Headshot #10 / Facial Expressionism / Final Major Project / Kasra Soltani

Bringing my Facial Expressionism Final Major Project to a remarkable close, Headshot #10 marks the end of my Final Major Project Practical Work as I have photographed my close friend, Kasra Soltani.

For this final collection of headshot photographs, I have made sure to get Kasra to do some facial expressions like before, but for these headshot photographs, I have adjusted the lighting to accommodate for better focus on Kasra so that each expression he has made connects to the photography work I have already produced. Taking a new direction on the photographs, Kasra has done some new facial expressions that I initially didn’t have in mind at first and this has given me a better outlook as to how I can assign each expression with its own name, as well as to how that specific emotion connects to the facial expression I have not only asked him to make, but the facial expressions he has made naturally in most of these photographs.

This final headshot collection has informed my critical thinking, as well as the research I have done on the five photographers, which are Fazal Sheikh, Irving Penn, Thomas Ruff, August Sander & David Bailey.

Below are the final headshot photographs for my Facial Expressionism Final Major Project, complete with the WordFoto Edits and Black & White Versions of the Original Photographs.

Canon EOS 1200D

WordFoto Edits

Black & White Versions of Original Photographs

I am so pleased to have achieved such fantastic results from the photography work I have produced throughout the course of the Facial Expressionism Final Major Project, and I have noticed that every headshot collection I have produced I’ve seen improvements every time. Now that I have got together all the photographs I have produced for my Final Major Project, I will be making sure to pick a selected number of photographs from all of the headshot articles to present them as my chosen final pieces. Contact sheets are being produced at this stage which will be going in my sketchbook and my aim is to get the Final Major Project Proposal done and finalised and then get the last of my Facial Expressionism Final Major Project work done and ready before Monday 5th June.

All of the research and headshot photographs I have produced as part of my Facial Expressionism Final Major Project coursework can be found in my E-Folio.

Headshot #10 brings the practical work for my Facial Expressionism Final Major Project to a remarkable close. I am so pleased to have worked my socks off over the last few weeks. All this hard work will eventually pay off and considering it’s my final year at Croydon College and my final year of the two-year film and photography course, I want to make sure I can aim for a higher grade with all of this coursework. I am keeping my fingers crossed that I can get the best final result possible by the end of this year.

I am open to your responses and critique, so please feel free to suggest any improvements you feel I could make when it comes to producing any future photography work.

Your responses and critique are greatly appreciated.

Alex Smithson

If you want to follow my close friend, Kasra Soltani, on Instagram, I have provided his Instagram username here: @Kass.ll7

Irving Penn / Research

Continuing on from the first photographer I have researched for my Final Major Project, the second photographer I have chosen to research is Irving Penn.

Irving Penn was an American photographer who was best known for his portrait, still life and fashion photography collections, and his photography career consisted of work he produced with the top fashion magazine company, VOGUE, including Clinique and Issey Miyake.

Below are the slides in the exact order, and the work I have done Harvard Referencing for which references Irving Penn’s photography work I take absolutely no credit for. I also take absolutely no credit for the self-portrait photograph produced by Irving Penn himself. I’ve merely referenced Irving Penn’s work in my research as inspiration to inform and develop my own photography work further inspired on Irving Penn’s photography work.

The pages that are referenced can be found below, complete with Harvard Referencing, the award that Irving Penn received for his work, as well as the various exhibitions he did in his life, including the posthumous exhibitions after he passed away that showcased his work, not to mention Irving Penn’s bibliography, which consists of publications and ISBN numbers, and also his major collections, with external links to further research. All credit goes to Irving Penn & The Irving Penn Foundation.

This research will give me the chance to develop my Facial Expressionism Final Major Project better. As I’ve mentioned before, I will be photographing some subjects for my Facial Expressionism Project, so you’ll be seeing some photography work soon. This research presentation can also be found in my E-Folio and any of the subjects I photograph will also be in the E-Folio once the subjects I have photographed are published. There’s a lot of great opportunities in store so I am sure that I will be able to present to you a lot more of my creative photography work.

