Reviewing animation/work generally – week 12

Reviewing animation and work generally – week 12
Letterpress animations
I am reviewing and reflecting on the effectiveness of smaller stanzas and words.
For the last few weeks I have concentrated on latter part of the animation, using letterpress as the medium for Ken’s voice.
‘Just an’- Here, I used a mixture of 3D letter-block, hands on processes, deliberate shadows and inking the letters. The results are effective, with a strong emphasis on hand made qualities and anti vector methods. Three s’s have been deployed to emphasize a slight lisp within the voice pattern.


‘Countdown sequence’
Route 1: Three different experiments were used, and one method was edited out. 54321: The first experiment was a straight countdown sequence from left to right.
It did not seem to project the right tone of voice, appearing too straight, static and ordinary for the sequences to come.

Route 2 A large-scale experiment was attempted on A2 paper. The numerals were off screen and cropped into to increase dynamism of the work and to tie in to the large scale ‘T’ which appears in middle of the animation. This process was really difficult to create using stop frame animation because it required two people. My way around this was to produce the numerals and photograph the frames as 6 static shots (not ideal). I may return to this and get assistance.

Route 3 The third way of working was to adopt Brownjohn’s typographic twists as references and produce these in letterpress; 5ive, 4our, 3hree, 2wo, 1ne. I decided to combine routes 2 and 3. The outcome is interesting and slightly filmic, the added dimension of the pen nib scratching on the paper has given the animation a slightly uncomfortable and disturbing overtone, which is perhaps an accurate depiction of Ken’s character.

‘MUG/in a MUG sequence’
Route 1: Two different animations were used, and one route only remains in the final animation.
The first animation shows each letter being hand pressed and the ‘U’ is emphasised by the deliberate selection of a condensed sans serif letter, it is also slightly larger than the ‘m’ and ‘g’. The reason for highlighting this particular letter is due to the strong intonation of the letter during Ken’s speech, it is strongly delivered and representative of the East Midlands accent. This route is more successful and will
be taken forward into the animation.

Route 2: This animation has more of an emphasis on the letter ‘g’ whereby the g repeats and fades. The serif ‘g’ has been chosen for its quirky nature (similar to Ken) and serves to contrast well to the sturdy traditional ‘M’ of ‘MUG”. Reflecting on the speech, I have decided that the emphasis is better represented through the letter ‘u’. Another experiment following on from animating the word has been moving the paper around after the letterpress has taken place (similar to the swearing sequence with the Lennon work from last term). Seeing the animation and listening to the soundtrack, I have edited this part out as it is too busy and fast paced.

‘ORDINARY sequence’
Route 1: Ordinary-long
The first animation shows the letters forming and being pressed vertically down the page, the result is effective and interesting but draws too much attention to the word, therefore not representing the meaning very well.
Route 2: The second animation shows the letters appearing horizontally across the screen in a standard fashion (nothing surprising). This version is more relevant to Ken’s speech and the definition of the word.

‘YEA!-!’
For the repetitive word ‘yeah’, creating the letter H from exclamation marks was incidental but useful. The word, when spoken dissolves into laughter, so the use of the exclamation marks seemed appropriate. I have previously represented gentle laughter with exclamation marks and oil pastel lines (a nod to Len Lye’s work) to denote soft laughter. Bolder, more strident laughter has been represented using the words ‘Ha Ha ha Ha’ in letterpress of different typefaces, that are deliberately mismatched and woodblock animations repeating and offset, moving ‘off baseline’ slightly chaotic and less constrained.

‘I know it is’.
This short sequence has one key feature that is very subtle but deliberate. The tight kerning and angle of ‘KN’ within ‘know’ and the heavy ink pressure within the word KNOW has been formed to show Ken’s confidence about his speech at this point, which quickly fades into laughter through exclamation marks.



Other (Poster for the EXPO)
In terms of the MA exposition and preparation for the printed part of the submission, I have been considering producing an A2 letterpress poster with either projected text to denote the narrator or a separate acetate layer. The poster will express some of the methods and decisions made within the animation to allow the viewer to understand the processes and even show some of the animations that did not make it into the work (out takes). The entire conversation will be presented in this way with 4 parts represented; Kens speech, narrators speech, research methods, linguistic referencing.


Animation reflection- Positive aspects:
I can see an improvement form previous animations, it makes me want to revisit Delyse’s animation.

Colour palette is gloomy and dour relevant to the personality
Large scale ‘T’ is memorable and reflects qualities of Ken’s voice
Letterpress peals of laughter “Ha, ha ha” are effective and fluid
Using digital text for narrator provides a strong visual contrast
Using ‘crazy letter’ method for Ken is effective
Creating transcription convention for narrator allows Ken’s voice to be the protagonist and is based on sound research
The notion of handmade has continues from previous work in screwing up paper and hand rollering ink and showing the letters being pressed into the paper.
Different ways of ‘yeah’ sustains interest in animation (ripped wallpaper, woodblocks with white ink, woodblocks inverted, yeah with H as !-!)
Distorted static word ‘white’ demonstrates my understanding reflection and analysis of previous work

Areas to continue with:
Countdown sequence needs to be more like large scale ‘T’ (showing the roller and movement)
Play with sound (countdown and paper rip, tea being made or stirred,
a kettle being set off and coming to the boil at the end).

