling to integrate evolving digital practices into the curriculum. As a result, new technologies & practices remain inaccessible and therefore reside outside the curriculum, not too dissimilar to challenges faced by those exploring open education integration at University of the Arts London (UAL).
The pace of technological change and its impact on the day-to-day practices of University staff and students is fast becoming an issue for everyone. Could the process of Digital Transformation be an opportunity for the open education movement & communities to explore new models of mainstream integration?
Digital learning in Museums: New technologies for art, design and makingAlexFlowers10
Since 2008 the V&A has been creating opportunities for visitors and learners to engage with design and digital technologies through creative programming. Working with digital artists, researchers and culture organisations, making has been placed at the centre of how to get visitors to understand the designed world.
Claire Giot, from Le Dôme organisation, France, presents how they use Open Badges to engage local population to participate in research and innovation.
Since 2017, the Dôme has been using Open Badges to enrich, structure and evaluate its activities. Today, badges are becoming a central tool in the management of the organisation to engage, recognise and encourage the participation of the population in responsible research and innovation.
Renewable Assignments as Open Education Practices for StudentsDiana Andone
Presentation of Renewable Assignments as Open Education Practices for Students, done by Dr. Diana Andone, Politehnica University of Timisoara on August 19, 2021 at the 2021 Global Smart Education Conference , online, Beijing Normal University, China
Presentation of Diana Andone, EDEN Vice-president, PUT for the Open Education Week's third day webinar on "Open Education for Civil Engagement and Democracy" - 4 March 2020, 15:00 CET
More information and recordings of the discussion are available: http://www.eden-online.org/eden_conference/open-education-for-civil-engagement-and-democracy/
3. LISAA Paris - Animation, Visual Effets
& Game Design Department
7 rue Armand Moisant, Paris 75015
+33 (0) 1 71 39 88 00
—
Établissement privé d’enseignement supérieur
Reconnu par le Ministère de la Culture et de la Communication
www.lisaa.com
4. a school built on heritage
challenge
Founded in 1986, Lisaais situated in the most prestigious locations of Paris’s Left Bank. Programmes
aretaughtinEnglishandFrenchandtheschoolofferstoitsstudentsarealtailor-madeteachingmethodology:
individual tutoring, 25 hours/week of classes, professional teaching and career placement throughout
the whole programme of study are just some of the features that make Lisaa a centre of academic
excellence in the fields of animation, special effects and game design both in Paris and internationally.
Counting over 2200 students, Lisaa benefits from a top international ranking*. Programmes are recognised
by the French Ministry of Culture & Communication.
*Lisaa Animation Campus was ranked #3 top school by FX Magazine.
5. index
a french design school 6
01. academic programmes 12
Undergraduate Degree : Designer-Maker Of Digital Content. 3D Animation Option 14
Undergraduate Degree : Designer-Maker Of Digital Content. 2D Animation Option 16
Undergraduate Degree : Designer-Maker Of Digital Content. Special Effects Option 18
Undergraduate Degree : Designer-Maker Of Digital Content. 3D Video game design Option20
Undergraduate Degree : Designer-Maker Of Digital Content. 2D Video game design Option 22
02. students’ work 26
A network of talented professionals companies 38
03. professional training 40
04. lisaa school locations 46
05. admission requirements 48
Anthony Chevalier
—
Group Managing Director
Renaud Jungmann
—
Animation,
Visual effects
Game design
department Director
Cover picture:
Space Dream,
3D Animation Short Film
—
Arnaud Clément, Martin Bailly,
Sandrine Calame, Charlotte Guittet
Cindy Poupelain
4
6. A school recognised
in France and internationally
Lisaa is recognised by the French Ministry of Culture and Communication.
The teaching of Animation and Game Design has benefited for a number of years from a strong notoriety
and a truly international and professional recognition. Many former students have launched their careers
internationally in the United Kingdom, Canada and India at companies like Dreamworks, Pixar, Double Negative,
MPC and Framestone. Lisaa is a member of CUMULUS, an international network of animation and design schools.
