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Animation – Techniques – Team meeting 2

What is good about Lotte Reigner’s work is how she uses basic silhouettes to show a story. Her characters are fitted with pins so they a can be easily moved, a much better method of animation than Dezso’s, though not as detailed.

The characters will be easier to move than Dezso’s due to the pins in the neck, arms, waist, legs and ankles so the walking can appear more natural.

Would add more character to the animation instead of being one slide that only shows just one scene of the story.

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Personal statement 

Growing up in an area thriving with Roman artefacts and architecture has helped develop my passion for the Ancient worlds. I was privileged enough to have access to a museum, which contained archaeological findings from Ancient Rome and Egypt. I was enamored with the Egyptian exhibit and the statuettes (known as Shabti dolls) that were buried with the deceased to accompany them to the afterlife. This was very interesting to me as a child – learning about the practices of this Ancient culture and how they differ from that of modern society; I wanted to know more. However, as I grew older, my childlike excitement for the ancient worlds steadily matured into a need for knowledge. I began to read books created by historical figures; ‘Mediations, book 5’ by Marcus Aurelius (a philosopher from Ancient Rome who studied Stoicism and was one of the five emperors to rule the Roman Empire), states “when you arise in the morning, think of what a precious privilege it is to be alive – to breathe, to think, to enjoy, to love” this gave me a new perspective on life: not to take what we have for granted and to find happiness in our lives, even if things get tough.
For leisure, I run a history blog that discusses different cultures throughout time, mostly focusing on Ancient Rome and The Vikings. Alongside running my blog, I also do illustration work, which is mostly influenced by historical art (Old Norse, Greek, Japanese…etc). In the Summer, I had the opportunity to visit the historical town Castleton and have a tour of Peveril’s castle – a castle created by Henry II in 1176.

After the completion of the course, I hope to further my studies by using my newly acquired knowledge about the Ancient worlds into another subject I am fairly passionate about: Archaeology. I want to be able to travel to Rome and help unveil the secrets that still lurk about this ancient civilization so rich with culture. This course will help me succeed as a future historian as it will give me the necessary knowledge I need to know about the Ancient worlds, along with building my confidence – encouraging me to join in with discussions and debates.

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Animation – Techniques – Team Meetings

Like how she implements a lot of background objects to add character to her book – we could use this for our own animation to depict Manchester, maybe add a more Gothic look.

The use of shadow figures from paper cut outs would be useful in this brief because it would be quick and easy and could portray the story we have come up with.

Using different coloured LED lights could represent the mood that is present; could use a grey LED to show the gloominess of Manchester, a red LED to show a bad event, in our case, the gargoyles coming back to life due to the main character’s careless action, a pink LED light to show love.

Deszo adds a border to show the theme of her book – we could use this for our own animation by adding a border to relate to Manchester or gargoyles; buildings to show the town of Manchester, or trees as she has done with her books.

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Animation – Lotte Reinger paper silhouette 

Lotte Reinger, The Adventures Of Prince Achmed, 1926



This piece of Reinger’s work was striking due to its intricate detail of the clothing and the accessories that adorns the character’s body. Most of Reinger’s work uses monochrome, so it is interesting to see a piece of her work have colour in the background – it makes the silhouettes the focus of the animation. What I like most about “The Adventures Of Achmed” is the unique theme she has decided to go for, completely different to the other pieces which were ‘fairy tale’ orientated. This animation style would definitely be the most beneficial for our project as we can show more details of our story without just selecting specific scenes we want to make an elaborate book of. It is also simplistic compared to the 3D book of Andrea’s, so within a short amount of time we would have a complete animation.

Lotte Reinger, Tumbelina, 1955


Reinger’s Tumbelina was quite interesting to watch: the detail compared to Andrea’s work – from the outfits of her characters, to the background, you can see a large change. I prefer the monochrome theme than including a coloured background (as she has done in her The Adventures Of Prince Achmed) as it almost adds to her theme. The black silhouettes are contrasting against the white/grey of the background, making the character, along with the additional decor,  become eye-catching to the audience.

