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.