Advanced graphics, video editing, motion graphics, animation basics, checked AI content tools and a reviewed multimedia portfolio.
What you will cover
Advanced graphics
video editing
motion graphics
animation basics
checked AI content tools
a reviewed multimedia portfolio
Topic list from the institute's programme record.
Certification
Certificate terms for this programme are confirmed by the institute at admission. Any ADIVAS course-completion certificate is an institute certificate; it is not a university degree, an externally accredited qualification or a vendor certification (such as AWS or Microsoft) unless the institute states so in writing.
The programme title is as supplied in the institute's list. Please confirm the awarding body and recognition with the institute before enrolling.
Curriculum 0.1 · Draft: written for ADIVAS and awaiting academic review and approval. Topics and weeks may change before your batch starts.
Your skill trail
You move through 8 stations. Each week builds one skill you can show, not just a topic you have heard.
1
Design systems and typography
Build rigorous visual systems with grids, type scales and colour that scale across many pieces.
Week 1 Studio setup, workflow and file discipline
Week 2 Layout systems: grids and modular design
Week 3 Advanced typography
Week 4 Colour systems and accessibility
Week 5 Visual storytelling and concept development
Week 6 Design systems capstone: a component library
2
Advanced vector, brand and print layout
Create full brand identities and multi-page print layouts with colour-managed, print-ready output.
Week 7 Advanced vector illustration
Week 8 Brand identity development
Week 9 Stationery and application mockups
Week 10 Editorial layout in Scribus
Week 11 Colour management and print production
Week 12 Packaging and signage design
3
Advanced image editing and compositing
Retouch, composite and grade images to a professional, ethical standard.
Week 13 Non-destructive editing workflow
Week 14 Selections, masking and cut-outs
Week 15 Advanced retouching: skin, product and restoration
Week 16 Compositing and perspective
Week 17 Colour grading for stills
Week 18 Image delivery, optimisation and archiving
4
Professional video editing
Plan, shoot and edit story-led video with strong audio and grading.
Week 19 Pre-production: story, script and schedule
Week 20 Camera craft: exposure, framing and movement
Week 21 Editing in DaVinci Resolve: assembly and rhythm
Week 22 Multi-camera and advanced timeline techniques
Week 23 Audio: dialogue, music and mixing
Week 24 Colour grading for video
Week 25 Titles, captions and accessibility
Week 26 Video delivery and review project
5
Motion graphics
Animate type, graphics and logos with keyframes, easing and templates.
Week 27 Motion principles and keyframes
Week 28 Kinetic typography
Week 29 Animated lower thirds and templates
Week 30 Logo animation and stings
Week 31 Shapes, infographics and data animation
Week 32 Compositing, tracking and masking
Week 33 Explainer video production
Week 34 Motion graphics review and showreel draft
6
Animation basics
Apply the principles of animation in 2D and build a simple 3D scene.
Week 35 Principles of animation
Week 36 Frame-by-frame 2D animation
Week 37 Character design and storyboarding for animation
Week 38 Introduction to Blender: scene and objects
Week 39 Blender animation and rendering
Week 40 Animation short project
7
Checked AI content tools
Use AI tools to assist ideas and drafts while checking facts, rights and disclosure.
Week 41 AI content tools: prompting and verification
Week 42 AI image and video tools in production
Week 43 Rights, disclosure and safe use of AI
8
Reviewed portfolio and client project
Complete a client-style project and assemble a reviewed portfolio and showreel.
Week 44 Client project: brief and plan
Week 45 Client project: production
Week 46 Client project: revision and delivery
Week 47 Portfolio and showreel production
Week 48 Final review and presentation
★
Integrated Brand and Media Campaign
Your project, reviewed by a trainer.
The ADIVAS mastery ladder: how each skill is recognised
Explored You have seen the idea and tried a first example.
Practising You can do it with hints and keep improving.
Proficient You complete the weekly practical task correctly on your own.
Proven You apply it in a project reviewed by your trainer.
Skill-level tracking is being added to the learner workspace. Your trainer already reviews weekly practical work.
What you will be able to do
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output.
Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading.
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings.
Apply the principles of animation to produce short 2D animations and a simple 3D scene.
Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles.
Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Use AI content tools responsibly: structured prompts, verification, bias checks, disclosure and human editing.
Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Build and present a reviewed multimedia portfolio and a client-ready showreel.
Who it suits
School Class 11 and 12 students with prior experience in drawing or video who want a deeper, structured pathway; assessments test the accessible core ideas.
College Design, media, commerce and engineering students and graduates who want advanced practical skills in graphics, video, motion and animation.
Professional Working designers, video editors, marketers and freelancers who want to widen their skills, work to client briefs and build a reviewed portfolio.
