Evaluation

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For this project, I had set myself the personal learning outcomes of developing a substantial and well-rounded piece of work, that would stand well on it’s own as a piece. Also, that it should be based around the topics I feel strongly about; humanism/empiricism and education.

I wanted to achieve this using what I had learnt in Specialist Study One, that being the use of texture and leaving the ‘hand of the artist’ visible in the aesthetic of the work, and making it a feature.

I planned to achieve these aims through the continuation of study of stop-motion and fabrication, the implementation of mini-projects and creative concepts to achieve a high quality of completed work. Some of the new ideas and techniques I wanted to introduce myself to during the making of this project were that of getting a book printed up and ready to sell, trying out new illustrative concepts, and working with puppets and/or props that were produced by outside sources.

Scheduling the production pipeline for this project was done in a couple of different ways. The use of planning on a calendar for the various sections (fabrication, shooting, editing, e.t.c.) that needed completing in certain timeframes was helpful, but the implementation of using spreadsheets to produce dynamic Gantt charts to show the progress of the project, along with the time remaining was even more of a help to myself. I find it much easier to process information when in more visual forms.

The actual fabrication side of this project involved several sets and puppets and had to be well planned to a given scale as well as time-frame for shooting etc. Putting the production of one of the puppets into the hands of another person (Michael Price) helped achieve me aim of working with resources produced by outside sources, as well as working with other people to a strict design template and deadline.

Gathering feedback from people involved in the project (Michael, Ashton, Faye) as well as people outside of the project (friends, tutors, family) was all very helpful in steering the piece in the right direction, be it from using the right wording in the poem, the right font in the book or the way the puppets act in certain scenes.

Looking back at the project, now that it has come to an end, I can say I’ve fully achieved what I set out to, even if not to the full quality I’d have liked. A few minor setbacks with things like lighting and flash rendering held the quality back in certain areas. However, the areas I was more focussed on, those of stop-motion fabrication and visual aesthetic, I was more than happy. I managed to keep the ‘hand of the artist’ in the piece, keeping it tactile and textural while the practicality and usability of the puppets was excellent and they are holding up much longer than any previous efforts. I put this down to good time management and planning, as well as having learnt from all of the mini-projects and previous experiments with the medium. On the subject of mini-projects, the book turned out well, and rounded off the entire project nicely, with plenty to show for the industry show that I’ll be proud to have viewed.

  


About Richard Whillock

A beardy bloke who is pleased by the production of puppets and the set-up of stop-motion stuffs. A love for the scruffy, the textured and the original.

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