Rationale Feedback

        Having had a tutorial in which the ideas I had outlined in my rationale were discussed, I felt encouraged and inspired by the feedback. While I had focused only on the possibility of creating a number of characters which inhabit the same world and the same story, it was suggested that instead I might create a variety of characters, from different worlds. This would be beneficial as it would allow me to demonstrate a range of styles which I am capable of working in, and potentially use different skills, techniques and materials, creating a more diverse portfolio of work. 

        It is an interesting prospect. Consequently I may end up constructing a puppet of Richard III, appropriately clad in Medieval finery, a wolf or even a raven (I am intrigued by the example set by Barry Purves' Plume, in which a pair of texidermy duck wings are animated beautifully) from Firebringer, and perhaps even continue with the Golden Dragon, for which I undertook a number of material tests in last year's PPP module.This range of characters presents a spectrum of different armature structures, from bipeds and quadrupeds, to the winged dragon, whose wings may potentially act as replacement forelegs. It would also require a long, articulate neck and tail. Each would also have a different surface texture: the humans would need skin, made from cast foam, latex or silicone, the wolf fur, the bird feathers, and the dragon scales. Each would have different properties and present different challenges, providing invaluable experience and knowledge. In short, this is an excellent opportunity to learn and make the most of my remaining time with the resources available in college.

        The possibility of working on multiple projects does however present the risk of taking on too much work, so if I did decide to embark down this track my tutor recommended that I work on no more that three projects, as each will require their own research and development work before I can begin work on the puppets themselves. Another suggestion which was raised was whether I would be interested in taking the opportunity to gain more experience in digital modelling, in either Maya or Mudbox (which I am told is like digital clay). These skills would be useful to me as aside from the ever increasing popularity of 3D CG animation, and the potential to branch out into creature effects, digital modelling has applications within the world of stop motion. Laika's rapid prototyping makes use of digitally modelled facial expressions which are then printed using a 3D printer. Similarly a 3D print can be mad of a full character, and then used to create a mold, as opposed to creating a clay or plasticine maquette. However, I feel that on top of multiple puppets, it may be too much pressure for me to undertake as part of this project, particularly as using Mudbox would necessitate learning a new piece of software. But I could do this as part of PPP.

        Other points which were raised included the option of searching for a competition or live brief which could form the basis of my self written brief. Although it may not be easy to find a brief which specifically relates to modelling and puppet making, some competitions may be flexible, meaning I could adapt the brief to my purpose.

        I also need to bear in mind the cost of this project. Working on three or four puppets, each with their own armature could quickly lead to escalating costs. It may be worth contacting Animation Toolkit and inquiring as to whether there is any way I might reduce this expense. Perhaps my puppets would work just as well with less expensive wire armatures. I also need to take into account the availability and accessibility of any workshops I may need to use, in order to avoid delays and obstacles in completing my work.

        Finally, although I do not intend to create a full animation, it would be wise to record some animation tests (as well as record some well posed stills), or even find another student who has a greater aptitude for the actual animation process, and entrust them with the puppets. This would enable me to see how successfully the puppets moved and whether they were capable of a vibrant performance.

Extended Practice Initial Ideas and Rationale

        My initial instinct for Extended Practice was to focus entirely upon puppet making, from the design through to the construction of armatures, sculpting, mold making, casting, painting, costuming et al. without the added pressure of having to storyboard, animate and edit an animation. As it is model and puppet making which interests me, that I wish to make a career out of, I need to build up a strong portfolio of work which demonstrates the range of my abilities. This is the perfect opportunity to do so.

        Last year, I discussed with my tutor how I might make the most of this module, and how I might write a brief which best suits my skills and ambitions. He mentioned the option of creating a cast of characters, for example that of a Shakespeare play, and perhaps even a set for them to inhabit. This would still constitute a significant body of work, and allow me to focus completely upon my area of creative practice. This is a concept which appealed and has stuck with me as I have been considering my brief. 