Prerequisites: Basic computer and file management skills. Prior exposure to a design, photo or video tool is helpful; the DIM course or equivalent is recommended but not required. Tools: Inkscape and Scribus (vector and layout), GIMP or Krita (image editing and painting), DaVinci Resolve free version (video, colour, Fusion and audio), Blender (animation basics and 3D scene), Audacity (audio), Canva free plan (templates), Laptop with 16 GB RAM recommended and an external drive for backups.
Weekly plan
Design systems and typography Weeks 1–6
Week 1: Studio setup, workflow and file discipline
Theory
Project folders, naming, versioning and backups (3-2-1 rule)
Calibrating a display and working colour spaces
Briefs, scope and approval records
Lab
Set up a studio folder template, a naming scheme and an asset register spreadsheet, and back up to two locations.
Homework
Write a one-page workflow note for a freelance job from brief to delivery.
Deliverable
A studio folder template, asset register and workflow note.
Weekly checkpoint
Scenario on a lost file: which backup practice would have prevented it?
You will be able to
Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Week 2: Layout systems: grids and modular design
Theory
Column, modular and baseline grids
Proportion, golden ratio and rule of thirds in use
Responsive layouts across sizes
Lab
Design a three-column poster grid and then adapt the same content into a square post and a vertical story using the same grid logic.
Homework
Analyse two magazine pages and sketch their underlying grids.
Deliverable
A grid-based poster and two adaptations with grid overlays.
Weekly checkpoint
Identify a grid in a sample layout; fix alignment errors.
You will be able to
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Week 3: Advanced typography
Theory
Type scales and modular rhythm
Pairing, contrast and hierarchy; Tamil typography conventions
OpenType features, ligatures and licensing
Lab
Build a type specimen sheet with a scale, a bilingual Tamil and English pairing and rules for headings, body and captions.
Homework
Typeset a one-page article with correct leading, measure and hanging punctuation.
Deliverable
A bilingual type specimen and a typeset article page.
Weekly checkpoint
Spot five typographic faults in a flawed page.
You will be able to
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Week 4: Colour systems and accessibility
Theory
Palette construction: primary, secondary, neutral and accent
Contrast ratios and colour-blind-friendly design
Colour psychology in cultural context
Lab
Create a full colour system for a fictional education brand with tints, shades and accessibility checks, and test with a colour-blindness simulator.
Homework
Fix three low-contrast designs and record the contrast ratios before and after.
Deliverable
A colour system sheet with accessibility results.
Weekly checkpoint
Pick compliant colour pairs; identify a design that fails for colour-blind users.
You will be able to
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 5: Visual storytelling and concept development
Theory
From insight to concept: sketching and iteration
Mood boards, references and originality
Presenting rationale to a client
Lab
Develop three concepts for an event campaign from rough sketches to a mood board, then present and choose one with a written rationale.
Homework
Write a short rationale explaining each concept for a non-designer.
Deliverable
A concept board with three directions and a rationale.
Weekly checkpoint
Peer critique using a structured feedback form.
You will be able to
Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles. Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Week 6: Design systems capstone: a component library
Theory
Reusable components and templates
Documentation of rules
Version control for design files
Lab
Package grid, type and colour into a small design system with cards, buttons, headers and a usage guide.
Homework
Apply the system to two new pieces to test consistency.
Deliverable
A one-page design-system guide and two applied examples.
Weekly checkpoint
Module review: consistency check on a set of five pieces.
You will be able to
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Advanced vector, brand and print layout Weeks 7–12
Week 7: Advanced vector illustration
Theory
Bezier control, path simplification and smart node editing
Gradients, meshes and clipping
Building illustration libraries
Lab
Illustrate a flat-style Madurai landmark scene using shape building and gradients, keeping the node count low.
Homework
Create a set of eight matching icons for the scene.
Deliverable
An illustration with a layered SVG and an icon set.
Weekly checkpoint
Practical: reconstruct a given shape using minimal nodes.
You will be able to
Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output.
Week 8: Brand identity development
Theory
Brand strategy: purpose, audience, voice
Logo systems: primary, secondary, icon and clear space
Misuse examples and guidelines
Lab
Develop a complete identity for a fictional learning centre: logo suite, colours, type and clear-space rules.
Homework
Test the logo on 10 backgrounds and fix failures.
Deliverable
A logo suite and an eight-page draft brand guideline PDF.
Weekly checkpoint
Critique a logo against a scalability checklist.
You will be able to
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen. Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output.
Week 9: Stationery and application mockups
Theory
Business card, letterhead and envelope sizes
Mockups and presenting identity
Print finishing: spot UV, folding and die-cut basics
Lab
Design stationery suite and present it on mockups, preparing separate print files.