Perhaps 3D mug can be used with lettering at the end of the sequence
(it is beginning too look flat)

The blend around the email interface doesn’t look right, |
it should be crisp and sharp

Work on the timing of words appearing on screen, fades etc (in particular for the narrator)

Complete bringing last set of letterpress animations into the work.

Bring all 3 Quick Time animations into Final Cut Pro to edit effectively.

Static word ‘yeah’ as inverted image is not quite working (is it the colour, too zingy, perhaps needs to be more sepia, wood coloured?)


First draft for MA Exposition catalogue
The copy needs reviewing with tutor feedback:

Tracy Allanson-Smith
MA RPT Graphic Design

‘Typographic Conversations’
My project explores the relationship of the typographic representation of oral language through the main medium of animation. What are the parallels between typography and spoken language? Can scale, variations, composition, layout and careful selection of type represent the personality, individuality and subtleties integral to human speech? Throughout my project I have been reflecting on research methods from the area of linguistics to enhance this work.
t.d.allanson-smith@derby.ac.uk

Reviewing Processes/Tutor feedback – week 11

Reviewing Processes/Tutor feedback – week 11
Creating stronger and more specific boundaries within the project was the aim of last week. Amendments to the proposal and ‘scripted’ storyboards were produced.
It was suggested by tutors that a written account documenting the project could follow on from analysing the 6 sketchbooks. A reduction of the animation from
4 minutes to 1-2 was agreed and reducing the outcome of posters has reduced
from 8 to 2. The rationale for producing static work was understood and I explained the need to create a different body of work for the viewer to consider decisions and to freeze parts of the animation and explain some of the linguistic terms and decisions made within the work.

Reviewing the actual stills form the animation, it was suggested that the letterpress was a positive reflection on Ken’s voice and personality, an apt medium. The rationale
“ I can imagine a grey old man, who is very set in his ways.”
“He sounds sad and lonely, a bit of a nosey parker. There’s not much going on in
his life.”
“He’s the kind of guy who has had sadness in his life, does he have net curtains?’
“Is he very old and a pit purvy?!"

Positive feedback on the work:
The students liked the animated letterpress.
“It suits his voice, we like the fact you have created laughter in different ways.” (exclamation marks and ‘ha ha’s’) It looks hands on but also professional.

Areas to improve the work:
Can colour be a part of the work? (I explained why I didn’t want to add this,
as a contrast to Delyse’ s animation)
Does the email interface have to be there at all, isn’t digital type enough of a contrast? This is a good point and would allow the words to flow more.
The rollered ink sequence at the end of the animation is not effective at communicating the end, it almost signals the beginning (white page syndrome).
Perhaps the rollered ink can be shot underneath a glass panel so it blots out the screen?

We discussed audio, the students liked the idea of the writing and pen nib scratching into the paper to give a different dimension to the work.
Generally the students enjoyed seeing the work, especially notebooks and poured over the work after the lecture and were keen to discuss their own work in a more open way. We also discussed ‘happy accidents’ the students work in this way a lot, I was saying to them that I also enjoyed this and being open to the opportunities of work improving when experimenting.

Summary of work to progress this week:
1 letterpress animations include:
Countdown sequence/in a mug/just /an ordinary/mug/yeah/I know it is
2 Rough plan for poster (using photocopy paste up)
3 Amend animation (TAS narration)
4 Shoot TV screen for end sequence
5 Shoot rollered ink under glass for end sequence

Reflection on animation progress

Laughter
Letterpress experiments have led to a better development in my animation, namely looking at laughter. Originally I had thought that using organic lines, similar to Len Lye's would be effective. After experimentation and reflection I looked at letterpress variations within typefaces, creating the word H and A using intaglio ink and wooden letters. Using a mixture of sizes, serif and sans serif fonts seemed appropriate to the sound of Ken's laughter. The slightly wheezy and broken sound is reflected in the lightly pressed prints and the imperfect letters that have worn over the years. Overlapping the stop frame animations and scrolling downwards gives the effect of the sounds being slightly out of control and oscillating. I found it useful to reflect on Barnbrook's lecture whereby he created the typefaces Tourette and Expletive to be 'off the baseline' to represent being slightly divorced from civilisation. Another approach where the laughter is less prominent is the use of exclamation marks. This is a quick visual reference to laughter, I am considering using 'text' language for laughter 'LOL' within the narrator's speech as a reflection on the zeitgeist of language today and how it is affected by technology.

White
A similar overlapping effect has been produced for the word 'white'. My next aim is to really emphasise the fluctuation of the word white as the speaker laughs half way through the word. This will be created using either a scanner or photocopier to extend the letters as far as they can go, perhaps challenging legibility as it is so clearly pronounced.

