Text and Context

This project was about exploring narrative structures and realising how they are often the same throughout many stories but in different contexts. We were given a handful of different texts and settings to pick from and form a new story. We were to essentially re-tell the narrative but in a different form. The new story we were making needed to exist of elements and key events from the original, and it had to be either a book or graphic novel, video or animation.  I picked The Metamorphosis by Franz Kafka and surreal.

I started the project with the intention of creating a graphic novel, but in the form of a collection of GIFs. I broke the narrative structure of the original story up into a list of key events:

  • the main character wakes up and realises he is a bug
  • his family freak out
  • a period of time passes and his family don’t want him anymore
  • the main character buy man dies in the night
  • his family move on

And then I reduced that to a more basic and anonymous version (out of context to the original story):

  • being becomes another being
  • family reacts negatively
  • being dies
  • family moves on

After a ponder, I decided that I was of course going to change the bug factor, and I came up with a list of possible ideas for the main character to wake up as:

  • spiderman
  • a bbq
  • radioactive
  • underwater
  • made of watermelon
  • caveman times
  • lefthanded

I decided to go with the character waking up left handed. I researched why left handedness could be seen as a bad thing and any historical or religious connotations. I came across a website of the ‘Landover Baptist Church’ as the forums contained very questionable and aggressive statements. Upon closer inspection, I found that it is a fictional, satirical website (yay). The site contained an extreme amount of silliness which meant that I loved it. Someone with the username ‘Bob4God’ who is an ‘Arms Dealer for Christ’ commented on the ‘issue of the disgusting, alternative lifestyle of being left-handed’. The website also contained a map of the fictional park called Jesusland. It contains a racial profiling centre, an airport, ‘S.S Noah’s Ark 2’ luxury escape ship, a gift shop, a rifle range and the world’s largest gold cross amongst many many other things. I decided that this is the perfect place to base my narrative, and so the other characters would be beings of the cloth.

When having a mid project crit, my idea completely changed. The tutor asked us what we would do (outside of this project) if we had an unlimited budget and all the space we need. Something which I have been considering for a while is creating a surreal video/ comedy sketch. And so, I applied this to the project at hand and got cracking.

I bundled inspiration from the League of Gentlemen, Boosh, Monty Python and such and began considering and conceiving relevant thoughts. I wanted this video to be funny. The problem with that is, which I buoyantly discovered, trying to make something funny isn’t all that easy. I wrote a few ideas up but frustratedly lost hope with them, leaving them outside the creative house to die. And then! I realised! I’m a fool! I had already brewed a narrative from my previous expedition which I had instantly dropped the moment I decided to change my outcome. So I lovingly hopped back to my original left handed crusade. I had a few ideas, and even pumped out a poem. (wow!) After all this splashing around, I only had a week to get things done. I embraced this and started storyboarding something together.

My idea was to have someone wake up, drink some water with their left hand, but the hand chaotically scrambles this attempt leaving the person all watered on, they exclaim loud sounds which gains the attention of a second person who asks what the shit is going on, the wet person can only talk in connectives so tries to write down what has happened, the second person sees they are writing with their left hand and reacts monstrously.

And then for some reason I felt compelled to spend my time wisely and create this digital drawing of the sofa bed..

I decided to swing straight into it and started filming. I shortly discovered that the funnies happened when actually filming. Ideas came as to how to cause smiles which was reassuring and fun. Also my main star actor and fool Mr Harry Cole was brilliant at both acting and coming up with ideas. The process of doing was where most of the direction happened for the video, no matter how much planning. Also I played around with editing as well as different shots and perspectives. From the Narratives of the Unconscious project in semester one I learnt of the excellence of sound effects and music, and so had a fiddle. Below is the first video I made, originally intended to be just a mockup and a test but turned out to be a piece in itself.

After editing I was satisfied with the video as a whole. I fully acknowledge how much I’ve strayed from the path in context to abstracting the original narrative and how inconclusive it is compared to my original plan however, I carried on playing around with video and created this separate video as I had an idea for there to be a dream sequence at the beginning of the video. It features myself staring into the camera with no audio. It is a living execution of an idea taken a step further regardless of relevance.

