A gallery of process:
This project was dedicated to Lydia, who is a loved one that passed in early 2021, she was such a vibrant and wonderful part of my life. She was a creative that loved craft, singing and had such love for her animals, her home town in Scotland and dedicated a lot of her time to spread awareness for her disease of Crohn's and disabilities. So, to Lydia, thank you for being a wonderful figure in my life inspiring my art and love of creativity.
Animation Trailer:
Animation Progression through this project Video:
Progression:
The planning stage:
The traditional Painting progression:
Images: Progression of the gallery creation; editing and projections:
The still art (I drew) within the animation:
The Animation:
The final production: Immersive Gallery Exhibit:
Critical Evaluation:
Reflection On Final Major Project: Projection Animation Gallery
Contextual Evaluation of the process during the production of the artefact:
Stepping into this project gave me the opportunity to learn about the process of making a fully animated immersive gallery experience that may evoke a variety of emotions in the viewer using colours and hues. Although the production process brought some challenging detours and taught me a lot of new abilities, there are still a lot of areas that, given the time constraints, I was unable to investigate and would have preferred to focus on in order to improve this project even more. In spite of all this, I managed to present an abstract narrative that integrated the studied models, in a linear fashion, of the five stages of grief (Kübler-Ross and Kessler, 2005), each of which is represented through a character's journey alongside specific colours and hues (AL-Ayash et al., 2015) that correspond to each stage in the immersive gallery product.
Starting with the fundamental scripting and storyboarding of the story outline for the animation using illustration software (Procreate, 2011), the production process involved figuring out the aspects I wanted to be immersive, the overall narrative flow, and the ways in which each of my research methods would contribute to the installation. After I got a basic idea of what I wanted to achieve, I used Procreate (2011) to take my concepts and produce multiple character designs that I could utilise in the animation.
The original character designs were quite detailed, but I soon realised that I would have to simplify them even more because of my time restrictions. In the meantime, I began practising various animation techniques, applying the 12 principles of animation (NYFA, 2023) and using particular elements from this research technique (Lee, 2019), in addition to using visual tutorials (NobleFrugal Studio, 2016) of particular movements to practise and create the motions I wanted my character to have. In order to accomplish this on the specific software I was using, Procreate Dreams (Cuda and D’Este, 2023), I had to look into professional artists who served as the program's testers (Relth, 2020), I did this so that I could use this brand-new software more creatively than I previously had, especially as I never properly navigated this particular application before.
After doing more research and learning more about Procreate Dreams (Cuda and D'Este, 2023) and how it differs from other animation software, I began experimenting with the program to see how I could make different movements and effects that would be necessary to illustrate the idea of using colours to abstractly portray different stages of grief, such as using sfx with the different hues and creating the classic timeline squash and stretch to create flowing liquefied animated movements for the glowing orb within the story. In addition, I dedicated many weeks to a traditional painting using oil, gouache, and acrylics as my centrepiece memorial, which is based on the life of a loved one who passed away in 2021, and I wanted to honour her vibrant life as my focal point of mourning.
Following the experimentations, I began to produce a variety of movement cycles throughout the course of the months, digitally hand drawing each frame, key frames, and the inbetweens, such as walking cycles or crouching down, as I needed the character to be able to move in a variety of ways, such as running, walking, and interacting with other animation elements. Dreams (Cuda and D'Este, 2023) has entirely different layouts and tools than other animation softwares; for example, it has a flipbook style of animation without lasso or shaping tools. As a result, I had to rework and relearn an extensive amount of the software's various different elements before I could even try developing my animation.
To split the stages so they would appear on different canvases for the exhibition presentation, I intended to use movement in addition to colour. Originally I intended for the installation's set up to include walls surrounding the main centre canvas, but I had to improvise as the moveable walls were unavailable. To still demonstrate the idea of an art gallery, I created additional canvases around the traditional painting using paper and readily available easels. This improvisation ended up strengthening the gallery concept and making the various scenes stand out even more, drawing in the audience.
Before revealing the finished product, I divided each scene from being a full animation into the separated stages of grief (demonstrated through the different colours) that would be presented on each canvas flowing into each scene. This took me until the last few days of the production process. This was mainly caused by a variety of external factors consisting of my health, both mental and physical, having serious issues during the last three of the four months that I worked on this project.
Moving on to the editing stage, I edited the animation segments into a complete video, using CapCut (2019). This included a number of standalone videos and transitions between each stage, which were used to project the individual videos onto a gallery wall to create the illusion of moving art pieces.
