Final Major Project - Initial Devices Research

After returning from Easter break the first devices I wanted to research all create the illusion of a moving image because of the following phenomenon:

'Persistence of vision' describes the idea that an afterimage persists for approximately one twenty-fifth of a second on the retina, and was long believed to be the explanation for motion perception. However, it was dismissed as a theory in the early 20th century in favour of the 'phi phenomenon'; the optical illusion of perceiving continuous motion between separate objects viewed rapidly in succession. The phi phenomenon is the apparent motion caused by a changing static image, as in a motion picture. This is caused by different images or lights occupying a single place in rapid succession. The phenomenon was defined by Max Wertheimer in the Gestalt psychology in 1912 and formed a part of the base of the theory of cinema.

The first device I researched which uses this principle is the Thaumatrope:

Thaumatrope of children playing with a magic lantern: from my collection. Author's own Photograph

A thaumatrope is usually a disk or card with a picture on each side is attached to two pieces of string. When the strings are twirled quickly between the fingers the two pictures appear to combine into a single image e.g. a bird appears to be inside a cage (as seen on the left). Thaumatropes were one of a number of simple, mechanical optical toys recognised as important predecessors of cinematography and in particular of animation.

Thaumatrope translates roughly to "wonder turner" in Ancient Greek

The invention of the thaumatrope can be traced to 1824 and is usually credited to either inventor John Ayrton Paris or Peter Mark Roget. However, in 2012 it was reported that a prehistoric thaumatrope had been discovered in caves in the Chauvet Caves in France, but this has not been confirmed.

My necklace is an engraved disc which when spun reveals the words 'I Love You'. I gathering visual research and duplicated and experimented with my own thaumatropes in my sketchbook. Doing this I soon realised the main problem with using this technique to produce images is that both sides have to be visible for the effect to be known, and so any I try to make using textiles or try to make work on the body would have to be functioning. Nevertheless, I tried to link the device into a fashion reference, by showing how designs in this style can work on the body. I did this with the collages below:

The next device I researched is the Zoetrope. This produces the illusion of motion by displaying a sequence of progressive images in a reel. It consists of a cylinder with slits cut vertically in the sides and on its inner surface the reel is slotted. When the cylinder is spun, by looking through the slits the user sees a rapid succession of images, producing the illusion of motion.

The name Zoetrope was composed from the Greek for "life" and "turning".

A device sometimes claimed as similar to the zoetrope was created in China around 100 BC by the inventor Ding Huan, but the standard zoetrope was invented in 1833 by British mathematician William George Horner. When I was in primary school I purchased a small plastic zoetrope while on a school trip to the science museum, which can be seen in the video below.

Video demonstrating how a zoetrope works

Original Image- Google Images

When researching this device for my project, to get an idea of the principles and themes behind it, I tried to recreate my own zoetrope reels. Using an image of a dancing couple, I tried to make one digitally. I picked a silhouetted image so that I wouldn't have to worry about detailing and then used Photoshop to edit the picture to create a sequence in which the dancers spun. This proved difficult and I was not happy with the final effect. I therefore tried to create a couple of others using different techniques, one which I traced a dancing skeleton sequence and once which I drew of a skipping girl. This last one is the one I am happiest with and despite the fact that it is easier to create continuity when working digitally, my Photoshop skills limit the range and detail with which I can create designs and so I shall probably do the rest of my design work through drawings because of the freedom this offers, even though it is more time-consuming.

Zoetrope reels in my sketchbook.

The Phenakistoscope is a device which works in exactly the same way and through the same principles as the zoetrope, with the difference of being a disk rather than a reel. This makes it a handheld device that can only be used by one person at a time.

The first part of the term 'phenakistoscope' comes meaning "to deceive, to cheat", as it deceives the eye by making the objects in the pictures appear to move.

Again I tried recreating my own versions of these devices in my sketchbook (see flower wilting above) in the hopes of determining the best techniques to use and discovering themes and principles which I could carry forward with in my project. Apart from that I also just enjoy designing my own versions of these fun inventions. With the phenakistoscope I particularly like the shape of the disc and think I might perhaps use this on the body when I reach the design process. It will be interesting to look at the devices, not just for what they can depict and create in terms of movement, but also for themselves on a structural level. Later I plan to bring my research together and experiment with how these devices can work on the body, and apart from anything else, the pre-cinema animation devices that I am researching and which form the starting point of my project certainly offer interesting shapes.

