31.1.09 Reflective writing

Reflective writing Jan 2009

Summary of activity:
Reflecting on the tasks set and considering a new working methodology

I have been discussing my current plans with tutors and peers and on reflection have recognised that the timeframe I have set myself to complete three animations is unrealistic and possibly the wrong way of approaching the projects. All the way through the MA journey I have amended and altered my timing, having to move deadlines back due to the time intensive demands of the animation process. This awareness is still relatively new and my old mindset of ‘doing’ has been in danger of dominating the context, content and critical reflection.

What would happen if, instead of concentrating on the finished results and output, I concentrate on shorter experiments and ways of working for one particular word? This will, in turn, lead to a more considered approach evidencing stronger reflection and critical judgement. Reflecting heavily on the more successful methods of working will enable a more conclusive direction and in-depth analysis, rather than a superficial production line of activity based on my previous task-driven approach. I suspect also that instead of thinking about the animation as a whole entity, concentrating on several methods on one subject will free me up and stop my considering ‘what next’ and concerning myself with output. I have found creating time plans for this terms work a bittersweet experience. Structure is always helpful, however, if the timeframe for the projects set is untenable the result is counterproductive.

I could, for example, produce a series of hand-created animations representing ‘tone of voice and intonation’ for the slang word ‘yeah’ said repetitively by Ken and compare this with a more mechanical ‘default’ animation and analyse the findings. I am keen to test these findings externally with relevant practitioners such as Jonathan Barnbrook.

I aim to investigate why there is a revival of the handmade, despite the advances in technology? Can two varied media sit alongside each other comfortably? I noticed with interest that this months Creative Review have published articles about letterpress studios and in particular that wooden block type created through letterpress has been formally digitised by one typographer. The letterforms were well represented but the essence and charm of the printing process, in my opinion, had been lost. It is as if the application of any software programme obliterates and sanitises our human nature. All quirks are ironed out and perfected, this is not an accurate portrayal of humanity. My project seems to be concerned with the projection of our collective imperfections, quirks and humanity in a celebratory way. Every cracked worn letterform has a story to tell in the same way that every frown line or laughter line has a narrative behind it.

I am keen to revisit some methods used in the past, by Brownjohn (007 title sequence) whereby letters are projected onto people. If words are static and the person moves in front, the words will distort and splay out, this could be effective in terms of intonation. How would that compare with the person walking and the type is animated through a preset effect in after effects to distort the text? I suspect that the first method will look interesting and produce an authentic result and the second method will look stilted and displaced.

Other ideas are to create letterforms using intaglio ink and a roller, in quite a loose, fluid manner, allowing the ink to be cracked, imperfect, over-inked, overlapping in places, as we sometimes interrupt ourselves during speech. Produce letters individually and drop them in together by hand or create a series of letters that butt into each other.

I am aiming to explore the notion of typographic/language repetition, using mirrors, glass, projection and photocopiers, scanners, typewriters, handwriting. This will free me up to be more creative and risk taking rather than production led.

Creating a series of tests and effective methods will produce a body of interesting experimental pieces. The most effective method can then be taken forward into an evolved conclusion with a my aim being to clearly communicate the original brief set which is to explore the parallels between typography and spoken language.

Animation tests

Reflection on letterpress animation tests

I have created a series of letterpress experiments exploring Ken’s voice patterns.
The deliberate use of letterpress denotes the speaker’s age and lack of interest
in technology, it is also a statement about Ken’s character, unchanging and from
a different era. I found that using a variety of materials to print upon was useful, especially printing directly onto textured wallpaper. The effect resulted in broken, cracked letterforms relevant to Ken’s voice characteristics. Producing the tests,
I have been mindful of the work created before, the feedback given and the importance of showing the hands within the work, to almost spell out the processes and keep the human aspect of the work at the forefront of the animation.

