kathy smith scanlines 2

8/13/2019 Kathy Smith Scanlines 2

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CONTENTS

3. How to Use this Resource4. Chapter 1: Artist Practive the animations of Kathy Smith15. Artist Practice Teacher's notes20. Chapter 2: Exploring Practice animation in actionX. Exploring Practice Teacher's notes

x. Chapter 3: Re mixx. Chapter 4: the music videox. about dLux MediaArtsx. Glossary


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How to use this resource

This resource is designed for classroom use, it can be displayedon an interactive whiteboard or via a laptop and projector.

Each Chapter contains content for classroom use and separatematerials for teachers. Suggestions and additional notes forteachers are contained after the classroom content. Thisresource is supplied in both a pdf and ppt format so that you cancustomise your lesson.

Slides are designed that they can be used on laptops or asprinted resources.


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Chapter 1 Artist PracticeThe animations of Kathy Smith


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It explores the importance ofexperimentationin the

artists process - sampling,

testing, play, fluidity, failurein the creation of work.

The making of art,practiceand process.

It is about how the artistworks both materially

and conceptually.

It is how the artistschoices, actionsanddecisionsallow them tocommunicate their

intentionsand/or point ofview through their art.

Artist Practice refers to how artists go about creating their work. This includes their

ideas, influences, materials, process, choices, actions and intentions.

Artists create concepts and use materials when making their work.

They make choicesin what they do and use, to let audiences know what their ideas andintentions are.

What isArtist Practice?


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Ayers RockWatch Kathy Smiths 1985 animationAyers Rock (EMBED LINK). While

you watch, think about how she made it. Make a list of the techniques and

materials she has used to create the animation. To give you a clue here aresome you can select from (be careful to choose the right ones).

Materials: Techniques:

Charcoal Narrator, voice over

Collaged Stop-motion

Computer generated Close up shots

Painted images Shot outside

Water colour Evolving images

Photographs Panning shots

IPhone Music sound track

Actors Sound effects


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Kathy SmithMaterial Practice

I was influenced by Australian Surrealistpainting

especially Sidney Nolan's Ned Kelly series with thelandscape appearing through the slit in the helmet hencethe character.

I also wanted to create a metamorphosisof theAustralian landscape from sunbather to Uluru and back litthe art work to intensify the flickering heat.

Each image was hand painted on standard animationpaper with water colour using elements of collage, tracingpaper for the storm and some cell to overlay the rain.

Kathy Smith

Highlight sections of Smiths statement about hermaterials, techniques, influences and processes whencreatingAyers Rock. Begin to complete the mind map onSmiths material and conceptual practice.

Contemporary artist Kathy Smithworks with collage, drawing, painting

and installation to create her stopmotion animations. She is a prolificand experienced artist and educatorwho has constantly evolved heranimation practice over a 20 years.

Kathy Smith,Ayers Rock, 1985, animation, 50 seconds, collection of Screen-Sound Australia


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I initially created a series of postcard images about the rock andthen developed this short animation. As with all my works Icreated a soundtrack first and simply mixed it at Sydney Collegeof the Arts (SCA), (with the help of James Kesteven) on 3/4" tapewhich was then transferred to cassette tape then hand syncedliterally to Super-8 mag on an Elmo projector.

I filmed the artwork on a Canon Super-8with a simple tripod andone red-head light (over a light box also for back lighting) thenwaited for the AGFA film (processing film company) to come backand hand sync by pressing the record on sound to sync to therunning animation on the Elmo projector. It was trial and error

until I got the syncing right. I used to use a stop watch to work outthe 24 frames per second breakdown for the animationssoundtrack. It was low tech but full of initiative and innovation.

Kathy Smith

What was Smiths process when creating Ayers Rock? Drawa flow chart of the process to use these technologies.

What equipment was used? Research these pasttechnologies and explain what hand syncing entails. Includesketches or images of the different technologies and models.

What technologies would you use today to create a similaranimation?

Complete the points on process and techniques into the artistpractice mind map (next slide).