Lotte Reinger, Cinderella, 1922


Lotte’s and Andrea’s work are similar in the way they use silhouettes in their work to show their animation or book. They use a background that is lighter than the actual characters/decor to make them stand out to the audience. Both of their work also contain intricate detail to add more character to their scene. However, there are some differences. The most obvious is that Andrea’s work is just a tunnel book that only shows one scene of the story – something which could be used for our animation, but is very limited. Lotte’s is an animation which is malleable and can show more of the story and adds more detail to the scene.


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Animation – Andrea Dezso Paper Cutting 

Andrea Dezsö, The Island Come True, 2015 (Peter Pan tunnel book), Japanese hand-made Shojoshi paper, LED lights.

Hand-cut and sewn, collapsible, multi-layered one-of-a-kind tunnel book


Out of Deszö work, this one was definitely the most eye-catching. She uses circles to create unique patterns – almost reminiscent to that of the Aztecs and their style of art. I enjoy the layering of her scene, showing depth by making the objects within the back appear further away than they actually are. From one scene, it tells a whole story, something that my group could take into consideration.

Why I chose this picture mostly was because of the choice of LED light she decided to use. In her other works, she mostly uses the standard brightbulb LED, but in this one, she decided to use blue. It adds a unique atmosphere to the scene, giving you a set emotion about the book.

For the brief, this could be used to show important intervals in the story; the main character going into the cathedral to take the stone, the gargoyle taking the stone and taking it to John Ryland’s library, the wizard making his appearance. However, it is too limited and would leave out small details that could help build up the story and intrigue the audience.

Andrea Dezsö, The Day We Changed Our Lives Forever, 2005 (Collapsible, multi-layered tunnel books) hand-cut by the artist,Paper, waxed linen thread


For this paper-book, I like the theme she decided to select (mythical and woodlands) as it adds a somber tone to the book – the grey LED adding to the atmosphere. I particularly enjoy the border she decided to add to each book, framing the whole image and its content inside. Like in the other book I discussed before this, you can clearly see the depth perspective as she was trying to show which is closer to the audience (the black outline) and what is further (the faint grey outline)

Andrea Dezsö, Forest Stroll With Goat, 2014 (Collapsible, multi-layered one-of-a-kind tunnel book)


I particularly enjoy this piece by Dezsö due to the theme it is portraying: innocent and evil. We see a little girl playing happily with her goat while the devil lurks beneath the grounds, maybe being a double meaning that evil can always be witnessed by kindness. The atmosphere from the light, a musky yellow, sends a feeling of dread into the audience as it is a colour that reminds you of fog – an ambiance related to that from horror movies.

I like the splitting of the two-sides: one showing the innocent little girl, playing happily with the lamb without a care, while the other is a demon, something we associate with everything evil and nasty.

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Animation Character Biographies 

Tyler Adams: A troubled teen from the town of Manchester who secretly has a big heart. His normal attire consists of a long black, leather trenchcoat adorned in several band pins, skinny black jeans to match that of his coat and black combat boots; his attire is that of a stereotypical emo/goth teen. 

Tyler is often bullied at his school for his difference in appearance and attitude, 

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Animation Unit – John Ryland Library Gargoyles – Research 


“Carried over to England by the Normans, who were renowned for their prolific building of castles, cathedrals and abbeys, these grotesque architectural symbols remained a fascination for the British sensibility through to the nineteenth-century.”