A network of sites
on a human scale
Organised in a network and located in four cities
in France (Paris, Rennes, Nantes and Strasbourg),
Lisaa offers high quality teaching programme at sites on a human scale
where students benefit from a close proximity to their teachers.
Founded in 1986,
Lisaa – L’Institut Supérieur
des Arts Appliqués –
has over 2200 students
in France and abroad,
making it the largest
French design
school .
a
french
design
school
LISAA offers
a wide range
of courses
in English
and French
created to feed
the future
generation
of animators
and game designers.
6
7
10. Second year
Teaching aims: Aimed at people who wants to learn
3D animation processes, for 3D animated feature,
TV series, video clips, advertising... To develop projects,
students need to have skills in representation techniques,
conception tools and production software. They will learn
to develop an animation project from screenwriting
to production, through story-boarding and visual
design. They will learn the overall methodology
of production and the software pipeline.
Methods and means of knowledge acquisition
The programme is divided into two semesters, starting with lectures
and exercises. From the second semester this knowledge is applied to a first
animation project to be conceived and produced involving all teaching parts.
—
Third year
Teaching aims: Priority is given to the development
of this speciality through highest-level exercises, lectures
and the production of one project, bolstering skills
through the application of knowledge, pushing the idea
of teamwork and sharing individual competences.
Methods and means of knowledge acquisition
The programme is divided into two semesters, and gives priority
to the use of tools and means, with teamwork organizing individual skills
and film-making with respect for the brief, planning and schedule.
Advanced knowledge is acquired through next level exercises
and talks, and one project is completed during the second semester.
Good results are required in order to obtain the qualification.
Undergraduate Degree :
Designer-Maker OF DIGITAL CONTENT
3D Animation option
3 YEARS — Course language options: engliSh french — 60 ECTS credits per year
First year
Teaching aims: Providing students
with knowledge of the different tools
for production and increasing
their awareness of the
culture of the image.
Defining or consolidating
professional orientation
in the field of digital images.
Methods and means
of knowledge acquisition
This weekly 30-hour programme
incorporates four approaches:
Representation techniques lessons
These lessons allow creative students
to give life to their ideas. At the end
of the foundation year, students have
the required level for any external
entrance exam or for entry to the
higher courses at Lisaa.
Professional workshops
Initiating students to the diversity
of design professions by tackling problems
in the sectors which interest them.
A variety of projects will help
them to confirm their vocation.
Artistic culture (lectures and exhibition visits)
Imparts the cultural foundations of the
profession: visual references, significant
movements in art and graphic design.
Individual tutoring
Imparts working methods, supervising
progression and identifying the points
to be reinforced.
3D animation is used in feature-length animation films,
short films, animated TV series, music videos and advertising.
It uses 3D digital animation tools. Much like in 2D animation,
a 3D animator is telling a story. Their job is to develop traditional
foundations to which 3D options can be added.
Criteria for evaluating students
Whether they become a designer or story-boarder, 3D artist or compositing operator, editor
or film-maker, students at the end of the course should be both rigorous and imaginative.
They should be able to demonstrate their overall vision, sense of narration and detail and have
skills in representation techniques, graphics, animation and video integration software.
They should also be able to establish and manage a budget.
First year
Representation techniques:
observational drawing,
life drawing, space/
perspective drawing,
colour, creativity,
computer graphics
(Photoshop, Premiere,
TVPaint and 3DSMax)
Specific teaching:
story-board,
animation, volume
Artistic culture:
art history, exhibition
analysis, applied english
Second third years
Fundamentals:
morphology, image analysis.
Development:
story and layout,
film-making, visual design.
Production: 3D production,
3D animation.
Post-production: compositing,
sound design
Teaching unit content
academicprogrammes
14
15
11. Second year
Teaching aims: Aimed at those who wants
to learn 2D animation processes, for 2D animated
feature, TV series, video clips, advertising...
To develop projects, students need to have skills
in representation techniques, conception tools
and production software. They will learn to develop
an animation project from screenwriting to production,
through story-boarding and visual design. They will learn
the overall methodology of production
and the software pipeline.