Another joust into the depths of relevance was using the previously written poem and spending two hours editing it to exist as this video.. I wrote it all with my left hand.. that is partially the reason it took so long.

Anyway, I regrouped and did some more filming and built on what I had learnt from A Left Watering and pursued the idea of utilising a dream sequence but of a foretelling nature.

I enjoy the notion of the left hand having its own disruptive agenda and a mind of its own, especially in the context to everyday experiences. I also experimented with using and not using a tripod as an attempt to emphasise the atmosphere. I found that no matter how much filming I had done, I was always being really selective when editing which meant I had short end results. I view this as a positive and a negative. Yes it is dampening to know I spent so long filming different angles and shots again and again, but keeping it short and sweet enables a much more interesting and enjoyable end result for the viewer.

I feel the two main pieces of video I have produced are strong in structure and quality, however I am not going to jiggle around the fact that they are rather nonsensical in their narrative nature. The viewer doesn’t really have any idea what is going on and why other than a rough idea from the title. While I like this, it doesn’t entirely fit the brief.

I went to the final crit with my videos and received useful feedback which I intend to act on and take this project further post-crit to create a finished piece. The main conclusion which was concluded was the realisation that I had, quite impressively, created just a middle segment of the narrative. We discussed how in order for the piece to make sense, it needs context in the form of a separate beginning and ending, to which I agree with bells on. We spoke of how this could be achieved through the use of perfect right handed people doing everything absolutely perfectly perfect, which would contrast to the chaotic nature of the left handed person doing everything unperfectly unperfect. I also showed a blooper collation I had made, as I was exploring the notions that come with unintentional creation. I liked the idea of a blooper reel as complete freedom compared to creating the videos, it is a mixture of things that went wrong and silliness. It does not conform to the guidelines of a polished outcome and it is allowed to. Also it acted as a good editing exercise.


This project started with a short exercise which required us to create a series of basic movie posters through experimenting with text, image and meaning. Bellow are the posters I made:

I am largely pleased with these posters and feel there are some which are obviously stronger than others. The point of the exercise was to be thinking about the composition and style, they weren’t meant to be polished and perfect, but more like quick renditions produced without getting too precious and indecisive to loosen us up.

After this, we were briefed with the ‘actual’ project which required us to create a manifesto. The brief explained the manifesto as a communication made to the whole world. A simple declaration of intent used as a powerful tool for presenting ideas, themes and political, artistic and cultural concerns. The brief asked us to produce a piece of work on an issue or theme which we feel strongly about. Out of all of the things in the world, I decided to allocate myself with exploring my passion for nonsense.

I started my project by researching all things to do with nonsense. I largely found myself coated in children’s literacy, mostly in the form of poetry by people such as Edward Lear, Spike Milligan and Michael Rosen. Most of the poems produced by these birthers of nonsense retained a fair amount of narrative. When probing my brain pieces deeper into the definitions of nonsense I found it to be defined as a communication via speech, writing, symbolic system, that lacks any coherent meaning. I discovered that it is usually used for comic amusement and satire, or to illustrate a point about language or reasoning. I then came across an ‘official’ example of nonsense written by American linguist and cognitive scientist Noam Chomsky: “Colourless green ideas sleep furiously.” In this sentence, the individual words make sense and are arranged according to proper grammatical rules, yet the sentence reads as nonsense. It is grammatically correct but semantically nonsensical. When researching nonsense verse, I came across something called ‘Martian Poetry’, a minor British poetry movement in the late 70’s early 80’s started by Craig Raine and Christopher Reid, where everyday things and human behaviour is described in a strange way, as though by a visiting alien. This enabled common places to be viewed in a different way and enabled an innocently bizarre perception of the world. And then of course there is Dada poetry which wildly embraced every element of nonsense. They used puns, wordplay and experimental poetry and literature to free text and speech from the conventional and mundane rules of punctuation and spelling. One infamous technique created by Tristan Tzara in 1920 allowed anyone to create poetry using chance. This left the responsibility of communication and meaning out of the artists control. His instructions were to cut words from a newspaper and place them into a bag to mix before dropping or placing them onto a surface without disturbing the order they appear in.

