CONTENTS 3. How to Use this Resource 4. Chapter 1: Artist Practive the animations of Kathy Smith 15.

. Artist Practice Teacher's notes 20. Chapter 2: Exploring Practice animation in action X. Exploring Practice Teacher's notes x. Chapter 3: Re mix x. Chapter 4: the music video x. about dLux MediaArts x. Glossary

How to use this resource

This resource is designed for classroom use, it can be displayed on an interactive whiteboard or via a laptop and projector. Each Chapter contains content for classroom use and separate materials for teachers. Suggestions and additional notes for teachers are contained after the classroom content. This resource is supplied in both a pdf and ppt format so that you can customise your lesson. Slides are designed that they can be used on laptops or as printed resources.

Chapter 1 Artist Practice The animations of Kathy Smith

It explores the importance of experimentation in the artists process - sampling, testing, play, fluidity, failure in the creation of work.

The making of art, practice and process.

It is about how the artist works both materially and conceptually.

What is Artist Practice?

It is how the artists choices, actions and decisions allow them to communicate their intentions and/or point of view 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 choices in what they do and use, to let audiences know what their ideas and intentions are.

Ayers Rock
Watch Kathy Smiths 1985 animation Ayers 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 are some you can select from (be careful to choose the right ones).
Materials: Charcoal Collaged Computer generated Painted images Water colour Photographs IPhone Actors Techniques: Narrator, voice over Stop-motion Close up shots Shot outside Evolving images Panning shots Music sound track Sound effects

Kathy Smith
Contemporary artist Kathy Smith works with collage, drawing, painting and installation to create her stop motion animations. She is a prolific and experienced artist and educator who has constantly evolved her animation practice over a 20 years.

Material Practice
I was influenced by Australian Surrealist painting especially Sidney Nolan's Ned Kelly series with the landscape appearing through the slit in the helmet hence the character. I also wanted to create a metamorphosis of the Australian landscape from sunbather to Uluru and back lit the art work to intensify the flickering heat. Each image was hand painted on standard animation paper with water colour using elements of collage, tracing paper for the storm and some cell to overlay the rain. Kathy Smith Highlight sections of Smiths statement about her materials, techniques, influences and processes when creating Ayers Rock. Begin to complete the mind map on Smiths material and conceptual practice.

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

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

I filmed the artwork on a Canon Super-8 with a simple tripod and one red-head light (over a light box also for back lighting) then waited for the AGFA film (processing film company) to come back and hand sync by pressing the record on sound to sync to the running 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 out the 24 frames per second breakdown for the animations soundtrack. It was low tech but full of initiative and innovation. Kathy Smith

What was Smiths process when creating Ayers Rock? Draw a flow chart of the process to use these technologies. What equipment was used? Research these past technologies and explain what hand syncing entails. Include sketches or images of the different technologies and models. What technologies would you use today to create a similar animation? Complete the points on process and techniques into the artist practice mind map (next slide).

Influences

Choices and actions to communicate meaning

Techniques

Material Practice Kathy Smith Artist Practice Conceptual Practice

Process Materials

Concepts/ideas

Conceptual Practice My intention in this film was to create a series of surreal events morphing from one sequence into the next. I was also influenced by the works of Australian painter Sidney Nolan, particularly his Ned Kelly series that depict the bush ranger in black led armour with the landscape appearing through the slit in his helmet. This approach to perspective, unique to painting and surrealist imagery, had always fascinated me. I also wanted to paint the images individually to enhance the texture of the landscape and create a flickering, constantly changing environment that actually seems to breathe. Ayers Rock animation went on to be exhibited internationally and has been purchased for collection by the Australian National Gallery and the Australian Sound & Film Archive (now called Screen-Sound Australia). -Kathy Smith

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

Explain Kathy Smiths intention when creating the abimation Ayers Rock? How are her intentions communicated to the audience? Explain how Sidney Nolans artworks influenced and affected the making of Smiths work? For more information and a video on Nolans Ned Kelly series visit NGA nga.gov.au/nolan/

Kathy Smiths Artist Practice

Turn to the person sitting next to you and explain Kathy Smiths material practice to them. After a minute let your peer then explain Smiths conceptual practice to you. Add any additional points you did not have to your mind map.

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

Research Australian Surrealism and discuss how it has influenced Kathy Smiths practice. How could Surrealism 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 piece of 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 on your 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

Essay Questions
1.

Kathy Smith was considered a new media artist when she created Ayers Rock. Examine this statement and the significance of her practice.

2.

Explain how past artists influence contemporary practices. Refer to Kathy Smiths practice and one other contemporary artist.

3.

As technology changes, so to does the practice of New Media artists. Discuss this statement 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 William Kentridge. Anaylse how their different approaches to their material practice informs works concepts. Discuss one work from each artist.

their

Section 1 Question
Discuss what is revealed about the artistic practice of Kathy Smith? Refer to the source material in your answer.

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

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

Extract A: I was influenced by Australian Surrealist painting especially Sidney Nolan's Ned Kelly series with the landscape appearing through the slit in the helmet hence the character. I also wanted to create a metamorphosis of the Australian landscape from sunbather to Uluru and back lit the art work to intensify the flickering heat. Each image was hand painted on standard animation paper with water colour using elements of collage, tracing paper for the storm and some cell to overlay the rain. Kathy Smith

Teachers Notes
The following contains additional information and suggestions that you can customise to suit your students learning needs.