Methods and means of knowledge acquisition
The programme is divided into two semesters, starting with lectures
and exercises. From the second semester this knowledge is applied to a first
animation project to be conceived and produced involving all teaching parts.
—
Third year
Teaching aims: Priority is given to the development
of this speciality through highest-level exercises, lectures
and the production of one project, bolstering skills
through the application of knowledge, pushing the idea
of teamwork and sharing individual competences.
Methods and means of knowledge acquisition
The programme is divided into two semesters, and gives priority
to the use of tools and means, with teamwork, organizing, individual skills
and film-making with respect for the brief, planning and schedule.
Advanced knowledge is acquired through next level exercises and talks,
and one project is completed during the second semester. Good results
for the exercises and project are taken into account
in order to obtain the qualification.
Undergraduate Degree :
Designer-Maker OF DIGITAL CONTENT
2D Animation option
3 YEARS — Course language options: french — 60 ECTS credits per year
First year
Teaching aims: Providing students
with knowledge of the different
tools for production and increasing
their awareness of the culture
of the image. Defining
or consolidating professional
orientation in the field
of digital images.
Methods and means
of knowledge acquisition
This weekly 30-hour programme
incorporates four approaches:
Representation techniques lessons
These lessons allow creative students
to give life to their ideas. At the end
of the foundation year, students have
the required level for any external
entrance exam or for entry
to the higher courses at Lisaa.
Professional workshops
Initiating students to the diversity
of design professions by tackling problems
in the sectors which interest them.
A variety of projects will help them
to confirm their vocation.
Artistic culture (lectures and exhibition visits)
Imparts the cultural foundations of the
profession: visual references, significant
movements in art and graphic design.
Individual tutoring
Imparts working methods, supervising
progression and identifying the
points to be reinforced.
Teaching unit content
First year
Representation
techniques:
observational drawing,
life drawing, space/
perspective drawing,
colour, creativity,
computer graphics
(Photoshop, Premiere,
TVPaint and 3DSMax)
Specific teaching:
story-board,
animation, volume
Artistic culture:
art history,
exhibition analysis,
applied english
Second third years
Fundamentals:
morphology, image analysis.
Development:
story and layout, film-making,
visual design. Production:
2D Production, 2D Animation.
Post-production:
compositing, sound design
2D animation established its pedigree in feature-length
animation films. Its digital techniques are used in animated television series,
advertising, music videos and any field in which the esthetic quality
of a 2D animated image is required.
Criteria for evaluating students
Whether they become a designer or story-boarder, 2D artist or compositing operator, editor
or film-maker, students at the end of the course should be both rigorous and imaginative.
They should be able to demonstrate their overall vision, sense of narration and detail and have
skills in representation techniques, graphics, animation and video integration software.
They should also be able to establish and manage a budget.
17
academicprogrammes
16
12. Second year
Teaching aims: Aimed at those who want to learn
special effects processes, for feature film, TV series,
video clips, advertising, post-production...
To develop projects, students need to have skills in
representation techniques, conception tools and production
software. They will learn to develop an animation project
from screenwriting to production, through story-
boarding and visual design. They will learn the overall
methodology of production and the software pipeline.
Methods and means of knowledge acquisition
The programme is divided into two semesters, starting with lectures
and exercises. From the second semester this knowledge is applied to a first
animation project to be conceived and produced involving all teaching parts.
—
Third year
Teaching aims: Priority is given to the development of
this speciality through highest-level exercises, lectures
and the production of one project, bolstering skills
through the application of knowledge, pushing the idea
of teamwork and sharing individual competences.
Methods and means of knowledge acquisition
The programme is divided into two semesters, and gives priority to the use of
tools and means, with teamwork, organizing, individual skills and film-making
with respect for the brief, planning and schedule. Advanced knowledge is
acquired through next level exercises and talks, and one project is accomplished
during the second semester. Good results for the exercices and project are taken
into account in order to obtain the qualification.
Undergraduate Degree :
Designer-Maker OF DIGITAL CONTENT
Special Effects option
3 YEARS — Course language options: french — 60 ECTS credits per year
First year
Teaching aims: Providing
students with knowledge of the
different tools for production
and increasing their awareness
of the culture of the image.