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Kathy Smith

Artist Practice

MaterialPractice

ConceptualPractice

Techniques

Materials

Process

Influences Choices and actions tocommunicate meaning

Concepts/ideas


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Sidney Nolan, Ned Kelly (Series), 1946, enamelpaint on composition board, 90.8 x 121.5 cm

Conceptual Practice

My intention in this film was to create a series ofsurreal events morphingfrom one sequence into the next.I was also influenced by the works of Australian painterSidney Nolan, particularly his Ned Kelly series that depict

the bush ranger in black led armour with the landscapeappearing through the slit in his helmet. This approach toperspective, unique to painting and surrealist imagery, hadalways fascinated me.

I also wanted to paint the images individually toenhance the texture of the landscape and create a

flickering, constantly changing environment that actuallyseems to breathe.Ayers Rock animation went on to beexhibited internationally and has been purchased forcollection by the Australian National Gallery and theAustralian Sound & Film Archive (now called Screen-SoundAustralia).

-Kathy Smith

Explain Kathy Smiths intention when creating theabimationAyers Rock?

How are her intentions communicated to theaudience?

Explain how Sidney Nolans artworks influenced andaffected the making of Smiths work? For moreinformation and a video on Nolans Ned Kellyseriesvisit NGA nga.gov.au/nolan/
http://nga.gov.au/nolan/http://nga.gov.au/nolan/


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Kathy Smiths Artist PracticeTurn to the person sitting next to you and explain Kathy Smiths material practice to them. After aminute let your peer then explain Smiths conceptual practice to you. Add any additional points youdid not have to your mind map.

Create an infographic on Kathy Smiths material and conceptual practice. Include the headings fromthe mind map, highlighted points from her statements and images of her work and influences. Visiteasel.ly/to create it online.

Research Australian Surrealism and discuss how it has influenced Kathy Smiths practice. How couldSurrealism inform your material and conceptual practice? Choose one aspect of Surrealism(conceptually or materially) and adopt it to your animation practice.

Sketch a small mountain in the distance. Draw it getting larger and closer until it fills the frame. Shoot

each drawing using your laptop, ipad or camera. Or draw each frame (about 8) on a separate pieceof paper and flip the corner of the frames to make it move.

Create your own stop motion animation by painting, drawing and collaging each frame. Shoot onyour iPhone with the iMotion HD app. Create your own projector for your iPhone animation.Complete your animation and project it for an in-class exhibition. For instructions to create your own

projector visit instructables.com/id/How-to-make-a-projector-for-your-iPodiPhone-for-a/?ALLSTEPS
http://www.easel.ly/http://www.instructables.com/id/How-to-make-a-projector-for-your-iPodiPhone-for-a/?ALLSTEPShttp://www.instructables.com/id/How-to-make-a-projector-for-your-iPodiPhone-for-a/?ALLSTEPShttp://www.easel.ly/


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Essay Questions

1. Kathy Smith was considered a new media artist when she createdAyers Rock.

Examine this statement and the significance of her practice.

2. Explain how past artists influence contemporary practices. Refer to Kathy Smithspractice and one other contemporary artist.

3. As technology changes, so to does the practice of New Media artists. Discuss thisstatement in relation to Kathy Smiths practice and one other artist.

4. Investigate the development of new media art and its reflection of the time and place

it was made. Refer to Kathy Smiths practice and two other new media artists.

5. Compare Kathy Smiths practice with other contemporary artists like WilliamKentridge. Anaylse how their different approaches to their material practice informs theirworks concepts. Discuss one work from each artist.


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Section 1 Question

Discuss what is revealed about the artistic practice of Kathy Smith? Refer tothe source material in your answer.

Extract A:I was influenced by Australian Surrealistpainting especially Sidney Nolan's Ned Kelly series with the landscapeappearing through the slit in the helmet hence the character.I also wanted to create a metamorphosisof the Australian landscape from sunbather to Uluru and back lit the art workto intensify the flickering heat.

Each image was hand painted on standard animation paper with water colour using elements of collage, tracing paperfor the storm and some cell to overlay the rain. Kathy Smith

Plate 1:Kathy Smith,Ayers Rock, 1985, animation, 50seconds, collection of Screen-Sound Australia

Plate 2:Sidney Nolan, Ned Kelly (Series), 1946, enamel painton composition board, 90.8 h x 121.5 w cm


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Teachers Notes

The following contains additionalinformation and suggestions that

you can customise to suit yourstudents learning needs.