Part of this venturing probe into nonsensicality was explore and learn  why I adore it so much. I visually explored this in my sketchbook, noting thoughts and understandings about how nonsense is a comfort and affirms the unavoidable chaos and uncertainty. Its purpose is to not make sense, which in itself makes sense. Below are some scans from my project sketchbook.

As seen in the last scan, I had an idea to re-create the alphabet in the style of a children’s workbook but with some polite nonsense. I then digitised part of this to see what it would look like if I was to take it further and create a zine/educational workbook.

As my drive for this idea faded for it was kind of a dead end, I had myself a think about what it is that I actually wanted to make for this project. This next decision was influenced by a crit I had for another project I was doing along side this one (Text and Context), where the tutor simply asked what we would really like to do instead of what we think we should do, because that is where genuine motivation resides, in context to our creative practices. I embraced this way of thinking in relation to this project and asked myself what I would actually like to do. Something which I have been meaning to do for quite a long time is create a poetry zine. I then applied this desired outcome to this project and made it happen. Fortunately this worked quite well due to my direction towards written word, and so I started writing my own nonsense poetry.

I allowed all of the words in my brain to freely dance about, using free association and plain silliness I started writing poems. I did not pick a theme or object to write about, I just simply wrote and let the poems manifest themselves. I decided to title the zine Poemtry, a mix of poem and poetry.

While writing the poems, I started to screenshot certain ones which I would change so that I would still have the original. I saved these images into a folder titled ‘Poemtry Graveyard’. Bellow is a quick composition which I made from them.

I had quite a few ideas about format of the zine once I got going. I began playing with the position of text and order. I also had an idea to start it with use of rhyme, but slowly this progressively gets lost throughout, leaving the end poems being complete spaghetti.

When printing off a mockup of what I had done I encountered problems. I could export my indesign file to a pdf normally, but when trying to print it as a booklet in adobe acrobat the double-sided pages would always be upside down, rendering them a waste of paper. I used them as scrap paper to make a small booklet to present my film poster designs in my sketchbook, and in doing so, I accidentally created really interesting compositions. Some pages would be blank, others would have snippets of text sideways in different positions of the page. This opened my mind to embracing a more unconventional nature of presenting the zine which would feed into the nonsense theme. I still troubleshot the printing issue and managed to solve it so I would have at least one copy printed in the way I originally intended, however this delightful inconvenience inspired me to mess about with the layout of my poems.

These first two GIFs I created of the original Zine which I printed after I resolved the issue. The image bellow that is my three favourite poems from the zine.

Below is a GIF of the accidental compositions I made as mentioned above.

This project is going on throughout the whole semester and so I will be updating this post when I make more progress as this is where I am up to now.

Adebayo Bolaji


Adebayo Bolaji is an artist among other professions such as actor, writer and director. Born 1983 in London, where he currently works and resides, he is of Nigerian descent. One of his main qualities to his working theory is honesty and play. He believes it is important to maintain a childlike rhythm, to utilise its rich unpredictable and truthful qualities.

“Ade believes you should walk into a room and be a child first. That is how his “technique” is formed. He says, if you go into your work with an unpredicted child like mind, your true self will immediately be shown.  Edit with your mature self, and you should have an accomplished piece.” The Quater Concept Interview

His influences derive from life, music and environments, but more specifically from artists such as Francis Bacon, Jean-Michel Basquiat and Jean Dubuffet.

Here is a collection of images taken from both Bolaji’s website and The Quater Concept’s Interview.

I discovered him on Instagram and began exploring his website, where I came across OCHRE PRESS, a London based arts media collective started in September 2017, whose focus is representing emerging artists and writers. Bolaji has published a limited edition poetry book through this collective, producing 3 versions. 2 more expensive versions with different covers, and a less expensive version. Another artist on their site who I knew the name of was artist Daisy Parris, a person who I also adore.

Bolaji also has a Youtube channel which contains clips of his multi-platform work, I particularly enjoy this video of him working:

When comprehending what it is about Bolaji’s artwork which I am drawn to, I realise it might just be all aspects of it. Not only the outcome, but also the process. The rich visual language, confident clashes of vibrance met with uneasy and immature trails of line. The use of the figure, predominately faces, met with snippets of written text interwoven by layers of textured colour, coexisting with fragmented unity to create strong solid compositions.