Defining or consolidating
professional orientation in
the field of digital images.
Methods and means
of knowledge acquisition
This weekly 30-hour programme
incorporates four approaches:
Representation techniques lessons
These lessons allow creative students to
give life to their ideas. At the end of the
foundation year, students have the required
level for any external entrance exam or
for entry to the higher courses at Lisaa.
Professional workshops
Initiating students to the diversity of
design professions by tackling problems
in the sectors which interest them.
A variety of projects will help them
to confirm their vocation.
Artistic culture (lectures and exhibition visits)
Imparts the cultural foundations of the
profession: visual references, significant
movements in art and graphic design.
Individual tutoring
Imparts working methods, supervising
progression and identifying the
points to be reinforced.
Teaching unit contents
First year
Representation techniques:
observational drawing,
life drawing, space/
perspective drawing, colour,
creativity, computer graphics
(Photoshop, Premiere,
TVPaint and 3DSMax)
Specific teaching:
story-board,
animation, volume
Artistic culture:
art history, exhibition
analysis, applied english
Second third years
Fundamentals:
morphology, image analysis.
Development:
motion capture, previz,
visual design.
Production: 3D production,
3D Animation.
Post-production:
compositing, sound design
Criteria for evaluating students
Whether they become a VFX designer, Previz artist, 3D artist, 3D
animator or compositing operator, editor or film-maker, students at the
end of the course should be both rigorous and imaginative.
They should be able to demonstrate their overall vision, sense of image and detail
and have skills in representation techniques and graphics, animation and video
integration software; they should also be able to establish and manage a budget.
Special effects are the field in which 3D tools have been
the most developed. This relates to visual special effects or digital special effects.
They allow directors to place characters in impossible situations, without risk,
and also to show the viewer a detailed and mastered image.
academicprogrammes
18
19
13. Second year
Teaching aims: Aimed at those who want to learn 3D video
game design and production, games for consoles and PC...
To develop their projects, students need skills with
representation techniques and software conception
tools. They will learn to create a video game project and
acquire a visual culture from video game history. Specific
focuses on 3D video games are developed such as game
design, level design, and video game prototyping.
Methods and means of knowledge acquisition
The programme is divided into two semesters, starting with lectures and
exercises. From the second semester this knowledge is applied to a first video
game project to be conceived and produced involving all teaching parts.
—
Third year
Teaching aims: Priority is given to the development of this
speciality through highest-level exercises, lectures and
the production of a larger video game project, bolstering
skills thanks to the application of knowledge, pushing the
idea of teamwork and sharing individual competences.
Methods and means of knowledge acquisition
The programme is divided into two semesters, and gives priority to the use
of tools and means, with teamwork, organizing, individual skills and video
game design with respect for the brief, planning and schedule. Advanced
knowledge is acquired through next level exercises and talks, and one project
is completed during the whole academic year. Good results for the exercises
and project are taken into account in order to obtain the qualification.
Undergraduate Degree :
Designer-Maker OF DIGITAL CONTENT
3D video game option
3 YEARS — Course language options: french — 60 ECTS credits per year
First year
Teaching aims: Providing
students with knowledge of the
different tools for production
and increasing their awareness
of the culture of the image.
Defining or consolidating
professional orientation in
the field of digital images.
Methods and means
of knowledge acquisition
This weekly 30-hour programme
incorporates four approaches:
Representation techniques lessons
These lessons allow creative students to
give life to their ideas. At the end of the
foundation year, students have the required
level for any external entrance exam or
for entry to the higher courses at Lisaa.
Professional workshops
Initiating students to the diversity of
design professions by tackling problems
in the sectors which interest them.
A variety of projects will help them
to confirm their vocation.
Artistic culture (lectures and exhibition visits)
Imparts the cultural foundations of the
profession: visual references, significant
movements in art and graphic design.
Individual tutoring
Imparts working methods, supervising
progression and identifying the
points to be reinforced.