After finishing the editing, I turned my attention to the more immersive components, making the projections that would combine with the animation to create this exclusive gallery installation. In order to accomplish this, I used MadMapper (2014) 5.6.1. First, connecting the two projectors to my computer, then using MadMapper's output setting to determine the exact location of each quad, (adjustable shape) on the program where the contents of the projector would be portrayed and outputted to the audience, onto the canvas'. Finally, I imported the animated scenes into the various quads within various scenes, using the scenes/cues component of MadMapper (2014), to have the character exploration be spread throughout the various canvases across multiple scenes. Therefore, creating this illusion of coloured grief flowing as an abstract journey throughout the entire exhibit.
Reviewing the Research Methods that were utilised within this Innovation:
When it comes to applying the focus of my study on the theme and methodology, I began by building the story around the original model of the stages of grief (Kübler-Ross and Kessler, 2005) and maintaining a fairly linear experience for each stage, with the primary idea being the impact of colour psychology on the brain (Metz et al., 2017) and explaining why each stage is coloured in a particular way.
Hence, I selected red for the anger component of this to incorporate the use of the theory that red can raise your heart rate and connect you to pain or frustration (Martini, Perez-Marcos, and Sanchez-Vives, 2013). In contrast, denial was created to be in black and white within this, using both additive and subtractive colour wheels, as it is both the complete combination of all colour wavelengths and its absence, which is appropriate given that denial is often nature's way of managing shock by only allowing in as much as we can handle (Kübler-Ross and Kessler, 2005). While green is a neutral, natural colour that frequently represents life, bargaining can be associated with the mistaken belief that one can negotiate one's way out of grief (Kübler-Ross and Kessler, 2005) so that one can continue with the hope of living with the lingering presence of what has been lost. I settled on the colour blue to represent depression because it is the opposite of red in terms of emotional resonance. Although blue is inherently peaceful and relaxing, it can also be overly melancholy since, similarly to depression, it can sometimes be an overbearing, suffocating or overwhelming colour. Ultimately, I picked a golden yellow symbolising acceptance, which is frequently connected to happy, joyous emotions but also to caution. I created this to show how grief and acceptance may coexist but true acceptance takes place gradually rather than all at once.
However, during this process of using colour theory for the stages I decided to keep other hints of colours to bleed into each stage to signify that the other stages are still there lingering in the background. In an effort to illustrate the idea that grief is not quite as linear as one might hope. The colours highlight that this character tries to live with the lingering feeling that the loss of that loved one will always be there and forever will remain there.
In light of the frontline of this media creation process, I decided to use a simpler method to fully immerse an audience by utilising projections that let them experience the character's journey from the outside perspective. Utilising methods from MadMapper (2014) to tell the story using scenes and cues, arranging the videos so they play one after the other, then arranging each scene to fit inside its own frame and canvas. Those approaches could have been improved to use even more immersive technologies, such as having 3D elements popping out or having some interactive elements to immerse the audience even further. Although they were effective for this 2D gallery artefact where viewers can observe the abstract take on grief and colour, moreover the methods employed by using MadMapper (2014) for projection mapping into the art pieces worked effectively.
The main research technique that I frequently referred back to during the production process was the 12 Principles of Animation (Lee, 2019). This allowed me to produce a well-timed animation and gain an understanding of a professional animator's approach to animation. A variety of techniques that I used were interwoven with this self-directed research, and this ultimately worked well with the projection mapping immersion of the entire piece. I was able to apply a few of these techniques into the motion of the animation, such as anticipation and squash and stretch. This proved to be beneficial when added to projections since it gave the entire animation more movement, which enhanced the audience's ability to follow each scene with a variety of style techniques.
Once everything had been put together into an exhibit and the artefact was made visible to the public, I answered questions about how and why each section had been done and got feedback from the viewers. This gave me a perspective from the outside on what other people saw or understood from the project, especially due to the abstract nature of the narrative. Gaining this feedback helped me to comprehend and assess what others thought was going on and what could have been clarified or done better. Even though this showed that I needed to make some of the narrative's important aspects clearer, it also helped me to see that other people interpreted the storyline differently as some did not see the narrative being centred on grief but rather instead identified with the colours. As art generally can be viewed in a variety of ways depending on people's viewpoints, this allowed me to understand others thoughts and emotions towards the immersive product. Peer input also helped me understand what other people thought should be stronger; for example, I realised that the animation projected onto the painting did not stand out as much as it should have.
Critical Evaluation of the Aesthetic, Content and Communicative properties of the product:
Regarding the final product's aesthetic, I wanted it to evoke the feeling of something one might see in a contemporary art gallery. Additionally, I sought to convey the character's journey through an animative style that draws inspiration from a variety of stylised 2D animations, including those from Studio Ghibli (Takai, 2005). I accomplished this by researching the various methods employed in major animation studios and how I would approach animating in a similar manner. I then selected certain colours to depict the emotions of loss while maintaining the styled feel of the animation. Studying the methods that are frequently used in these aesthetics and studios, such as background styles, character designs, and camera motions, was necessary for this.