Going forwards and backwards
Having worked on these stop frame animations I am keen to go back to the Delyse's animation and apply the new methods I have adopted in this animation. In Ken's animation I have introduced a simpler approach, not straying away from the medium of Letterpress for Ken's speech, using digital transcription for the narrators voice. Allowing the main speaker to be the protagonist (visually). The backdrop video of the speaker writing adds an authenticity to the ethos of being handmade. Using digital type and the interface sets a tone of voice separating speaker from narrator and reflects the different lifestyle and favoured forms of communication.

I am considering reanimating Delyse's speech and I will focus on either creating her words using ink letterforms or coloured wool. Wool,as a medium, would work particularly well on two levels, firstly the tests linking to the 'clicking of the tongue' were effective, secondly Delyse creates wool by hand, she cards, spins and knits, so the whole process is very much part of her life and is a creative flowing whole, (akin to the forming of language). I would allow the narrator's voice to be digital but not constrained to an email format. Exploring the use of caps and spacing, more along the lines of 'crazy letter' method explained in previous reflections.

Personal voice and working methods
I am finding a new way of working that is based on reflection, research and intuition and that I am finding enjoyable. As soon as I was able to ink the plates for letterpress or unravel a ball of wool ans start to apply glue to paper, I knew the work produced would be more fluid and natural for me.

Project set by Barnbrook

As a group of three, we were set a brief to work on a campaign to inform the world about the following companies:

After research we were allowed to be pro or against the company's ethos.

Primark
McDonalds
Halliburton
Nike
Gap
Starbucks
Altria







I selected Primark and focused on the low wages provided to the child workers and the corruption of the management using their motto which is 'Look Good Pay less'. My concept is to subvert this message, just as Primark have subverted their ethics in order to be able to provide cheap fashion.Two of the team worked on separate campaigns for McDonalds. One colleague worked on an anti campaign, the other pro. We provided crits for each others progress throughout.

Reviewing workshop experience – week 9, NTU

Monday 2.3.09

Experiencing the workshop with Jonathan Barnbrook and being part of group work activities on Friday 27th February was very challenging and I am still processing what I have learned.

Barnbrook’s lecture
The discussion about work, ethics and the role of graphic design was particularly helpful and informative. Barnbrook has 18 years experience as a visual communicator in his own rights and is a trend-setter and rule breaker rather than a follower. Ex Central St Martins and RCA post graduate, very concerned with mass consumerism. Dislikes include, D&AD (why pay to enter a competition, is this inclusive?) “soul-less corporate identities”, the blandness of modernism “I find it depressing and capitalistic”.

Work shown:
University work –
The perimeters of design should be created by your tool (Morris) source the original quote. During RCA training, Barnbrook studied 3,000 years of classical typography. His advice is to ‘have strong knowledge of your typefaces, learn or subvert what has gone before.’

Manson Mas( )on typeface: Derivations are gothic architecture and insects (m).
The nuances of stone carving are acknowledged within the letterforms.
Bastarde – typeface was created out of necessity, RCA wouldn’t pay for thus Blackletter, so Barnbrook, created his own. The font is a reference to Bartarda 15th Century font and is a visual reference also to Nazi regimes and comments about fascism. The capital R in the typeface Bastarde represents a goose-stepping soldier, these sorts of observations (obviously not about ww2!) were also captured by Durer as early as 1532.

Gulf war posters begin to show a voice, a way of working that includes political comment, imagination, humour but also challenges the ‘norm’.
‘There is no point creating work if it stays in your portfolio, we put our posters on the streets of London. Be part of a voice. Political work has to go out there, otherwise it’s pointless.’ JB 27.2.09

‘You must be imaginative in your work, be brave. Do work you are obsessional about and find out where you fit.’

‘Graphic design is not soulless. It’s about people pressuring politician, look at history. Fly-posting is how graphics came about, it was a very persuasive media in its day.’

Exocet font – typeface based on early Greek typeface, with a modern twist, creating the zeitgeist.
Aryan nations – Corporate identity, has been used by Nazi supporters (not the original plan) You have a responsibility as a designer, what you produce has a global and local impact, you cab decide whether your work is going to be positive or negative.

Virus – Own company, small independent creative jobs, not a huge profit driven corporate machine.

Type face designs include:
Prozac – typeface based on repeated forms (6 lettershapes reflecting and repeating). Different weights include lite and max (reflecting Pepsi/coca cola mass consumption of our times)

Regime – typeface released when President Bush came into power (reflecting the sign of the times)

Prozac – typeface based on repeated forms (6 lettershapes reflecting and repeating)

Infidel – typeface representing early Christian manuscripts (anti modernist values)

Tourette – exploring the perimeters of being outside the norm

Melancholia – references calligraphic swashes, creating an atmospheric font, evoking the emotion.

Tourette – exploring the perimeters of being outside the norm (off the baseline)
Expletive Script – How to go beyond civilisation (to go above and below the baseline)
Shock and Awe – exploring the impact of Enola gay and the first atomic bomb through typography