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Teacher Notes

Background on Kathy Smiths practice:

Kathy Smith is an Australian artist who has been working with animation, painting,installation and sound since 1982. She has a strong record of achievement in research andcreative work spanning twenty-four years.

From 1987 1988 she studied and worked in Europe at the Dr Denise Hickey studioresidency at the Cite Internationale des Arts, Paris and under the Dyason Bequest study grantat Studio Art Centers International, Florence, Italy; both awarded from the Art Gallery of NewSouth Wales, and she has done research residencies in the USA and Asia.

Since 1984, Smiths films have been screened internationally, including at Sundance FilmFestival, New York, Digital Salon, Hiroshima, Anima Mundi, and Ottawa International AnimationFestivals. Kathy has exhibited at group and solo exhibitions such as the Institute ofContemporary Art in London, Conservatorio di Santa Maria degli Angeli, Florence, Italy, and atthe National Gallery of Australia. She has received numerous awards and grants to supportand create her works.

Scanlines,scanlines.net/node/1537
http://scanlines.net/node/1537http://scanlines.net/node/1537http://scanlines.net/node/1537


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My work is an attempt to convey the mystery of existence through the non-linear narrative ofdreams. I am fascinated with the human experience and how this is processed through ourphysical senses and interpreted via the neurological pathways in the brain, what images areretained and what narratives are formed during our conscious and unconscious moments.

I am concerned with the universal symbolism of dream landscapes and the relationship of the

human psyche to the environment regardless of its physical location or form. Artistically as apainter I have always been driven to communicate more than just a static image. Whenexhibiting my work in an installation, I incorporate sound into the exhibition space;additionally, I construct collage maps to show how the images evolved and fitted togethersequentially.

The discovery of animation was a revelation for me: for the first time I could convey the

internal thought processes of painting and drawing through a temporal medium. On its own,painting can define a concept by composition, colour, and layering.

What has always fascinated me about animation is its potential to capture or provoke athought via kinetic energy and sound. Animation, by its very nature, adds another dimensionto painting by adding temporal, spatial, and aural movement and space to static images.Constantly moving, animation allows the viewer to become part of an artworks creation. Thebrushstrokes, shapes, and ideas are seen, passed by, and arrived at, - an animated filmconcretizes the thought process that creates a static work by incorporating the physicalsenses of movement and sound. The infinite connection to everything in existence is theunderlying force that makes animation a powerful medium for conveying complex ideas,dreams and emotions.

Kathy Smith, artist statement on her practice, kathymoods.org/about.html
http://kathymoods.org/about.htmlhttp://kathymoods.org/about.html


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Slide 4:

Materials: Techniques:Charcoal Narrator, voice over (story)

Collaged Stop-motion (many frames/images put together)Computer generated Close up shotsPainted images Shot outsideWater colour Evolving imagesPhotographs Panning shotsIphone Music sound track

Actors Sound effects


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Kathy Smith

Artist Practice

MaterialPractice

ConceptualPractice

TechniquesClose up shots, evolving and morphing together.Painted and collaged imagesStop motion animationSound effect soundtrack to support evolvingaction/story.

MaterialsCollagePaintingAnimation paperWater colourLight box and red lightTripod, Canon Super-8camera, Elmo projectorand Super -8 film.

ProcessHand painted each image onpaper.Used water colour, collage and

tracing paper to create layers.Postcard sized image.Created soundtrack first.Used Super-8 film and Elmoprojector. Filmed the work on aCanon Super-8.Used tripod and red light forback lighting.Synced the film and soundtrack

together.

InfluencesSidney Nolans Ned KellyseriesSurrealist dreamlikelandscapesAustralian Surrealistpainters

Choices and actions tocommunicate meaningLandscape appearing throughthe slit of the eyes of thecharacter referencing SidneyNolans painting.Back lit work to intensify the

flickering heat.Painted images individually toenhance the texture of thelandscape and flickering effect.

Concepts/ideasTo create a metamorphosis of the Australianlandscape. From sunbather to Uluru.Intention was to create a series of surrealevents morphing. This was to create aconstantly changing environment that appearsto breathe.


