Internet banking: all the references that Jane uses are free for us to use, so ask! Get involved – richer and wider engagement with the world!
“When the image is new, the world is new” – Gaston Bachelard
A flat image as being under continuous construction as different audiences interpret something
The Photographer’s Gallery – cheap to get in, interesting exhibitions
Last Seen- an empty chair in a room, holding the memory of someone that was once there.
Jasleen Kaur, Hans-Peter Feldmann
Dziga Vertov (1929) – Man with a Movie Camera. Set out to capture “Film truth”
Vivian Maier – very interesting archive of street photography of the 1950’s
Martin Parr – interesting photography from gross technicolour angles
Narrative choices are framing choices – Fan Ho
Yuri Norstein – The Tale of Tales
Art is a form of framing an experience – the more art you look at the more you are able to reflect on your own consciousness
Rebecca Soulnit – the field guide to getting lost
The relation between what we see and what we know is never entirely settled
An image is/can be:
A representation?
Temporal/time related. Something that can outlast what it seeks to represent
A contract between viewer and maker
A signature/ a mark?
Something constructed/composed?
A story?
A point of view/ a perspective. It exists in the mind of viewer and maker.
A truth?
A language?
We never look at just one thing, we are always looking at the relation between the things and ourselves. Berger J. 1972 – Ways of Seeing.
Brainwashed – Camera Sex Power
Don McCullin – Every image embodies a way of seeing
How do they communicate ‘information’ and tell stories? How do I read them?
Does it make you a viewer or a participant?
How are they shaped by the CONTEXT in which they are made, and the materials and tools used?
What VALUE do they have?
What POWER do they have?
What effects can they have on the people that consume them, on society as a whole?
How do they shape our ATTITUDES to each other and our sense of ourselves, our identities?
What kinds of MEANING do they have and who gives them meaning, the people that create them or the people that view them, appropriate them, remake and reinterpret them?
In all images, things are included, and things are excluded, and the world is presented in a particular way. These choices are never neutral
Christoph Niemann – seeing things from things that aren’t necessarily there. All sorts of angles to play with and stop taking the world for granted
Your vision – “To know what you’re going to draw you have to begin drawing.’
Arranging and bringing together objects starts to tell a story, even with a still image
Objects are not just objects; they stand for something and symbolise something greater – How you depict them is key
Marcel Duchamp– Fountain 1917 – reinvented objects as pieces of art
Grayson Perry – uses objects to tell stories, objects from his childhood, ceramics, tapestries. Uses his own life and the objects around him to tell stories – fictionalised himself as a character, but tells his own stories
Tracy Emin – Bed : Whitecube Gallery, Bermondsey Street
Big stories can come from small things – what things can I do myself to tell a story?
Lenka Clayton – 63 objects taken from my son’s mouth
David Shrigley – The-Contents-of-the-Gap-Between-the-Refrigerator-and-the-Cooker 1995
Lubna Chowdhary – Metropolis 1991
Cornelia Parker – Cold Dark Matter: An Exploded View 1991
Richard Wentworth – Thinking Aloud
Goncola Mabunda – The Similitude of the Absolute, 2019 – The Throne of Hopeless and Uncertainty, 2021
Romauld Hazoume – Pareidolia
Rather than looking inwards when you are trying to find inspiration, go outside!
Haegue Yang – Strange Attractors
Typology – rhyming but with pictures? Two different images, but there is a connection somewhere
History of Animation Powerpoints -> Lectures will be added each week.
Proto-Animation and Early Filmmaking
Pre-History of Animation
Technology: The Magic Lantern and The Daguerrotype
Magic Lantern: Using light, magnify an image as an early form of a projector – used scientifically originally but was adapted for entertainment for the rich. Glass slides with paintings. A little motion if you could move the glass in front of the light.
Seeing images projected with light onto a large screen was the foundation of cinema
Daguerrotype – 1839, the ability to take photographs began and started to evolve into taking photographs in quick succession
Cave Paintings – prehistoric animation? Animals with more legs than they actually have, they’re trying to make things move!
The Afterimage Effect – involves tricking the eye into temporarily perceiving an image even after the image has disappeared.
An important precursor to the persistence of vision and the illusion of movement achieved through animation and cinema.
Focus your eye on an image for an extended period – and when you take it away, the eye takes longer to adapt to the change, and you temporarily see an image
When an object spins fast enough in front of our eyes, we ascribe an image and form to it even when there is no form there – basis of the Thaumatrope
The Cinematographe – The birth of Cinema
Patented by the Lumiere Brothers in 1895
Seen as the beginning of modern cinema
An all-in-one device – camera, film developer, and projector
Workers Leaving The Lumiere Factory in Lyon (1895) – the first film screened at the Brothers’ first public show.
