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I wanted to think about what I have learnt not only in this module but in the previous one, and not only what has been helpful for me but what i could teach that would I think would be useful for my peers.

I had two ideas- Character Design & Three Act Structure/Storyboard

Character Design

While I thought the character design could be fun and engaging, this was something that I had only just started to investigate and put into my work recently and therefore I felt that maybe I would not be able to give a throrough workshop.

Three-Act Structure/Storyboard

This is a subject that I had researched and put into practice in the past module that I felt really worked for me and the work that I was creating.  It was also a subject that I thought could benefit the people attending the workshop.

Both of these will be discussed with the tutors.

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Character design- it was mentioned to think about that different parts of this, including shape/colour etc.  Only choose one not both.

Three act structure-  Will need to explain the different points in each act in some detail and how to use the structure.

Look at Pixar Story spine

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I have ways loved Pixar, and this particular animation showed a world that humans no longer inhabited because of the damage they had done.

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Act 1-
Girls down at the beach (background) she is moving away from the area and doesn't want to leave, she is upset and scared of change (Conflict)

Act 2-
She wants to stay at the beach and not go (Roadblock)The waves move in and touch her foot.  She gasps and moves back. Little eyes from the waves look at her crying.
The waves start to make small dance movements. (attempting to overcome her feelings of sadness)

Act 3-
More and more the waves start dancing and adding more movement to their flow.(climax)  The girl looks and smiles and suddenly realises that change is not as scary as she thought (Resolution)

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I created this one on a whim and tbh im not sure it works, but I just wanted to test it out.  I will stick to the waves.

As now I have started to form a little narrative in my head.

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Still a bit in the style as the one before with a few changes to test it out. I am really connecting to this one and I think it could work well in the final piece. Though i want to test ut a way to intergrate this one and the black pen drawn waves.

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I really enjoyed the process og the waves as well as I think it works well as like dancing it flows. The sound of waves can also give a beat, so that is something to think about when i out sound along with the animation.

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Creating a animation that brings the waves alive through the water dancing and moving in around, notonly in waves but in a dance all of their own.

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First comes the trees

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Still find these very useful when thinking of initial ideas for my work.

Rearrange is only an optional prompt but I would like to keep to it as it gives me a little structure to what I create.

Rearrange-Move Around-Dancing

I thought dancing would be a good one to do and I could inject humour into it.

I thought about instead of it jut being a person dancing, it could be nature

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With this project, even though my collaborator will be addressing the character design mostly (drawing) I am in charge of the story and how I want the character to be so will be writing notes and building little graphs of the personalities I would like them to have.  As well as drawing some of them myself so we can discuss what we think looks best and describes the characters better.

Studio Ghibli has always been a huge inspiration for me. I love the way they have built these characters and really put detail into their personalities and how they engage with the surroundings.

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The optional prompt for this Overlap is 'Rearrange'

I am going to go witht hias prompt as it will give me a starting point for bringing ideas together and testing, before moving onto animating.

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I put in more frames when the ball hit the bottom of screen so that it squashed and this made it look less stiff.

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the first try aswell the ball did not bounce and squash enough at the bottom, this is something I had learnt in my independent learning and in the principles of animation.  the squash and stretch.  It can show how heavy or light a object is by how much it stretchs out when it bounces off.  It was good to use this in a small animatiin of mine as it is a technique that is used frequently in animation.

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I had to continue on the new fresh pad, as padlet only allows 91 frames. It took me a few trys to get the background in the right spot again, but I evetually got there

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I started with just a white background and a purple ball.  From researching principles of character design, the meaning of a circular character can show constant movement, innocence, friendliness and a sense of connection.

After a few frames, I felt that maybe adding a background would bring it more to life. I chose the flowers to accompany the ball as it looks like the ball is getting that connection from the surroundings, and gives a friendly sense by the smile as it bounces around.

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I am going to design and animate a few (very) short pieces to test out ideas through the shapes of characters which I am researching in the character design and building a narrative personal project.

The purpose of this micro project is just to put some of my research into practice. I feel this will then allow me to build further with my character design in the main project.

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At the start of the workshop we had to think about what character we wanted to create and produce a rough sketch to work from

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I have put myself forward to be a representative for Surface at this networking event at the Green Mill. My job will be to make connections with others there and find out information for our Arts/engagement team so that in the future, we could run workshops with different people in the area and have places to hold them.

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National Museum Cardiff- The Rules of Art?

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National Museum Cardiff- The Rules of Art?

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A group exhibition that displayed a variety of works that questioned how artists have reimagined what art can be while they endeavour to examine the subjects of social, political and cultural matters in our society.

My favourite piece was John Akomfrah Vertigo Sea, I have seen this before when it was shown in another group show at The Strand180.

This piece shows the juxtaposition of the beauty of the natural world and the destruction that humans have bought to the environment and ourselves. This is a subject that I examine frequently in my work and the imagery that is used in this piece is not only stunning but also terrifying, which I connect to when it comes to my own practice.

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This was the final finished piece. I wanted the feet and grass to be drawn and I felt it gave a sense of freedom, going back to your roots. The buidings were houses near me that I then pasted and disconnected slightly. As I feel our lives are that way right now. We need to become more connected to nature and appreciate it more than ever in these uncertain times

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Drawing out on my ipad, I initally wanted the building to be dark and have no personality. This was started but never finishd as I thought it better to have actual houses to give a sense of nature and connection and our homes, whatever that may be.

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How earthing can enhance your physical and mental wellbeing

Image by cromaconceptovisual from Pixabay

A few weeks ago, after lunch, I thought to have some sunshine. It's winter here in Dhaka, but the sun is always there to show its grace for a few hours each day. I took a book in my hand, Outliers by Malcolm Gladwell to be specific, and went outside.

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Surprising Benefits of Walking Barefoot on Grass

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A few weeks ago, after lunch, I thought to have some sunshine. It's winter here in Dhaka, but the sun is always there to show its grace for a few hours each day. I took a book in my hand, Outliers by...

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Walking on the grass not only connects you back to the earth but improves mental wellbeing. It something that everyone needs to be taking part in. Re connecting with nature, with all the disasters in nature right now and with some people not taking responsiblitly with their part in climate change that is destroying the planet this is something we all need to be thinking about. Its our home

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Connection between friends.  Sitting down for a drink/coffee.  Comfortring for each other and you do not feel alone.

Evaluation

By the time I got to this third sketch I didnt like this idea anymore, So i went back to my research map and looked again. Another on that resonated with me and Im sure people will understand is connection to nature. This is something I already look at in my work so it made sense to go back to this.

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Connection between two people who are in each others lives.  The comfort of a cuddle on a sofa

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animation and live action piece about social anxiety

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animation and live action piece about social anxiety

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Read more about 'Facing It' on the Vimeo Blog: https://vimeo.com/blog/post/staff-pick-premiere-facing-it-by-sam-gainsborough/

Watch the behind the scenes film here: https://vimeo.com/290238733

Here Sam talk about making the film at Nicer Tuesdays: https://www.itsnicethat.com/articles/nicer-tuesdays-september-2020-sam-gainsborough-animation-231020

Shaun always feels separate and isolated from the confident, happy world around him. Whilst waiting for his parents in a busy pub, Shaun struggles valiantly to join in with the admirably happy people in the crowd, but the more he tries, the more he goes awry. As everything in the pub goes from bad to worse, Shaun finds himself confronted by the painful memories that made him who he is. His feelings, memories and desires overwhelm him and by the end of the evening he is ready to explode… 

SELECT FESTIVALS & AWARDS

Annie Award Nomination - Best Student Film
Animafest Zagreb - Dušan Vukotić Award for the best student film 2018
Animage International Animation Festival - Grand Prix Winner 2018
Animage International Animation Festival - Audience Award Winner 2018
Ottawa International Animation Festival - Audience Award Winner 2018
KLIK, Amsterdam International Animation Festival - Audience Award Winner 2018
Manchester Animation Festival - Audience Award Winner 2018
KROK Festival of Animated Films - Jury Diploma Award Winner 2018
Viborg Animation Festival - Best Student Film Winner 2018
British Independent Film Awards - Longlist for Best Short Film 2018
MPSE Golden Reel Award - Best Student Film
Festival Internacional de stop motion Our Fest - Best International Short 2019
7eme Lune Festival - Best Animation 2019
Ars Electronica - Prixar Award Honorary Mention 2019
River Film Festival Italy - Golden River Award for best Animation 2019
River Film Festival Italy - Audience Award 2019
Lille Festival - First International Prize 2019
London International Animation Festival - Audience Award in Category
London International Animation Festival - Honourable Mention 2018
Video Hackers Film Festival, Italy - Best In Show Award 2018
Video Hackers Film Festival, Italy - Best Animation Award 2018
Big Cartoon Festival Moscow - Best Short Film - 3rd Place 2018
Student Widescreen Film of the Year - Best Film Winner 2018
Russian Indie Film Festival - Audience Award 2019
Russian Indie Film Festival - Peter Pan Award 2019
View Conference - View Award Winner 2019 
IMDB - New Filmmaker of the Year award Finalist 2019
Annecy - Official Selection 2018
Aspen Shortsfest - Official Selection 2019
SXSW - Official Selection 2019