Homework
Write print specifications a printer could follow.
Deliverable
A stationery set, mockup board and print spec sheet.
Weekly checkpoint
Calculate sizes with bleed for given items.
You will be able to
Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 10: Editorial layout in Scribus
Theory
Master pages, styles and page numbering
Text flow, columns and image placement
Pre-flight checks
Lab
Layout a 12-page school magazine with master pages, paragraph styles and bilingual headings, then run pre-flight.
Homework
Fix every pre-flight warning and document the fix.
Deliverable
A 12-page magazine PDF and pre-flight report.
Weekly checkpoint
Identify issues from a pre-flight report.
You will be able to
Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output. Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Week 11: Colour management and print production
Theory
ICC profiles, RGB to CMYK conversion and gamut
Rich black, overprint and ink coverage
Proofs and dealing with a printer
Lab
Convert the magazine to CMYK, compare soft proofs, adjust problem colours and prepare a PDF/X-style print file.
Homework
Visit or call a print shop and write down three requirements they have for files.
Deliverable
A converted print PDF and a proofing note.
Weekly checkpoint
Explain why a vivid screen blue prints duller.
You will be able to
Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 12: Packaging and signage design
Theory
Dielines, panels and folding
Designing for the viewing distance (signage)
Sustainable materials and cost
Lab
Design a packaging box and a shop signboard for the same brand, using a dieline and a legibility distance calculation.
Homework
Compute letter heights needed for readability at 10 and 20 metres.
Deliverable
A packaging dieline design and a signage layout.
Weekly checkpoint
Practical: place artwork on the correct panels of a dieline.
You will be able to
Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output. Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Advanced image editing and compositing Weeks 13–18
Week 13: Non-destructive editing workflow
Theory
Adjustment layers, smart filters and masks
Raw versus JPEG and editing bit depth
Image resolution, upsampling and quality
Lab
Build a non-destructive edit of a raw portrait: exposure, white balance and local adjustments with masks, keeping every step reversible.
Homework
Explain each layer in your stack in a sentence.
Deliverable
A layered project file and a short workflow note.
Weekly checkpoint
Identify a destructive step in a given workflow.
You will be able to
Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Week 14: Selections, masking and cut-outs
Theory
Channels, luminosity masks and refine edges
Hair and fine-detail masking
Edge contamination and defringe
Lab
Cut out three difficult subjects (hair, glass, shadow) using channel and luminosity masks and place them on new backgrounds.
Homework
Repeat one cut-out with a different technique and compare.
Deliverable
Three clean cut-outs with a mask comparison.
Weekly checkpoint
Practical: cut out a subject within 25 minutes with no halos.
You will be able to
Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Week 15: Advanced retouching: skin, product and restoration
Theory
Frequency separation concepts and light touch editing
Product photo clean-up and reflections
Ethical retouching and body-image responsibility
Lab
Retouch a portrait lightly with consent, clean a product photo and restore a damaged old photograph.
Homework
Write a retouching policy you would follow with clients.
Deliverable
Three retouched images with before and after and a policy note.
Weekly checkpoint
Scenario: client asks to reshape a student's body in an ad; respond ethically.
You will be able to
Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Week 16: Compositing and perspective
Theory
Matching light direction, colour and grain
Perspective, scale and shadows
Blend modes and dodge and burn
Lab
Composite a person, a product and a background into a believable advertisement image with matched lighting and shadows.
Homework
List what you matched in lighting and perspective.
Deliverable
A composite ad image with layered file.
Weekly checkpoint
Spot lighting mismatches in sample composites.
You will be able to
Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Week 17: Colour grading for stills
Theory
Curves, selective colour and split toning
Creating consistent looks across a series
Skin tones and white balance
Lab
Grade a series of eight photos from one event to a consistent style and save the style as a reusable preset.
Homework
Create a before and after contact sheet.
Deliverable
A graded series and a preset file.
Weekly checkpoint
Practical: match two photos of different light to one look.
You will be able to
Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Week 18: Image delivery, optimisation and archiving
Theory
Export for web, social, print and archive
Compression, metadata and copyright tags
Digital asset management and backups
Lab
Prepare the graded series for web (WebP), print (TIFF) and archive with metadata and a contact sheet.
Homework
Compare file sizes and quality at three compression levels.
Deliverable
An export package with metadata and a size comparison table.
Weekly checkpoint
Match output formats to uses; read a metadata block.
You will be able to
Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Professional video editing Weeks 19–26
Week 19: Pre-production: story, script and schedule
Theory
Story structure and short-form scripting
Storyboards, shot lists and call sheets
Budgets, permits, locations and risk checks
Lab
Plan a two-minute documentary-style film about a Madurai craft with script, storyboard, schedule and a risk and consent checklist.