Why Study Silent Animation?
“Cinema of Attractions” – Early filmmakers were not primarily concerned with narrative, but rather with the novelty of the cinema technology and its ability to make images move (Gunning, 2004)
Lightning Cartoonists
Vaudeville or music hall – a valuable source of early cinema
The lightning cartoonist as a forerunner to cinematic animation – rehearse a routine of a developing image, drawing an image super fast
Relatively few survive.
The Enchanted Drawing by J. Stuart Blackmon
Cinematic Manipulation and the Stop Trick – the artist as a magician
Humorous Phases of Funny Faces (1906) – first animation (kinda) – Blackton
Early films, the animator progresses further behind the screen
Fantasmagorie – credited as the first real cartoon – 1908 – Cohl
Digital architecture is the making of the digital world – file formats, software, basics of how computers generate the things they do. Manipulating digital media and based on the materials you use would create different outcomes.
Compressive Processes
Resolution
Framerate
Colour Bit-Depth
Colour Subsampling
Intraframe Compression
Compression Codecs
Resolution
Pixel resolution
Standard definition
High Definition
4K, 6K, 8K
Resolution- talking about the pixel.
Overall resolution=horizontal pixel count x vertical pixel count
72 pixels in an inch as a rule
Full HD: 1080p – 1920 pixels x 1080 pixels = [16:9]
Standard Definition: 480p – 640×480
High Definition: 720 – 1280×720
Framerate – Frames Per Second
15fps
24fps
60fps
Colour Bit-Depth
1 Bit
8 Bit
16 Bit
32 Bit
1 Bit = a binary system containing two possibilities, either on or off. Figures out pixel by pixel
8 Bit – 256 possibilities as doubling 1 bit 8 times. 265 values from black to white, no colour but has 256 choices in brightness
Colour Banding – fine gradients compressed into 8 bit. Jpegs bad do RAW codec as much as possible, 16 bit model compared to 8. 8 SUCKS
Colour Channels and Alpha Channels
RGB+ – Colour and Transparency Channels
Colours are transparent but are just told what colours to be.
All cameras do not have an alpha channel, only the computer has an alpha channel. It’s transparency and only comes up in post – for opacity, masking. Anti aliasing creates small steps between opacity and transparency
Additive Colour Space
255 Green Channel
255 Red Channel
255 Blue Channel
Each pixel is made up of a certain value of each colour
Introducing you on how to work at college – research process, practice process and how they marry together
Underpin with theory and language!
Informed practice – essay writing
This unit marks the beginning of your student journey as a critical, curious, thinking creative. It will begin to provide the tools, the setting, and the road map for you to tell your stories and make meaning through practical and theoretical research in your visual practice. To make compelling, original work at the H.E. level, a crucial first step is to challenge yourself, take risks, question everything, experiment, provoke, reframe, and research.
Wavelength – Michael Snow
Final submission – create an original artwork that has been, in some way, inspired by the series of research workshops and lecture series within the Introduction to Animation unit. The inspiration could come from a particular artist, a film, an aesthetic movement, a theoretical concept, or anything else covered in any of the class sessions. Any medium and can be as simple or ambitious as you wish.
Artist statement, which should comprise the following:
The title of your created piece
A brief discussion of the creation of the artwork (such as the materials used, the processes and/or techniques used) and what you hoped to achieve with the piece – did the work turn out exactly as you had hoped?
A discussion of how the work relates to an area of the Introduction to Animation unit. What inspirations have you taken? How does this artwork express, reflect upon, reinvent, and /or react against these ideas? What do you want the viewer to take away from the piece?
A bibliography (reading list) comprised of at least three written sources that you consulted as part of your research for this project. Scholarly materials obtained in person or electronically from the UAL library. Each listed source should have a brief description (2-3 sentences) of the content of the book or article, and how the text helped to inform your creative choices in the submitted artwork.
500 words.
Submission via Moodle on ‘Introduction to Animation’ unit page using eSubmission link.
Final PDF submission should demonstrate your artistic sensibilities and communicate a necessary awareness of design and professionalism.
Production principles is DIFFERENT to Introduction to Animation
Homework for Jane:
Take 10 photographs of ordinary objects that DO NOT belong to you in or around your house/street.
Catalogue and arrange them in a group so they tell a story.
Ask for second opinions, am I really finished, Did I do enough research, am I taking as much advantage as I could be?
The more fun you have, the more engaged you will be, and the better your final outcome and grade!