Something I thoroughly enjoy about discovering artists of this era is the abundance of information to be easily accessed. One of my favourite things is to be able to watch them work. To see a clip of an artist who I admire working is so insightful and inspiring, not just on a practical and technical level but it can completely change how I view the works (of any artist for that matter). To see the energy, the rhythm, the habits and techniques, and to attempt to understand the decision making process. I am definitely a fan and supported of the process being just as important, if not more so, then the outcome. Without the process, there would be no outcome. To go to a gallery and see a finished piece of artwork is insightful and astounding no doubt about it. But to be able to see the thought and process to getting to that outcome is somewhat more impressive and almost more valuable. It allows a relationship with the artist to be more personal. However obviously this cannot truly exist alongside the finished result, unless documented and expressed through moving or static image. This is perhaps the main reason why I utilise Instagram so much. It provides a ‘real’ insight into the lives and works of creators. It provides a personal live feed of their work and their life. It breaks down notions of us and them, humanising and bridging the gap.


Blah blah blah




Christmas Card Project

Over the Christmas break I was set a project which required me to produce a Christmas card design. It didn’t need to celebrate Christmas, it was to be a reflection of my own opinion and thoughts surrounding the theme of Christmas.

The first thought which catapulted itself into my frontal lobes was to create something with the theme of the Bin Man. After all, he is a Christmas hero. I was thinking about him in relation to Santa, and what they have in common. I created this graphic to illustrate their relationship.

I wrote short phrases such as ‘Merry Christmas from the man with the black sack’ ‘Merry Christmas don’t make a mess’ and ‘There are 2 types of sack at Christmas: 1. where presents come from 2. where boring presents go’.

I then tried to imagine what Christmas must be like from a dog’s perspective.

I then drew some Christmas paraphernalia (because I wanted to)

I then chased the idea of creating imagery in the form of an ill-written Christmas list. I created these 2 images.

Increased festivities:

I make a brief mock-up of my chosen design.

This design related to my perception of Christmas because it reflects my personal wishes and desires (which will hopefully come true).


Performance Project

On the 27th November 2017 the whole of level 5 illustration was briefed with the ‘performance project’. We were presented with a text and given 3 weeks to put on a live performance. The brief asked us to split up into different teams:

  • design – includes set and costume design
  • visual effects – includes projections, lights, sounds, music
  • writing – includes generating the script and directing
  • promotion – documenting and online promotio

I decided to be a part of the visual team and my main resposibility later down the line was solely lighting.

The text was titled Sredni Vashtar and was written by Saki in the early 1900’s. Read the original here. It is about an ill child who escapes reality via his imagination. He discovers a ferret in his shed and transforms it into a God. He prays and worships to him, and titles him Sredni Vashtar. The woman who looks after him notices he goes to the shed a lot and so goes herself with intention of removing whatever has been distracting him. The story alludes us to believe the ferret killed the woman.

At the start of the project there was much uncertainty and things were slow. This is becuase the writing group needed to produce a script before any of the groups could really do anything with certainty. It was the most confusing period in the project, as it seemed everyone had their own interpretation of the story and how it should appear. Soon after a first draft of the script had been written, the groups could start properly working on the project.

Along with the other groups, we found ourselves waiting around for specifics and decisions to be made before we could start producing concrete work. For the first week we were largely generating ideas to be shared and comprimising on what could happen. By the second week, main aspects had been established such as how the stage was going to be set up, what characters from the story were being included, the tone, overall style, finalised versions of the script etc.

This delay resulted in the bulk of our work being produced in the last week and a half before the performance itself. Subsequently this was extremely stressful!!!!!!!!!!!!!!!!!!!!!!!!!

Before I fully pledged my soul to being on the lighting team, I was originally making an animation for a ritual sequence. The idea was when Conradin was praying to Sredni Vashtar, a big ferret would be projected above the shed presenting him in a God like way. There were quite a few things which tripped up this idea. I based this idea on quite a few assumptions about things like the staging and how the shed was going to look. I did this so I could start working on something for the show, as I felt like I was twiddling my thumbs and planning things which could or could not happen. I produced a basic GIF of a ferret from a drawing. My idea was to only animate small aspects of the image to make it appear alive but not be overly distracting, for example blinking. 