Homework
Prepare interview questions that draw out stories.
Deliverable
A production pack with script, storyboard, schedule and release forms.
Weekly checkpoint
Order production phases; spot missing items in a call sheet.
You will be able to
Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles.
Week 20: Camera craft: exposure, framing and movement
Theory
Exposure triangle, ISO, shutter and aperture on a camera or phone
Composition, depth of field and camera movement
Lighting: key, fill and back light with budget tools
Lab
Shoot a three-point lit interview and cutaway b-roll with a tripod, then review footage for exposure and focus.
Homework
Reshoot the weakest shot after review.
Deliverable
Interview footage and b-roll with a shot log.
Weekly checkpoint
Diagnose footage problems and suggest fixes.
You will be able to
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading.
Week 21: Editing in DaVinci Resolve: assembly and rhythm
Theory
Media pool, bins, proxies and the Cut and Edit pages
Rough cut, fine cut and pacing
Continuity, cutaways and the L cut and J cut
Lab
Assemble the interview and b-roll into a rough cut, then a fine cut with rhythmic pacing.
Homework
Cut the film to a 60-second version while keeping the story.
Deliverable
A rough cut and a fine cut export.
Weekly checkpoint
Practical: assemble a sequence from given clips following a script.
You will be able to
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading.
Week 22: Multi-camera and advanced timeline techniques
Theory
Syncing audio and multicam editing
Speed ramps, reframing and stabilisation
Nesting, compound clips and keyboard efficiency
Lab
Edit a two-camera school event recording with synced audio, switching angles by speaker.
Homework
Reframe a horizontal clip for vertical delivery.
Deliverable
A multicam edit and a vertical reframe.
Weekly checkpoint
Fix an out-of-sync clip and explain the cause.
You will be able to
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 23: Audio: dialogue, music and mixing
Theory
Noise reduction, EQ and compression for voice
Mixing levels and loudness targets
Licensed music, foley and ambience
Lab
Clean and mix the documentary audio in Fairlight, balancing voice, ambience and licensed music to target loudness.
Homework
Log the licence and credit of every audio asset.
Deliverable
A mixed audio track and licence log.
Weekly checkpoint
Identify audio problems from a waveform and choose fixes.
You will be able to
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Week 24: Colour grading for video
Theory
Primary correction, scopes and white balance
Secondary correction and looks
Matching shots across cameras
Lab
Correct and grade the interview and b-roll using scopes so shots match, then apply a restrained creative look.
Homework
Save the grade as a reusable node tree and describe your choices.
Deliverable
A graded film with before and after frames.
Weekly checkpoint
Read scopes to correct exposure and white balance.
You will be able to
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading.
Week 25: Titles, captions and accessibility
Theory
Title design and safe areas
Bilingual captions and subtitle timing
Accessibility: caption contrast and audio description basics
Lab
Add title cards, lower thirds and bilingual Tamil and English captions to the film, and check readability on a phone.
Homework
Proof the captions against the audio for accuracy.
Deliverable
A captioned film with SRT files.
Weekly checkpoint
Find timing and accuracy errors in a caption file.
You will be able to
Edit multi-camera and story-driven video with clean audio, professional titles and colour grading. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 26: Video delivery and review project
Theory
Codecs, bitrates and platform presets
Client review cycles and version control
Archiving projects
Lab
Deliver the documentary in three formats (web, vertical social, high-quality master) and run a client review round.
Homework
Write a revision log that records each change and its approval.
Deliverable
Three delivered formats and a revision log.
Weekly checkpoint
Choose delivery settings for given platforms.
You will be able to
Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use. Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles.
Motion graphics Weeks 27–34
Week 27: Motion principles and keyframes
Theory
Position, scale, rotation and opacity keyframes
Easing and motion curves
Timing and spacing
Lab
Animate a bouncing logo and a sliding card in Fusion with eased keyframes, adjusting the curves to feel natural.
Homework
Write what linear versus eased motion communicates.
Deliverable
Two short looping animations with curve screenshots.
Weekly checkpoint
Pick the right easing for a described motion.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings.
Week 28: Kinetic typography
Theory
Text animation, tracking and masking reveals
Rhythm tied to speech or music
Legibility during motion
Lab
Animate a 20-second kinetic typography clip of a short Tamil and English quote in time with a voice track.
Homework
Re-time the animation to a different tempo.
Deliverable
A kinetic typography clip with source file.