“Gargoyles are loosely based on dragons, which were seen as a personification of the devil and evil. The more of these kind of features you had around you, the more interesting and intelligent you looked at that time.”
“>The person who created these gargoyles and placed them on the John Ryland Library goes by the name of Thomas Worthington who also helped design the ‘City Police Courts’ on Minshull Street in 1873. He created these grotesque, almost demonic statues as Victorians had a fascination with Gothic architecture, which slowly diminished at the end of the era. Gargoyles derived from the French word for throat – they were designed to disperse water from their mouths in an “elaborate form of drainage geared towards protecting the masonry”

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Model Maker – Stop Motion

Model Maker – Stop Motion

Sector: Animation

Department: Production

What is the job?
Stop Frame is one of several names used to describe animation that is created by moving models, puppets or any three dimensional objects frame by frame in front of a camera. Other terms that are sometimes used include Stop Motion, Model or Puppet Animation, Table Top or 3D. Nowadays 3D usually applies to Computer Animation.  
Stop Frame is a well established technique which is produced mainly for television. However, there are notable exceptions when the technique is used for feature films, including work from Aardman and Tim Burton.
Model Makers need to be all-rounders, able to work in several craft areas. These include Sculpting, Mould Making, Casting, Trimming & Seaming (Fettling), Foaming, Metal Working, Welding, Painting, Finishing, Costume Making, etc. In fact, a Model Maker’s particular strengths are likely to be recognised and they may be ‘cast’ for an appropriate job.
The precise responsibilities can vary depending on the technique and mechanics of the models or puppets involved, and on the scale of the project and the size of the team. Armature Making exists within the Model Making Department of some studios but, in manycases, armatures are produced by specialised outside sub-contractors.
On larger productions, Model Makers are briefed by their Supervisors or Team Leaders; they may also be required to liaise with members of other departments such as art directors, assistant directors, animators, riggers, etc. On smaller projects, Model Makers may be briefed by the Art Director and they are more likely to handle the entire process, from start to finish. In addition to their own work, Model Makers may be required to supervise more junior members of the team.

Typical career routes
Model Makers are most likely to have spent time in a more junior role within the department, acquiring the many craft skills that are required. There are many levels within the Model Making Department and the rate of progression depends on individual skill and talent and job opportunities. In some studios, a single prop maker is responsible for providing props for an entire series of 10 minute television shows.
Depending on their overall craft skills, leadership qualities and management ability, Model Makers can go on to become Team Leaders, Supervisors and, eventually, Head of Model Making.

Essential knowledge and skills
Model Makers need to have a broad range of skills in order to be sufficiently flexible and adaptable to work on different types of production.

Key Skills include:
• high level of various craft skills combined with artistic ability
• knowledge and use of a wide range of materials
• ability to communicate with colleagues and work as part of a team, keeping Supervisors or Production Managers advised of progress or problems
• ability to give guidance to morejunior members of the team
• ability to liaise with members of other departments
• ability to take direction and accept delegated tasks willingly
• ability to work without supervision and follow a brief;
• ability to be methodical and thorough, keeping good records and log sheets, if required
• ability to deliver on schedule, working under pressure if required
• respect for the procedures and requirements of a particular studio or production
• knowledge of Health & Safety issues, including use of PPE (Personal Protective Equipment) and COSHH (Control of Substances Hazardous to Health) regulations

Training and qualifications
Model Makers are likely to have an art or design-related degree, or training in a more technical discipline. The quality of their previous work will be of more value than academic qualifications and applicants will be expected to show a portfolio which demonstrates their expertise and professional experience. 
As Model Making involves a broad range of craft skills, a background in one of a variety of areas can be appropriate. These include animation, fine art, sculpture, jewellery, ceramics, graphic design, information design, metalwork, dress making, etc. Although Model Makers may have preferences for particular crafts, specialisation is not always an advantage because, particularly on smaller projects, they need to be qualified to deal with most crafts.

Where to go for more information
Creative Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of informationfor all jobs in the industry are the National Occupational Standards
Thinking of pursuing a higher education course in animation? The following animation courses have been subject to rigorous testing  from the animation industry and as a result have been awarded the Creative Skillset Tick for both the degree to which they prepare you for a career in animation and the high level of education they provide.