If you found this research presentation on Irving Penn useful, please let me know. I would love to hear your response.

Alex Smithson

Fazal Sheikh / Research

As part of my Final Major Project, I have been doing research on the photographers that influence me in the photography work I want to produce, which will be based on Facial Expressionism. The first photographer I have researched for my Final Major Project is Fazal Sheikh.

Fazal Sheikh’s photography work aims to document and personalise the power of portraiture whilst bring the displaced parts of the world, including its own people, into focus.

Below are the slides in the exact order, and the work I have done Harvard Referencing for which references Fazal Sheikh’s photography work I take absolutely no credit for. I also take absolutely no credit for the photograph of Fazal Sheikh produced by the MacArthur Foundation. I’m just merely referencing Fazal Sheikh’s work and the photograph of Fazal Sheikh produced by the MacArthur Foundation in my research as inspiration to inform and develop my own photography work inspired by him.

The pages that are referenced can be found below, complete with Harvard Referencing, the awards that Fazal Sheikh has received for his work, as well as the various exhibitions he has done that showcases his work, not to mention the publications and ISBN numbers, and also his collections, with external links to further research. All credit goes to Fazal Sheikh and the MacArthur Foundation.

This research will help me to develop my Facial Expressionism Final Major Project better, as I will be photographing some subjects for my project, so you should see some photography work very soon. This research presentation can also be found in my E-Folio and any of the subjects I photograph will also be in the E-Folio once the subject photographs are published. There’s a lot of good photography opportunities in store so I can be sure that I will be able to present to you a lot more of my creative film and photography work.

If you enjoyed or found this research presentation useful, please let me know. I would love to hear your response.

Alex Smithson

Weekly Log 3 (Tuesday 26th April 2016 – Thursday 28th April 2016) – Final Major Project

Continuing on from the second Weekly Log, here is the third Weekly Log from the Final Major Project.

Research / Context

During the course of the third week, I made sure to use the extensive research I gathered, including the photographs I took to do some further photographical research on the three chosen photographers, which were August Sander, Fazal Sheikh and Thomas Ruff.

In the photo research presentation that I did, I looked up the same photographs that the three photographers took, but instead I wanted to make sure to detail the photographs based on what they were called, what year they were produced, the year they went to print, as well as the website location I found those photographs from, including when I last visited that specific website where that photo or photos were located.

After doing the photo research presentation, I went outside and also into the photography studio to get some more photos, but this time of a different student from my class, considering that two weeks before, I did my first shoot of photographs using my previously chosen subject. I did make sure that there were some ideas available from the collection of photographs that I’ve taken so far, so that this would help me when I produce more photographs for the following week, based on the concept I want to produce myself.

Practical Tasks Done

As I wanted to make sure that my second shoot of photographs were of a similar standard to the first set of photographs that I produced, I wanted to make sure that I could expand my ideas further with taking my photographs of the second chosen student, but also showing improvements in setting the exposure, the aperture, including setting the camera on the correct light setting, based on the research I’ve currently gathered so far.

I did initially find taking these photographs somewhat difficult considering I was in the photography studio, though I initially was going to take these photographs outside. I did take into consideration that the lighting may not be as good in the photography studio than it would be outside, but the second shoot of photographs were a little bit more complicated than first thought, given that the exposure and aperture, although set correctly, did sometimes go off a little bit after the photos were taken.

What did work well, however, was I was able to produce these photographs with the exposure and aperture staying the same. The camera I used to take the second set of photographs was the Canon EOS 1200D. Overall, I feel pleased with the results I’ve been given from these photographs, though I will be making sure to improve on this in the future.

To improve, I will be making sure to choose a better location where there is enough light, but where it isn’t inside the college, but outside somewhere either outside the college, or somewhere away from the college. This will be better for me as I will be able to set the exposure correctly, including the aperture and white balance.