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Looking at how artist respond to environement in their work

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Looking at how artist respond to environement in their work

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Environmental art is a category of art that often looks to address political, social, and ecological issues about urban and natural environments. Some environmental artists usually focus on politically and ecologically inspired works of art, but others use their pieces to reveal our historical relat…

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Greenpeace's latest campaign, Turtle Journey, begins with the heartwarming familiarity of any Aardman claymation, and it's this contrast that makes the horrific ending all the more tragic. Directed by Gavin Strange, the short film combines stop motion clay characters and CG scenes, and centres on a family of sea turtles, sporting the happy-go-lucky grins of a Wallace and Gromit or Creature Comforts character. Making their way home through the ocean, they are met with the catastrophic results of climate change, plastic pollution, oil drilling and overfishing, making for a heartbreaking impact on their family - and in turn delivering a powerful call to action to protect their habitat.

The family is voiced by an all-star cast including Olivia Colman, David Harbour, Bella Ramsey, Jim Carter, Helen Mirren and Ahir Shah, and scored by Arthur Jeffe's Penguin Cafe. Colman commented on the campaign: "Home is the most important thing we have. A safe space for us and our family to live. But we're taking that away from turtles, whales, penguins and so many other incredible animals... sadly the story of this turtle family trying to get home in a damaged and changing ocean is a reality for so many marine creatures that are having their habitats destroyed by human activities."

The director Gavin Strange says he wanted to "tell a personal yet universal story of family, loss and hope" in order to connect with audiences around the world. Working with the team at Aardman, he describes the final film as a "nuanced and delicate piece of animation".

To coincide with the film's release, Greenpeace is publishing a new report on the threats facing sea turtles, Turtles Under Threat, which the organisation claims "shows that the heartbreaking story of the turtle family in Turtle Journey is shockingly close to reality".

Louisa Casson, oceans campaigner at Greenpeace UK, adds that six out of seven sea turtle species are threatened with extinction, and that governments have an opportunity to take action at the United Nations this year when they meet to agree on a new Global Ocean Treaty. "A strong treaty," she says, "would pave the way for a global network of fully protected ocean sanctuaries, placing 30 per cent of the world's oceans off-limits to exploitation by humans and giving marine species such as turtles a chance to recover and thrive."

In 2018, creative agency Lovers designed the End Ocean Plastics campaign for Greenpeace, which included a typeface "distressed to look like it would on a partially eroded and crumpled plastic bottle dumped in the sea".

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Heartbreaking Aardman film for Greenpeace calls for action to save the sea turtles

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Greenpeace's latest campaign, Turtle Journey, begins with the heartwarming familiarity of any Aardman claymation, and it's this contrast that makes the horrific ending all the more tragic. Directed by Gavin Strange, the short film combines stop motion clay characters and CG scenes, and centres on a family of sea turtles, sporting the happy-go-lucky grins of a Wallace and Gromit or Creature Comforts character.

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I thought of a smile, simple and effective. A sile can help make a connection with someone and is something thst we need some more of at the moment. So I put together a few small drawing with this idea in differnt situations.

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Connections was the one thing that came to my mid and connected alot of the community thoughts.  So I am going to lead with this on my design.

Now her are my thoughts of what I see connection being between us.

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My thoughts are that in uncertain times community is best thing to have to help people get though hard times.  So I out together a little map to figure out whats ideas cae to mind when I thought of community

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A few emails between me and Eleni

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Animations show and tell at the Flatpack festival. Run by Louis Hudson, a local Birmingham animator. This gives a chance for other animators to proview their work for others and give a short introduction of the concepts. This was great to see what else is out there right now and the diferent techniques that are used in each story.

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A photography series that looks at the observation of everyday life. Wall gives the viewer a chance to write a narrative that they receive from viewing his pictures. I see this as a microscope into how someone sees the world inviting us to join in.

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Air Morphologies, Matterlurgy & artsXR, 2022

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An exhibtion that looks at the anxieties that are arising regardng the issues with pollution in our air and thinks about the social and cuutural aspects behind the air we breath.

This piece shows the vilolence that is behind these microscopic particles, and makes people confront the invisible pollution that surrounds us on a daily basis.

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The Inner Ocean: The Passion Flower, Ingela Ihrman, 2019.

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Interesting exhibition that is questioning the realtionship between humans and plants (nature) and the impact that plants have on the survival of the planet.  Each part focused on dfiffernt aspects, this part was looking at the importance of plants interaction with animals ie pollunation and how certains plants are instrumental in the worlds of medicine and agriculture.

This shows how important nature and keeping nature alive and in good health willonly impact us in a positive way.  We depend on nature more than people realise.

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Interesting Storboard artist based in London

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Interesting Storboard artist based in London

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I have actually emailed this artist to see if they are avalaible for an informal chat about their work

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Recent jobs in film and TV have included Watership Down (BBC/Netflix), Dark Crystal: Age of Resistance (Netflix) and Robot Overlords. Have a look at some of my favourite projects here.

I've worked on hundreds of commercials for brands like Nike, Samsung, John Lewis, Red Cross, Jaguar and many more.

If you want to discuss any forthcoming projects please get in touch,

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Recent jobs in film and TV have included Watership Down (BBC/Netflix), Dark Crystal: Age of Resistance (Netflix) and Robot Overlords. Have a look at some of my favourite projects here. I've worked on hundreds of commercials for brands like Nike, Samsung, John Lewis, Red Cross, Jaguar and many more.

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Book for research- Key design Principles

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Book for research- Key design Principles

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Shape Language

This is used to help the audience figure out who the character is, and it can also be used to emphazise personalitlty.
It Centres around three basic shapes, triangle, circle and square.

each of these shapes can convey a different emotion, personalitly and can alsi be utlised to tell a story.

The Triangle-

This shapoe can be used to convey danger, excitement and energy.  This means it could be used to give the sense of tension or anger and are often used for villans in a story, though they can also be used to shopw strength in a character.

The Circle-

This shape can be used to show constant movement and energy, and could convey a sense of connection.
In character design, it will be used to show innocence and vulnerability aswelll as being a friendly and safe

The Square-

This shape can represent a heavy and sturdy character, and will not be flashy of exciting in most instances.  It can also show the character to be strong and grounded.

Colour & Value

Its always best to use a combination of dark and light colours on a character otherwise the audience will not know where to look.

Always ask why you are choosing those colours.

Try different combination hues, colour hues that are similar will create a different effect to ones that are complete opposites, like red and green.

Bright and bold colours could help a focal point stand out.

Certain colours will evoke an emotional response.  More about this is found in the book.

Lighting

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What is it about the characters we see in our favorite books, animated films, and games that make us laugh, cry, and respond to them? How do character designers develop ideas that are unique, memorable, and captivate us as an audience? This book answers these questions and more, taking a comprehensive, visual, and analytical approach to discover just what it is that makes a character appealing. Understand key principles like shape language, proportion, and exaggeration, and learn from talented professionals who share industry secrets for getting the most out of anatomy, gesture, expression, and costume. Uncover ways to convey relationships and interaction between multiple characters, and how narrative fuels authentic and engaging characterization. With hundreds of lively illustrations to inspire and study, and tricks of the trade from celebrated artists, this thorough and insightful volume is an essential library addition for anyone interested in character design.

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What is it about the characters we see in our favorite books, animated films, and games that make us laugh, cry, and respond to them? How do character designers develop ideas that are unique, memorable, and captivate us as an audience?

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People are always asking, why an angel? The only response I can give is that no-one has ever seen one and we need to keep imagining them. The angel has three functions - firstly a historic one to remind us that below this site coal miners worked in the dark for two hundred years, secondly to grasp hold of the future, expressing our transition from the industrial to the information age, and lastly to be a focus for our hopes and fears - a sculpture is an evolving thing."