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 and creative work spanning twenty-four years.

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

Since 1984, Smiths films have been screened internationally, including at Sundance Film Festival, New York, Digital Salon, Hiroshima, Anima Mundi, and Ottawa International Animation Festivals. Kathy has exhibited at group and solo exhibitions such as the Institute of Contemporary Art in London, Conservatorio di Santa Maria degli Angeli, Florence, Italy, and at the National Gallery of Australia. She has received numerous awards and grants to support and create her works. Scanlines,scanlines.net/node/1537

My work is an attempt to convey the mystery of existence through the non-linear narrative of dreams. I am fascinated with the human experience and how this is processed through our physical senses and interpreted via the neurological pathways in the brain, what images are retained 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 a painter I have always been driven to communicate more than just a static image. When exhibiting 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 together sequentially. 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 a thought via kinetic energy and sound. Animation, by its very nature, adds another dimension to 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. The brushstrokes, shapes, and ideas are seen, passed by, and arrived at, - an animated film concretizes the thought process that creates a static work by incorporating the physical senses of movement and sound. The infinite connection to everything in existence is the underlying 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

Slide 4: Materials: Charcoal Collaged Computer generated Painted images Water colour Photographs Iphone Actors Techniques: Narrator, voice over (story) Stop-motion (many frames/images put together) Close up shots Shot outside Evolving images Panning shots Music sound track Sound effects

Influences Sidney Nolans Ned Kelly series Surrealist dreamlike landscapes Australian Surrealist painters

Choices and actions to communicate meaning Landscape appearing through the slit of the eyes of the character referencing Sidney Nolans painting. Back lit work to intensify the flickering heat. Painted images individually to enhance the texture of the landscape and flickering effect.

Techniques Close up shots, evolving and morphing together. Painted and collaged images Stop motion animation Sound effect soundtrack to support evolving action/story.

Material Practice

Kathy Smith Artist Practice Conceptual Practice

Process Hand painted each image on paper. Used water colour, collage and tracing paper to create layers. Postcard sized image. Created soundtrack first. Used Super-8 film and Elmo projector. Filmed the work on a Canon Super-8. Used tripod and red light for back lighting. Synced the film and soundtrack together. Materials Collage Painting Animation paper Water colour Light box and red light Tripod, Canon Super-8 camera, Elmo projector and Super -8 film.

Concepts/ideas To create a metamorphosis of the Australian landscape. From sunbather to Uluru. Intention was to create a series of surreal events morphing. This was to create a constantly changing environment that appears to breathe.

Chapter 2 making media Animation in action

In this chapter you will find animation exercises for the classroom. Referencing the work of Kathy Smith (Chapter 1) create your own stop 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

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)

Sample Animation Exercises: -Create a collage animation, use a figure from popular culture/art history/ politics and 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

Teachers Notes
The following contains additional information designed to support in the creation of animations in the classroom.

Frame rate (also known as frame frequency and frames per second (FPS)) in animation refers to the amount of still images which are played consecutively to simulate movement. A standard lm will often use 24 FPS while many current lms (such as Peter Jacksons The Hobbit have experimented with 48 frames per second. Lower frame rates such as 8 12 FPS can be utilised in animation. 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 lm. 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 the movie may appear to jitter or jump. Tis technique can be intentionally employed and is sometimes referred to as strobing. If a slow frame rate is adopted, a motion-blur or cross-fade tool can be utilised on some software to help smooth a jittered motion and streamline the footage.

When considering FPS, encourage students to make alterations to their films subject small and subtle. Generally: Small changes + many pictures = awesome animation

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, iPad or Smart phone will make a significant difference to the finished animation. -storyboarding and planning. What is the narrative?

I Motion HD is an easy to use free Application available for use smartphone and iPad. In cases where these 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 select manual. 4. Select start. 5. Tap capture to take a photograph of your subject. Chance your subject slightly and continue to capture the alterations. 6. Once you have captured your entire sequence, tap stop and then follow the prompt to confirm that you are finished. 7. Your photographs will be processed in a film. Roll the FPS toggle and select a speed. 8. Tap export to finish your film. This will now save to your photo library.

Glossary
Australian Surrealism: Australian artists in the 1930s to 1940s were influenced by the European art movement Surrealism and began to adopt imagined, dreamlike landscapes and subject matters, creating juxtapositions within the works. For more information see: australia.gov.au/aboutaustralia/australian-story/austn-surrealism Canon Super-8: Elmo projector: Metamorphosis: Morphing: Prolific: Stop motion: a portable film camera created in 1976 which required Super 8 film manufactured by Kodak at the time. a brand of film projectors popularly used in the 1960s. a complete change in appearance, character and circumstances. a technique used in animations and film to seamlessly transition and change (morph) one image into another. producing in large quantities or with great frequency; highly productive. an animation technique where every small movement is captured through a photograph. When each photograph (frame) is played in continuous sequence the illusion of movement is created. the film required for new film cameras during the 60s and 70s. It firstly manufactured by Kodak. The Super 8 film replaced the 8mm

Super-8 mag: was