Critical Analysis

For my critical analysis, I wanted to make sure that I could use all of the research I’ve gathered so far, including the first set of photographs that I took to produce a photo research presentation, including taking some more photographs for the second shoot, based around the same amount of emotions (6 or 7) that I used previously for the first set of photographs that I did on the first chosen subject, but this time with the second shoot of photographs being taken of the second chosen subject. The photo research presentation, including the current amount of research I’ve gathered so far, including the growing collection of photographs have benefitted me as this helped me to expand my ideas further into something that I will be able to produce for the fourth week.

I do feel that I have applied my own understanding based on the research I’ve gathered, including the photographs I’ve taken, as this will help me to expand further on the concept I have in mind, including being able to develop my photography skills and experiments better as well. I am absolutely keen on expanding my knowledge of the ideas I have further, considering that the concept I have in mind is genuine and is the concept I will want to produce for my final piece in June.

This brings the third Weekly Log for the Final Major Project to a close. Please make sure to check back soon for the fourth Weekly Log from the Final Major Project.

Alex Smithson

Weekly Log 2 (Tuesday 19th April 2016 – Thursday 21st April 2016) – Final Major Project

Continuing on from the first Weekly Log, here is the second Weekly Log from the Final Major Project.

Research / Context

During the course of the second week, I had made sure to use the extensive research that I did in the first week to produce my first shoot of photographs. The photographers I did research on in the first week back were August Sander, Fazal Sheikh and Thomas Ruff.

The research presentation I did in the first week helped me to produce my first set of photographs, and I used one of the students for the concept I wanted to produce. Before I took 6-7 photographs of the chosen student, I did some test shots of the student first as I wanted to make sure to set the exposure correctly, that’s including the white balance and setting the aperture correctly, not to forget the mode I wanted to take the photos on, which was manual.

After I did the test shots, I produced my first set of photographs with influences to the three photographers I did extensive research on, and although a very small amount of photographs were slightly overexposed, I was able to resolve the problems with the overexposed photographs by using Adobe Photoshop CC.

Practical Tasks Done

As I wanted to make sure that my first shoot of photographs were of the correct standard, I did make sure to refer to my research presentation that I did on the chosen photographers during the first week, that’s including the photographs that the chosen photographers took.

I did initially find taking the photographs a bit difficult to start with, because considering the fact we had lovely sunny weather during the course of the second week, this did cause a slight teething problem, as taking the first set of photographs were a lot more complicated, given that the settings that were chosen were compromised by the camera’s ability to keep itself focused at the levels that the camera was already set at, due to the camera becoming exposed to too much light.

What did work well for me, however, was I was still able to produce a great set of photographs with the Canon EOS 1200D, and I did find that the student I chose for the first shoot was a good choice for taking photos, as he was able to map out the emotions for each photograph that I asked him to make and I was absolutely pleased with the overall result that I was able to get from my first shoot of photographs.

To improve, I want to make sure I can choose a better location to take some more photos, as this will help me to get the lighting just right, including setting the exposure and white balance, not to forget setting the aperture correctly before proceeding on to taking experimentation photographs.

Critical Analysis

For my critical analysis, I wanted to make sure that the research I gathered for my research presentation based on the three photographers I chose would relate to the first photographic experiment I did of 6-7 different emotions. The research presentation benefitted me as this helped me to produce my first shoot of photographs, and this, including my research presentation, will help me to develop a better range of ideas for what I can produce for the third week.

I do feel that I’ve applied my own understanding of the research I’ve gathered, including the photographs I have taken, as this will help me to expand my knowledge further, including developing my photographic experiments better as well. I am keen to improve and expand further with my photography skills and I am also keen on expanding my knowledge further now that I have a genuine concept in mind that I want to produce for my final piece in June.

This brings the second Weekly Log for the Final Major Project to a close. Please make sure to check back soon for the third Weekly Log from the Final Major Project.

Alex Smithson

Weekly Log 1 (Tuesday 12th April 2016 – Thursday 14th April 2016) – Final Major Project

To kick off the Final Major Project Weekly Log series, here is the first Weekly Log from the Final Major Project.

Research / Context

During the course of the first week back, I started doing some extensive research based on the three photographers I chose that were based on my influences for this Final Major Project. The photographers I chose that I would do research on were August Sander, Fazal Sheikh and Thomas Ruff.