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As Paul explained, the focus is the same across all media, “trying to get that uninformed viewer to take that extra second to trigger their mind and create the emotional tie that might initiate action.”  Paul Ulukpo (Media and Digital Content Producer, artworxLA)https://www.sothebysinstitute.com/news-and-events/news/the-power-of-telling-our-stories-in-the-arts

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It is undeniable: there is great power in a great story. Whether we encounter them in books, newspapers, conversations with friends and colleagues, or on social media; whether they are in physical or virtual space - we are confronted by a multitude of overlapping stories in our daily lives. But how do you use the power of a story for arts and culture? What are the benefits and the challenges? During a recent panel held on the Sotheby's Institute-Los Angeles campus, we gathered arts professionals skilled at employing storytelling to achieve their goals to share their thoughts and strategies. Here is a round up of the advice shared by Kim Glann (Director of Communications & Marketing, Ford Theatres), Andres Rivera (Marketing Project Manager, House of Blues Foundation), Paul Ulukpo (Media and Digital Content Producer, artworxLA), and Erin Aubry Kaplan (Writer / Journalist).
It all starts with you

How do you choose what stories to tell? For Erin Aubry Kaplan, a published author and writing professor, the answer lies within: "Stories are like small concentric circles, with you in the middle...but it's never just your story - it's a story about a people and community." As Erin explained it, there is power in understanding your own story, but more importantly in understanding how it fits within the larger circle of the stories around you. The challenge comes in the "balancing act" - holding your own as a writer, but at the same time plugging into the many different stories that are part of the larger narrative you create. In her own work, Erin found that it is the stories imbued with a personal meaning that resonate the most with her audience and create a meaningful connection.

Artists want to tell their stories

A sustainable career as an artist necessarily involves getting your work in front of an audience. This was one of the reasons that Andres Rivera turned to marketing, realizing that he needed a platform to share the content he was developing or, as he explained, "to come out of his shell and connect." He found that the most effective means is by applying the concept of design thinking - putting the user in the middle of the process, and by being authentic. Understanding the values he shares with his audience, asking the "why" instead of just selling a product or a concept, allows him to tell the stories that have the power to cut through the noise and connect. And it's an approach that has been working. The annual "Hip Hop Gives" benefit that he organizes is expected to reach nearly 600,000 people this year, all through constituent-focused marketing.

How to reach a diverse audience

How do you get the attention of an audience in a vast city filled with arts and culture? If you're Kim Glann, directing marketing and communications for a 100-year old performance venue in LA that serves a diverse community of 10 million people, you do everything. As Kim explained, "My job is constantly about experimenting and I'm always solving a puzzle...thinking how do I reach this community?" What Kim found in her experience is that every community is different and wants to be reached in a different way. Not everyone reads the same newspaper, is on social media, or interested in the same things, so there cannot be a one story or one approach solution. The key is to really understand your audience and create an authentic, sustainable relationship with those you're trying to reach. Another important factor in Kim's work? Making sure that marketing and programming are closely intertwined, because no matter how good the story you craft to connect with an audience, if you're not offering what they want or need, your marketing efforts will be futile.

Telling a story with visuals

In a vast sea of stories that seems to get bigger every day, how do you make sure that yours stands out? Paul Ulukpo uses the power of visuals: telling a story through images rather than words. But it's not that simple. You need to be well equipped with a skill set that includes a plethora of tools - from photography to film to graphic design to lighting - in order to craft a visual story that is effective. And just as with any other storytelling, you have to know your audience in order to frame the composition in a way that will resonate with them. As Paul explained, the focus is the same across all media, "trying to get that uninformed viewer to take that extra second to trigger their mind and create the emotional tie that might initiate action."
Written by Alina Girshovich

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The Power of Telling Our Stories in the Arts

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It is undeniable: there is great power in a great story. Whether we encounter them in books, newspapers, conversations with friends and colleagues, or on social media; whether they are in physical or virtual space - we are confronted by a multitude of overlapping stories in our daily lives.

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The term was coined by the American artist, writer and educator Suzanne Lacy in 1991, to define a type of American public art that was not a sculpture situated in a park or a square

The definition was first used in a public performance at the San Francisco Museum of Art and later in Lacy's book Mapping the Terrain: New Genre Public Art. Lacy defined new genre public art as being activist, often created outside the institutional structure which brought the artist into direct engagement with the audience, while addressing social and political issues.

In 1993 an exhibition called Culture in Action presented a series of works that could be defined as new genre public art, like Mark Dion and his Chicago Urban Ecology Action Group who created an installation about the ecology of their neighbourhood.

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The term was coined by the American artist, writer and educator Suzanne Lacy in 1991, to define a type of American public art that was not a sculpture situated in a park or a square The definition was first used in a public performance at the San Francisco Museum of Art and later in Lacy's book Mapping the Terrain: New Genre Public Art.

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Think about the part of the defintion of public art is that it will most likely be created in response to the community and place that it will be shown.

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In Art Blog, Alec Monopoly, David Kracov, Eduardo Kobra

Public art is a visual art form specifically created to be enjoyed by the general public. It is the opposite of private artwork, which is sold and displayed in private homes and collections.

Public art can inspire future generations and be a valuable asset to many communities. This article will discuss public art, why it is so important and how it is created.

Public Art Definition

Public art is art created for general public consumption. Public art is often commissioned by public institutions for a specific site.

Public art must always be, by definition, visually and physically accessible to the general population. Therefore it is usually installed or staged in easily accessible public spaces. These spaces are generally outside. Public works are most often seen in city parks, squares, or streets that residents can easily reach.

Public artworks are often created in response to the place and community in which they reside. Public artwork is usually rooted in place and does not go on touring exhibits. The unchangeable location for public art distinguishes it from private art, which may move around and be displayed in various locations as it changes ownership.

What Is Considered Public Art?

Public art can be any style and size, from large to small. Sculptures and murals are common public art forms, but the term 'public art' does not explicitly apply to any particular art style or art form.

Because public art is often commissioned for an outdoor space many examples of public art are sculptures. Some other forms of art, such as photography or painting, are not well suited to being displayed outdoors.

Public art can include many different styles of art. Across the world and throughout history, public art has included murals, sculptures, memorials, public architecture, or landscape architectural work. Modern forms of public art can consist of crowdsourced community art, digital new media, experiential art, performances, and even festivals.

What Is the Purpose of Public Art?

Public artworks are usually funded locally and intended to benefit their local community. They benefit the public as an object that beautifies a local neighborhood or entices visitors.

Some ancient public sculptures and relief sculptures from the classical period have been removed from public spaces. You can find some of these artworks in museums or private collections, while others were stolen or lost. In some cases, this movement of public art was undertaken to preserve the artworks.

However, in several other cases, the removal of public artworks is more controversial. For example, The Parthenon Marbles were removed from the Greek Parthenon temple. The Marbles are now on display in the British Museum in London. Many people believe they should be returned to Athens and displayed as originally intended: with the remainder of the Parthenon building.

Public artwork is designed for a specific setting and for public viewing. They are often funded directly or indirectly by local residents through taxes or fundraising. Moving these works out of the public eye steals from the community and goes against the ethics of public art. Removing this work and placing it in a new setting is not the display the artist had intended.

What Are Examples of Public Art?

Examples of public art can be found worldwide, but many of the grandest or oldest examples are found in major metropolitan cities.

The Piazza Della Signoria in Florence, Italy, is one of the best examples of classical public art. This public square features many classical sculptures, many of which are original, and others, such as Michelangelo's David, are replications. The first sculpture, Donatello's Marzocco, was placed in the square In 1416.

Some of the original sculptures have been moved to Italian museums for preservation. But several other statues in Piazza Della Signoria, mainly those cast in bronze, have remained in the square for hundreds of years.

You may have seen other famous public artworks without fully realizing it. Many public artworks are major tourist landmarks at destinations around the world.

For example, The Statue of Liberty, or Mount Rushmore, are both famous American public artworks. Nothing represents the British city of Newcastle more than its public artwork, the Angel of the North. Barcelona's Park Güell, one of the city's biggest attractions, is filled with sculptures by Antoni Gaudí.

Murals have long been an essential form of public art. Places such as San Francisco's Mission District are full of murals available for public viewing. In more recent times, cities have turned to street artists to beautify urban areas with public art.