Using white ink onto the wooden letter block reinforces the idea of repetition in language. For example, the viewer see the wooden letters and is able to read them (although they are backwards), rolling white ink onto the letters seems to switch them on from an initial thought into speech. The word is repeated again when the letters are printed onto the paper.

Two examples of ‘glottal stop’ or stopping one’s speech abruptly can be represented by two other experiments I created simply ripping a word in half, the word is said and is taken away quickly, just as the voice does in real time. The other representation of this is producing an oversized ‘ T’ using the width of the roller and screwing up the letterform after it’s creation.

Intonation of the voice has been considered by repeating letters that are stressed, also by moving letters away from a conventional baseline and allowing letters to fall down in arcs around the page. More expression into spatial difference or fluidity could be adopted. I found the process of printing a bit rigid and found it difficult to let the letters ‘bleed’, smear or appear organic. Perhaps looking into rubbings using chalk pastels could be another method to change the work.

Pace of the word being said such as ‘a drink, a drink’ were shown overlapping as the speaker repeats himself, almost interrupting himself, I wanted to show this almost as a mirror image.

The next stage will be to continue creating tests for Ken’s voice, gain peer and tutor feedback about the visual language and starting to tackle how my voice can be represented. Bringing contrast to the work using digital type for my voice will bring about a new dynamic to the work. I intend the contrast to be quite stark and obvious, so that you can picture the age gap and personality differences at a glance.

Reflecting on yesterdays work

Reflecting on the work produced yesterday, particularly the ‘mood boards’ for visual language, I have decided that the outcomes are incomplete and will work on stronger themes into 2 or 3 area, as if I would present the work, with conviction, to a client.
Each theme board requires the following considerations:
Contextual rationalization, Theme, Typographic style , Colour palette references
Explanation of production method (to be continued)

Theme/route 1 (repetition 3d)
Contextual rationalization Theme one is based on repetition, which can be highlighted by the quote by Hymes, Becker and Bollinger that they “all suggest that repetition is at the heart not only of how a particular discourse is created but how discourse itself is created.”
Theme is based on the concept of visualizing repetition. Repetition is represented by collections of ordinary household objects (3d items relevant to Ken’s era). Discussing the work with peers, the strong theme of repetition can be explored in more depth visually.
Typographic style for the older speaker will be represented using type styling from 60’s kitchen utensils as separate pieces of paper animating freely. The younger speaker will be illustrated in a simple sans serif timeless font (digitally) so as not to detract from the key speaker.

Colour palette references 1960’s refs, peach, brown, washed out cyan, mute green


Theme/route2 (weaving/interlinking)
Contextual rationalization Theme one is based on interlinking words, which is underpinned by the views of Gee, J.P “We continually and actively build and rebuild our worlds not just through language used in tandem with actions, interactions, non-linguistic symbol systems, objects, tools, technologies, and distinctive ways of thinking, valuing, feeling and believing. Sometimes what we build is quite similar to what we have built before; sometimes it is not. But language-in-action is always and everywhere an active building process.” (p11. Discourse Analysis). Also that we (paraphrase) “weave multiple strands of discourse together.”p.21

Interweaving elements are important findings in my reflective practice. I noticed lexical repetition in all the recordings I have produced, whereby and average daily conversation contains tens of repeated words, back and forth creating a small intimate fabric between the speakers. Often the starting point and the end of a conversation link and repeat. This is visually appealing and relevant to discourse analysis.
Theme would portray interlinking elements through weaving materials such as paper, fabric, collage or the actual words themselves. The typographic collages of Ed Fella’s will be useful reference for this route.

Typographic style for the older speaker will be represented using hand drawn ink lettering with emphasis on intonation of the words, thicks and thin strokes will be exaggerated. A thin flowing ink ‘handwriting’ style will be adopted for the younger speaker with a different colour change to denote contrast.

Colour palette references black, off-white, red

Theme/route3 (mapping words)
Contextual rationalization
Discourse is similar to a map of a country with boundaries that shift and negotiate over time. Location, identity, cultural differences, issues of class, creed and beliefs are bound into this expression.

