LAUIL603 Extended Practice
practice. For me, the way in which I approach an editorial can be applied to a range of briefs, as it allows me to create work which is more conceptual particularly through the generation of ideas through mind-mapping and sketching. I feel that the better responses in this module are often ones where I have responded to an article or a song, and the text is the foundation for the images that I make.
In the first statement of intent, I was definitely a bit too ambitious in the volume of work that I wanted to make. It took me a while to be realistic about the number of projects I could achieve within deadlines, but once I had ironed this out, I was left to work on projects that I enjoyed. From the first project to now, I can see a progression in the way that I work - distilling the process into a shorter time-frame, but also making more work that feels right. Removing projects from my statement of intent originally felt like backtracking; I definitely started some projects because I felt I should, rather than enjoying the brief. This module has also been an exercise in balancing expectations; my own against those of the client/competition brief. Towards the end of the module, I really understood that the only way I would want to stay up late over, or keep perfecting a project was if I truly enjoyed it. Although this is a luxury of being on the course, I think that it is something that I want to take into my practice, working on personal projects/competitions.
Organising not just my schedule, but also the assets and project files, for a range of briefs has saved me time and created structure in my project
have started to see these as the chance to explore how I can still make work that feels natural to me within brand guidelines or to a clientâ€™s needs. Working on live briefs, or for public-facing projects, I used to worry about my work not being accepted, but I think that I should trust my instincts more and stop considering what people might want to see, and just make work that I want to.
The most important brief for me had been the final animation. Being a song that I really love, it was a real passion project. I was too scared in the proposal of making work that felt too personal and emotional, however, I think that the parts that are more meaningful to me are reflected in the execution of the final piece, and the time and effort taken to make the hand-drawn animations look smooth. Proceeding with this project, I intend to focus more on the successes of the 1 minute proposal and continue making frame animations, using the rotoscoping technique. Relying on the film frames to provide accuracy gives me the freedom to add a personal touch while painting each frame, where you can see the hand of the maker. At first, this felt almost like stopping myself from making an organic frame animation, but having filmed the original movements myself, it is definitely a valid form of creating work in order to achieve the desired handmade aesthetic in an accurate way. Labouring over the frames, I realised that once it was combined with the motion graphics parts, they didnâ€™t sit well together. Presenting my work at the crit, I got positive feedback, but I know that going into the final show, I want to really push myself to make it work as frame animation, as this will better reflect my practice.