This GIF was my draft to improve off of. My feedback was that it was too literal/detailed and needed to be more abstract, to which I agreed with. Before I was going to scramble egg the ferret, I decided to work on a godly background. I nabbed a funky GIF online and adjusted each individual layer on Photoshop to produce this:

I was quite pleased with this, and thought of many ways inwhich I could edit it using Aftereffects to make it less harsh on the eyeballs, and to overlay something ferret like infront of it.

But then when examining where and what the stage areas would look like in the performance studio, it was discovered that nothing could actually be projected above the shed as behind it was a wall covered by a black curtain. The point of the projections was to be on the screens we’d decided to use. So this halted my idea, and by this time we were working largely in the performance studio and needed people to do other jobs, and so I became a person of light!!!!!!!!!!

It was now the end of the second week, and my team of light people had the job of setting up ALL the lights for the performance. We had to consider where the projections would be during the performance as to where lights would shine from so it would not wash them out. After an induction to the lights and their possibilities, we had to decide what lights on the ceiling rig we would be using, what direction they would be shining, and if they would use coloured gels. Also set up the spotlights into the specific positions (which was difficult as we didn’t know where exactly objects would be placed and where the actors would be acting), so we did have some authority over some aspects of the play, usually interms of limitations and positioning of things. After setting up the rig and using 2 floor lamps, we had to connect all the appropriate plugs relating to the numbered sockets in the correct spaces to be used on the light deck.

We then had to programme the order of lights turning on into the ‘submasters’ memory. This meant that we could programme each scene and assign multiple lights to come on when we pushed up one slider. This makes everything easier and interms of saving us from having to manually turn up all the lights per scene/ happening, however it was rather difficult to actually do. We had to run through the script multiple times, pinpoint all the cues, decide what needed lighting if it wasn’t addressed in the script, programme it into the technology, write cues so we’d know exactly when to use each slider…. fiddly business. But I’m not mentioning all of the cOnFuSiOn AnD fRuStRaTiOn in doing so. And then when doing run throughs find that people wanted it differently.. and so having to reset elements. In total we had 26 submasters across 3 ‘pages’ on the machine, and at times had more than one slider up along with having to cross-fade and face to black at points.

Also working from the script was awkward as things on it regarding lighting were vague. It refered to the use of spotlights quite a bit, but we soon found out that there were no moving spotlights to follow actors around, only fixed ones. Also we had to keep the end part of the stage largely red and the house largely blue and cold as we were limited with lights, and so we couldn’t do parts where ‘the whole stage lights up red’.

Once all set up, our job was to light the performance live. This was a whole new level of stress and confusion. We had to know exactly what was going on regards to lighting the correct parts of the stage at precise moments. It didn’t help that we could not see the whole performance space from inside the little room we were stationed, so a bit of guess work was involved. Also, it didn’t help that every time we ran through the performance, lines would be altered, dropped or forgotten. The cues weren’t always the same in this respect, so it made it that little bit more difficult to know when to change the lights.

When it came to the performance, I think we did a good job on the lights. Nothing went dramatically wrong, there were a few slip-ups but nothing that the audience would really notice. At times I did wish that I was on a different team, perhaps prop making, as I felt it would have been a lot less challenging and stressful. Looking back I am glad I did what I did as I have learnt a large quanity of information about lighting a performance, and I now have a new found appreciation for it.

Also 360 degree live stream video was a thing but I’m not sure the University Wifi could support it…

I think one of the hardest aspects about this project was the amount of people involved in it (over 100 students). This meant a lot of miscommunication as all the groups had to work closely together towards shared outcomes or else it would have fallen apart. There was a lot of negotiation and collaboration regarding key decisions and ideas about how things should be. It did feel like we were all working togther as a big team, all trying out new things and doing something we had never done before. I think the play was succesful (from the angle I saw it) and I do wish I could have been able to watch and enjoy it from the audience perspective.

Another outcome of the project was to create a poster advertising the performance, bellow are 2 variations of the poster I made:

I like both of the designs as they hold different qualities. I was going for a simple design which I think is communicated. The text contains information about the performance, written in my style. With regards to the illustration, I made it on Adobe Illustrator using a photo of Mrs Deropp from the performance. I think it captures her character as she is portrayed to be quite arrogant and self centered. I prefer the darker poster as it relates to the darker undertones of the performance.