Weekly checkpoint
Critique a clip for legibility and timing.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Week 29: Animated lower thirds and templates
Theory
Templates and reusable macros
Safe areas and broadcast-style graphics
Parameters for fast updates
Lab
Build a lower-third template with editable name and role fields and use it on three speakers.
Homework
Document how a colleague updates the template.
Deliverable
A lower-third template and three exports.
Weekly checkpoint
Practical: update a template within a time limit.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 30: Logo animation and stings
Theory
Animating vector shapes and masks
Sound design for stings
Duration, brand tone and simplicity
Lab
Animate the brand logo into a 5-second sting with sound and export with an alpha channel.
Homework
Make a shorter 2-second version for social.
Deliverable
A logo sting in two lengths with alpha export.
Weekly checkpoint
Explain what to keep and cut in a sting.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Produce advanced vector, editorial and packaging layouts with correct colour management, bleed and print-ready output.
Week 31: Shapes, infographics and data animation
Theory
Animating charts and counters
Honest data visuals in motion
Clear information hierarchy over time
Lab
Animate a three-part chart and counter sequence showing a small school's yearly results, with a source note on screen.
Homework
Revise the animation to be understandable without sound.
Deliverable
An animated data clip with an on-screen source.
Weekly checkpoint
Spot a misleading animated chart.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen.
Week 32: Compositing, tracking and masking
Theory
Planar and point tracking
Rotoscoping and keying (green screen)
Matching grain and colour
Lab
Track a graphic onto a moving sign in footage and key a green-screen subject onto a new background.
Homework
List what made the key difficult.
Deliverable
A tracked graphic clip and a green-screen composite.
Weekly checkpoint
Troubleshoot a poor key edge.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Week 33: Explainer video production
Theory
Script, voice-over and visual metaphors
Pacing for explanation
Combining vector art and motion
Lab
Produce a 45-second explainer about safe online payments (UPI awareness) using vector illustrations and motion.
Homework
Test the explainer with two viewers and gather feedback.
Deliverable
An explainer video and a feedback log.
Weekly checkpoint
Peer review against an explainer checklist.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles.
Week 34: Motion graphics review and showreel draft
Theory
Choosing pieces for a reel
Opening and closing strength
Audio and branding of a reel
Lab
Edit a 60-second motion reel from the module work with a brand opener and closing card.
Homework
Collect feedback from two reviewers and list changes.
Deliverable
A first-draft motion reel and a feedback summary.
Weekly checkpoint
Trainer review of the reel draft.
You will be able to
Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings. Build and present a reviewed multimedia portfolio and a client-ready showreel.
Animation basics Weeks 35–40
Week 35: Principles of animation
Theory
Squash and stretch, anticipation and follow-through
Timing, spacing and arcs
Staging and appeal
Lab
Animate a bouncing ball with squash and stretch, then a ball with weight differences (heavy and light) frame by frame in Krita or Blender.
Homework
Study a short animation and list the principles used.
Deliverable
Two ball animations with timing charts.
Weekly checkpoint
Identify the principle in a given frame sequence.
You will be able to
Apply the principles of animation to produce short 2D animations and a simple 3D scene.
Week 36: Frame-by-frame 2D animation
Theory
Onion skinning and key and breakdown drawings
Walk cycles and timing
Exposure sheets
Lab
Draw and animate an eight-frame walk cycle of a simple character on twos.
Homework
Smooth the cycle and loop it.
Deliverable
A looping walk cycle with exposure sheet.
Weekly checkpoint
Order the stages from keys to in-betweens.
You will be able to
Apply the principles of animation to produce short 2D animations and a simple 3D scene.
Week 37: Character design and storyboarding for animation
Theory
Shapes, silhouettes and expressions
Storyboards, animatics and timing
Writing for a 20-second story
Lab
Design a character, draw an expression sheet and create a rough storyboard and animatic for a 20-second story.
Homework
Time the animatic against a scratch voice track.
Deliverable
A character sheet, storyboard and animatic.
Weekly checkpoint
Critique silhouette readability.
You will be able to
Apply the principles of animation to produce short 2D animations and a simple 3D scene. Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles.
Week 38: Introduction to Blender: scene and objects
Theory
The Blender interface, objects, modifiers and materials
Cameras, lights and rendering basics
Importing and licensing assets
Lab
Model a simple room scene from basic shapes, add materials, lighting and a camera, and render a still.
Homework
Re-light the scene to two different moods.
Deliverable
A rendered still and the Blender file.
Weekly checkpoint
Practical: set up camera and light to meet a brief.
You will be able to
Apply the principles of animation to produce short 2D animations and a simple 3D scene.
Week 39: Blender animation and rendering
Theory
Keyframes, graph editor and camera moves
Render engines, samples and output settings
Render time versus quality
Lab
Animate a camera fly-through of the room and render a 10-second sequence, comparing two quality settings.