Dare to fail – to explore, you must be willing to make mistakes!
Be prepared to crumple up and trash your old style, and start from scratch!
Keep Exploring!
Communication
Email – when reading emails, read carefully! All information you need to know is usually included in our emails.
Double-check before sending us an email, chances are your question is answered!
Politeness and professionalism in emails – doesn’t have to be crazy though
Open Studio / Online Space – space is used for presentations and information in regards to all Units of BA Animation Year 1 on Moodle – usually on Tuesdays
Personal Tutorial
Check-ins with Ben Hirt
Your well-being is key! He will fetch us in class time. Just to see how we’re doing! 🙂
State of well-being, an ongoing conversation, stay in touch! And confidential!
P!nkFlea
Fridays from 16:30 to 19:30
To make connections, meet your peers, have an informal chat with tutors, hang out and unwind
Get a tutorial, catch up on work, snacks and drinks
It is always required to tap into an “I’m In” reader when attending on-site sessions. You will be marked absent if you do not.
If you do not have your card, please notify the teacher of your class at the end of the lesson.
ORB: EQUIPMENT AND WORKSHOP BOOKING
Used for booking and reserving resources such as equipment and studio/facility slots- as well as paying for services and goods and booking technical workshops.
3D Workshop provides advanced tools for working with wood, cardboard, and plastics, including laser cutters, a CNC router, 3D printers, a 3D scanner, and woodworking machines.
Woodworking – Cut, shape, and finish wood.
Laser Cutter – Precision cutting and engraving.
Vinyl Cutting – Precision cutting of self-adhesive vinyl
General Bench Area – Versatile workspace for various tasks.
Plastics – Molding and fabricating plastic materials.
Spray Booth: Painting and coating.
CNC Machining: Accurate machining for custom parts.
3D Printing: Create prototypes and final products.
3D Scanning: High resolution, colour scanning of 3D forms.
The 3D Workshop is situated on the ground floor of the workshop block. This is to the right of Lecture Theater A. Just follow signage for the 3D Workshop.
Ensuring the Health and Safety of all users is our foremost priority in the 3D workshop.
The 3D Workshop is classified as a ‘high-risk’ area, housing specialised equipment that requires proper instruction and supervision for safe operation.
Health includes inhalation, hearing, sight, vibration, ingestion, and skin – anything involving the body which can be affected by the hazards and risks in the 3D workshop.
Safety means protecting people by maintaining equipment, using PPE (Personal Protective Equipment), preparing for emergencies, training, managing risks, and following regulations.
Additional resources and support are available on Moodle and through direct assistance from our staff.
Seek guidance from a Technician if there are any uncertainties regarding the use of a tool or process.
Traffic Light System
Equipment in workshops has been coded according to a traffic light system.
Before you start work, look at the symbol on the equipment and follow the guidance.
Red: STOP, STAFF ONLY – Only trained staff members can use this equipment. Students are not permitted to use the equipment at any time.
Amber: SUPERVISION REQUIRED – Students can use the equipment once they have had an induction, are competent in its use and whilst under supervision by a staff member.
Green: PROCEED WITH CAUTION – students can use the equipment once they have had an induction and are competent in its use.
Behaviour and Conduct
Be Prepared – Communicate, plan, and organise your project. Allow time for ideas to develop and take shape.
Be Mindful – Technical Spaces can get busy. Work safely, carefully and considerately of others working nearby.
Keep It Tidy – Bring only essentials into Technical Spaces. Store coats and bags in your locker and keep floors clear of hazards.
Wear PPE – Always wear appropriate Personal Protective Equipment (PPE) to protect against injury and illness. It’s usually mandatory.
Maintain Your Workspace – Tidy up as you work and when you’re done. Put tools away and dispose of rubbish in designated bins.
Seek Assistance – If you’re unsure about anything while using Technical Spaces, ask for help or refer back to this induction for a quick review.
No food or drink within the workshop!
Hazards
Electrical Safety – Electrical hazards pose significant risks due to the use of powered equipment and machinery.
Improper handling or faulty electrical components can lead to electric shocks or fires.
Material Ejection – Machines are equipped with guards to shield operators from loose materials and restrict access to moving parts.
Due to the high speeds at which certain machines operate, debris and wood chips may occasionally be ejected unexpectedly.
Proper positioning of guards and wearing safety glasses are crucial to protect your eyes.
Chemical COSHH (Control of Substances Hazardous to Health) – We have minimised the use of products containing hazardous, flammable, or environmentally damaging chemicals, though some processes still necessitate their use.
Items such as spray paint have CoSHH symbols. These products must be used in environments equipped with effective fume extraction and appropriate PPE.