“The complex relationships among Discourses, which we can imagine as intricate criss-crossing lines connecting the various Discourse-areas on the map in complex positive and negative ways, define and demarcate individual discourses.” (p23)

Theme Overlapping words onto OS maps. Mapping words and meaning, the idea that words portray our identity/dialect and location. This concept can be photographic and illustrated and can be based on rural, local road markings through to county or country maps.

Typographic style would link into the map references but change in scale to have more visibility. Text will appear large and crop out of shot for the older speaker. Younger speaker would have smaller text, as location co-ordinators perhaps, around the periphery.

Colour palette references based on old map illustrations


Theme/route 4 (repetition 2d)
Contextual rationalization Theme one is based on repetition, which can be highlighted by the quote by Hymes, Becker and Bollinger that they “all suggest that repetition is at the heart not only of how a particular discourse is created but how discourse itself is created.”

Theme Repetition through patterns (changing, ripping, peeling wallpaper) and typography relevant to the speaker’s zeitgeist. This route will explore personal references to ageing, fading beauty, fading voices. Repetition of dialogue will be shown by letters remaining styled (letterpress for the older speaker and digital text for the younger speaker) and on screen longer for the viewer
to recognize the links. This theme leans towards a subtle, atmospheric approach using technology (or lack thereof) to hint at the contrast between the two speakers, their
lifestyles and views of the world.

Typographic style for the older speaker will be represented using letterpress to denote age and lack of interest in technology or modernity. The younger speaker will be illustrated in a digitally produced typeface as a contrast.

Colour palette references 1960’s refs, peach, brown, washed out cyan, mute green

Visual Language references

I created several moodboards as advised from the PGD assessment feedback to set the tone for the visual language of the next phase of the animation.

One main area is letterpress.Previous research into concrete poetry and repetition is another route. Creating work using either 3d letters or suspended or projected letters could be another. After creating the moodboards a poster layout and then letterpress experiments followed.

Main aims this week - Create different visual languages tests for ‘Ken’
Create 5 tests in your sketchbook, only reference and submit 3 onto your personal blog)

Listen to Ken’s voice again
Print out prologue visual style references.
1 Consider coffee cup stains, old letters, handwriting of older people, wallpaper,
lots of different wallpaper textures, that rip when Ken finishes speaking.

2 Other approach, concrete poetry meets Sam Winston, the whole animation coming together like a tea cup, text behaves like liquid floating (5 pages), letters act like liquid, moving across the page.
(Remember to scan in old ref work from previous sketchbooks)

3 Lists, bus timetables, routes, road markings

4 Use lettering to say age: letterpress type styles, diff ‘ttttTTTt’’s for Tea.

5 Think about letterpress type smearing and repeating onto old wrapping paper.
This can screw up when ken stops speaking. Imagine rolling ink onto the screen then white out text directly onto glass, camera facing up.

Which the colours reflect, melancholy, loneliness, fading, weather bleached, aged, neglected, functional?

Create a colour palette, manilla envelope, off white, old cyan blue, cold dark grey, light grey, yellowing/nicotine yellow, anaglypta texture, old poppy seed sepia, weather bleached

What the colours are not; vibrant, loud, modern, exciting, charismatic
Lettering styles? Get Typography encyclopaedia from library.

Write a 2 sentence brief to have in your mind whilst selecting the visual language.


Thursday 15th Jan
Review of working processes.

During today’s task, I wanted to capture the essence of repetition in a pictorial form. Considering a printed format and the Exposition, I chose two distinctive styles of lettering for the rough sketches. For Ken’s voice I envisaged the lettering as wooden letter blocks, static, old fashioned, slow to move. To depict my voice I have used handwriting (this might change), but the overall effect created on the layouts is contrast. Key words such as ‘half’ and ‘a drink, a drink!’ are more prominent in the poster layout and I have started to show a panel with the words repeated and highlight the quote by Hymes, Becker and Bollinger that they “all suggest that repetition is at the heart not only of how a particular discourse is created but how discourse itself is created.” Other layouts show loops linking the repeated words, there are other methods to do this such as colour change or same text overlapping, or a key. More experiments can be developed.