Below are some scanned pages from my sketchbook for this project

Performance Facebook page

Performance website .   <- Contains ‘behind the scenes’ photos

Making the invisible visible

This project required me to construct a sequential narrative to be revealed by interaction with an environment through a smart phone/ similar networked media device. I chose to use free online augmented reality software called Aurasma. Bellow is a copy & pasted version of a presentation I made explaining my project:

I based my project on a personal experience from roughly half a year ago. I briefly awoke in the middle of the night to turn over, but when I turned I visually hallucinated a tall figure (being) looming over me. It did not make any sound nor any movements, it only swayed. The experience can be explained by waking up during a stage of sleep, almost jumping into a dream based reality.

This is relevant to the brief as it is a literal manifestation of something invisible becoming visible.

My idea was to use objects in my bedroom as ’trigger images’ and use Aurasma to overlay a boiling GIF. When the in app camera pans around the room, Beings emerge and watch.

From the very beginning of the project I encountered problems with Aurasma. My GIFS worked in the desktop version, but when viewing with the app camera they would not move.

This issue was eventually resolved as the GIFS did not have enough frames to be played. Amazing.

Another GIF that I made

I then decided that the piece needed a more obvious narrative.

I wrote out the experience using my words. After reading through it, I realized that it would be interpreted as pure nonsense by the casual viewer.

To resolve this, I added periodic translations in brackets underneath the text.

I scanned, traced and created a GIF existing of 123 frames which presents the words.

My idea now was to create a double page spread in which would appear in my sketchbook.

The next painful pleasure to execute this idea was to slap it all together into Aurasma.

It worked in the sense that it was successfully placed into reality, but a characteristic of Aurasma is to consume and spit out GIFS. To slightly overcome this and to examine what it would look like, I stumbled over to Adobe After Effects and created a short video of the GIFS overlaid onto an image of the spread I was using…

Relatively satisfied with what I had so far, I decided to add in another object to beam a Being. I decided to use my guitar as it generally sits in the same position as it is in a stand, and so there wouldn’t be too much variation for the Trigger Image not to work.

I experimented with placing the GIFS outside of the Trigger Image, which meant they were big.

I then created this film and phone recording to show my work.

A mild evaluation.

I believe my outcomes for this project are successful as they appropriately communicate the narrative and aesthetic which I was aiming for, and I am happy with them. Although the GIFS are relatively simple in appearance, they are effective and strong when placed into the real world via the Aurasma app.

The reasoning behind the pieces taking place in my bedroom was to relate to the original experience, almost recreating it. The objects I picked (canvas and guitar) I felt were good permanent structures, things that rarely move from their place and therefore steady trigger images. The sketchbook however, although the pages I used are permanent, it can be moved and taken into different environments and still work which is an aspect I enjoy.

I have learnt new skills throughout this project, including understanding how Aurasma works and its capabilities, creating GIFS, and learning how to use Adobe Aftereffects for the first time and building a relatively good relationship with it.

I encountered a handful of technical problems whilst carrying out this project and found solutions to most of them. However, a problem which I couldn’t seem to overcome was the lack of playback quality when viewed through the Aurasma app (as seen in the videos). It seemed the app was churning them out low res, no matter how big or small my files were. This is a shame as the GIFS themselves are high quality and crisp.

I believe I could improve my outcome by focusing more on the video. I could do this by including sound. Although there was none during the actual experience, it would promote more of an atmosphere. Another point of improvement could be trying to add more of a narrative to the video displaying the Aurasmas. I could have filmed it from the perspective of the bed, to make the viewer feel as though they are in the bed and looking around to see Beings emerge.