Please consult a technician to determine where and under what conditions you may use these products.
Sharps – In the 3D workshop, tools like cutting knives, saws, and bandsaws present sharp hazards. Safety Guidelines:
Handle tools carefully and follow usage instructions.
Use cut-resistant gloves and keep tools sharp and well-maintained
Store tools securely and keep work areas clean.
Report damaged equipment to a supervisor.
Noise – Some of our 3D Workshop Technical Spaces are classified as areas with noise levels exceeding 85 decibels.
Both in-ear and over-ear hearing protection are provided and must be worn at all times.
While hearing protection does not eliminate all sounds, it specifically reduces high-frequency noise, which is most damaging to your hearing.
Dust – To minimise dust exposure, each machine is connected to a dust extraction system.
Inhaling dust can be harmful to health and some wood dusts may cause allergic reactions.
Additionally, dust and debris can create trip and slip hazards if not cleaned up properly.
Mobile dust extraction units are available throughout the space for cutting, sanding, and joinery processes, and can also be used for clean-up. Dust masks are provided for your protection.
Fumes – in the 3D workshop, activities such as spray painting, heating plastic, and laser cutting generate fumes.
Ensure you work in well-ventilated areas or use fume extraction systems.
Always wear appropriate respiratory protection when handling materials that produce fumes.
Follow all safety procedures for each process to minimize exposure.
For more information or assistance, consult a Technician.
Signage and Safety Warning
Throughout the college, you will find various warning signs:
Door Signs – Indicate hazards present beyond that door.
Machinery and Equipment Signs – highlight inherent risks and specify the correct PPE required for safe operation.
Blue Warning Signs – indicate mandatory actions that must be followed.
Red Diamond Signs – Represent CoSSH (Control of Substances Hazardous to Health) warnings and must be used and stored properly.
Safety Eyewear is required whenever this sign is displayed.
Ear protection is required whenever this sign is displayed.
Safety masks must be worn whenever this sign is displayed.
Flammable: This CoSHH symbol indicates that a chemical or substance can easily ignite. You’ll find this symbol on cabinets containing flammable materials.
Health Hazard: This CoSHH symbol identifies substances that may cause health damage. it also serves as a warning to exercise caution.
This CoSHH symbol signifies substances that pose a serious risk to the environment.
This CoSHH symbol represents serious long-term threats to health. The picture in the sign shows a person with internal damage.
Personal Protective Equipment (PPE) is required for certain tasks in the 3D Workshop.
Safety boots, shoes, or trainers must be worn in Technical Spaces. Sandals, flip-flops, and open-toed shoes are strictly prohibited.
Safety spectacles must be worn when using machinery and processes that require them.
Ear defenders must be worn in technical spaces where they are required.
Wear disposable gloves to protect your hands from glues and fillers that may cause allergic reactions. Never wear gloves when operating machinery.
FFP2 masks are provided in our workshop. Please use them when required.
Additionally, remove loose jewellery, and any lanyards and tie back long hair. Do not play music through headphones/earphones as you need to remain aware of your surroundings.
Emergency, First Aid, and Fire Evacuation Procedures
In an Emergency
Switch off the machine
Call the supervising Technician for help.
Step away from the machine.
First Aid and Medical Emergencies
if you experience an injury or medical emergency, or if you’re feeling unwell on campus, there are trained First Aiders available at all College locations to assist you.
In an emergency – Call a technician, staff member, or the security desk for immediate help. if needed, ask someone to make the call for you.
First aid kits – available in all workshops, reception areas, and throughout the college.
Defibrillators – available at reception desks.
Trained First Aiders and Mental Health First Aiders are available at LCC.
For first aid assistance – dial 6786 from an internal phone or 020 7514 6786 from a mobile.
For mental health or wellbeing support, dial 020 7514 6426 or email studenthealth@arts.ac.uk
For major incidents, contact emergency services immediately by dialling 999 (or 599 from an internal phone)
Reporting – students must report any accidents, incidents, or near misses to a member of the Technical team.
Fire Evacuation Procedure
Be aware of the emergency exits wherever you are – please see the signage around the buildings.
If you discover a fire: Activate the nearest fire alarm call point, located at all emergency exits.
If the alarm sounds:
Evacuate the building using the safest, shortest route.
Proceed to the assembly point at St. Mary’s Churchyard (next to St. Gabriel Walk.)
Do not stop to collect personal belongings.
Do not use lifts.
Do not re-enter the building until instructed it is safe.
Fire alarm tests are conducted weekly on Tuesdays at 9:45am.