Websites Good American site giving news, information and lots of links 
Animation World Network (AWN) Animation industry news and many links 
Animation Magazine 
Skwigly Animation Magazine 
Shooting People

Cracking Animation: The Aardman Book of 3-D Animation by Peter Lord and Brian Sibley. Pub. Thames & Hudson
Stop Motion: Craft Skills for Model Animation by Susannah Shaw. Pub. Focal Press.
Stop Motion Armature Machining: A Heavily Illustrated Construction Manual
by Tom Brierton. Pub. McFarland & Company
Stop-Motion Puppet Sculpting: A Manual of Foam Injection, Build-Up and Finishing Techniques by Tom Brierton. Pub. McFarland & Company

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Set Design – Stop Animation 

How to Create a Set for Stop Motion Filming

Swaggington 'profile picture'


The following instructable will tell you how to set up some basic sets for filming stop motion animation.×250&output=html&impl=ifr&scp=id%3DHVH8CVK0S3&ifi=1&adf=1407880317&nhd=1&adx=0&ady=996&oid=2&adsid=NT&jar=2017-12-11-11&gdfp_req=1&sfv=1-0-14&u_sd=1.3312500715255737&is_amp=3&amp_v=1512677960104&d_imp=1&c=298333528709788&dt=1512992276865&biw=361&bih=618&u_aw=361&u_ah=642&u_cd=32&u_w=361&u_h=642&u_tz=0&u_his=7&isw=361&ish=618&vis=1&


Items you will need

  • Large piece of sheet paper
  • Black Marker
  • Sheet Metal
  • Tape
  • Large object to use as background.

You should start by marking the areas where the camera will go.
You may also add a line, or dotted line where the characters/items you are filming will be.
The line isn’t a necessity, however it does make it easier to show where you will be filming.×250&output=html&impl=ifr&scp=id%3DHVH8CVK0S3&ifi=2&adf=1700034588&nhd=1&adx=0&ady=2393&oid=2&adsid=NT&jar=2017-12-11-11&gdfp_req=1&sfv=1-0-14&u_sd=1.3312500715255737&is_amp=3&amp_v=1512677960104&d_imp=1&c=298333528709788&dt=1512992276870&biw=361&bih=618&u_aw=361&u_ah=642&u_cd=32&u_w=361&u_h=642&u_tz=0&u_his=7&isw=361&ish=618&vis=1&


Slide the sheet metal underneath the paper you are using as the ground for your set.
This will be so that characters with magnets in their feet can stand up on it.


Tape what you are using as a background to the wall or whatever you have behind your set.
Tape behind the corners
And tape the sides, so that it will stick to the wall.×250&output=html&impl=ifr&scp=id%3DHVH8CVK0S3&ifi=3&adf=2574147806&nhd=1&adx=0&ady=4080&oid=2&adsid=NT&jar=2017-12-11-11&gdfp_req=1&sfv=1-0-14&u_sd=1.3312500715255737&is_amp=3&amp_v=1512677960104&d_imp=1&c=298333528709788&dt=1512992276874&biw=361&bih=618&u_aw=361&u_ah=642&u_cd=32&u_w=361&u_h=642&u_tz=0&u_his=7&isw=361&ish=618&vis=1&


Next, I will show you how to make a grassy set.
It will require:

  • Green construction paper, for a base
  • Sheet metal
  • Grass prop

You may also want a background that would be blue, or another color that fits with the green ground.


Place the grass props wherever you wand them to go on the green base piece.
You will want to keep some blank so that the characters can stand on the set.


Like with the other set,
Simply slide the sheet metal under the base, so that characters can stand up on it.
If the sheet metal isn’t as big as the base, then you should try to put it under the parts where the characters will stand (i.e. where there is no grass)


You can now make sets for your own animation.
You could also tape the grass down to the base, but that would require a tape the same color as the base and the prop (grass)


Also Camouflage