        While it might be rather over ambitious to aim to craft the entire cast of a Shakespeare play (some of which have many, many characters, both central and minor), I could select a few key characters from a story which could appropriately be adapted into a stop motion animation. The first possible option which came to mind was a story which I had already considered for a project in first year, in which I created a title sequence for a cinematic adaptation of a book. The Sunne In Splendour is a historical novel set during the Wars of the Roses, focussing on the life of Richard III. Although the cast of characters is large, it would be possible to select just the central characters, or indeed select a particular scene and construct only the relevant figures.

        Another option would be Firebringer, as a continuation of my work for CoP3, in which I aimed to design and construct the central character (a stag) as both a stop motion and theatrical puppet. While all the characters for The Sunne In Splendour would be humans (with the exception of possibly a battle horse) Firebringer would offer the chance to construct puppets which varied in shape, size, armature structure and surface materials, as the cast includes several species of deer, wolves, seals, crows and humans.

        With these budding ideas, I filled out an initial rationale, to inform my tutor of me plans, so that they might make any suggestions or voice and concerns.

Subjects and Themes

Broadly speaking what are you interested in exploring and why?

I wish to use this opportunity to focus entirely upon model making and character building, without the stress and worry of having to animate the characters afterward. I want to immerse and dedicate myself to the process of puppet making, and build up a comprehensive portfolio of work.

Rationale

What you want to do during this module? Be as specific as you can at this moment in time. If you plan on working on multiple briefs to demonstrate your practice, identify clearly each brief.

Either I could develop the work and research I have already undertaken as part of CoP3, and expand upon the cast of characters for Firebringer (which could include the villain, an antlerless, one eyed, dictatorial stag, a wolf, a raven, a seal, other species of deer) allowing me to experiment with various different shapes and sizes of puppet and armature. Or I could take the knowledge and understanding of puppet making and apply it to a new story. Other stories which I have considered are My Uncle Oswald (or one of Dahl’s Tales of the Unexpected. These have quite small casts, but perhaps I could also look at creating a set, using laser cutting techniques?), and The Sunne In Splendour, for which I already created a title sequence in first year. How many puppets would be considered an appropriate workload? The possibility of incorporating my interest in taxidermy into my puppet making has also been suggested.

This will develop my specialist practice by enabling me to spend a significant amount of time developing, refining and concentrating upon my puppet making skills, including sculpting, mold making and casting. As well as developing my existing skills, I hope to have the opportunity to work with new materials and put into practice some of the knowledge gained throughout the course of my CoP research, but did not use for that module, e.g. some of the techniques discussed by Animation Toolkit.

Resources and Workshops

I will need extensive access to the ceramics, and potentially metal, workshops. I will need to figure out the design of my characters fairly swiftly, so that I can ask for advice on which kits would be most suitable, and order and assemble them in plenty of time.

Will you be working on a group project or brief?

No, I am aiming to work individually, or potentially recruit the help of a fashion student to assist with costumes, and a photography student to help me capture the finished puppets to their best advantage.

Are there any stakeholders in your project?

No, unless the aforementioned fashion or photography students wish to use this to contribute to one of their own modules.

What, where, and when do you need to research? Identify artists, practitioners, companies or organisations that you will need to talk to. This could include conferences and events.

Barry Purves (find out who was the taxidermist he worked with on Plume, or I also have previous contact with relatively local taxidermists Mike Gadd and Dave Hornbrook, if I decide to pursue this route), Mackinnon & Saunders, Suzie Templeton, Animation Toolkit (Wes & Dan), Adam Wright (armature maker on Frankenweenie), Ladislaw Starewicz.

Books, Periodicals, Websites or other  reference material.

Brierton, T. (2004) Stop Motion Puppet Sculpting, Jefferson, NC: McFarland & Co.

Pribe, K. (2011) The Advance Art of Stop Motion Animation, Boston: Course Technology.

Purves, B. (2008) Stop Motion: Passion, Process and Performance, Oxford: Focal Press.