All of the conversation appears on the layout, Ken’s voice is in caps, larger and dominates, my text is alongside Ken’s but of secondary importance. Two words are deliberately misspelled to indicate intonation of voice, they are ‘tea’ becoming ‘TEeAa’ and ‘half’ becomes ‘HAAALF’ this is a very important point at which, Ken’s voice elongates the word, falters and fades. The poster layout is helping me to prepare before the animation phase.

Following this preparatory work, I began letterpress tests in the print department at the University of Derby. Using brown wrapping paper as a warm base and wooden type with opaque white etching ink I began to experiment with a few key words.
The first stage included photographing the print studio and location. Sorting through the letters into alphabetical order, I also set a few words loosely in the type case, ‘DRINK’ whilst having access to the poster layout as a guide. The first word ‘TEEAAa’ appears as if printed by itself, I deliberately show the letter block turning over and allow the letters to fall with the pattern of intonation form the discourse. ‘Yeah’ appears as untreated letter blocks, then one by one the white ink appears in order of pronunciation, as if the letters are switched on. This method is effective and I have reflected and acted upon the positive 3d aspects of previous work and the need to ensure the work does not appear to flat. ‘A Drink, a Drink!’ appears as white letters onto the brown wrapping paper as gradually increasing letters. The emphasis on ‘i’ in the sequence denotes syllable stress.

Repetition of this word is shown by overlapping elements and also with some letters mirroring their ‘partners’. Other ‘tea’ experiments include extending the letter t’s descender and printing a range of different fonts and repeating the letter t. This did not appear to look very effective, experimental or express intonation in a convincing manner.

A particularly successful test includes the use of my hand and roller of ink being applied onto an ‘&’ in the phrase ‘one & a half’. I will continue to explore other interactive elements within the work, particularly where the process is key to the outcomes.

Phase two of the letterpress experiments involved the use of black intaglio block printing ink onto textured (aged and tea stained) wallpaper.

I discovered that the intaglio ink printed more effectively than the white etching ink (despite adding French chalk to aid the consistency) . Using the wallpaper as a base created a rougher texture, quite aged but more staging will probably be needed for the final animation. My mood board looks more interesting than what I have produced so far (due to image area appearing sparse (lettering only). I need to look at the work and listen to the audio again. An effective test was ripping the wallpaper to reveal brown paper, this can signal an abrupt glottal stop at the end of a sentence. Wallpaper can also be a useful format to stage further clues to the zeitgeist for example the wallpaper could be supported with picture frames, photographs, flying ducks, light switches and clocks. The actual choice of wallpaper can change and rip or fade to reflect different eras. The colour palette mentioned in my previous weeks review needs to be explored and applied.

Creating a large letter T using the full width of the roller appeared to be visually effective and addresses one of the areas of scale that I did not fully resolve in the last body of work.

Feedback tutorial

Feedback tutorial with JH and RN (NTU Friday 9.1.09)

Reviewing the work from the submission, we concluded the following;
● There is a substantial body of materials in my sketchbook that has not been
used and should be included

● More time preparing the visual language of the work is necessary

● Ensure that the animations contrast enough in their approaches, or vary the
contents to try multiple media approaches in line with shifts of intonation.

● Consider not using text all the time (ink splats could represent a word- JH refers
to the chalk pastel circle as an effective method of communication.

● Create small mood boards for each animation, how to express ‘dourness’
melancholy, what colour palette would that be? Set the tone of voice for the work

● Set yourself a day brief to allow spontaneity in, also think about using video
camera for fluidity of work.