Teaching unit contents
First year
Representation techniques:
observational drawing,
life drawing, space/
perspective drawing, colour,
creativity, computer graphics
(Photoshop, Premiere,
TVPaint and 3DSMax)
Specific teaching:
story-board, animation,
volume
Artistic culture:
art history, exhibition
analysis, applied english
Criteria for evaluating students
Whether they become a game designer, level designer, 3D artist, 3D animator
or FX technical Artist, students at the end of the course should be both rigorous
and imaginative. They should be able to demonstrate their overall vision, sense of image
and detail and have skills in representation techniques, graphics, animation and 3D software
and prototyping. They should also be able to establish and manage a budget.
Player-interactive animation and video game production require artistic,
technical and strategic knowledge combined. In order to do this, a world
and characters must be created and continually updated and the constraints
of 3D and of several platforms must be managed in real time.
Creativity in video games is expressed both artistically and technically.
The artist sees in 3D and sees the experiences that they can create for the player.
They know how to explain rules and dramatize them. The field games
has developed original professions that combine several skill sets.
Second third years
Fundamentals:
morphology
Development:
game design, visual design
Production:
3D production,
3D animation,
applied technics
Game Integration:
prototyping, sound design
academicprogrammes
20
21
14. Undergraduate Degree :
Designer-Maker OF DIGITAL CONTENT
2D video game option
3 YEARS — Course language options: french — 60 ECTS credits per year
Second year
Teaching aims : Aimed at those who want to learn 2D video
game design and production, games for consoles and PC, as
well as indie games, web games and new mobile devices...
To develop their projects, students need skills with
representation techniques and software conception
tools. They will learn to create a video game project and
acquire a visual culture from video game history. Specific
focuses for 2D video games are developed, such as game
design, level design and video game prototyping.
Methods and means of knowledge acquisition
The programme is divided into two semesters, starting with lectures and
exercises. From the second semester this knowledge is applied to a first 2D
video game project to be conceived and produced involving all teaching parts.
—
Third year
Teaching aims : Priority is given to the development of
this speciality through highest-level exercises, lectures and
the production of an larger video game project, bolstering
skills through the application of knowledge, pushing the
idea of teamwork and sharing individual competences.
Methods and means of knowledge acquisition
The programme is divided into two semesters, and gives priority to the use
of tools and means, with teamwork, organizing, individual skills and video
game design with respect for the brief, planning and schedule. Advanced
knowledge is acquired through next level exercises and talks, and one project
is completed during the whole academic year. Good results to the exercises
and project are taken into account in order to obtain the qualification.
First year
Teaching aims : Providing students
with knowledge of the different tools
for production and increasing their
awareness of the culture of the image.
Defining or consolidating
professional orientation in
the field of digital images.
Methods and means
of knowledge acquisition
This weekly 30-hour programme
incorporates four approaches:
Representation techniques lessons
These lessons allow creative students to
give life to their ideas. At the end of the
foundation year students have the required
level for any external entrance exam or
for entry to the higher courses at Lisaa.
Professional workshops
Initiating students to the diversity of
design professions by tackling problems
in the sectors which interest them.
A variety of projects will help them
to confirm their vocation.
Artistic culture (lectures and exhibition visits)
Imparts the cultural foundations of the
profession: visual references, significant
movements in art and graphic design.
Individual tutoring
Imparts working methods, supervising
progression and identifying the
points to be reinforced.
Teaching unit contents First year
Representation techniques:
Observational drawing,
Life drawing, Space/
perspective drawing, colour,
Creativity, Computer graphics
(Photoshop, Premiere,
TVPaint and 3DSMax)
Specific teaching:
Story-Board,
Animation, Volume
Artistic culture: Art history,
Exhibition analysis,
Applied English
Second third years
Fundamentals: Morphology
Development: Game design,
Visual Design. Production:
2D Production, 2D
Animation, Applied
Technics. Game Integration:
Prototyping, Sound Design.
Criteria for evaluating students
Whether they become game designer, Level Designer, 2D artist, 2D Animator for Video Game
or FX Artist, students at the end of the course should be both rigorous and imaginative.