Purves, B. (2010) Stop Motion, Switzerland: AVA Publishing.

Shaw, S. (2003) Stop Motion: Craft Skills For Model Animation, Oxford: Focal Press.

Evaluation

        This module has provided me with my first experience of working on a stop motion production, and it has been a steep learning curve. Whilst I have previously experimented with model making and brief animation tests, never before had I had to consider the sets, props and various other technical aspects which would need taking into account to produce a finished film.

        Ultimately, the main lesson which I will take from this experience is one which I was beginning to suspect: that I am far more interested in the design, modelling and fabrication of props, puppets and other assets than I am in the animation process itself. While I enjoyed positioning the characters in the set, when it came to arranging the camera and light, I lost passion and motivation. While I realise that I will need at least a basic knowledge of how to light and photograph my work (for portfolios if nothing else), this is not a process I enjoy, and I would be best ensuring in future that I work with someone who has an aptitude and an interest in the more technical aspects of producing a stop motion animation.

        While Fiona and I were in constant contact throughout the module, in retrospect there are areas of our project management that could have been improved. While we made week by week to do lists, we perhaps would have benefitted from developing a long term plan at the outset of the module, setting ourselves strict deadlines and production goals. As it is, or indecision regarding a firm narrative concept set us back quite a bit, leading to production being rather rushed and stressed in the final few weeks.

        Such indecision could be attributed to the fact that we did not assign specific roles at the beginning of the module, as each of us had a desire to be involved in all stages of the project, sharing the responsibilities and gaining experience of the entire pipeline. While this worked well during the research and early development stages, it began to be problematic during the character design, modelling and narrative development stages. We should have completed a collaboration agreement form similar to that we used in Responsive, and agreed on our specific roles and responsibilities. Not only would this have helped to ensure continuity in the character and set designs, but it would have presented certain tasks (narrative and storyboard) from falling by the wayside as we reached a stalemate over which direction to go in. It would have been best had agreed that one of us would select a story, and eliminate the need to negotiate a compromise.

        Despite these earlier issues, when it came to modelling and casting the character heads and props, as well as building and clothing the characters, I felt as though I were in my element. As opposed to the stress of narrative development (or the filming to come) I felt relaxed and at ease, and importantly, productive. When working on tasks which I find less enjoyable I can sometimes find myself procrastinating or lingering on small and ultimately irrelevant details. Yet on the days when I was working in the ceramics studio, I was surprised and pleased with how much I was able to achieve, and was motivated to work long hours each day. It was immensely satisfying to see our vision begin to take form.

        As I am unquestionably a perfectionist, I cannot say that I was immediately happy with everything I managed to produce. Some of the clay props for instance, I spent far too much time trying to sculpt to perfection, when in reality a simpler version would have been perfectly adequate. As Lee Hardcastle mentioned during his visit, there is no need to be precious or fuss excessively over sets and models, particularly when you are on a tight production schedule. 

        I also took inspiration from some of the pearls of wisdom offered during our studio visit to Mackinnon & Saunders. In my previous attempts to model a character's face, I sometimes struggles to match the sketched character to the sculpted character. The sculptors at Mackinnon & Saunders, while no doubt talented enough to work to a beautifully realised character design, are also used to taking scrappy, five minute sketches from clients and developing them into a fully formed character. While my modelling and sculpting abilities are still developing, I felt it would be beneficial for me to attempt to capture the essence of a character rather than obsess over creating an exact likeness. With this in mind, I focussed on the key features (thin, pointed face and large,haunted eyes), and was happier with this sculpt than when working to fixed designs. In future I ope to develop more control over my modelling abilities.