Narratives of the Unconscious

For this project I had to create a film based loosely on material dug up from my own unconscious mind. In order to gather this material I participated in a workshop. We all partnered up so one person could explore their mind bits and describe it to the other, who was writing and drawing it down. We were verbally guided by the tutor, and visited a few places and encountered a few beings. My visual delve chucked up a man made of marzipan, a woodlouse wizard, an angry frog, sunburn among other things, and was largely set in a volcano. And so, I took elements of this and started whipping together me a film. Another massive aspect to this project was the notion of doing something badly. We were told not to overthink or doubt ourselves, and to just do. To make things. To not always question everything. To go with the creative flow. Instead of being stuck and not knowing how to bring our ideas to life, we were instructed to carry out the task as badly as we could. This creates a starting point to which can only be improved. The very nature of plucking material to work with out of the imagination also implicates this idea.  Furthermore, I hopped to it, encountering and overcoming hurdles along the way like a brave warrior, and I ended up with something quite interesting.

Inside The Volcano from Ella Krill on Vimeo.

My film is called ‘Inside The Volcano’ and is a 1.04 minute long stop frame animation. It delves into the farthest parts of a volcano, where strange antics occur, before erupting.

The strongest links to my source material was the volcano, and a marzipan like creature. The rest of it I pretty much made up and went with. Which is perfectly fine and sits snugly into the brief. I found that due to the nature of how I work, which tends to be quite quickly, I struggled a bit with it at first. Frame by frame is like making something out of lego really really slowly. With averagely 12 frames per second of playback, I began to get quite restless when shooting. It was only when I edited it all together that I reeked the benefits of this slow process. Also, at times I felt it was too fragmented and unstructured. Not even I was sure what was going on or what the narrative was going to be. It was taking the form of lots of short clips which although is nice, they didn’t feel related to each other. But, I put faith in my unconscious and let it manifest itself. After a while, I started coming up with specific frame ideas and started storyboarding. This was great as it was the structure that I needed. I used them as a guide and let happen whatever my mind made happen as I was recording the piece. This project was quite demanding on the technical skills of editing and collating the photos, but also of physically creating the set, props, and characters. Luckily I had some help from friendies (credited in the credits) who were able to suggest ideas and solutions to my questions and problems, such as how to erupt a volcano and make it bubble.

In conclusion, I am extremely pleased and proud of what I have achieved! I really like the film and think it is strong, I enjoyed this project not only because of what I have made, but because I found it very fun and I basically made up stuff up and improvised!! Oh and I love sound effects.

Animation Workshop

On Monday 9th October 2017 we had an all-day animation workshop. We were taught the basics of different animation styles and techniques, and briefly shown how to create our own. Below are things which I created on the day. They are not that defined due to a lack of tripod, generating them free hand within a short space of time, and using phone apps to collate the images together.

This was an exercise to create a blink. To get a consistent head shape I created a stencil out of paper. In total there was 6 frames, each with a different eye shape to generate a blink when placed together. It has many flaws which I’m not afraid of, largely existing as a big sandwich of inconsistencies of shape and tone, resulting in drastic differences between each frames which distracts from the blink itself. However, I am pleased with this creation as it was successful, and I feel confident with the technique that I could take it further to create a more structured and stronger blink.

This animation was a happy slap of fun. I used more of a stop-motion technique but with lines and such. I enjoyed making it as I literally made it up as I went along, which was liberating. Again, its flaws exist in the jolty frames, which would be ironed out easily with the use of a tripod.

This animation is of similar nature to the previous one, but it has more of a plot twist…

I created this animation through a technique referred to as boiling. It is simply a technique to give movement to what would be static images. This is perhaps my favourite animation generated during the workshop as I feel it is the strongest. I drew the same face out 6 times, each time tracing over the first, to keep it consistent but allowing the natural alteration each time. I then filled in the space with a loose hatch, which really helps with the boiled affect. To eliminate the changing area around the images I created a window for the face to sit within, creating a more consistent frame which does not distract to the same amount as the first animation.

In the evening of this day I went to ye old cinema and witnessed the live broadcast of the world’s first fully oil painted feature film, Loving Vincent. It was made over a period of 7 years, first filmed with actors against a green screen, then painted by 125 artists trained to paint within Gogh’s style in over 62,450 frames, painted over the course of 2 years. It is a true mix of detective work surrounding the artists death and pure beauty of stunning animation. I feel it necessary to see the film a few more times to be able to fully appreciate every aspect of it. I felt like I appreciated it even more for understanding how they animated the countless oil paintings given my knew knowledge learnt during the day.