● Plan the work out on dope sheets, using Gondry’s symbols, or create your own.

● Allow the work to ‘breathe’ and have still moments.

● Consider creating 2 animations and one storyboard, its better to complete
2 strong pieces than 3 feeble ones.

● Do not animate all of the conversation. Let words crop out of shot (especially
insignificant/common ones).

● You could scan parts of your sketchbook in then add relevant parts when you
listen to the audio.

● Think about other ways of creating type, ie road markings, writing on windows,
writing in snow, twigs and bark, stones, different materials to help communicate
the meaning.

● The next phase of work is concerned with high quality output and
reflective practices.


● Reflect upon the different methods of animation you have observed and give these
methods clearly defined names (create new names for them if necessary).

● work in your sketchbook and reflect weekly on your blog website, particularly
make notes on which methods of animation have worked and what has not.

● Make notes about what you have discovered and your journey.

● Allow time to revisit animations and amend them after a period of reflection
and critical analysis. Amend current time-plan to include more critical reflection
and amendments.

● Create a series of print explaining the processes you have discovered in this last
phase as part of the exposition. This could focus on key words within the
animations explaining why you think they were important and how you selected
type size and choices.

Week 1 (spring term)

My aims this week are to compile a comprehensive list of Kyle Cooper’s work with clear referencing. Review the work of Kyle Cooper, look at title sequences and analyse the brief and the successes of the outcomes. Both Prologue films and Imaginary Forces are areas of research for this following weeks intensive research.
For example with the title sequence for the film entitled The Number 23, the visual narrative implies that typewriters are being used however, a typewriter is not seen. How has this been represented? Consider how this way of thinking can be applied
to your own practice.

http://www.imaginaryforces.com/archive/alphabetical/371#still_6
Compiled a list of title sequences I plan to look at this week include the following;
The Reaping, Dawn of the Dead, Eurotrip, Gattaca, Unforseen, Freedomland
Seven pounds, Firewall, House of Wax, Scarface, Zathura, The Number 23
Key titles are The Reaping, Zathura and The Number 23 (this was created by Imaginary forces).

Kyle Cooper
Broadcast design and animation company Primal Screen sponsors an evening with Kyle Cooper, hosted by AIGA Atlanta.

Kyle Cooper has directed over 150 film title sequences, and has been credited with "almost single-handedly revitalizing the main-title sequence as an art form". He is the founder of two internationally recognized film design companies, Imaginary Forces and Prologue Films.

Cooper earned a M.F.A. in Graphic Design from the Yale School of Art, where he studied independently with Paul Rand. Cooper is a member of the Alliance Graphique Internationale and holds the honorary title of Royal Designer for Industry from the Royal Society of Arts in London.

Past work includes title design for Seven, Dawn of the Dead, Braveheart, Superman Returns, Mission: Impossible, The Painted Veil, Donnie Brasco, The Island of Dr. Moreau, Mimic, Wild Wild West, Titus, Zathura, and Spider-Man 1,2, and 3.
http://designtaxi.com/news.jsp?id=7692&monthview=1&month=3&year=2007

http://uk.youtube.com/watch?v=Jln0jyiEz7o&feature=related
http://uk.youtube.com/watch?v=IVevD2jMyTA&feature=related

Looking at the title sequences linking into Spiderman, I noticed that the typeface is very understated and uncomplicated. The stringy web drips down to create one letterform once in a while, the sequence is slow. In the background, more is going on in terms of atmosphere, blue, green and black silhouettes dance and morph, the shapes created are similar to lights when you travel in a car at night.

