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IPS presentation link just in case

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During the workshop of creating the research posters, I created a small process narrative with my printed images. I used images of my puppet throughout 3 different stages, I liked how these images looked together and decided to recreate it for my zine.

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I wanted to include a stop-motion sequence to have a story line / stop motion kind of vibe or the closest I could get before a video.

To get the most realistic looking pictures, I thread a piece of string through the top of his head and held the needle up, this held his body up as I positioned him walking over and picking the flowers.

I edited the piece of string out using the heal tool in photoshop

I chose him to be in the grass / flowers as I wanted it to look whimsical looking, similar to the stop-motion films I reference throughout.

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As my hand in is a digital submission, I felt handing in a digital zine made the most sense.

As my project is about creating physical art and the importance of it - it seems a bit ironic as i'm creating a digital zine. However this is just down to circumstances as I would've liked to create a physical zine, this would've worked very well with my project but I didn't want to have to scan in blurry photographs / videos of a handmade zine.

To help this issue, the majority of my digital zine is physical art I created but scanned in and formatted digitally.

This has been the perfect solution for me and works best with the hand in requirements.

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I prefer the second spread a lot more as it's a lot more engaging and interesting, I was able to include a lot more visuals I hadn't used yet.

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feedback:

could spread text around, rather than blocky text in one chunk, have the illustration and text go together. Images cohesive with text.

more visuals like first spread.

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the short poem I used 'Little scissors cutting at my veins like thread' referenced at the bottom of the page.

I wanted to include the text as it's from one of my favourite stop-motion artists Christiane Cegavske, her poetry books and stop-motion films were inspirations throughout my project.

I liked this poem as I felt it fit well with the meaning of my zine and puppet. I like that it included 'veins' as this is obviously from living beings, the meaning of my zine being objects coming to life, the thread is like his veins.

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page 4

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page 24

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changing background from paper scan to a scan of a book - added more texture / interest

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Cegavske, C. (2010). A Raven in the Looking Glass. Christiane Cegavske, pp.3–111.

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Cegavske, C. (2010). A Raven in the Looking Glass. Christiane Cegavske, pp.3–111.

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Before I chose the topic I have now, my initial idea was for my topic to be about witches cats / familiars.

Ziggy's feedback :

present fictional information in a informational way

make the topic a little broader - too narrow at the moment. for example 'everything you need to know about witches' / or focus on history of witches around the world. / another historical / factual angle.

historical approach rather than narrative

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sent script above for opinion from Ziggy

feedback from Ziggy - 'perfect'

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initial rough ideas sent over to Ziggy

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Eternal Family (2024). Prometheus’ Garden (1988). [online] YouTube. Available at: https://www.youtube.com/watch?v=7MLeNszQ31w 

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Eternal Family (2024). Prometheus’ Garden (1988). [online] YouTube. Available at: https://www.youtube.com/watch?v=7MLeNszQ31w 

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Seed in the Sand . (2022). [Stop-motion Animation ].

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Seed in the Sand . (2022). [Stop-motion Animation ].

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for unit 10 I am intending to make a stop-motion using my own handmade puppets. After I finished my unit 9 outcome, it feels very natural to make a stop-motion animation next.

I would like to keep exploring the significance of creating physical art within contemporary media and show this through my film.

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significant research

films

blood tea and red sting

the maker

seed in the sand

director

Christiane Cegavske - book, films, aesthetic

interviews Henry Selik about the impact of stop motion

significant aspects

during my research, I was watching a lot of stop-motion, mainstream and independent artist films. looking at different styles and effects.

I found a handful of stop-motion animations that really inspired my unit 9 outcome. Some of my favourites I discovered were 'blood tea and red string' by Christiane Cegavske, 'The maker' by Christopher Kezelos and '....' - Alice, anomalisa, seed in the sand. The aesthetics and meanings of these stop-motion films were very significant in helping me have more of a direction for my project. They inspired me to create my own handmade puppet and value the importance of creating physical art.

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Once I began creating my puppet after the initial planning stage, I started enjoying it a lot more. I was unsure about where to start and how the final outcome would look, so I found the planning the most stressful part. However, as I progressed, the process became increasingly more enjoyable.