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Chapter 2 making mediaAnimation in action


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In this chapter you will find animation exercises for the classroom. Referencingthe work of Kathy Smith (Chapter 1) create your ownstop motion.

Technology Requirements:

Bring Your Own Device (smart phone),

Digital camera, tripod and computer with iMovie,Windows Movie Maker or final cut express

iPad with the iMotion HD Application


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Other Useful Equipment:

Paper, pencils, charcoal, chalk and erasers(to create a hand drawn animation through drawing and erasing)

Clay, play dough, blu tac and miscealeos objects(to create a claymation or moving- object animation)

Magazines, photographs, scissors and blu tac(to create a collage animaiton)

Students bodies(to create a performance based animation)


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Sample Animation Exercises:

-Create a collage animation, use a figure from popular culture/art history/ politicsand using collage construct a fictional narrative.

-Using observational drawing techniques draw a piece of fruit.Take a bite from the fruit and animate the changes

-through erasing and changing the drawing.

-Use performative animation methods to simulate a magic trick


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Teachers Notes

The following contains additionalinformation designed to support in

the creation of animations in theclassroom.


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Frame rate(also known as frame frequencyand frames persecond (FPS)) in animation refers to the amount of still images whichare played consecutively to simulate movement.

A standard film will often use 24 FPS while many current films (suchas Peter Jacksons The Hobbithave experimented with 48 frames persecond. Lower frame rates such as 8 12 FPS can be utilised inanimation. This frame rate is a good initial goal for students who may

not have the patience, time or desire to attempt a 24FPS animation.

Altering the frame rate alters how the audience perceive the film.

When the frame rate of a movie is low, the viewer will no longer be

convinced that the contents of the movie are continuous, therefore themovie may appear to jitter or jump. Tis technique can be intentionallyemployed and is sometimes referred to as strobing.

If a slow frame rate is adopted, a motion-blur or cross-fade tool can beutilised on some software to help smooth a jittered motion andstreamline the footage.


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When considering FPS, encourage students to makealterations to their films subject small and subtle.Generally:

Small changes + many pictures = awesome animation


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Other animation considerations:

-Consistency of lighting-Framing of the subject- how do you compose each scene-Variety of camera angles and cinematic techniques: close up, long shot, pan,

worms eye view, birds eye view.-Consistency is extremely important, keeping the position of your Camera, iPador Smart phone will make a significant difference to the finished animation.-storyboarding and planning. What is the narrative?


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I Motion HD is an easy to use freeApplication available for usesmartphone and iPad. In cases wherethese resources may not be available

a BYOD (Bring your own device)strategy could be implemented.

Operating instructions:

1. Enter the application.2. Select new movie.

3. Give your movie a title and selectmanual.4. Select start.5. Tap capture to take a photograph of yoursubject. Chance your subject slightly andcontinue to capture the alterations.6. Once you have captured your entire

sequence, tap stop and then follow theprompt to confirm that you are finished.7. Your photographs will be processed in afilm. Roll the FPS toggle and select aspeed.8. Tap export to finish your film. This willnow save to your photo library.


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Glossary

Australian Surrealism:Australian artists in the 1930s to 1940s were influenced by theEuropean art movement Surrealism and began to adopt imagined,dreamlike landscapes and subject matters, creating juxtapositionswithin the works. For more information see:

australia.gov.au/aboutaustralia/australian-story/austn-surrealism

Canon Super-8: a portable film camera created in 1976 which required Super 8 filmmanufactured by Kodak at the time.

Elmo projector: a brand of film projectors popularly used in the 1960s.

Metamorphosis: a complete change in appearance, character and circumstances.

Morphing: a technique used in animations and film to seamlessly transition andchange (morph) one image into another.

Prolific: producing in large quantities or with great frequency; highly productive.

Stop motion: an animation technique where every small movement is capturedthrough a photograph. When each photograph (frame) is played incontinuous sequence the illusion of movement is created.

Super-8 mag: the film required for new film cameras during the 60s and 70s. Itwas firstly manufactured by Kodak. The Super 8 film replaced the 8mm

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