Homework
Record render times and file sizes.
Deliverable
A rendered fly-through and a quality comparison table.
Weekly checkpoint
Choose render settings for a deadline.
You will be able to
Apply the principles of animation to produce short 2D animations and a simple 3D scene. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 40: Animation short project
Theory
Combining 2D, 3D and motion graphics
Sound and music for animation
Finishing and export
Lab
Produce a 20-second animated short that combines the character, background and sound, finished and exported.
Homework
Prepare a making-of breakdown slide.
Deliverable
A finished animated short and breakdown.
Weekly checkpoint
Panel review of the short against the animation rubric.
You will be able to
Apply the principles of animation to produce short 2D animations and a simple 3D scene. Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings.
Checked AI content tools Weeks 41–43
Week 41: AI content tools: prompting and verification
Theory
What generative AI does well and badly
Structured prompts: goal, context, constraints, format
Verifying facts and checking bias
Lab
Use an approved AI assistant to draft scripts, captions and concept lists for the client brief, logging every prompt and what was changed or rejected.
Homework
Compare two prompt versions and note which produced a better result and why.
Deliverable
A prompt log with verification notes.
Weekly checkpoint
Improve a weak prompt; scenario where AI invents a fact.
You will be able to
Use AI content tools responsibly: structured prompts, verification, bias checks, disclosure and human editing.
Week 42: AI image and video tools in production
Theory
AI-assisted ideation, upscaling and clean-up
Artefacts, anatomy and text errors
Human editing, style control and limits
Lab
Generate concept images with an approved tool, correct errors manually and compare them with your original concept.
Homework
List what AI could not do for the brief.
Deliverable
A comparison board of AI and human-made concepts.
Weekly checkpoint
Spot errors in an AI-made image.
You will be able to
Use AI content tools responsibly: structured prompts, verification, bias checks, disclosure and human editing. Retouch, composite and colour-grade photographs non-destructively to a professional standard with documented ethics.
Week 43: Rights, disclosure and safe use of AI
Theory
Copyright and licences of AI tools
Consent, likeness and deepfake harms
Disclosure, client contracts and an AI use policy
Lab
Audit your own project assets for rights, write an AI use policy and a client disclosure statement.
Homework
Rewrite the policy as a short note for a client.
Deliverable
An asset rights audit and AI use policy.
Weekly checkpoint
Scenario: a client wants a real person's face used in an AI ad; decide and justify.
You will be able to
Use AI content tools responsibly: structured prompts, verification, bias checks, disclosure and human editing. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Reviewed portfolio and client project Weeks 44–48
Week 44: Client project: brief and plan
Theory
Interpreting a real brief and scoping
Timelines, quotes and revision rounds
Creative direction document
Lab
Receive a client-style brief (a local social enterprise), write a scope, schedule, quote and creative direction.
Homework
Prepare questions to ask the client.
Deliverable
A scope, quote, schedule and creative direction document.
Weekly checkpoint
Review of the plan by the trainer acting as the client.
You will be able to
Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles.
Week 45: Client project: production
Theory
Working from the system to deliverables
Progress reviews and version control
Quality checks before delivery
Lab
Produce the identity, a poster, a social set, a 30-second video and a motion sting for the project, with review points.
Homework
Run a checklist on every file for size, spelling and rights.
Deliverable
Draft deliverables and a quality checklist.
Weekly checkpoint
Mid-point review with written feedback.
You will be able to
Design consistent visual systems: grids, typographic scales, colour systems and brand guidelines for print and screen. Edit multi-camera and story-driven video with clean audio, professional titles and colour grading. Create motion graphics with keyframes, easing, kinetic typography and animated lower thirds and logo stings.
Week 46: Client project: revision and delivery
Theory
Handling feedback respectfully
Final delivery packages
Handover documentation
Lab
Apply two feedback rounds, then deliver final files in organised folders with a handover note.
Homework
Write a short close-out report.
Deliverable
Final delivery package, handover note and close-out report.
Weekly checkpoint
Delivery checklist verified by the trainer.
You will be able to
Plan productions with briefs, scripts, storyboards, schedules, budgets and client feedback cycles. Deliver files in correct formats, codecs and accessibility settings (captions, contrast) for print, web, social and broadcast-style use.
Week 47: Portfolio and showreel production
Theory
Portfolio structure and case studies
Showreel editing and music
Web and PDF portfolios; accessibility
Lab
Select six to eight pieces, write case studies and build the portfolio as PDF and web page plus a 60-second showreel.
Homework
Collect two external reviews of the portfolio.