I created a research presentation based on their work, as well as picking out at least 9 images that I felt would influence me for my final piece. As I want my final piece to be of a person expressing at least 6 different emotions, I looked at Thomas Ruff’s works, including August Sander’s work and also Fazal Sheikh’s work, as some of their photographs grabbed my attention, based on the concept I have in mind.

In the research presentation, I had made sure to research on the web about Wide Aperture and Small Aperture (just to save confusion), as this would give me the ability to make sure that the photographs I chose from the three chosen photographers were correctly labelled with the kind of aperture that they were taken at. Luckily because some of the photographers works I chose were Small/Wide Aperture-based, I had made sure to combine them both together, creating a mixture of both Small Aperture & Wide Aperture.

Practical Tasks Done

As I wanted to make sure to gather a lot of relevant research together for this Final Major Project, I did some extensive research on Fazal Sheikh’s work, and the notable photograph that still sticks in my mind from when I first saw it was of the: “Afghan girl born in exile, Afghan refugee village, Urghuch, North Pakistan, 1997”.

I did initially find it difficult to find some good photographs from the three chosen photographers that I intended to do research on, as I wanted to make sure to pick the correct photographs that I felt would work with what I want to produce for my final piece towards the end of the project, though I had to tread very carefully when I was doing some extensive research on Thomas Ruff’s work, as some of his photography work was known to be pornographic, and not for the faint-hearted.

What did work well for me was I was able to find a good range of photographs that August Sander, Fazal Sheikh & Thomas Ruff took, as their works have the strong connection that I want, as some, if not most of their photography pieces have strong emotive connections, as well as signs of movement in their photos too, which is useful for me as the concept I have in mind is to create 6 different emotions as well as the first emotion being normal, but to also create movement as well, as I want emotions and movement to be combined together.

To improve on this in future, I want to make sure that I can gather more photographs of their works together, and to develop the concept on paper, so that I can make my concept become a real idea that I want to produce for when it comes to producing the real final piece.

Critical Analysis

For my critical analysis, I wanted to make sure that I had gathered the correct information together, given that the research I’ve done so far is based on the concept I am keen on producing for my final piece. The research I’ve gathered has helped me as this will now give me a clear idea of what I will be producing for the second week.

I do feel that I have applied my own understanding of the research I have gathered, as this will help me to start producing my first set of experimentation photographs based on the concept that I want to produce for my final piece. I also feel strongly that the concept I have in mind will work as long as I have the research there, including the experimentation photographs, as these will help me to piece together the final result that I want to achieve from my real final piece when the final week of the Final Major Project commences.

This brings the first Weekly Log for the Final Major Project to a close. Please make sure to check back soon for the second Weekly Log from the Final Major Project.

Alex Smithson

Weekly Log 6 (Tuesday 9th February 2016 – Thursday 11th February 2016) – Stop-Frame Animation Project

Bringing the Stop-Frame Animation Project Weekly Log collection to an end, here is the final Weekly Log from the Stop-Frame Animation Project, which reflects on what I did in the last week of the Stop-Frame Animation Project, as well as to what I did over the entirety of the Stop-Frame Animation Project.

Research / Context

Following the work that I did in the fifth week of the stop-frame animation project, I started writing up my proposal for this project, as well as to what I would do, including what kind of materials I would need, including how my sock puppet would be useful for the stop-frame animation film, given that I did some research on the Shaun the Sheep Movie, as well as doing some further research based on anthropomorphism and stop-frame animation.

I feel that the research I’ve done so far, including the development of my sock puppet, and the development of my storyboard will relate to my experiments, as I will be able to use these to create my own 30-second stop-frame animation film.

To develop my understanding, I did some extensive research on the Shaun the Sheep Movie and also anthropomorphism, as I wanted to find out how they were able to apply human-like features to the characters in the film, as well as how they created the mise-en-scene for certain parts in the film, including how they adjusted the lighting for different parts of the film as well.