        Another piece of advice I took from Mackinnon & Saunders, yet perhaps did not realise the importance of, was to consider the practicality and viability of a puppet's design. The staff were very emphatic that tall spindly characters present problems for multiple departments, yet it was not until I was attempting to build such a character myself that I appreciated their advice. The joint of the Armacreature were really too large for such a thin character as I had in mind, making his arms bulky and somewhat difficult to manoeuvre. There is also a delicate balance between making the puppet big enough to work with comfortably, and keeping the set manageable. We perhaps neglected this consideration, as our set is almost 2m long, many times bigger than the set of any of our classmates. As a first attempt, we should perhaps have worked at a smaller scale.

         Yet for all the stress and tears of the last few weeks I am immensely proud of what Fiona and I were able to produce. We managed to avoid any arguments, and rationally overcome any problems which we encountered. I am incredibly grateful to her for completing much of the photography and post production work, while I am pleased with the quality of the models I was able to produce, given my lack of practice and experience up until this point. I am looking forward to further experimenting with props and models at Level 6.

Drawing Voices

        The Drawing Voices text focuses on Stranger Comes To Town, an animation by Jaqueline Goss, who conducted interviews with a number of immigrants based on their experiences of the use of biometrics for identifying those entering the United States. While the interviews themselves are not particularly interesting, unlike many animated interviews, Goss chooses to leave in awkward speech patterns and stilted silences. She attributes this decision to the fact that a lot of a subjects energy and personality comes through their speech patterns. This gives her film more honesty than many other documentary interviews, as pauses and silences can be as effective in communicating as the most eloquent speech.

        Also unusual in Goss' animation is her choice to let the subjects design their own character avatar. Given completely free reign, Goss (and I to a lesser degree) was surprised that not a single subject chose to alter their own gender, although many chose to use non human characters. 

A is for Atom

        A is for Atom, by John Sutherland, is a 1950s American public information film, very much of the type which has become the subject of parody across popular culture (Jurassic Park's Mr. DNA is startlingly similar in its simplification of grand scientific concepts). While it may be somewhat outdated in its political views, it still exemplifies how animation is well suited to presenting complex ideas in a manner which is easier for an audience to digest.

        

        What drew my attention to this particular animation is not its scientific content or educational tone, but rather how it communicates with relatively little animation. Much of the time, the camera moves within a still frame, which can be just a effective as a fully animated film. In fact, given the complexity of ideas discussed, it is probably good decision making to keep the animation simple, so as not distract from the vast quantities of information that the viewer is expected to digest. As Fiona and I are intending to rely mainly on stills and minimal animation or camera movements, we could use the example set by A is for Atom, and take high resolution stills which we could then track though using After Effects.

        Unlike the other documentaries I have studied, which have veered more towards the poetic mode (in which the imagery can be more abstract and less coherent), A is for Atom is very much expository, with a stern and authoritative voice, calling for imagery which closely matches and represents the concepts being discussed. After all, the aim of the film is to inform and educate the viewer, so providing strong visual aids to the voice over is key.

Marketing & Distribution Material

        In the event that we submit this animation (or any other film for that matter) to a festival, chances are we will be required to proved a range of marketing material to help promote our work. To get into the habit of good practice, we are required to produce a poster, logline, summary, crew biographies and a DVD case alongside our film.

        While Fiona took charge of designing the poster and accompanying DVD case, I took responsibility for the written material.

Logline:

An abattoir worker speaks frankly about the hidden cruelty and mistreatment present in the dark underbelly of the meat industry.

Summary:

Inspired by the interviews conducted by Gail A. Eisnitz in Slaughterhouse: The Shocking Story of Greed, Neglect and Inhumane Treatment Inside the US Meat Industry, Ignorance is Bliss is a short film combining video and puppetry, which depicts the shocking cruelty and mistreatment witnessed by just one worker in the American meat industry. Under pressure from management to place the quality of the meat above the welfare of the animals, an abattoir worker’s concerns about the unnecessary suffering are swept under the carpet.

His experiences are not isolated. Similar stories have been reported from abattoirs worldwide, from the UK to Australia and the USA. Animals are beaten, kicked, whipped, tormented and improperly stunned on a regular basis. Ignorance is Bliss aims to shine a light on the practices of an industry that remains largely behind closed doors, and encourage the public to be aware of how their meat is produced, and source from ethical butchers.