This gave me the opportunity to focus on the product's commutative aspects, which included the audience appeal and language of the aesthetic. The whimsy, unique stories in a highly stylised animation with breathtakingly beautiful environments that enhance the storyline are examples of what Studio Ghibli (Takai, 2005) did effectively, whilst enhancing the storyline around it. These are elements I aimed to strive for when it came to communicating with the audience and capturing their attention, but I am aware that most of the time I lacked the time and experience to fully pull that off.
Nevertheless, I still wanted to attempt to make use of these techniques to convey to the audience, in a somewhat exaggerated way, the various stages through colour. Even though a lot of the animation turned out to be abstract in terms of how the plot was interpreted, I was still able to represent each colour in an innovative way by utilising stylised surroundings and aesthetics.
Evaluating the Outcome of the Final Artefact:
Although the entire production process was riddled with difficulties, the finished product had significant positive aspects. A couple of these are that, in spite of my difficulties, I managed to complete a digital hand-drawn animation, diligently putting together every movement, backgrounds, and aesthetic in an immersive way, while ensuring that I fully utilised the little experience I had with this new animation program. I effectively produced a more than one-minute-long flipbook-style animation with mostly smooth movements. I had to push my abilities to the limit in order to create a successful animation utilising software that was practically entirely new to me, even if this was challenging because animation is a long-term project dedication. In addition to this, I was able to connect all the hues from the animation together into this centre memorial piece by painting a brilliant and beautiful traditional painting, which took weeks and months to finish.
Projecting the scenes onto the gallery canvases connected the entire painting and animation, which was one of the production's most noteworthy features. This ultimately gave the animation a different perspective on how it would appear as a whole and made it flow and stand out considerably more than it would have when it was on a screen. These immersive methods managed to unite all the components into a cohesive narrative product while captivating and involving the viewer.
However, I am aware that there are many things that did not work out the way I had hoped, even though there are a lot of positives as well. One of these elements that I was aware did not work out as I imagined was the animation's general aesthetic. It is my belief that I did not fully achieve the desired level of completion for this animation; it could have explored various aesthetics at different stages or maintained a consistent style throughout. Having an overall aesthetic would have required me to re-edit every frame of every scene to meet my desired aesthetics, which largely could not be done due to the time constraints.
In addition, some parts of the movements were faulty and awkward, I would take additional time to make the movements more fluid and natural. I could achieve this by sketching more in-between frames and paying more attention to the timings of each section.
If I took more time to work on this product, the primary things I would add and improve upon would be to keep developing a more clear idea of the stages of grief (Kübler-Ross and Kessler, 2005) through the journey of the character and to make the various colours that correspond with each stage more closely. In order to make the story of grief and loss more evident, one method I would do to achieve this would be to introduce the idea of the spirit, of the memorial of my loved one who appears at the end of the animation, to be trailing the character rather than a glowing orb which is in the animation currently.
Additionally, I would improve the animation by making smoother transitions between the various scenes so they flow together more naturally. In order to give the scenes more activity and movement and to let more of the narrative come through, I would also make the scenes have more movements. Furthermore, I would improve the background's relationship to the narrative and the character so that the viewer could better relate to the feelings and experiences of the character's story. Along with spending more effort on the animation's flow across each gallery piece, I would also dedicate more time to adding specific sounds, such as background noise or general music, to the overall animation.
If I were to redo this experience, I would concentrate on the animation's sounds alongside the actual animation itself, since I ran out of time to give this part my full attention during my first attempt. Hence, I would create music that complements and flows with the piece rather than using the copyright free gallery style music (Slip.stream, 2024) or other copyright music (Pixabay, 2019) that I found during the production of this artefact, that was played separately in the ending exhibit piece. To do this, I could use AI software to edit the style of tracks or use connections to collaborate with a musician for a much bigger effect to have the animation be stylised around someone's music.
In addition to this, I would look for a technique to increase the clarity and contrast of the projection on the painted centrepiece to make the character stand out more on the canvas. If I found a method to make the projections more participatory for the audience, or if it was designed to spread out more, the projections may also be more effective in engaging the audience or making the experience more immersive, this could be done through MadMapper (2014) or other immersive technologies or software.
Despite everything, and to wrap up this reflection, the final display successfully demonstrated the application of immersive methodologies to create an abstract gallery piece combining colour theories and my research methods on the stages of grief (Kübler-Ross and Kessler, 2005). Using specific colours, I created a complete animated flip-book style piece that illustrates the stages through the characters journey. I was able to edit and project this piece onto both painted and unpainted canvases to honour a loved one and show the abstract flow of mourning that is depicted on various canvases. The result is an exhibit that is reminiscent of an art gallery and successfully features my animated narrative artworks and traditional painting.
References:
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