Deliverable
A draft portfolio, case studies and showreel.
Weekly checkpoint
Portfolio review against the checklist.
You will be able to
Build and present a reviewed multimedia portfolio and a client-ready showreel. Respect copyright, licences, consent and credit, and keep a documented asset register for every project.
Week 48: Final review and presentation
Theory
Presenting process and decisions
Pricing and freelance terms
Next steps: continued learning
Lab
Present the final portfolio and showreel to a review panel, answer questions and submit the revised version.
Homework
Write a plan for the next six months of practice.
Deliverable
Final reviewed portfolio, showreel and six-month plan.
Weekly checkpoint
Panel assessment using the final rubric.
You will be able to
Build and present a reviewed multimedia portfolio and a client-ready showreel.
Sample lessons
Week 11
RGB, CMYK and colour management for print
Screens make colour by adding light (red, green and blue), so they can show very bright, vivid colours. Printers make colour by absorbing light with inks (cyan, magenta, yellow and black), which covers a smaller range called the gamut. When a vivid RGB colour is converted to CMYK, it can look duller. Colour management uses ICC profiles to describe each device, so software can convert colours predictably and show a soft proof on screen before printing. You should design with the print profile in mind and ask the printer for theirs.
RGB (screens)
Adds light: red, green, blue
Large gamut, vivid colours
Used for web and video
CMYK (print)
Absorbs light with inks
Smaller gamut, duller blues and greens
Needs soft proof and profile
Proof before you print.
Step by step
Calibrate or at least check your display and work in a defined colour space such as sRGB.
Ask the printer which CMYK profile they use.
Soft-proof the design using that profile and note out-of-gamut warnings.
Adjust problem colours, avoiding total ink coverage over the printer's limit.
Export a print PDF and keep a note of the profile and settings used.
In real life
A wedding invitation uses a bright electric blue that looks stunning on a phone. After printing it looks grey-blue. With a soft proof earlier, the designer would have chosen a nearby blue that prints well.
Worked example
Problem. A brand green looks fine on screen but warns as out of gamut in the CMYK soft proof. What are your options?
Solution. Shift the green slightly toward a printable value until the warning disappears, ask the printer about a spot colour for exact matching if the budget allows, and show the client the proof before approval.
Common mistakes
Converting to CMYK at the very end and discovering dull colours after printing.
Trusting an uncalibrated laptop screen to judge colour.
Try it yourself
Soft-proof a poster with a CMYK profile and list the colours that changed.
Explain in two sentences why RGB can show colours that CMYK cannot.
Week 27
Keyframes and easing: making motion feel natural
A keyframe stores a value, such as position or size, at a moment in time. The software fills in the movement between two keyframes. If the movement is linear it looks robotic, because real objects speed up and slow down. Easing changes the speed curve: ease-in starts slowly, ease-out ends slowly and ease-in-out does both. Good motion also uses timing: short durations feel energetic, longer ones feel calm. In the curve editor you shape these speeds directly.
Easing
Starts
Ends
Feels
Linear
Constant speed
Constant speed
Mechanical
Ease-in
Slow
Fast
Accelerating
Ease-out
Fast
Slow
Natural landing
Ease-in-out
Slow
Slow
Smooth and calm
Easing shapes how motion feels.
Step by step
Place a graphic and set its start position with a keyframe at 0 seconds.
Move to 1 second, change the position and set a second keyframe.
Open the curve editor and select ease-out on the end keyframe.
Play the clip and adjust duration until it feels right for the brand tone.
Add a small overshoot and settle for a lively, friendly feel, then compare with the linear version.
In real life
When a bus pulls into a stop, it slows gradually before stopping. If the animation stopped instantly, it would look wrong. An ease-out curve reproduces the gentle stop.
Worked example
Problem. A lower-third slides in over 12 frames but looks mechanical. What do you change?
Solution. Switch the slide-in to ease-out so it decelerates as it lands, consider 15 to 18 frames at 25 fps for smoothness and add a one or two frame fade to soften the start.
Common mistakes
Leaving every animation linear.
Making motion too long so viewers wait for text to appear.
Try it yourself
Animate a card sliding in with linear and ease-out curves and describe the difference.
Choose which easing suits a calm health brand versus an energetic sports brand and explain why.
Week 21
Editing rhythm and the rough-to-fine cut
Editing is storytelling by choosing what to show, in what order and for how long. A rough cut places the best clips in script order without worrying about polish, so you can check that the story works. A fine cut then tightens each cut, adds cutaways, balances pace and removes anything that does not serve the message. Audio often leads the picture: letting a sentence start before the shot changes, called a J cut, feels natural to viewers.