Crew Biographies:

 Anna Denison is an artist and animator specialising in character design and the production of puppets, models and props for stop motion animations.

Fiona Stuart-Clark is a writer and animator, who specialises in narrative development and storyboarding for animation, and has a interest in set design.

War Story

        It was Aardman's animated interviews, and War Story in particular which was the main inspiration behind my desire to use an interview as the foundation of our documentary animation. While Creature Comforts are the studio's most famous interviews, these are arguably not documentary films, as the interviews (with actual members of the public) are taken out of context and presented for comedic rather than factual or educational effect. 

       On Probation (and Down and Out) is an excellent example of an animated observational mode documentary. Taking a piece of audio recording (a somewhat mundane piece in which negotiations are made with a probation officer), the animators than recreate a perfectly believable set in which this conversation may have taken place. There is no manipulation and little emotion; the conversation is presented for what it is with no ostensible attempt being made to influence that viewer's reaction. In short, it is a fly on the wall observation of an everyday scene. The only remarkable feature is that the protagonists have been replaced with well observed plasticine facsimiles.

        War Story is constructed in the style of a stereotypical interview, as we have come to expect from live action documentaries. The film alternates between a talking head of an (animated) elderly gentleman recounting his experiences of World War Two, and 'flash back' footage of his younger self in scenarios which correspond to his recollections. However, unlike a live action documentary, where the supportive footage could be expected to be largely comprised of archive films, in War Story the footage is more personal to the character, showing his experiences not as though he were being filmed but as though we were omnipresent observers.

        This is a similar approach to Fettle Animation's Children of the Holocaust in which interviews are placed alongside animation which is not factually accurate, but effectively emphasises the tone and emotions of the voice over. While neither War Story nor Children of the Holocaust suffer from dull material (the interviews are very engaging) World War Two and the Holocaust are perhaps topics which may not appeal to all at a first glance. However, as animation the appeal is broadened, in the case of Children of the Holocaust becoming suitable for children, which the films would most certainly not be if accompanied by the archive footage featured in many live action Holocaust documentaries. In the case of War Story, Aardman's distinctive animation style helps emphasise the inherent humour in the interviewee's dialogue. The subtle nuances in the performance, such as the character's bouncing nose and cartoonish sleepiness, contribute levity to what could have been quite dry.

        Animation helps make these topics more appealing, more engaging and more approachable. Due to the distasteful and perhaps off-putting nature of our subject, it would be prudent for us to take note. While it would not in our case be appropriate to use humour to broach a difficult subject we can temper our imagery (in the manner of Children of the Holocaust) to make the topic more palatable to audiences, while not diminishing the emotional impact. Indeed, sometimes it is more powerful to imply than to show.

        One final consideration. An interview may seem an honest and truthful form of documentary, after all it is the spontaneous opinion of an impartial interviewee, but as Kath Shackleton of Fettle pointed out, an interview has the potential to be edited and manipulated to fit the directors needs. An interviewee could have been given direction or guidance on what to say, or sections of their dialogue could have been cut, as was the case with Children of the Holocaust. This may not have been done with dishonest intent, but changing an interview has the potential to change the meaning and message.

    

Sensory Overload

        Normally, I am not a fan of rotoscoping, as I find the style quite jarring and disorientating. However, it is just these qualities that make it ideal for Sensory Overload, a dialogue free animation which effectively and sensitively provides a window into how an autistic person may experience the world.

        Without dialogue, Miguel Jiron places an emphasis on shot framing and audio to place the audience in the mindset of a young boy who suffers from autism, a condition that while well known remains largely misunderstood. It is one of the strengths of animation that it has the ability to present an alternate world view that would be impossible or less effective as a live action film. The way in which the imagery is manipulated, with increasingly jagged line work, and the grating audio track, reflect the increasing tension and aggravation of the young boy while simultaneously placing the viewer in a similar frame of mind. It is not a comfortable watch, but provides a deeper understanding of another person's mindset in a 2 minute film than any number of textbooks or lectures could hope to achieve.