Practical Tasks Done

As I want to be able to move on to doing my final stop-frame animation film, I wanted to storyboard my ideas first by planning out a map of my character, given that my sock puppet character is based on a teacher who is suffering from severe depression after receiving the sack from his job, which leaves him feeling like as if there is nowhere else for him to turn. As my puppet is anthropomorphic (as it has human-like features), I wanted to make sure I could use the puppet’s body movements as a way for me to brainstorm my ideas for my storyboard, so that when it comes to the real thing, I will be able to have a genuine idea as to how I want my 30-second film to turn out.

What I did initially find difficult was that I did become a little stuck with storyboarding, considering that I hadn’t done storyboarding for some time, so I did need to use my sock-puppet to brainstorm the ideas I wanted to put into drawing form.

What worked well for me, however, was I was able to use my knowledge of storyboarding, as well as the research I’ve gathered to create my storyboard, but also have some captions to go with my drawings, as this would help me create more emphasis by using those captions to draw more than one character. In this instance, my sock puppet character, and a different sock puppet character that any of the students in my class developed themselves. A different sock puppet character would also come in handy as this helped me to use my ideas to bring another character into the frame, but the kind of character that would be supportive of someone who is suffering from depression.

To improve, I want to be able to make sure to take certain bits out of my proposal that may not be relevant, and only keep in the relevant information and research, as well as the sock puppet character that I’ve developed, so that this can give me a better chance of being able to produce my final stop-frame animation film.

Critical Analysis

When it comes to composition, I wanted to make sure to adjust and get rid of certain parts of my sock puppet character that didn’t fit well with it, as well as how it could affect what I want to produce for my stop-frame animation film. In this instance, I had made sure to cut the knot I made around the sock puppet’s neck, as I felt that this restricted the sock puppet’s lack of head movements.

I have made sure to improve this by cutting the piece of thread that I tied into a knot off, so that I can give my sock puppet a chance to move its head up, down, left and right, as I’ve felt that this will gradually improve and speed up the animating process when it comes to producing my final stop-frame animation film. I have also done this as I wanted to make sure that I could use its body movements for some ideas that I could use for my storyboard.

I feel that my research/contextual studies that I have gathered over the course of the stop-frame animation project can be applied to help me develop my experiments, as I can use all of the research and ideas I’ve gathered to produce my final ideas before proceeding onto making my final stop-frame animation film.

This Stop-Frame Animation Project Log set has officially come to an end. Check back soon for the first Weekly Log from the Final Major Project that I did back in April.

Alex Smithson

Weekly Log 5 (Tuesday 2nd February 2016 – Thursday 4th February 2016) – Stop-Frame Animation Project

Continuing on from Weekly Log 4 of the Stop-Frame Animation Project, Weekly Log 5 expands further on what kind of research I did, including what I would develop and create from the fourth week onto the fifth week of this project, that’s including the final Stop-Frame Animation Project film.

Research / Context

During the course of the fifth week, I did some further research based on some of the characters whose names I missed or were unable to find over the course of the first few weeks back for my sketchbook, and during the course of this week, I did a restructured version of my research presentation based on the chosen film I wanted to talk about, as I did my research presentation on the 2015 film, Shaun the Sheep, which was created and produced by Aardman Productions.

This research presentation would help me to relate the information I gathered to my experiments, as this would help me for when it comes to setting the mise-en-scene, as well as the lighting of my stop-frame animation film.

To develop my understanding, I wanted to make sure to find out more about what the mise-en-scene meant by researching it on the internet, and how I could use the information that I researched to create my own mise-en-scene for my stop-frame animation film.

I also added some more pictures to the research presentation I did, based on the character that I chose to write about, as well as doing a profile of the film, for instance, the year it was released, who the Shaun the Sheep Movie was directed by, as well as giving a brief description of the film, given that I’ve actually seen it before.

Practical Tasks Done

The process I used was the mise-en-scene, given that the Shaun the Sheep Movie not only involved the full use of anthropomorphism (a character with human-like features), but the mise-en-scene, for a scene in the film, in this case: “The Big City”, involved a large amount of buildings and cars that, if you look at it closely, looks like the kind of layout for a city-wide redevelopment project. I used the mise-en-scene as an idea for my stop-frame animation test film by using a photograph I took when I went on the trip to the Science Museum and the Natural History Museum a week before.