The next device I researched is the Flip Book. Still a popular toy today, it functions on the same fundamental principle to create the illusion of moving images. The first flip book appeared in September, 1868, when it was patented by John Barnes Linnett. It was the first form of animation to employ a linear sequence of images rather than circular. With this basic initial research into various pre-cinema animation devices I am already beginning to pick out themes that I am excited to explore later on in my project. These include studies of movement and shape studies. I feel that although my idea seems quite strange in the context of a fashion and textiles course, the unconventional inspiration it will offer should make for an exciting final piece (I hope).

Images from a flip book in my collection. 'Dancing Couple' by Muybridge

Flip Book Demo-Dancing Couple

Research: Collection Room

Collection Room

 The Collection Room:

As I mentioned in my proposal, my entire project is primarily inspired by my Granddad due to his interest, and consequently encouragement of mine, in pre-cinema animation devices. Because of this he had a room in which he kept all objects pertaining to this area, known as the 'collection room' to my family. It is rather unorganised and has been relatively untouched for the past few years, but I decided to look through it to help broaden my knowledge of and understanding of optical toys. This entailed a trip to Leeds to visit my Grandmother and sort through everything there. I spent a day going through it all, getting rather covered in dust and picking out object of interest. The collection included several inventions such as magic lantern projectors, different kinds of stereoscopes etc:

Stereoscope

A magic lantern projector

A box of magic lantern slides

Also in the room were a vast amount of magic lantern slides, stereocards, some thaumatropes and flip books (and these are just in the boxes I had time to look through). Having already got a large number of my own stereocards in gifts and previous visits I concentrated on sorting through the magic lantern slides.

 Several I picked out and felt are particularly interesting are these showing the 'Marvels of the Heavens'. It has occurred to me that they function to educate viewers as well as entertaining them my showing them things that would not otherwise have access too. Stereocards depicting cities of the world and famous landmarks were extremely popular in the 19th century, probably for the same reason. Therefore, these devices were so popular as they broadened peoples outlooks and experiences in a time were people were far more limited then they are today. Another thing I found when sorting through the collections was a larger number of slides depicting popular stories, such as Aesop's Fables and Alice and Wonderland etc. These made me think about how in a pre-cinema era, slide projectors like this were a huge source of entertainment. Therefore, collections of slides like these might be used in sequence as a means of telling stories visually, on a fundamental level in the same way we was movies in the modern world.

I also found several flip books and thaumatropes that I added to my own collection and will help me in my future research and understanding of optical toys:

As well as all these fascinating objects, my Grandad also had a large collection of book concerning pre-cinema animation devices. I picked out several of these to help me in my research, such as 'The History of Movie Photography' by Brian Coe and 'Dates and Sources' By Franz Paul Liesegang. These, along with my grandfather's own book 'The Wonders of the Stereoscope' by John Jones' have so far proved very interesting and useful. As I continue to research and develop my project, I will definitely use these books and everything else I have found to look into the devices in detail. This way I can pick out themes and ideas that can lend themselves to experimental work and an interesting final outcome.

Final Major Project - Exhibition Trips

The Photographer's Gallery:

Presentation at the Photographer's Galley - Author's Own

To start my research into pre-cinema animation devices I visited several galleries. The first was the photographer's gallery to see their camera obscura installation, amoung other exhibitions. The camera obscura is an optical device that projects an image of its surroundings on a screen. It was used in drawing and for entertainment, and was one of the inventions that led to photography and the camera. The device consists of a box or room with a hole in one side. Light from an passes through the hole and strikes a surface inside, where it is reproduced and rotated 180 degrees
but with colour and perspective preserved.

All images above Author's own, showing camera obscura in action reflecting part of Ramillies Street. The origins of this device can be traced to around 400 BCE and it is to this invention that all modern photography can be traced as it is the first instance where the ideas of capturing light to duplicate and retain an image.

 While at the Photographer's Gallery I also looked at their other exhibitions, including works by Andy Warhol and David Lynch. However, the one that particularly caught my eye was the work of William S. Burroughs.

' I drifted along taking shots when I could score. I ended up hooked' - Burroughs 1954. 

What struck me about his work was the use of narrative and storytelling in the static image. For example, seen below is a sequence of photographs depicting a bus crash in New York in 1965. What I like about this work is the sporadic way in which the event, or 'story' is revealed. The information is disjointed, as a person looking a around the seen and taking in everything at once would see it.

New York Bus Crash - 1965: as displayed in the Photographer's gallery. Photo is Author's own. 