1Organise clips
2Rough cut in script order
3Watch and note problems
4Fine cut: tighten and cutaways
5Review export
Story first, polish later.
Step by step
Import and organise clips into bins named by scene and subject.
Assemble the best takes in script order for a rough cut.
Watch the whole rough cut without stopping and note where it drags.
Tighten cuts, add cutaway shots over interview jump cuts and apply J and L cuts.
Export a review copy and gather notes before the final polish.
In real life
In a documentary about a Madurai jasmine seller, the editor lets her voice continue while the picture changes to the flowers, so the story feels seamless.
Worked example
Problem. Your 90-second film should be 60 seconds. How do you decide what to cut?
Solution. Write the one message of the film, then remove clips that do not support it, shorten pauses and repeated points and keep the strongest opening and closing. Re-watch to check the story still makes sense.
Common mistakes
Polishing the first scene before the whole story is assembled.
Keeping a beautiful shot that does not serve the message.
Try it yourself
Create a rough cut of five clips and write the single message it supports.
Add one J cut and one cutaway to an interview and describe the effect.
Try the questions
The same skills are asked at three levels: School (Classes 6–12), College and Professional. Switch the level and the language (English or Tamil), and say how sure you are before you check: knowing what you are unsure about is part of learning.
Classes 6–12: everyday examples, no prior knowledge. Practice only. Nothing here is graded or saved.
Question 1 / 4 · Understand alignment and grids
A teacher arranges photos on a classroom board in neat rows and columns with equal gaps. What design idea is this?
Projects
Integrated Brand and Media Campaign
A local social enterprise in Madurai needs a complete identity and launch campaign. Deliver a brand system with guidelines, an editorial or print piece, retouched photography, a short documentary video with captions, a motion graphics sting and an AI-use and rights record, all within the stated scope and schedule.
Tasks
Interview the client (trainer), write a scope and quote, and develop three concepts; present one with rationale.
Create the logo suite, colour and type system and a guideline PDF; produce a print-ready poster or brochure with correct bleed and CMYK output.
Edit and retouch a photo set non-destructively and grade it consistently.
Produce a 60-second film with multi-source audio, graded colour and bilingual captions, plus a 5-second logo sting.
Maintain an asset register and AI-use disclosure, handle two rounds of client feedback and deliver organised final files.
Sample input
Client: handloom cooperative; audience: young urban buyers and tourists; budget: low; languages: Tamil and English; deadline: 3 weeks
Expected output
A guideline PDF, print-ready file, edited photo set, a captioned 60-second film, a logo sting, an asset and rights register, a revision log and a close-out report.
How it is assessed
Criterion
Weight
Concept, design system and visual quality
25%
Technical delivery: print, colour, formats
20%
Video and motion craft (edit, audio, grade)
20%
Process: brief, schedule, feedback handling
15%
Rights, consent and AI disclosure
10%
Presentation and documentation
10%
Stretch challenge: Add a three-scene animated explainer and a second language version of the campaign.
Animated Short and Showreel
Create a 20 to 30 second animated short that combines 2D character animation, a simple 3D background and motion graphics titles, then cut your best module work into a 60-second showreel.
Tasks
Write a short story, storyboard and animatic with timing.
Animate the character using the principles of animation and render a simple 3D background.
Add kinetic title and credits with licensed music and a mix at target loudness.
Cut the 60-second showreel with a brand opener and a credits card listing tools and licences.
A finished animated short, a 60-second showreel, project files and a credits and licences list.
How it is assessed
Criterion
Weight
Animation principles and timing
30%
Story clarity and design
25%
Sound, music and mix
15%
Showreel selection and pacing
20%
Credits and licences
10%
Stretch challenge: Add Tamil subtitles and an audio description track for accessibility.
How you are assessed
Each week: a short quiz (concepts, scenario and a visual-judgement or diagram question), a timed practical in the relevant software, and a critique note. Every four weeks a module review and a documented crit session are held.
Practical work. Learners submit original project files with an asset and licence register. The trainer assesses technical settings (bleed, colour, codecs, captions) with a checklist and a panel reviews the portfolio and showreel at Weeks 34, 40 and 48.
What trainers look for
Weight
Craft and visual or motion quality
30%
Technical delivery and file preparation
20%
Concept, brief fit and storytelling
20%
Process, feedback and documentation
15%
Rights, consent and AI disclosure
15%
Where this can lead
Prepares you for junior roles such as graphic designer, video editor assistant or social media creative.
Prepares you for freelance work in brand design, photo retouching, short video and motion graphics with a reviewed portfolio.
Builds the practical foundation for further study in animation, filmmaking or UI design.
These describe skills you will build. ADIVAS does not guarantee jobs, placement or salary.
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