What I thought was difficult was being able to select a good photograph from the large variety of photographs that I took whilst I was on the trip to use as the mise-en-scene for my test film. I wanted to make sure that the photo I had chosen would blend in with the characters that were used in the making of the stop-frame animation test film that me and two other students produced while in the photography studio.

What worked well, however, was I was able to use the photograph I took of the stain-glassed windows that the museum had in full view from the first floor to set the mise-en-scene for the test film, after we finished our green-screen and location photo sets.

To improve, I want to make sure to take out certain bits of my test film that are irrelevant, and only add in the most relevant bits that are important, so that it gives me a better chance to set the mise-en-scene better for my test film.

Critical Analysis

For the composition, I wanted to make sure to produce my film, but in a way where I could influence the film that I did some research on in my own experimental test film, by using the sock puppet that I produced a few weeks before to produce the film with a small number of students, given that other sock puppets would also be involved in the test film we would produce after making our own sock puppets a few weeks prior.

I have felt that the research/contextual studies I have gathered can be applied to help me develop my own experiments, as this will help me to develop my own version of my own mise-en-scene, and I also feel that this will help me to set the lighting of my test film for certain shots that I want to produce, before I progress onto making my final stop-frame animation film.

This brings the fifth Weekly Log for the Stop-Frame Animation Project to a close. Please make sure to check back soon for the final Weekly Log from the Stop-Frame Animation Project.

Alex Smithson

Weekly Log 4 (Tuesday 26th January 2016 – Thursday 28th January 2016) – Stop-Frame Animation Project

Continuing on from Weekly Log 3 of the Stop-Frame Animation Project, Weekly Log 4 expands further on what kind of research I did, including what I would develop and create from the third week onto the fourth week of this project.

Research / Context

During the course of the week, I went on a trip up to the Science Museum and also the Natural History Museum, as I was keen to look for a large number of works and pieces that could relate to my experiments with anthropomorphism, as well as to how stop-frame animation works.

To develop my understanding further after the trip to the Science Museum and the Natural History Museum, I chose a photo from the large range of photographs I took as a backdrop for my green-screen and location-shot videos. This would help me with producing my green-screen and location-shot videos, as I would be able to produce my videos in a format that would involve anthropomorphism using the sock puppet I created for the test film.

Practical Tasks Done

As a practical task, I had made sure to take some photographs while on the trip, as this would give me the chance to pick from the large number of photos that I took, which I would be able to use as a backdrop for my test videos, as well as doing some research based on certain items, objects or even certain sculptures.

I did initially find taking pictures around certain parts of both the Science Museum and the Natural History Museum difficult at first, because I wanted to take photos in and around both museums, though there were certain parts of both museums that I wanted to visit, but weren’t able to due to there not being enough time. I was, however, able to get a large number of photos from the areas of both the museums that I visited on the 26th January 2016.

What worked well for me was I was able to get a large range of photos that would support and help me develop further with the stop-frame animation project, as the sculptures (e.g. Diplodocus Carnegii, also known as Dippy the Dinosaur), including the huge blue whale, as well as some of the die-cast models of some bi-planes, gave me some ideas as to how I could use them as examples for the sock puppets that we all created, for instance, how the sock puppets would move, and how they would act in the stop-frame animation anthropomorphism film.

To improve on it, I want to make sure that I can find out a lot more from both museums, and to also do some further in-depth research on anthropomorphism, so that I can get a better idea of how certain things work, and how I can apply my understandings of them to the stop-frame animation project.

Critical Analysis

For my critical analysis, I used the research and photos I gathered from both the Science Museum and the Natural History Museum to continue the development of the sock-puppet stop-frame animation film by working alongside three to four, if not, possibly five students on the film we’ve been developing for our green-screen and location experiments.