Another example of narrative in Burrough's Work can be seen below as he photographs his bed before and after a sexual encounter. I really like the poignant simplicity in these images and the way in which it conveys a story beyond what we can see in the photos. These ideas of narrative I feel they are relevant in the use of pre-cinema animation devices as they all suggest some movement or story beyond what is shown. Therefore I hope that it will be possible for me to carry this theme through into my final project.

Series Entitles 'What Was, What Isn't' by William S. Burroughs - as displayed in The Photographer's Gallery

While gathering initial research for my project I also visited the science museum and looked at their exhibition about the 'making of the modern world' which has displays of all sorts of pre-cinema devices. This was very useful for understanding the devices on a technical level and that will form a good foundation for my further research:

World's First Camera

Collection of Stereoscopes, a Magic Lantern Project
and other pre-cinema devices

Final Major Project - Idea

For the final stage of a foundation degree course we invent our own project and are completely free to choose our own idea. At the end of seven weeks our work is externally examined and we a given our grade for the entire year. It is expected that we produce at least one sketchbook full of primary and secondary research and experimental development work, as well as a record of our progress on this blog. This will all lead to a final piece of our choosing depending on our areas of study, it could be, for instance, a collection design, a garment, a photoshoot or fashion film.

Deciding on a project was difficult as before beginning in-depth research it is not easy to determine the viability of a project - whether it will have enough potential to fill seven weeks and meet the criteria to create an interesting and experimental outcome. When considering ideas I thought back to the work done so far on this course and the skills it has given me, to help inspire possible starting points. I knew that I wanted a project that would  reflect my main area of interest within fashion and textile design: costume. Taking, for example, a book or film character to design for seemed a little too straightforward and narrow for my liking, as I wanted a more abstract concept that would encourage a more experimental and unpredictable final outcome. Also, as I am not continuing my creative studies to degree level (I will be studying philosophy next year at university) I wanted a project that drew its inspiration from areas beyond fashion. I also feel that projects that draw on pre-existing personal interests are inspiring and the passion shows in the quality of the work. With this in mind I considered several ideas, but finally decided on a project inspired by pre-cinematic optical toys, into which I would like to try and incorporate storytelling and character development themes.

My interest in this area was first inspired by my Granddad, who was the chair of the 'Magic Lantern Society of Great Britain' - an international group of "collectors, enthusiasts, students of film, visual media and popular culture, magicians, artists, performers, scientists and archival organisations" - (http://www.magiclantern.org.uk). This society focuses on collecting and preserving objects which pertain to the origins and development of modern cinema and photography.

Thaumatrope Necklace - Author's Own

When I was ten years old years old my granddad gave me my own stereoscope and assorted stereocards. At thirteen he gave me a thaumatrope necklace charm and since then my interest has grown. I can't quite say what it is that inspires me about this subject. Perhaps it is the personal connection through my grandfather, or perhaps just the fact that I think these objects are so extraordinary; either way, I am looking forward to exploring and researching this area and the themes which it will inspire. Although I am unsure of my end point at this stage, I feel that will make my work more experimental.

Stereoscope and Stereo-cards - Author's Own.

Variety of Optical Toys - 'The Animation Bible' by Maureen Furniss

Before we could start work on our projects, we had to write proposals for our ideas and pitch them to a tutor and our peers. The difficulty was coming up with an idea with enough depth to explore and research its themes for seven weeks, but which was still simple enough to reach a clear conclusion in a final piece within this time frame. Pitching our ideas and writing an action plan was a good way to determine if a project was viable as we had to explain our objectives and plan to develop our concepts, thereby exploring its possibilities and determining if it was understandable. We were also able to refine our plans through receiving feedback and constructive criticism from our peers. My biggest problem was explaining how my idea could be made relevant to a textile and fashion outcome and also explaining to my peers what the devices I want to research are, as these devices are rather obscure in a modern context. 

Proposal: 

Section 1: Review (Approx 150 words)

Reviewing my time so far on the Art and Design Foundation at Ravensbourne I can see a definite progression in the quality of my work and the skills I have at my disposal. In tutorials and workshops I have learnt how to structure and minimise my research so as to keep my work focused, how best to display work, and how to explore and develop an idea properly to reach its full potential. Practically speaking, a skill I have found very useful has been being taught how to use Photoshop to create and alter design digitally. This will help me particularly in my final major project as it will enable me to alter picture properties in order to create illusions, animation and 3D imaging. Within the fashion and textiles pathway, as my main area of interest is costume-related, this has been and will be helpful in perfecting my design and technical making skills, as well as how to convey and continue a clear idea from beginning to end of the project.