Famous street art districts have encouraged street and graffiti artists to come and paint on their walls by commission or during street art festivals. Examples of this kind of public street artwork can be seen in Bristol, London, New York, Miami, Berlin, and many other cities.

Some murals and street artworks can be small, but many of the most famous public murals are large-scale. The street artist Eduardo Kobra currently holds the record for the largest public art graffiti mural in the world. His work , found in Rio de Janeiro, is fifty-one feet high and 560 feet long.

Famous Public Artworks

1. Statue of Liberty, by Frederic-Auguste Bartholdi, New York, United States

2. Mount Rushmore, by Gutzon and Lincoln Borglum, South Dakota, United States

3. Puppy, by Jeff Koons, Bilbao, Spain

4. Les Voyageurs, by Bruno Catalano, Marseilles, France

5. Vigeland Sculpture Park, multiple works by Gustav Vigeland, Oslo Norway

6. Franz Kafka's Head, by David Cerny, Prague Czech Republic

7. Spoonbridge and Cherry, by Claes Oldenburg and Coosje van Bruggen, Minneapolis, USA

8. Escadaria Selarón, by Jorge Selarón, Rio de Janeiro Brazil

9. Prada Marfa, by Elmgreen and Dragset, Texas, United States

10. Parc Güell, by Antoni Gaudí, Barcelona, Spain

11. Maman by Louise Bourgeois, London, United Kingdom

12. East Side Gallery, by multiple artists, Berlin Wall, Germany

13. Love, by Robert Indiana, Philadelphia, USA

14. Pumpkin, by Yayoi Kusama, Naoshima, Japan

15. Flying Balloon Girl, by Banksy, West Bank Barrier

16. The Shoes on the Danube Bank, by Can Togay and Gyula Pauer, Budapest, Hungary

17. Turning The World Upside Down, by Anish Kapoor, Jerusalem, Israel

18. Stravinsky Fountain, by Niki de Saint Phalle, Paris, France

19. La Joute, by Jean-Paul Riopelle, Montréal, Canada

20. Watts Towers, by Simon Rodia, Los Angeles, United States

Artists Who Specialize in Public Artworks

Some artists dedicate much of their lives to creating public artworks. Sometimes by commission, and other times of their own volition. The Norwegian sculptor Gustav Vigeland has spent more than 20 years building over 200 pieces in Norway's Vigeland Sculpture Park. The Mexican muralist Diego Rivera also spent much of his life creating public works. Graffiti and street artists like Banksy naturally specialize in public artworks as well.

Why Is Public Art Important?

For many people, public art is the first or only art they will experience in their lives. Many people do not have the means to collect art in their homes or visit an art museum or gallery. Public art brings art to the people and democratizes it. Public artwork can inspire the next generation of artists or spark a conversation or social change.

Some artists who choose to create public art use the platform for political expression. For example, American street artist, Keith Haring, is a social activist who used his murals to challenge the taboos around homosexuality and the AIDS epidemic. Artists can use public art to challenge societal norms, commemorate and memorialize, or criticize politics or society.

How Public Art Benefits a Community

Public artworks can add enormous value to a community. Not only do artworks help beautiful a city or town, they add to the cultural and economic vitality of a community.

Public artworks become landmarks for both locals and visitors, encouraging tourism in a local economy. Some of the world's most visited tourist attractions are public artworks, such as Brazil's Christ The Redeemer, Paris's Eiffel Tower, New York's Charging Bull, The Berlin Wall, or The Hollywood sign.

Public art is considered an essential part of urban design because it contributes to a community's identity by setting a community apart from others and attracting visitors to see its uniqueness.

Public art also encourages pride in a community and helps provide a sense of belonging. Public art sparks joy in day-to-day life, and by doing so, can enhance the quality of life for both local residents and visitors.

How Does Public Art Get Created?

Public artworks are typically commissioned and managed by a local municipal agency. The most successful public art projects usually involve extensive input at the onset of the project from both the artist and the community.

Public artworks can take many years to be approved, funded, and created. Many people play a role in funding and create public artworks, especially those of a large scale. A public art project will involve the artist or artists, architects, designers, local residents, local civic leaders, politicians, local arts agencies, approval agencies, funding agencies, and sometimes even construction teams.

Appreciating Public Artwork

It's not possible to buy public contemporary artwork. Some older public artworks are now in private collections or museums, but contemporary artworks are usually kept and protected by the communities that commissioned them.

However, some artists who create street art or public artworks, such as Eduardo Kobra and Alec Monopoly, also produce artwork that private collectors can purchase. You can view, enjoy and buy original artworks online from Eden Gallery's website or from our art galleries around the world.

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Public Art: What is Public Art Definition? - Eden Gallery

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Public art is a visual art form specifically created to be enjoyed by the general public. It is the opposite of private artwork, which is sold and displayed in private homes and collections. Public

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Interesting article on how to push into the creative industry and finding ideas in nature

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Interesting article on how to push into the creative industry and finding ideas in nature

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Animator and illustrator Rosa Sawyers owes her freelance career to a lot of experimentation. Graduating from a communication design degree in the eye of the pandemic's storm made her feel "lost and confused", as the arts industry's future felt increasingly uncertain. But trying out new software such as After Effects and learning from tutorials on YouTube successfully made her fall back in love with creating, even making a film for an exhibition which cathartically documented her experiences. Currently working from her parents' house in Brighton, Rosa talks patience, community and the challenges of going freelance.

Rosa Sawyers

Job Title

Freelance Animator, Illustrator and Designer

Based

Brighton

Selected Clients

Beauty Inc., GUM Magazine, Lostiu, Madeline

Place of Study

BA Communication Design, Glasgow School of Art (2017-2020)

Website
rosasawyers.myportfolio.com
Social Media
Instagram

How would you describe what you do?
I'm a freelance animator, currently working from home in Brighton. I spend most of my time making animated sketches and thinking up different ideas and visuals. My commissions are usually for people who want music videos or visualisers, album art and installation art.

What are the main influences and inspirations behind your work?
I look for ideas in nature, taking photos of places or details that catch my eye. Picking out shapes, colours, shadows and light and recreating these details in a fuzzy, comfortable space. I also like using nostalgic digital textures inspired by games and computer graphics, aiming to create a familiar world with its own sense of magic and the unknown.

Ideas usually come when I put less pressure on myself to create an outcome; when I give myself time to freely play and experiment with the software.

Would you say you need any specific training for what you do?
One of the key things that I've found useful is having patience; animation takes a good deal of time and is rarely satisfying immediately. Being comfortable enough to visually play and experiment is also useful; this is something that I had time to explore at university and is valuable to idea generation. Don't be intimidated by software that looks confusing - push through the steep learning curve and watch tutorials on YouTube.

"Don't be intimidated by software that looks confusing - push through the steep learning curve and watch tutorials on YouTube."

What's been your favourite project to work on, from the past year, and why?
This year I made a film called InOutside for an exhibition in Glasgow, led by The Woom Room. The show's brief was a retrospective on lockdown, looking at the ups and downs and emotional turmoil of the pandemic. It was quite cathartic for me as it was the first lockdown where I spent my time learning how to animate, and where my visual language initially developed.

If you could sum up your job in a meme, what would it be and why?
I think this meme [below], made by the wonderful 24 Memes Per Second animation meme page is a nice example of how I feel about animation. It's really calming and makes me as happy as [Pokémon character] Pikachu floating above all the bad stuff in the world.

What was your journey like when you were first starting out? Did you find your feet quickly?
After graduating I felt especially lost and confused; the lack of a concrete ending to my degree made me fall out of love with creating and it took a while to get it back. Learning After Effects - a software that I'd never used before - really helped. I was working with new tools and new processes that I found exciting, which made me look at things differently.

"I was working with new tools and new processes that I found exciting, which made me look at things differently."

If you could pick three things that you've found useful or inspiring to your work or career, what would they be and why?
I'm a bit of a hoarder of packaging and ephemera that I pick up wherever I go. These pieces are constant resources for typography, colour, texture and symbols.

I love flipping through art books. One of my favourites is A Walk Across England by artist Richard Long. Though a well established fine artist, this book is so accessible and unpretentious in its visuals and message. It's a lovely and inspiring experience flipping through the artist's perceptions and observations in nature.

After I left university during the first lockdown, the graduate art community in the UK was amazing, very much thanks to the SadGrads Instagram account. It was inspiring seeing so many students in the same position as me, as well as people whose work was so original and unique to them.