I feel that the research/contextual studies I’ve gathered from the Science Museum & Natural History Museum can be applied to help me develop my own experiments further with stop-frame animation, including anthropomorphism. I also feel that the research/contextual studies I’ve gathered as a result of visiting the Science Museum and the Natural History Museum will be able to help me develop and expand further on my own ideas of anthropomorphism, and I also believe this will be able to help me expand further with my own ideas on the stop-frame animation project.

This brings the fourth Weekly Log for the Stop-Frame Animation Project to a close. Please make sure to check back soon for the fifth Weekly Log from the Stop-Frame Animation Project.

Alex Smithson

Weekly Log 3 (Tuesday 19th January 2016 – Thursday 21st January 2016) – Stop-Frame Animation Project

Continuing on from Weekly Log 2 of the Stop-Frame Animation Project, Weekly Log 3 expands further on what kind of research I did from the second week onto the third week of this project.

Research / Context

Following the work I did in the second week, I continued work on the development of my sock puppet, and during this time, I wanted to make sure to get my character to stand, as well as sewing on the eyes for my sock puppet, based on the research I did on the adverts, for instance, the C’mon Chase puppet advert by Vauxhall.

The research I did on the Vauxhall puppet advert relates to my experiments, as you can see in the advert that the puppets walk in a human-like fashion, and I feel this advert, based on the further research I’ve done on some other adverts or television programmes, for instance, Shaun the Sheep, relates to my experiments, given that I’ve made sure to make my sock puppet character stand up so that it can move around a lot easier during the stop-frame animation film process.

To develop my own understanding of the whole idea of stop-frame animation, I did some further research on the stop-frame animation television series, Shaun the Sheep, as I wanted to get a genuine idea as to how anthropomorphism works with characters like him, especially with Wallace & Gromit. I used Shaun the Sheep and Wallace & Gromit to develop my sock puppet character in an anthropomorphist form.

Practical Tasks Done

At this stage, after doing some research, I wanted to find out how stop-frame animation works, especially when it came to researching the hit television characters, Shaun the Sheep and Wallace & Gromit, given that all three were developed and produced by Nick Park, who worked for Aardman Studios, but back to the subject though, I researched anthropomorphism, as all three characters connect to it, but I did a bit more research and wanted to find out more about how it works. I found that anthropomorphism represented a character that had human-like characteristics that made that peculiar character human-like, but in either a human or animal form.

What I thought was difficult was that when it came to making changes to the sock puppet, I wanted to get it to stand up, but it was difficult to do so with wire, because it would mean I would have to cut the tied piece of the sock off, in order for the wire to be stuck into the inside of the sock, in order to get the sock puppet character to stand up.

What worked well, however, was I was able to get my character to stand up, given that earlier on I did a bit of stop-frame animation test film with two students from my group, and after the test film was done, I had made sure to get my character to stand up by getting a pair of pliers, and some wire, and I had made sure to cut the wire, and this, in turn, although albeit it wasn’t easy to do, I was able to bend the wire and manipulate it into a different shape to get my sock puppet character to stand up.

To improve on this in future, I want to make sure to find out how I can make a moving character work, in other words, I want to make sure my character is anthropomorphic, and that it can walk with human-like features, so that it has a clearer representation that has similar connections to the anthropomorphic characters, Shaun the Sheep and Wallace & Gromit.

Critical Analysis

When it comes to the composition of the sock puppet, I wanted to make sure that the sock puppet would have anthropomorphic features, which would give my sock puppet character a better appearance that would stand out during the filming process. I also wanted to make sure that my sock-puppet character would have anthropomorphic features, as I wanted my sock-puppet character to have a lifelike appearance that makes it appear like a human, only in sock form.

I have felt that because of the research/contextual studies I have gathered, I can apply these to help me develop my own experiments in stop-frame animation, and because I have gathered the relevant amount of research at this stage in the stop-frame animation project, I feel that I can apply these to develop my own experiments with anthropomorphism.

This brings the third Weekly Log for the Stop-Frame Animation Project to a close. Please make sure to check back soon for the fourth Weekly Log from the Stop-Frame Animation Project.

Alex Smithson