Stuart Hilton Animation/Digital Screen Art: 6 weeks in June

This post highlights the Stuart Hilton ‘6 weeks in June’ Digital Screen Art/Animation experimental documentary  artwork (black and white drawings in a flipbook) of which is held by the University for the Creative Arts.

The documentary is an road animation of 11000 miles around the USA in six weeks in the back of a van with a band, a pen, and a stack of paper created in 1996

See the film here 

Articles on ‘6 weeks in June’ can be found here: ‘ the images are black and white line doodle drawings by the author which were drawn on A6 papers on the journey. The flickering of the images (the visual is transformed every 1 or 2 frames) is unrecognizable and is condensed into extreme fragmentation which illustrates ‘an animated example of the subjective, autobiographical strain in experimental documentary’ (Lily Husbands, 2011)’

 

 

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Daniel Greaves’ Flatworld: ‘It May Be Flat, but it sure isn’t boring’ (Telegraph 1997)

This weeks post shines the spotlight on Animator Daniel Greaves, Director of Flatworld, which follows flat cardboard and paper cut outs set in a 3D world called ‘Flatworld’

UCA hold storyboards, scripts, and artwork, including cardboard and photocopied cut outs of characters within flatworld

Flatworld follows Matt Phlatt, along with his pet cat Geoff and his fish Chips, where a freak electrical accident releases a 30’s gangster from his TV film into Matt’s world and causes chaos as Matt is mistaken for the criminal after a bank robbery.

flatworld

A telegraph article on Daniel Greaves and flatworld is available here (23rd December 1997)

‘More than half the film is what Greaves describes as “two-and- a-half dimensional”. To achieve this, he used traditional stop-frame animation to move cardboard figures in a three-dimensional setting. It was a painstaking process. First, drawings of the characters were animated with 12 different images shot per second to check fluidity of movement. Then, every drawing was photocopied, pasted on to card, coloured and carefully cut out. Each card image was weighted at its base so it would stand upright. These images were then animated, with 12 different card drawings of the same character shot per second. All in all, the film used 40,000 different cardboard cut-outs. Filming the “Flipside” sequence was a piece of cake by comparison, involving traditional Disney techniques.’

Watch the animation here

‘From 1977 until 1980 [Daniel] studied animation at West Surrey College of Art. After graduating Daniel worked as a freelance animator at many London studios before founding Tandem Films with his business partner Nigel Pay in 1986. Daniel is Animation Director at Tandem Films. His short films have won over a hundred international film awards, including an Oscar for his film Manipulation. Other films include Family Tree, Flatworld, Rockin’ & Rollin’, Little Things, Beginning, Middle and End and Speechless. He is currently working on a stop-motion, Claymation film entitled Mr Plastimime’ Quoted from  http://www.tandemfilms.com/director/director-showreel-daniel-greaves/

Learning and Teaching Resources Released

Learning and research resources from the Archives and Special Collections have been released here https://www.flickr.com/photos/119688205@N06/sets/.

So far these cover: feminism and women studies, politics, race, animals and art, LGBT, war and art, disability, 20th century art education, and art education protest.

We have subject specific sets including Animation, Photography, Graphic Design, Fashion, Architecture and Crafts, and images are also grouped in their specific archive or special collection, or by campus.

 

Learning and teaching resources screenshot

 

You can access our learning and teaching resources through our website http://community.ucreative.ac.uk/archives

Print screen from website

This is a work in progress, so any feedback or requests for subject themes  would be much appreciated. Contact us at archives@ucreative.ac.uk.

Please note due to the copyright complications in art collections, it is not possible to put on all images online, but all effort is being made to trace copyright holders.

 

 

 

Animation Archive Day | artistic responses: Exhibition Press Release

Animation Archive Day | artistic responses
Exhibition at UCA, Rochester
Ground floor + stairs to the Library
Celebrity in the style of Bob Godfrey

“This exhibition encapsulates students’ experiences and artistic responses to work with The Bob Godfrey Collection. It is formed of a selection of celebrity portraits, realised in the style of Godfrey’s animation. Each portrait includes a QR code, linking directly to the artist’s blog.

 

The Bob Godfrey Collection comprises of works and ephemera from one of Britain’s animation greats. Godfrey (1921 – 2013) was the first British Oscar-winning animator for his 1975 short animated film Great. Animation Archive Day took place on 6th December 2013 and was focused around one of Godfrey’s best known works Henry’s Cat.

 

Through collaboration between the Archivist, Learning & Teaching Librarian and Course Leader, CG Arts & Animation students were able to look through the original materials from the programme and explore the cel drawn animation method. The resulting exhibition recognises the importance of allowing students to steer and interact creatively with archive use in a library context.”

See the CG Arts UCA Rochester blog here http://ucarochester-cgartsandanimation.blogspot.co.uk/2014/04/animation-archive-day-your-bob-godfrey.html

 

Learning and Teaching Librarian, Adele, and Archivist, Rebekah setting up the exhibition

Learning and Teaching Librarian, Adele, and Archivist, Rebekah setting up the exhibition

four one seven six three two

 

2D Animation Techniques in the Bob Godfrey Collection

The Bob Godfrey collection comprises a wide variety of different techniques from traditional 2D drawn animation. Some were pioneering for their time. The collection captures the pre-production and production stages of drawn animation and is therefore a fantastic resource for anyone studying the subject.

As I delve in to each box I’m never quite sure what I am going to find but often it is a mixture of the following:

Dope Sheets: Chart used by Director and Animator to time out action, identifying the numbering of the animation and giving all instructions relating to action planning, animation levels, camera moves, exposures, etc. There is one Dope Sheet for each ‘shot or scene’.

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Dope Sheet from Great 1975

Storyboards: A kind of script with images as well as words similar to a comic strip. The images allow the animation team to plan the flow of the plot and the composition of the imagery.

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Storyboard from Jumbo the elephant you’ll never forget 1978

Sketches and Drawings: These can range from very preliminary sketches on the back of a scrap of paper drawn in pencil or sometimes felt tip pen (also known as a rough) to more accurate drawings of what the final animation cel will be.

Production Backgrounds: A painting or set that appears behind the animated characters or actors. These form the background to the animation cels. Depending on the animation these can use a variety of techniques such as painted backgrounds, drawn scenes and the use of cutouts to create a backdrop against the drawn animation. See more on cutouts below.

Animation Cels: In traditional 2D Animation the cel is the transparent celluloid on which the characters were painted/drawn on. Often made of acetate; the painted celluloid, or cel, is placed over a background and photographed, becoming one frame of the animated film. Actual celluloid (consisting of cellulose nitrate and camphor) was used during the first half of the 20th century, but since it was flammable and dimensionally unstable it was largely replaced by cellulose acetate. With the advent of computer-assisted animation production, the use of cels has been practically abandoned in major productions.

Cutouts: is a technique for producing animations using flat characters, props and backgrounds cut from materials such as paper, card, stiff fabric or even photographs. Terry Gilliam made the use of cutouts synonymous with the Monty Python’s Flying Circus. However Bob Godfrey used this technique very early on in many of his animations including his Oscar winning film of 1975 “Great” and Gilliam demonstrated the process in Bob Godfrey’s series for the BBC “Do It Yourself Animation Show” 1974.

I also come across the occasional drawing which has nothing to do with the title I’m working on but is a self-contained and often fun cartoon in its own right like the drawing below musing on animation…

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