Monday 4th August Workshop 6

Things to prepare:

Box of materials

Paints in trays

Printable acetates

OHP pens


Tracing paper

Name tags and register

9 am

Make the educational space:

Bring in fabric and darken it in simplest way

Unroll and animate the paper climbing the partition wall

Stick with coloured tape

Bring in and set up computer trolley

Print out images

Get out gels and step ladder

10 am

Milly and Parag arrive

Look at what Milly has brought in and ask about the website

Talk about these objects and write down the key interests and characteristics somewhere on the wall as a reference

Introduce our images and our subjects into the conversation

Look at shadows of objects on OHP

React, draw/outline/paint/tape

Seeing an object in a different scale and as a shadow changes the way that we think about it. When reacting to this change in perception we make an acknowledgement of a relationship with the original item. By using our own memory to inform a response to the shadow, the image is infused with our perception of the object.

This process proved more valuable than we had anticipated. We found that by sharing the reasoning and choices that influenced our subject/object interests not only did we start to develop a sense of what formed each others approach to thing but we also started to glimpse more of the desires and hopes of the people sharing the information. We also had a great deal of fun imagining what the projected shadows looked like and what the objects could turn into.

Process the object in a different way
Take pictures of the objects and of ourselves
Make drawings of the objects and ourselves
Make prints and print on acetates (different scales)

Reinforce learning by changing the perception of the object and elaborate on what is learnt from these different perspectives by discussing the object in relation to other peoples’ subjects. The chance connections or pronounced differences also encourage us to think about un-thought about aspects of the object/subject.

We thoroughly enjoyed imaging the connections between the objects and painted shapes on the wall. Often the image itself made us veer from the original subject to think along a tangent. It could be the most obscure reference that connected objects, for example Milly often pretended to have tea with her dolls and tea plays an important social role in Miss Marple stories; this in itself was an extension from Parag’s interest in mystery stories.
The classic car that was selected to represent a recent driving experience that Bryan’s dad had in Leicester was typical of the era in which Miss Marple stories were set and also may have featured in a Poirot story, another of Agatha Christie’s characters. We found that the spaces between subjects became filled with endless possibilities for creating an imaginary context where all these subjects and interest co-existed. It also served to reinforce the similarities that we shared from our own life experiences.

Create an environment with shapes gels, paint, tape etc to put the characters into.
Respond to the acetates with pens, we can draw live on acetates as they are projected and react to shadows. Also we can take turns to stand in the projections and take pictures all the time so that we can see ourselves in the images and talk about the different ways in which we can interact with our imaginary environments.

This activity encourages us to extend our imagination by reacting and responding to the ideas and materials then filling in details of an imagined space and environment. We can then step into that imagined space and interact with it encouraging changes and development with the materials that are provided. The environment that we imagine is shaped by our approach and the limitations of the materials.

Milly hugging her doll shadow

Milly hugging her doll shadow

This was perhaps the most playful part of the workshop as we had a great deal of fun projecting images of ourselves into the growing painted material and also witnessing the changes that were made to the way we looked by tracing live on the acetates. There were several moments that had a magical effect on Milly when we cast shadows onto the space that she was standing in. We then encouraged Milly to interact with these shadows, she was overjoyed to see herself holding giant scissors and also hugging her doll that all of a sudden was the same size as her. I should also point out that everyone else was moved by the success of that sequence of pictures (see film).

Photograph and move any extra material to grid and square
Materials to prepare in lunch:
Screen print materials
Tracing paper

Part 2
1:30 to 3:00
Cut out the drawings, shadows, shapes, everyone picks one picture.
Animate the shapes walking up the paper over the top, Milly takes the pictures with the camera. Milly also decides on the character movements.
Locate and arrange shapes on other side of the room.

Animation process creates a suspension of belief and also allows one to think about characters in a narrative format. It extends the use of imagination within the context of time. Recreate a second arrangement of characters to exhibit a change of scenario that is affected by the narrative.

We successfully created an enjoyable and fun sequence using the shapes and cut outs that we each selected but this is not where the biggest surprise came from. While selecting and discussing our choice of shape that we would like to animate it quickly became apparent that we were seeing the work completely differently. It was incredibly enjoyable being able to see through another person’s eyes as they explained what they had seen in the shape and what they imagined that this shape could be or would do as a character. We engaged with this so thoroughly that we did not settle on a narrative for the animation instead we carried on enjoying the different imagined scenarios that the discussion threw up.

Use tracing paper to outline the shapes of the characters or parts of the characters or shapes that interact with the characters. We will use two existing colours and one mixed colour for screen printing and we will cut tracing paper shapes as positives and negatives so that we can screen print onto the cut out animation shapes.
Photograph and move all periphery items to grid and paper square.

The final reprocessing cements the imagined characters in their scenario and at the same time changes what is being seen into an image. Elements of the original object/subject will appear abstracted and we will see a pictorial representation of what has been learnt about the subject/object.

Screen printed cut-out

Screen printed cut-out

The screen printing process proved to be something of a challenge. Not only was the procedure as messy as ever but we had to solve many problems in working with the limited print materials while still achieving a desired image. At this point it became clear how much we had gained from the earlier processes because of the effortless way in which everyone committed themselves to working out the printing dilemmas. It was also evident that we had all expanded the range of possibilities that we considered when thinking about working with limited materials. Most enjoyable was seeing the contentment on all our faces as we worked together to achieve a thoroughly successful printing session. Milly most definitely relished the chance to mix her own colour to print and carry on her experimental creation of colours that she did so much of in the morning.

 Record responses on laptop

The drawing at the end

The drawing at the end


Workshop Leaders:

Measure by Measure

Milly Kotecha and Parag Kotecha


1 Response to “Monday 4th August Workshop 6”

  1. 1 anna parsons August 19, 2008 at 6:36 pm

    I really liked this one the young girl looked as though she enjoyed herself. Keep up the excellent work.

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