        It is an excellent example of when we need to be shown rather than told something, and the striking film resonates long after viewing. By its very nature this is a subjective representation of autism, and no doubt there are countless other ways in which autistic people experience the world. But as a means of showing the audience what autism truly can mean and opening up a subject which many would perhaps feel more comfortable avoiding, Sensory Overload feel more honest and truthful than many supposedly factual documentaries. Where the poetic mode approach works is that this is a film dealing with emotions rather than facts, figures and statistics, so it makes sense for the message to be communicated via an emotional reaction.

Documentary Animation

        Documentary animation comes with a number of social, cultural, ethical and commercial considerations which are not necessarily apparent in other animation forms. It is a fine line to tread between documentary and propaganda, between presenting the facts and presenting a biased view.

        Particularly with the subject of abattoirs, we must be careful to avoid any religious or racial aggravation, as many of the pulicised cases of animal cruelty have taken place in halal and kosher slaughterhouses, where there are arguments against using stun guns. However, cruelty in the meat industry is widespread, with PETA reporting cases in organic abattoirs, so both I and my collaborative partner feel it would be wise to avoid pointing the finger at any one group, and focus instead on the disgraceful behaviour towards the animals, an promote sourcing meat from ethical butchers.

Documentaries, animated or otherwise, can be divided into a number of subcategories:

• Poetic mode, which tends toward subjective interpretations of its subject, often with little or no dialogue, and continuity being of little or no consequence. Character development is often sacrificed in favour of creating a strong mood or atmosphere through editing.
• Expository mode is what has become most associated with documentary film, in which a narrative or authoritative voice over is supported and strengthened by a selection of footage. Think David Attenborough.
• Observational mode could also be described as fly on the wall. While some other modes can be subjective, biased or even propaganda, observational is more objective, showing rather than interpreting.
• Reflexive mode demonstrates an awareness of itself or the process of documentary film making.
• Performative mode places the director, and their views and opinions at the centre of the film. This sub category can be deeply person to the director/film maker with the truth depicted being constructed to support their own views or opinions. The work of Michael Moore is a good example of this mode.

Often it is easy to place your trust in a documentary and accept its arguments and 'truths' without question. I at least have been brought up under the assumption that documentaries are reliable, honest and factual. But as I have learned more about documentary film making during this module I have come to question how reliable many of the 'truths' are, particularly when propaganda can be counted as documentary, or when a film maker may omit truths which do not correspond to their desired message.

        Winsor McCay's The Sinking of the Lusitania is one such example of questionable documentary film making. Widely acknowledged as one of the first, if not the first, documentary animation, it is an unquestionably biased depiction of a pivotal event in the First World War. Billed and presented as a historical record, while the animation itself may be an accurate representation, the intertitles use a variety of manipulative and persuasive language to evoke feelings of anger, horror and hostility in the audience. It is these intertitles that place the animation in the realms of propaganda, although not a very effective piece as by the time of the film's release in 1918 the war was close to over. 

        Arguably, The Sinking of the Lusitania is a poetic mode documentary, as its representation of events are subjective, and positioned with the aim of provoking a strong emotional impact amongst viewers. While not as devastating as the needless deaths of hundreds of people, the topic of slaughterhouses shares some similarities with McCay's subject, so perhaps a similar approach may effectively evoke a strong response from our own viewers. For the most part, McCay lets his realistic imagery do the communicating, transporting viewers to a place and event most will not have been. Similarly, an abattoir is a place that the majority of the public have never seen first hand, and while they will be aware that these places exist, for the most part would probably rather ignore or brush under the carpet. We could use animation to bring this distasteful and even rather taboo topic to the public's attention, albeit with rather less manipulation than demonstrated by McCay.