Reviewing animation – week 8

I have started to implement stop frame animations to represent Ken’s abrupt manner of speech, the ink-rollered letter T fades from white ink to black and is then obliterated by being screwed up and discarded. The discarded letter denotes several speech sounds such as ‘plosive’ - a quickly released letter that stops sharply, other examples of plosives in English are p,b,t,d,j and g. Other speech sounds such as ‘voicelessness’ and ‘sonorant’ are also seen in the letter ‘t’. See context file ‘production’ for further information.

Glossary of terms used in the description of speech sounds, p298-9
Hawkins, P ‘Introducing Phonology’ (1984) Routledge, London

The repetition of the word ‘yeah’ has been shown in two different ways, one version shows letter-blocks being ‘lit up’ with ink and moving in a contour indicative of the word stress. The other version of the word ‘yeah’, which has been repeated, shows
a static version of the word that flashes up and disappears with no animation.
The way in which the word is expressed is flat and with little expression. I have positioned the word lower and to the left of the screen as the word is not a key word and the flatness of tone suggests lower than central in the composition. I have reflected on the previous animations whereby every word was animated, moving, and frantic and there was little time for the viewer to absorb the information. There are preset keys that allow images and text to ‘ease in’, this will not be appropriate for Ken’s abrupt voice patterns.

Further research into visualising text for intonation has highlighted a variety of methods, which have evolved from the work of pioneering linguists and phoneticians over the last seventy years.

Notable linguists and phoneticians to develop systems to communicate intonation
of speech in writing include:

Fries (1940) ‘Linear’ method, drew a simple line around the sentence to show pitch of voice.

Bollinger (1972) ‘crazy letter’ method, an example shown below, syllables are positioned at different heights according to word stress. It is important to note that Bollinger printed a book in 1972 entitled ‘Intonation’.
dis you
I agree with

Pike (1945) pioneer of the ‘levels’ method. Pike recognised 4 levels of pitch, Pike’s intonation system was based on high pitch.

Trager and Smith (1951) advocates of the ‘levels’ method, also based on 4 levels of pitch, low, normal, high and extra high. This system was based on low pitch of voice.

2 she’s gone to get an 3en-ve-1lope

Jones (1956), Kingdom (1958) O’Connor and Arnold (1961) Halliday (1970) Crystal (1975) and Delattre (1965) are leaders of the ‘contour’ method. This is a more holistic approach and does not segment sentences into smaller parts, but recognises the structure of language, namely, pre-nucleus, nucleus and post-nucleus. The contour method is more mindful of tone and attitude, which can alter meaning. Nuclear words are key words within a sentence.

/how did you make such a mess of it/
pre-nucleus nucleus post-nucleus

The following symbols indicate different nuclear tones.

\ denotes rise in the voice (I have over-emphasised the size of the keys)
/ denotes fall in tonal value
\/ indicates fall-rise

My direction for the animation can be more defined due to recognising these methods. Reflecting on the way the animation is developing the ‘crazy letter’ method is an expressive way of pushing Ken’s speech and visually representing tone of voice. This has already started to happen in some of the stop frame animations (Tttee a a), but can be pursued with more vigour for nuclear words.

Expressing the narrator’s voice, I believe, should be provide a strong contrast and lean towards typographic language and transcription convention terms. This will provide a direct comparison between spoken, written and typographic forms. This will be more quiet, smaller scale, controlled, subtle and informative. This part of the work will need to be freeze-framed in a different format for the viewer to absorb the details. Can printer’s marks and transcription conventions collide, are there direct comparisons or areas that are isolated within their existing disciplines?

Reflection on the animation Ken 1.5, work in progress;

Positive areas (10)
Generally the work is developing well, and the processes before getting to animate have been robust and reflective. I have addressed a lot of issues learned from previous animations and am aware of incremental progression.

Large-scale letterpress ‘T’ at the beginning of the work acts as a frame and dynamic edge to the work, giving clues to the quality of voice.

Handmade qualities, throughout, use of video as a backdrop helps the work to be less frantically paced generally.

Including some static elements helps the work and its hierarchy of information to the viewer.

The representation of two different speakers is obvious due to type choice and application, this was an intention I aimed to fulfill from the PGD phase presentation.
The use of authentic letterpress helps to convey quality of voice, particularly the large scale ‘T’.

Screwing up paper after speech is memorable, and indicative of speech patterns.
Using the rollered ink to gloss over the conversation at the end of the animation is also effective, (but needs to be blended in more visually).

The colour palette is beginning to be drab and moody, less bright and contrasts well with the previous animations (Beatles animation and Delyse animation).

The physical use of letterpress indicates restrictions (negative kerning is not possible for example) this is useful and reflects Ken’s restricted responses and rigid personality. Again the contrast of this can be developed further within the narrator’s speech.

Areas to improve (8)

The first frame of the animation is very un-inspiring; I would prefer to start the animation with a count down of local door numbers (a subtle reference to Ken’s involvement in the neighbourhood watch).

Overall the scale of Ken’s words needs developing. The words are currently too small and predictable, this area needs pushing further. Consider Bollinger’s extreme example, also Alan Kitching and the use of contrasting scale in his printed work. Experiment more with Ken’s word, more expression and gaps within the letters; allow the work to go off screen. Let the work appear to be illegible in places, morph and become distorted (more letterpress, photocopier, scanner, adding chalk pastel and movement)

Simplify the narrator’s dialogue; do not use repeated letterforms or ‘crazy letter’ method. Think about whether the email interface is always present and fades on and off or whether it switches on and is more mechanised.

Explore other ways of expressing plosives, glottal stops after Ken speaks, such as ripped paper, spilt paint, flash of light, lights turned out etc. What happens when things finish? Sign on a shop (closed, shut) an old TV ends with a small black dot, will give hint to era and age of speaker. Is spilt paint too dramatic? The idea of using the TV fits in well with the typewriter and slide projector, old technology, and lo-tech, relating to the zeitgeist of Ken’s years.

Explore the organic nature of laughter, how can the narrator and Ken’s laughter come together? Should this be letterpress, lines, &&&~~~~<<<{{{)))!!!!!, numbers?
Investigate sound of the pen nib scratching into the paper, where would this be appropriate?

Apply transcription convention and typographic references to narrator’s questions.
Consider numbering the repetition of the language, or allowing words to stay on screen in a list that becomes blurred but constantly there (an amalgamation of information). Consider the use of screen print to denote repetition ‘yeah’ Tea, however, be aware of time restrictions in the print room.

Suggested course of action;
Storyboard the work with the new suggestions in place, indicate where the stop frame animation work is. Indicate where the digital animation is (perhaps colour code the work in some way?)

Type out transcription convention for narrators’ speech
Collate printer mark ups
Research Bollinger 1972 ‘Intonation’
Research Lieberman (1965) Contour method paper