What would you say has been your biggest challenge along the way?
I'm continuously challenged by all the protocols of being a freelancing artist, from pricing my own work, to even the idea of self promotion. It's all a work in progress! Confidence and motivation are hard things to harness, but making things just for myself helped build my confidence back.

How important would you say social media and self-promotion are to your work?
I've never been a huge fan of social media, but sharing all my animation experiments from the very beginning has helped me connect with people, and track my development! Seeing that other people liked my work was a really big deal, and motivated me to make more.

"Seeing that other people liked my work was a really big deal, and motivated me to make more."

What have been your greatest learnings with making money and supporting yourself as a creative?
I'm still working on this one - I certainly need to price my work better! Currently, I'm living at my parents' house and my commissions are my main income, alongside a few illustration or graphic design commissions.

Right now I'm focusing on developing my skills, and will inevitably need to get a part-time job to get by. A big thing that I've realised is that when people want work in exchange for "exposure", it's usually not worth it!

How did you go about landing your first commissions?
My first commission was a music video [below] for producer Limbs, a friend of my brother's who was releasing an EP. It was the perfect job as he gave me complete artistic freedom with the video and it was a really encouraging experience.

What's the best career-related advice you've ever received?
My best advice comes from my close friends and family. I can't think of anything particular but the classics: be honest and transparent, and always ask questions.

What advice would you give someone looking to get into a similar role?
Animation is so varied as a medium, with so much history to look into. Many of the great classics are free to watch on YouTube! Try and identify the things that excite you and use these as a starting point for creating your own world. Don't be afraid of trying something new and which take you outside of your comfort zone.

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Rosa Sawyers on finding ideas in nature and learning AfterEffects

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Animator and illustrator Rosa Sawyers owes her freelance career to a lot of experimentation. Graduating from a communication design degree in the eye of the pandemic's storm made her feel "lost and confused", as the arts industry's future felt increasingly uncertain.

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Tjis workshop was amazing.  The women who was running it gave a sheet that included what to think about creating your character and their personaliutly.  We then sketched and she then showed us how to build a skeleton out of wire and pad out with silver foil as not to make the model to heavy with plastercine.

I would love to continue this, as it could be incorporated into storytelling and charcter design I am currently investigating

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A look at what happens when humans leave a place and nature takes over.  Buildings start to crumble and life comes back to the area.

I imagine this is what could happen after humans are gone because of how much they destroyed the planet, and eventually after many decades and centuries the environement rebuilds itself.

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Hashima Island has a complicated history. But what's abundantly clear is that when humans leave, buildings will crumble and nature will flourish.

About nine miles from the city of Nagasaki sits an abandoned island, void of inhabitants but steeped in history. Hashima Island, once a mecca for undersea coal mining, was a sharp representation of Japan 's rapid industrialization. Also known as Gunkanjima (meaning Battleship Island) for its resemblance to a Japanese battleship, Hashima functioned as a coal facility from 1887 until 1974.

Once the coal reserves started depleting and petroleum began replacing coal, the mines shut down and the people left. After that, Hashima Island went ignored for nearly three decades. But as abandoned concrete walls crumbled and flora flourished, the dilapidated island caught the attention of those interested in the undisturbed historic ruins.

However, Hashima Island's past isn't that simple.

During World War II, the history of the island is darker as Japanese wartime mobilization policies exploited enlisted Korean civilians and Chinese prisoners of war as forced laborers. Made to work under harsh conditions, it's estimated that over 1,000 workers died on the island between the 1930s and the end of the war as a result of unsafe working conditions, malnutrition, and exhaustion.

As a tourist site, the island was named a United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage Historical Site in 2015 and groups of visitors can be taken on tours. However, despite the public's infatuation, the island's legacy remains an enigma. It's unclear whether the focal point of the island should revolve around its part in Japan's industrial revolution or as a reminder of the forced laborers who had to endure excruciating circumstances.

Hashima Island's Industrial Rise And Fall

Coal was first discovered on the 16-acre island in the early 1800s. In an attempt to catch up with western colonial powers, Japan embarked on a period of rapid industrial development starting in the mid-1800s and utilized Hashima Island for the endeavor.

After Mitsubishi bought the island in 1890, the company consequently developed seawalls and began extracting coal as Japan's first major undersea coal exploitation.

In 1916, a seven-floor apartment block (Japan's first large reinforced concrete building) was built for the miners. To protect against typhoon damage, sturdy concrete was used to create apartment complexes, a school, and a hospital for the growing community.

While thriving as a coal mining facility, Hashima Island was home to thousands. In 1959, it reached its peak population of 5,259 residents.

In the 1960s, coal mines across the country began closing as petroleum became its number one replacement. In January 1974, Mitsubishi closed the Hashima mines for good.

Of course, when the operations ceased, the people left too. In just three months, the island cleared out. With nobody left to maintain the structures after the island was deserted, many of them collapsed and decayed into rubble over time.

Renewed Interest In Hashima Island

Even after the population dropped to zero, Mitsubishi maintained ownership of the island. In 2002, they transferred it to Takashima Town, which was absorbed by the city of Nagasaki in 2005.

After collapsed walls were restored, the island and its undisturbed housing complexes opened to tourists in 2009. The unique setup of the island, particularly the density of crammed buildings that have undergone weathering from corrosive seawater, has made it a popular destination.

"Accumulated reinforced concrete ruins do not seem to exist except Hashima," researcher Takafumi Noguchi said, adding, "Concrete structures built in ancient Rome are the only competitor, but they do not contain reinforcing steel."

Noguchi, along with a team of other researchers, began scaling the island in 2011 to see how the crumblings buildings could be saved.

Despite its booming tourist business and film appearances (including James Bond's ), a vast majority of the island remains off-limits to visitors, as the massive investments needed to ensure the safety of the aged buildings would ultimately jeopardize the historical state of the property.

Controversay Over Gunkanjima's Dark Past

The harrowing experiences of the slave laborers add an entirely different kind of eeriness to Hashima Island. After Japan colonized Korea and invaded China, they used recruited labor in the 1930s and 1940s to force thousands of people to work the mines.

Past workers have recounted their time with grim details, describing the conditions as grueling and inhumane. The weather was humid and food was scarce. If they slacked, they were beaten. Local records state that 123 Korean people and 15 Chinese people died on the island between 1925 and 1945.

While the initial bid to be included in the UNESCO's list of World Heritage Sites covered the industrialization feats of the island from the 1850s to 1910, it made no mention of the Korean and Chinese forced laborers.

Due to Hashima Island's association with wartime slave laborers, South Korea formally objected to its bid for recognition.

At the WHC meeting in July 2015, Japan's ambassador to UNESCO, Kuni Sato, acknowledged that "a large number of Koreans and others" were "forced to work under harsh conditions in the 1940s at some of the sites." She also promised that an information center would be set up explaining the history and circumstances of the laborers at the site.

Afterward, South Korea withdrew its opposition, and the site was subsequently approved for inclusion on the UNESCO World Heritage list. However, tension hasn't dissipated entirely, as Japanese officials had repeatedly declined to use the term "forced labor" or refer to the Korean workers as "slaves."

The history enclosed behind the seawalls of Hashima Island is a lot of things: rich, complex, devastating. One thing that is clear: the Japanese enclave is a testament to how, in an abandoned area, nature and industry interact.
After learning about Hashima Island, also known as Gunkanjima, read about Goqui Island, which was also claimed by nature. Then take a look inside Stalin's infamous "Cannibal Island".

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This Abandoned Japanese Island Has Been Desolate Since 1974 - Now Nature Has Taken Over [PHOTOS]

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About nine miles from the city of Nagasaki sits an abandoned island, void of inhabitants but steeped in history. Hashima Island, once a mecca for undersea coal mining, was a sharp representation of Japan 's rapid industrialization. Also known as Gunkanjima (meaning Battleship Island) for its resemblance to a Japanese battleship, Hashima functioned as a coal facility from 1887 until 1974.

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A look at many high businesses that are now using the digital realm of moving images and some animation storytelling to sell their products.

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It's one thing to get the attention of your potential leads; it's another thing to keep it. It takes time and money to get readers to your page - especially qualified readers that might convert - so it's critical that marketers do everything they can to keep them on-page as long as possible.

After all, the longer a reader stays on your page, the more likely they are to take the next step you're edging them towards - whether that's buying your product or becoming an advocate for your brand.

