Print and Animation

Since making Imperial Provisor Frombald in 2015, there have been nice invitations to think more about print and animation, specifically from Tricky Women and Kim Noce at LCC.  For me the draw of using print on 35mm was that I had the material restriction of scale that lent itself to a dramatic simplification of the line, and I enjoyed the challenge of finding movement in boiling loops and registration mislaps.  This month, I’ve been working with BA students at UAL (LCC) to see if they might find something in printmaking  that they can assimilate into their practice.  It’s a lovely working environment, because the presses and printmaking department are well managed and flourishing and students (and visiting practioners) are able to use the department with support on hand.  With a potential 170 students, it wasn’t practical to work directly on 35mm film, which in my view is a nice introduction to print and animation:  with the smaller ‘canvas’ you can get an animated sequence in a shorter amount of time, without getting distracted by the blood, sweat and inkiness of relief printing.  So we are working directly with small 16:9 pieces of lino, max 8 plates per student.  They are thinking about making a loop, or single images that could be used as a digital or stop motion asset back in the studio.  There has been some lovely work produced so far.

I’ve since done a little research into other people working in the area, and here are some good examples:

I Steal, you Steal II by Oddbodies;

Dehisce Linomation Print – Hand Carved Animation Mark Webber, “Dehisce Linomation (print)”, Animated linoleum cuts

and then most recently Domenica Harrison who has made some lovely work using screenprint, and who is just about to release her graduation film Illusions online.

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