Section 2: Project Concept (approx 250 words)

For my final major project I plan to research pre-cinematic imaging techniques and experiment with creating my own styles to make textile-based illustrations for a short story. By looking at inventions such as the stereoscope, zoetrope, and thaumatrope, my initial research will move away from utilising textiles or thinking about an outfit/costume that would work on the figure. I will be experimenting with and researching film, photography, and fine art techniques, as well as looking at the themes and potential of these inventions as they have influenced modern cinematography.  Eventually I hope to be able to recreate my own moving and 3D images using the same fundamental techniques as these inventions. At this point they will be in a combination of media including textiles, some printed or sewn onto fabric, and some drawn. These finished images will illustrate a short story with a clear narrative structure (beginning, middle, end). For my final outcome I hope to be able to make an unconventional garment for this character using the illustrations as components, showing some influence of the era in which they were invented. I intend to use a simple colour palette throughout to create a cohesive feel, mostly in sepia tones with hints of bright red and contrasting blue to show the influence of 3D imaging. My final outcome will be a costume  that tells a clear story. I will then photograph my final garment in a styled shoot and maybe if I have time, link together my illustrations in a film to tell the short story.

Section 3: Evaluation (approx 100 words)

As I work through my final major project I will keep track of my progress and evaluate my outcomes by checking what I have achieved against my action plan and assessing what I have done on my blog. I will also develop my work in my sketchbook, so that I can experiment with and adapt my work and techniques when problems are encountered (which is likely to happen at my proposed idea is quite intricate in its way). Altogether this will allow me to recognise challenges early on and to focus my work and so that I can produce the best possible final outcome.

Magic Lantern Presentation

Thaumatrope Poster

Storyboard

Zoetrope Reel

Cultures and Contrasts Project - Design Development and Final Outcome

In the second week of the cultures and contrasts projects we had workshops on how to create colour ways and palettes to help with our design work. We took photos with good colour schemes and selected out sections on photoshop which we could then duplicate. Using this method I was able to create reference images and a colour scheme based entirely on Venetian architecture and the anatomy of the human body.  

 

 Foiling layers with stitched heart detail 

Heat press transfer with
stitched detail

Now having a colour scheme to work with I decided, using my previous research, to convey my theme of  the the contrast between architectural (specifically Venetian architecture) impermanence and human immortality in a garment for my final outcome. My idea of how to do this was to create a surface design that mimicked the anatomy of the human body, but that is composed of architectural features such as a row of buildings as a rib or canals as arteries. My greatest challenge was deciding what the best method would be to render the design onto fabric. I started to make some samples in order to test what would be most effective for adding such a complex pattern onto fabric and retaining the detail. Here is a selection of my samples:                                              

Transfer paint and
melted chocolate coin wrapper

 After completing my sample work I decided to use the heat press transfer method for my final outcome so that I could scan in a design and have it printed onto a garment. This way I can retain all the detail as well as add colour digitally, giving me a wider palette and enabling me to use only specific tones from my previous colour way work. After some more development in my sketchbook I decided to make a kind of neck-piece garment that showed the anatomy of the upper body. With the Rialto Bridge as the design for the collar bone and the St. Marks Tower as the sternum. I also designed a section of the muscles at the back as the St. Maria Salute church. I did this design in pen and it is in proportion to the human body:

Front

Back

Final Design in Colour: Front

Final Design in Colour: Back

After scanning in my designs I spent the day adding colour using only my previous colour range, derived from Venetian architecture and human anatomy. This took a long time as I tried several different combinations and had to select each section of design individually. I am pleased with my final  result and feel the variety of colour works well as it is all in the same tone. I then had my design transfer printed onto fabric. I used the polyester provided by the college as it prints the clearest detail and my project is more about the design than the drape. 

Once printed I cut out the patterns and stitched around the edges to prevent fraying. I then used black elastic to attach the front to the back and create a finished neck-piece. As my idea is very conceptual it was a challenge to translate the ideas clearly into a finished piece of textile design work, but I did my best and received positive feedback from my tutors and peers. One problem I encountered was that once printed, the colours on my design came out in slightly different shades, changing the overall effect. This is a shame yet I am still pleased with my final product and really loved this project; the creative freedom it provided and particularly the research were enjoyable.