The most authentic way to achieve greater dwell time is to increase the production values for your content. If you build content that is genuinely beautiful and compelling, your readers will stick with you.

This sounds great in the abstract - make it beautiful! - though it also sounds expensive. Building distinctive and great looking content often requires a team of web designers and developers, which is impossible to scale without blowing your budget.

The best solution for marketing teams is to invest in a platform that allows you to build premium visual effects without writing code. This means that marketers - rather than developers - will determine your publishing cadence.

Auction house Christie's have done an excellent job of this with their online ' viewing rooms ' - immersive digital stories that keep the reader's attention with animation effects and stunning high resolution images.

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Storytelling and the future of content marketing

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It's one thing to get the attention of your potential leads; it's another thing to keep it. It takes time and money to get readers to your page - especially qualified readers that might convert - so it's critical that marketers do everything they can to keep them on-page as long as possible.

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After the last clip on here that showed all the footage I was thinking of using I went through it and thought abut the words i wanted to use as the voiceover.  As I did this certain parts were deleted and I used the talking to inspire how i edited the footage.

Evaluation

This for me felt very much like how I use to work in my Fine Art degree while making Moving images and it was a way of working that i felt resonated with me the most.  Especially with the subjects that i tackle in regards to mental health, and this case trauma that ended up making my condition worse.

I am happy with how this turned out, it felt very melon collie which is what i was intending to achieve.

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Anima Festival - 23 February - 03 March 2024

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43rd edition

The Brussels International Animation Film Festival

23 FEBRUARY - 3 MARCH 2024

ANIMA 2024 AWARDS

Brussels was alive with animated films for ten days. Thousands of people, children and adults alike, flocked to the 150 screenings shown in the Festival's five venues at Flagey, Marni and Cinematek. Clear proof that animation is alive and well, attracting audiences to the cinema more than ever before, arousing enthusiasm and even vocations! Overall attendance at Anima 2024 was once again up, by 11 per cent, with 50 screenings sold out, and more than 30,000 visitors in Brussels, a new record. The numbers of films on offer (29 features and 260 shorts) and of guests (150) have never been so high either. The new digital playground gave nearly 2,500 children and adults the chance to play with new technologies, and the 28 screenings at Marni drew more than 4,000 delighted spectators. 👏 From 4 March, the Festival will kick off virtually throughout Belgium on the Sooner streaming platform.

Follow the Anima Festival on your favourite social networks !

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Anima, the Brussels International Animation Film Festival

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Anima's 43rd edition will take place from 23 February to 3 March 2024!

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Micro Project-Researching and developing Character Design

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Micro Project-Researching and developing Character Design

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I am going to run a small micro project leading on from what I have already started to learn and create.

I will give myself a couple of weeks and create a series of characters that could maybe be involved in the story I have started to write.

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Amazing animation.  The way they show the intrusive thoughts is just the way I imagine it.

The flashing and and uncomfortable feeling, that is shown in the animation in a completely different medium, very basic and and slightly jagged paint marks. Makes me think of out of control.

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This Sweet Animated Short Tells a Tale of Anxiety, Intrusive Thoughts, and Love - Take This

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Erika & Anju from Clara Horst on Vimeo. [font_text link=”” icon=”star” color=”dark” size=”small” border=”off” spin=”off”]Content Warning: Film contains some violent imagery.[/font_text] CalArts student Clara Horst put together this semi-autobiographical short…

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Character design that mirrors the community ethos

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Character design that mirrors the community ethos

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"And, in his characteristically warm style, full of endearing characters and playful happenings, Dylan’s posters perfectly emulate the organisation’s inclusive, community-focused work."

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Upon viewing Dylan's body of work, it probably comes as no surprise to hear that he's always been particularly fond of children's books. Particularly, those of his hero Roger Duvoisin: "his use of layering to find new tones and textures is a big source of inspiration for me". But, in quite drastic contrast, it was Dylan's discovering the work of Ralph Steadman, through his illustrations in Hunter S. Thompson's 1971 novel Fear and Loathing in Las Vegas that really instigated his love of illustration. "Stylistically, our works differ, but I've just always admired how he values spontaneity and the unexpected when making." More recently however, Dylan has been obsessively finding and buying new zines and mags (such as Wobbly Club, Counterpoint and Beneficial Shock) to flick through and find himself "lost in the wonderfully crafted and curated illustrations they contain".

Quite early in his creative journey, Dylan found his home in Risograph printing. Introduced to the method during his foundation year, he began to experiment with it more throughout his degree. "The reason I like working with Riso", Dylan explains, "is because of its recognisable characteristics. It's never perfect and is celebrated because of the imperfections it carries."

These unique elements particularly shine through in Dylan's collaboration with Kobean Coffee, an independent roaster in based in Stockport, Manchester. Focussing on ethically sourcing "rare and experimental produce", in an early project with Kobean, Dylan created three Riso prints that paid homage to the places in which they source their beans, the characteristically rough edge of the Riso a subtle nod to the organic process of roasting. In a more recent project, Dylan worked on a rebrand for Kobean, in which they decided to introduce vibrancy and colour, something they hadn't yet touched on. In terms of content, Dylan had the idea to "hone in on familiar home comforts, as a way of letting consumers know they can enjoy rare and hard-to-come-by coffee in the same way they would any other brand". And, the final result - lively and charming in equal measure - will certainly leave you craving a coffee catch-up with your nearest and dearest.

Looking to the future, Dylan is broadly looking to "keep collaborating with like minded people, whilst also discovering more about what works best for me creatively (and what doesn't)". But, having not yet ventured into selling his work in person, Dylan is also super keen to get involved in some print fairs and makers markets this coming year. Safe to say, we'll be at the front of the queue.

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Immerse yourself in Dylan Woodall's wonderful world of playful, community-orientated illustration

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Upon viewing Dylan's body of work, it probably comes as no surprise to hear that he's always been particularly fond of children's books. Particularly, those of his hero Roger Duvoisin: "his use of layering to find new tones and textures is a big source of inspiration for me".

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Thinking about community, I loved this idea here about ther smells that make you remember a place and a community you maybe have back home (if you are away) These are the things that are important to people and you appreciate the people in your life. memories are a amazing thing to keep us connected to each other.

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Homesick Candles: It takes a community to make a candle * Ads of the World™ | Part of The Clio Network

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Sign up for our newsletter Don't miss out. Receive our free weekly newsletter to learn about the best creative work from all around the globe. We're keeping your email safe and confidential.

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This website includes an educationl animation. This is not exactly what I am creating as my story was a personal one, but I can take inspirartion from these as mine can still be educational as it will be relatable.

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There are times we all feel under enormous pressure. Like when you have a million deadlines and not enough hours in the day. Or when the kids need to be taken to football practice and you haven't cooked the dinner. Or when you're studying for exams. Or when a friend or relative becomes ill. We can also go through traumatic events that knock us sideways.

At times like these, we can start to feel overwhelmed or unable to cope. That feeling is often called stress.

Stress has been a part of life for thousands of years, and a certain amount of stress can be a good thing. But when stress gets out of control, the consequences can be serious.

Stress can be a key cause of anxiety and depression and is sometimes linked to self-harm and suicide. It can also have serious physical impacts. Stress can increase the risk of heart disease and it can affect our ability to get to sleep and stay asleep. It is linked to muscle pain and can even damage our immune system.

We know we are too stressed, too often.

Our polling has shown that over the past year in Britain:

Almost three quarters of people have at some point have felt so stressed, they've felt overwhelmed or unable to cope.

Two thirds of us experience a mental health problem in our lifetime.

But it doesn't have to be this way. By tackling stress, we lower the risk of future mental health problems. But how can we do this?

We can start with you and me

Try to think through what is causing stress and how it could be managed differently.

It may help to get a bit more physical exercise. Going for that walk or swim helps balance life. Exercise is a proven way to reduce stress.

You could try reducing drinking and smoking, which can make problems worse rather than better.

Take a break. Even short breaks from work or a person you find difficult can help manage the stresses and strains of daily life.

Try a few minutes of mindfulness each day. We know from research that mindfulness is effective in reducing stress and anxiety.

But we can also do things as a society:

We're calling for businesses to support better work-life balance and tackle work-related stress.

We're calling for schools and teachers to work with children to ensure that stress isn't stopping young people from thriving.

And we're calling for better support for society's most vulnerable, to reduce stressors caused by poverty, poor housing and social isolation.