Clips for Se7en title sequence
http://uk.youtube.com/watch?v=SEZK7mJoPLY&feature=related

Prologue montage
http://uk.youtube.com/watch?v=geJjMR9tbF4

Kyle Cooper and Garrick Hamm: Part1
http://uk.youtube.com/watch?v=y1PMvDTxy2c&feature=related

Kyle Cooper and Garrick Hamm: Part2
http://uk.youtube.com/watch?v=Ih4qrXOpgCQ&feature=related

Review of sequence ‘Number 23’
http://www.imaginaryforces.com/archive/alphabetical/371

The sequence works closely with the tones of music, starting of at a calm, slow pace becoming frenetic and harsh towards the end. Visually the noise of the piece also builds up with the music. A small amount of typewritten lettering appears, followed by quick edits and text appearing range right then left, repetition of letterforms and red ‘blood’ seeping onto the page. Typewriters are implied in two ways, firstly by the choice of lettering, secondly by the movement of the sequence, the actor’s names scroll up in a jerky return as they would if rendered on a typewriter. As the title ‘number 23’ appears and the audio indicates that also paper appears to have been pulled sharply. A few characters alter from letters to numerals, this creates a subtle effect for the viewer. Danger, death and cryptic messages are implied through the use of the lettering, movement of the animation and the red stains. I will refer to the way in which the lettering animation as behavior-implication method.


The main titles set the tone and context of the film – namely, the hidden power and prevalence of the number 23. The sequence uses erratic typewriter movements, seeping blood and ink blotches to suggest a haunting and dark narrative. A sheet of paper is peppered with the number 23 as related facts woven throughout the sequence appear via bleeding red and black stains. The Knights Templar had 23 Grand Masters, and King Charles I was beheaded on January 30th, 1649 – with the numbers in the date adding up to 23 and so forth. ‘IF’ artists worked closely with Director Joel Schumacher to finesse the aesthetic and graphical representations in the main titles. Blood is an important element in the film as the novel read by Jim Carrey's character is a chilling murder mystery. The blood also serves as a metaphor for the book, which has a red cover.



Review of sequence ‘Zathura’
This sequence is an excellent example of a mixed media approach. There are 3d live elements such as the ‘go’ button, some obvious 2d comic hero references, which have been adapted into After Effects animations. Another aspect of the animation shows real time numerals working on a countdown dial carefully photographed with shadows to enhance its hyper reality next to a flat 2d sticker of an on/off lever. This gives the impression of childlike play, fun and invention.
There are also subtle softer ‘explosions’ that meld the 2d and 3d elements together. The result becomes visually exciting for the viewer, plenty of drama and yet retains subtle qualities.

The colour palette is based on 1950’s comic print, secondary colours, and texture of paper is alluded to. “Zathura” emerges by flying onto the screen, escorted by a rocket! The secondary type is set in bold sans serif and the text animates as if it were flying in space, quite slow and not detracting from the imagery/scene setting.

Overall there are lots of close ups and shots are cropped off the screen, this gives a sense that the space we are looking at is so large it cannot be contained. Camera angles and meteors and dynamic spins with the camera give an impression of space travel and movement. The old science fiction toy model provides a strong platform and focal point to the animation in terms of visual language, zeitgeist and styling.


Review of sequence ‘The Reaping’
An edgy close up fast edited sequence with superb high quality shots throughout. The widely tracked red letters appear on screen as dispersed seeds, this is implied by the use of outsized cropped off details of leaf photographs and small red cells appearing alongside. Leaves float down, getting smaller as out of focus research slides are put under the microscope (again this is not shown, it is implied by behaviour of the animation movements and clues you are given with objects appearing in and out of focus).

Large detailed biological images of butterflies/insects bleed off screen in synchronization with louder music. There is an uncomfortable pause whereby an insect or eyelashes appear on screen, this makes the viewer question if the film is about insects or people. Other materials used include, blood, water, oil and liquids being filmed dropping into other liquids. Large details of insect eyes are shown with relevant ‘buzzing’ audio. The typeface appears to float and dissolve as if in liquid or ether.

A simple font has been used a recessed typewriter font in capitals only, heavily letter-spaced. The synchronization of image to audio is phenomenal in this sequence.