They should be able to demonstrate their overall vision, sense of image and detail, have skills
in representation techniques and graphics, animation and 2D software and prototyping,
they should also be able to establish and manage a budget.
2D video games allow the development of their own particular game
experiences. They offer players original graphic design and animation. PC, console,
mobile or social media: the vast array of game platforms lead to new possibilities
being explored. In order to succeed in this discipline, the skills of animator or
2D designer must be combined with those of a game designer.
23
academicprogrammes
22
17. Le son des flammes
(Animation 3D, 2014)
—
Vincent Gibaud
(réalisateur)
http://vimeo.com/99713258
Hello
(Animation 3D, 2014)
—
Victoria Alessandri, Alexandre Monge, Thomas Lépine,
Justine Moreau, Céline Menard, Luca Strano, Louis Le Roy
http://vimeo.com/99730325
academicprogrammes
28
29
19. Reversed Moon
(3D Video Game, 2013)
—
Clément Etienne, Antoine Faipoux,
Steve Coelho, Caroline Blineau,
Helena Cailleaux, Alizé Maury,
Victor Lalhou, Agnès Dufraisse
Split the road
(3D Video Game, 2013)
—
Audrey Coent, Julien Guéguen,
Robin Lhebrard, Felix Montagnon,
Hughes Daumail, Jean-Philippe Hugonnet,
Oscar Loris, Bertrand Tournier
academicprogrammes
32
33
20. Lisaa’s partners
Companies in which
our alumni are working
A network
of talented professionals companies
academicprogrammes
34
35
21. Lisaa,
Dreamworks official
partner school
Shelley Page
—
Head of international outreach
Dreamworks
03.
professional
training
Students are continuously linked
to professionals and experts
during their internships, class or juries.
36
22. Each year,
students are placed
in internship programmes.
Exemples of student profiles
Project Manager — Art Director — Game tester — Game Designer
Level Designer — Story-boarder — 2D/ 3D Designer — Fx Artist
Modeling texture Artist — Rendering Artist — Compositing Artist
Technical Director — Interface Designer — Character Designer
Lay-out Artist — 2D/3D Animator — Concept Artist
Matte-Painter …
a unique
opportunity
to meet
the industry
academicprogrammes
38
39
24. 1 - Lisaa Animation Game Design Department
2 - Lisaa Fashion Design Department
3 - Lisaa Architecture Interior Design Department
4 - Lisaa Graphic Design Department
A - GRAND PALAIS
B - Louvre
C - The Docks,
D - GAITÉ LYRIQUE
E - Musée d’Orsay
F - PALAIS DE TOKYO Museum
G - Pompidou Centre
H - Institut du Monde Arabe
I - Fondation Cartier
J - The RODIN Museum
K - Swedish INstitute
A
J
K
I
F
G
H
B
E
D
C
1 - Lisaa Animation Game Design Department
2 - Lisaa Fashion Design Department
3 - Lisaa Architecture Interior Design Department
4 - Lisaa Graphic Design Department
04.
Lisaa
school
locations
2
4
3
1
42
43
42
43
25. Lisaa Paris - Animation Game Design Department
7 rue Armand Moisant, Paris 15e
+33 (0) 1 471 39 88 00
—
Private Higher Education School
Recognised by the French Ministry of Culture and Communication
Estudines residence:
a housing network
in the centre of Paris
and its region.
www.estudines.com
05.
Admission
requirements
Dates / Intakes*
School start:
21st
September
—
Vacation breaks:
24th
Oct.-1st
Nov.
19th
Dec.-3rd
Jan.
20th
Feb.- 6th
Mar.
23rd
Apr.-8th
May
—
End of class:
11th
June
Admissions
International admission office
international.admissions@lisaa.com
—
www.lisaa.com
* dates might change
How to apply
Undergraduate courses
To be at least 17 years old, motivated and interested in the applied arts and to have baccalaureate level.
Presentation of a portfolio and interview. To speak English or French according to the programme selected.
—
Postgraduate courses
University diploma
or equivalent. Experience and motivation in the selected discipline.
academicprogrammes
44
45