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There are times we all feel under enormous pressure. Like when you have a million deadlines and not enough hours in the day. Or when the kids need to be taken to football practice and you haven't cooked the dinner. Or when you're studying for exams. Or when a friend or relative becomes ill.

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‘This is exciting for artists’: is this project the future of billboards?

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An ambitious interactive structure in West Hollywood is the first part of a new initiative set to bridge outdoor advertising and public art

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On the website for this, there was a 4 ideas section and this was the one that I felt would help me the most:

2. Our festival encourages both artists and audience to take a good look at themselves and the surrounding reality, for currently, together with rapid economic, social and technological changes, the old system is fading away and the new one has not been clarified yet. So, it is worth considering: what is our point, what is important for us, and what do we want our relationships to look like? What shape should communities have to allow us to develop and live our own truly satisfying life?

Think another mind map is needed. :-)

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Art Meets Commerce: Should Billboard Art be a Thing?

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Billboards are public art for the capitalist society. But can these oversized images that tower over the interstate ever become a real art experience?

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In the messages chapter of Essential of Visual Communication.

This is on the lines of how Steve Cutts work in his animation and illustration. Inviting us to see the errors in our ways and our own role in the probelms in the world today.

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Here is a start of a more positive outlook, I am also starting to feellike I know my direction, it feels a little more set in stone.  I want to continue with the subjects of mental health and the environement and these can be translated well through animation and storytelling.

Though now, not only do i want to push my boundries when it comes to animation and the fundementals of character design and animation work I am going to partake in couple of brief that are out of animation and moving image and are left completely down to the image, or text.

How can I tell a story with one image, inspire people for change.

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Love or hatred? Truth or falsehood? What should we appreciate in these uncertain times?

With everything that is going on in the world, we need things to believe in and appreciate what we are lucky to have, and maybe use that to be the best of our abilities that will help us reinvent ourselves for the sake of our own mental health and the health of the planet.

Things to think about

The works will be evaluated by a jury panel composed of artists and
curators who are recognized authorities specializing in public art.  A good step forward will be to research people who work in public art and see how they work.

What audience do you want to engage with the work?

Who will I be directing this work at?

Do I want just images or text, or a bit of both

Think about statements in today's world that makes you think of hope in uncertain times (community)

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This is a subject I have slightly investigated before in the Moving image work I created a few years back.
For this project, I think it would be helpful to start looking further into this subject to help inform some of the ideas and narrative in the story as I go along.

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How We Created the Anthropocene

by Simon L. Lewis and Mark A. Maslin

Imprint: Yale University Press

496 Pages, 5.00 x 7.75 in, 30 b-w illus.

Paperback

9780300264777

Published: Tuesday, 12 Apr 2022

$20.00

Hardcover

9780300232172

Published: Tuesday, 28 Aug 2018

$25.00

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by Simon L. Lewis and Mark A. Maslin Imprint: Yale University Press 496 Pages, 5.00 x 7.75 in, 30 b-w illus. Paperback 9780300264777 Published: Tuesday, 12 Apr 2022 $20.00 Hardcover 9780300232172 Published: Tuesday, 28 Aug 2018 $25.00

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Reading articles like these is what informs my work.  I feel sometimes it is something that people tend to ignore as its not completely on their doorstep.
I have looked at problems with rubbish that is just discarded without a thought and that is just the beggining, it is problems like that thast then has a knock on in the pollution of our waters.  Rubbish that gets washed into the water from our land and beaches have an enormous effect on our biosystem.

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stockphoto-graf/shutterstock

Marine pollution is a growing problem in today's world. Our ocean is being flooded with two main types of pollution: chemicals and trash.

Chemical contamination, or nutrient pollution, is concerning for health, environmental, and economic reasons. This type of pollution occurs when human activities, notably the use of fertilizer on farms, lead to the runoff of chemicals into waterways that ultimately flow into the ocean. The increased concentration of chemicals, such as nitrogen and phosphorus, in the coastal ocean promotes the growth of algal blooms, which can be toxic to wildlife and harmful to humans. The negative effects on health and the environment caused by algal blooms hurt local fishing and tourism industries.

Marine trash encompasses all manufactured products-most of them plastic-that end up in the ocean. Littering, storm winds, and poor waste management all contribute to the accumulation of this debris, 80 percent of which comes from sources on land. Common types of marine debris include various plastic items like shopping bags and beverage bottles, along with cigarette butts, bottle caps, food wrappers, and fishing gear. Plastic waste is particularly problematic as a pollutant because it is so long-lasting. Plastic items can take hundreds of years to decompose.

This trash poses dangers to both humans and animals. Fish become tangled and injured in the debris, and some animals mistake items like plastic bags for food and eat them. Small organisms feed on tiny bits of broken-down plastic, called microplastic, and absorb the chemicals from the plastic into their tissues. Microplastics are less than five millimeters (0.2 inches) in diameter and have been detected in a range of marine species, including plankton and whales. When small organisms that consume microplastics are eaten by larger animals, the toxic chemicals then become part of their tissues. In this way, the microplastic pollution migrates up the food chain, eventually becoming part of the food that humans eat.

Solutions for marine pollution include prevention and cleanup. Disposable and single-use plastic is abundantly used in today's society, from shopping bags to shipping packaging to plastic bottles. Changing society's approach to plastic use will be a long and economically challenging process. Cleanup, in contrast, may be impossible for some items. Many types of debris (including some plastics) do not float, so they are lost deep in the ocean. Plastics that do float tend to collect in large "patches" in ocean gyres. The Pacific Garbage Patch is one example of such a collection, with plastics and microplastics floating on and below the surface of swirling ocean currents between California and Hawaii in an area of about 1.6 million square kilometers (617,763 square miles), although its size is not fixed. These patches are less like islands of trash and, as the National Oceanic and Atmospheric Administration says, more like flecks of microplastic pepper swirling around an ocean soup. Even some promising solutions are inadequate for combating marine pollution. So-called "biodegradable" plastics often break down only at temperatures higher than will ever be reached in the ocean.

Nonetheless, many countries are taking action. According to a 2018 report from the United Nations, more than sixty countries have enacted regulations to limit or ban the use of disposable plastic items.

National Geographic Society

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Marine pollution is a combination of chemicals and trash, most of which comes from land sources and is washed or blown into the ocean. This pollution results in damage to the environment, to the health of all organisms, and to economic structures worldwide.

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Tada!!! it finished and was sent in for the open call!!!!

Evaluation

I was very happy with the end result, though I did find the voiceover quite hard to do, a very new thing for me and did feel a bit uncomfortable to start but after a few takes I started to get into the flow of what I wanted to say.

The animating did become quite intense at periods as It does take a very long time just to make a very short piece.

In the end, i did create each scene separately the edited them together on Priemer pro as this is a skill I had already mastered in my BA, and this became very helpful to keep control of where I was in the process of the animation.

Also as I worked I thought about the 12 principles of animation especially the straight ahead and pose to pose as I was used both these techniques in different parts of the animation. When it came to the brain I thought of the beginning and the end and filled in the middle parts, then with the fire out of the brain i used straight ahead as it gave a more unpredictable look to the fire coming out of the brain.

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Evaluation

As I have said before i do find storyboarding very helpful and this is something I want to continue utlising in projects swhere i feel it is needed.  If the work is more moving image I may ot always use this process but when it comes to animation i will.  This is one aspect of the animation industry that really interests me and I feel like I am leaning towards this more and more as it is part of the narrative storytelling process that I feel connected to, as well as starting bring in learning more about character design.

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I really enjoy the process of storyboarding it helps me make decision on the final outcome, makes things alot clearer.

In the animation i did not include frame 3 in the end as I started animating it and I felt it did not fit in or look right, i ended up instead saying the words "sometimes I just cant get passed it" in the voiceover

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I thought these would be good to do in digital afterwards as they can be used as advertisiment.  As this is an animation I can use these as a cover thumbnail on a website or if i was going to go ahead and have a showing of this, these illustraions could be put on a flyer or in a little booklet.

Evaluation

These little illustations worked well and again gave me a chance to draw my character design in digital. This also give the character a chance to be used in a differnt type of medium, for example like i said above, for advertisment or maybe as a little book or zine.

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A small selection of the characters in digital

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A small selection of the characters in digital

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In the last few frames, I was thinking about, and how I wanted the story to continue and come to a conclusion.

Evaluation

All the little drawings and sketches I did with little bits of the monologue on the side really help with writing the narrative and let me see where I wanted the story to end up.