At first, I felt unsure of how to construct the body around the wire armature as I had never done this before. However, through trial and error, I learned essential techniques for making a flexible, movable character. I gained valuable skills such as crafting a flexible wire frame, applying different sewing techniques, and balancing the puppet’s weight for better movement.

The most significant learning experience came after completing the puppet when I began photographing it in different movements and positioning, I observed how parts moved which allowed me to see which aspects worked well and which needed improvements.

These hands on experimentations helped me realise that I am capable of creating another stop-motion puppet for my Unit 10 film—one that will be even more developed and improved.

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planning, experimenting, creating, mistakes, exhibitions, lectures

go through moodle year plan

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what I want to do

sentence and an image

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work from unit 9 that's important and relevant - why

how each thing shaped intentions for unit 10

very visual select and arrange the images will drive the film

variety of images - research images, close ups

lots of images of my process, how it changed while creating it / making mistakes

once I had started creating my puppet after planning, I started to enjoy the process a lot. The most stressful part was the planning as I was unsure of the outcome and where to start. However once I had started, it got progressively easier the further I went along. It inspired me to want to keep experimenting with puppet creation and continue in unit 10.

very lost at the beginning, unsure what to do next/how to create the body around wire armature. - I learnt a lot about how to make a flexible moveable character - confirmed that I could make another stop-motion puppet for a film for unit 10, however a more improved one. I've learnt a lot about how to create a puppet such as creating a flexible wire body frame, different sewing techniques and balancing the weight of a puppet.

I learnt the most after the puppet was created and I was trying different positions / seeing how the puppet moved. I could see which parts were easier to move and some that could be improved, this is something that I will definitely take into unit 10 when creating another character for a stop motion film.

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key ideas

discoveries

what aspects have been most significant

what helped shape decisions for unit 10

most important things while researching / making

the significance of creating physical art, the impact of stop-motion

Films -

blood tea and red string

the maker

seed in the sand

Making Process

images of wire armature

found objects / materials - texture

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summary of research

examples of my work

clear intention

dynamic time plan

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adding grain / making the images a little more vibrant

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using the heal tool to edit out the string I used to hold it him up

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bursting the images, looking through them and picking out significant ones to use and represent the movement best

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trying different fonts

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"The tactile intimacy in the way the characters are filmed where the textures of the fur and clothing emphasise their materiality and dimensionality, making them seem entirely real even though they are impossible creatures."

"Finish a puppet, build a set, complete a scene; each is a small triumph. Opportunities to show my work in progress are also very rewarding and motivational"

"I’ll never say never, but at this point I don’t see myself working in virtual reality on my narrative projects as I want to curate every frame to tell the story in effective cinematic language"

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Christiane Cegavske Interview: The Alchemy of Animation - Skwigly Animation Magazine

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Christiane Cegavske is a fabricator of self-spun tales, the sole architect of a handmade fantasy world. The award winning director and stop-motion

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In my opinion, the stop motion film ‘blood tea and red string’ created by Christiane Cegavsk really encapsulates everything great about the stop-motion medium. It’s a very organic and intimate film which is mainly shown through the character and set design, it brings the audience into the world, as if these characters are real. The dreamlike world fits perfectly with medium, no other medium would have fit this narrative and style, other than stop-motion

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natural wear of stop-motion puppets

handmade puppets last forever, they don't stay perfect and clean

natural wear of a puppet over time - discolouration, frays, tears

captures the natural wear of something handmade, what happens to the clay/fabric/overtime.

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Soria

vercetti regualr

work sans

yantra one ?

sreda

shadow hand - maybe for smaller bits ? one words

questa regualar

pigeon

neuton

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with this page I wanted to create a sort of DIY/crafty page

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the gird mat thing I was working one while creating the bunny

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drawing wire skeleton on plastic and overlaying it on top of bunny - show the underneath/creation of bunny, it has lots of layers to become what it is - not just one layer

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shopping list from when I was at the haberdashery

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printing off images using coloured backgrounds - then scanning back in to have more texture