I have decided to create a voiceover for this animation which will be a first for me.  I will be using the small bits of writing that have been put next to the sketches but no definite script.

I would rather mostly adlib the voiceover as the narrative is personal to me and I feel this will make it more relatable.

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Spoke about personal project- Charatcer design.
A few points mentioned.

Could I make fun of the situation? As the narrative includes the possibility of global catastophrie because of global warming and world pollution.

Audience-  who do i want this to be directed towards.  After some thought and discussion with Rob I would like the audience for this to be children/teenagers- not really young children as I think the subject would be too complicated.

Think about whimsey, as i spoke about part of the story I had written had included the idea of the characters talking about the past.

what creatures would I have- My thought on this would be that the creatures would of originally been pets to humans, so domesticated animals mostly.

About the setting for the story, look at the city in Japan that has been abdoned- taken over by nature- this could then inform how the characters look also.

Also think of the scale of the creatures, could something that was originally small in todays times be huge in the future after evolution and mutation.

How would the characters live in the spaces thast are created.

Will need to give narrative structure so the illustrator Im working with has something togo on.  I will email her more information later on today (17th July) with updated ideas and notes.

remember to set date for the story, in the future.

Character design in regards to the environment they live in

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think about the sense of place in the work, and always have references.

Write up about events you go to and what you see impacts what you are doing in your work.

How do you use the concept of others?

Remember to play on my strengths- I think my strengths would be creating stories that come from important events in life and putting them into meaningful visual art.  Telling a narrative.  Thinking about the context.

Look at simple characters eg Roger Hardgreaves -Mr Men

Rhubard and custard animation
1970's animation
Watch a life in small films- documentary- Peter Firmin

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I am finsing with this project, as I go through the footage to find the best way to navigate the story of how trauma can feel Iam able to write the short narrative that will accompy the video.  Ideas are forming as I edit and keep looking at the footage.

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I have combed through the Nasa website and found the footage I would like to use.

I have also got footage of my own that I would like to use too.

The idea of staring into space and places and landscapes makes someone feel calm.

Now to start thinking of a monologue to have that will accompany it.

This will go in a form of a short story in a limited number of sentences.

I may not use all of the footage. I am going to test a few ideas and see how it works with the feeling I want to convey.

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Taken from website

+ REQUIREMENTS & JUDGING CONSIDERATIONS

Each Submission must comply with the following rules:

It must be an original work by you (apart from the NASA imagery), meaning that you (or the minor you as a parent are submitting for) were one of the work’s principal creators and have the right to submit it to the Submissions Portal and grant the licenses set forth in Terms below.

It must have been created after January 1, 2020.

It must either be in the English language or have English subtitles (to the extent it contains dialogue or text). Songs in a foreign language should also have subtitles, especially when the lyrics are germane to the plot or message.

It must be no longer than 10 minutes, including credits.

It must contain at least 10% (total runtime of actual work – not including end credits) of NASA Video Imagery, which may be found in the NASA Archives or other publicly available sources. (NASA Imagery may be altered with After Effects or other techniques).

The submitted works may be uploaded to the Tongal website in HD 720p 16×9 with acceptable file formats: .mov, .avi, .mp4, .wmv, and acceptable codecs: H.265, H.264 (MP4), MPEG-4, H.263, MPGV, WMV, DivX. Different original formats should be presented in a 720p sequence – formatted to your preference.

Cinespace screens all selections in 1080p format. Should you win, you will also be required to provide a 1080p .mov master file, using a ProRes, Animation, or Uncompressed Codec. Works created in other formats will be converted to 1080p and presented either letterboxed (wider formats) or pillarboxed (old 4:3 footage and others). To retain your own quality control we advise that you submit any alternative format footage in a 1080p sequence formatted as you wish.

If your film was created using a cell phone, please be advised that portrait cell phone footage is difficult to present on screen. It is highly recommended to shoot any video using a cell phone in the landscape or horizontal orientation unless the portrait effect is desired.

It must not be an excerpt from a longer work.

It must comply with all of the content restrictions set forth in Terms. Among other things, ANY USE OF THIRD PARTY MUSIC IN THE SUBMISSION MUST BE PRE-CLEARED WITH THE APPLICABLE OWNERS/LICENSORS.

You must have the right to grant the licenses set forth in Terms.

In general we are looking for Submissions that:

Are based on innovative artistic presentation and storytelling

Provoke an emotional response

Show a mastery of filmmaking craftsmanship

CineSpace is open to all genres and styles including, but not limited to, experimental, narrative, documentary, comedy, drama, animation, ambient, music videos, re-mix, sports, horror, and underground.

IMPORTANT – Please review past Finalists and Winners – while it will not disqualify you, WE STRONGLY URGE YOU TO USE NASA ARCHIVE FOOTAGE THAT HAS NOT BEEN USED IN PAST COMPETITIONS

When submitting to the Submissions Portal you must select the best-fitting genre. CineSpace reserves the right to change the genre.

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This is one of the things i remember quite vidily when I was dealing with trauma.

The need to look into space alot and just lay or sit there.

I would like to incorparate this into the work.

A few scenes where all you see is what would be in front of me.

I will record a few different scenes of just one subject or landscape.  Just the focus very still as whatever is front of me moves.

I could then move onto creating a interferrence of what I am looking at that would be inspired by the inteferecnce in my brain, or what it felt like and things becoming more intense in regards to my vision.

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I use the first second of the last test and slowed it down and repeated and reversed it so it looks like a beating.

I am finding that as I work through ideas for projects (not just this one) I think of other parts of the story that will fit in nicely to what I have already thought of at the initial stage of creating.

It is like the story keeps writing itself as I progress.

Evaluation

This works better than the last, and it was good that I was able to utilise the last test to produce this piece.  This will be used in the finished piece along with the words of the feeling of continuous thoughts, as well as the feeling of your mind not working the way it should.

At this point, I have decided not to use a storyboard as I have in other projects, and leave this mostly to writing itself as I move along with tests and produce the work that way.

I will have notes to go from obviously but I need to work in a slightly different way with this one.

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I really dont like this, the way i have warped through most of it looks to voer the top for what i was going for.

I am going to put it into priemer and use the first second and overlap it a bit and see what i can achieve.

Really does not go with the story i want to convey right now.

It is suppose to be slowly feeling youerself going into another dimension and losing your mind, not a quiock race into insanity.

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With some of the frames/scenes/ideas for the animation i did create it as if it was part of a storyboard. This helped when i was feeling less motivated as it has more structure to it

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Continuing with the drawing, i found myself being able to quite easily bring ideas together for my animation. I did briefly look at pictures of actual brains and did take a bit of inspiration from them, but I wanted my character to have a more cartoony feel so it would not directly reflect a real-life brain but the manifestation of one that could change chape partly with the anxiety.

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I started to jot down words that came from how I feel when my anxiety feels like my brain is on overdrive and then thought about the different aspects of that.

This then lead to small drawings of these thoughts, and it all rolled on from there

Evaluation

I have found in this module I have started to lean back towards hand drawing, as much as I do like and have enjoyed using my iPad and procreate for my work recently, it has been good to go back to pencil and paper for some of the references and progression of the work.

I feel that I have more control over it and my creativity is at its best with this technique.

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Using After Effects and warping.

I would like to try and get it to go round in circles a bit more.  Though not sure that is possible.
I wanted to go for a bit more mind bending, though I could add words to the screen for this.

Or a voiceover could be considered.

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I have not actually managed to keep up with his notes and thoughts as much as i feel I did in the last module.
The last few weeks or about a month actually as I have been dealing with quite bad exhaustion, and just mostly feeling brain dead.  I'm hoping that is coming to an end now as I am starting to feel more energized and motivated.

Need to take every day as it comes though tbh.

Though through all this I have started to come to the realisation that where my work really lies is in the storytelling and character-based work that comes with animation and moving images.  I focused on storytelling in the last module and it has brought me to here.

I have decided after finishing my (very) short animation for the Our Cinema open call, I feel that my passion is starting to really form in telling stories and how that works, and putting it into the medium of moving images and animation, and want to start writing properly to create more work.

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Though this is not moving image or animation, there is still an opportunity to tell a story with this competition, and I feel this is very much where I want to be in my work.

Animation and moving is just a small part of it, The storytelling is the heart of it all amd the part that brings me the most enjoyment and fufilment.

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Here's Four-and-a-Half Minutes of Cool Space Animations 😁️