PM70 00 grossalber theresa K1646249
PORTFOLIO Graduate diploma in creative practice
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beyond borders Break the F ilterbubble
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personal manifesto Art Sketchbook Manifesto
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capstone Project The I, the Id and the Superego
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b ey o n d b ord e r s Brief: “How can all these identities and differences interact in ways that make for good relationships, and for a society and a world where there is mutual understanding, respect and peace rather than misunderstanding, prejudice, suspicion, conflict and violence?“ Create a campaign, service, product or environment designed to promote inter-cultural understanding.
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For creatives Futures, I choose „Beyond Borders“, a decision which I was unsure of at first, since other projects seemed to cater better to my field. However, at the time, I felt a wish to work in a bigger group of people, an aspect which I had missed in the previous module.
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Most importantly „Beyond Borders“ gave me the chance to figure out the role of an illustrator in a bigger group of people and in which ways I can improve my skills to further simplify this process. Having the possibility of working with two sustainable design master students has also highlighted for me the importance to look for feedback outside of my own group of „practitioners“. Initially, I did not realize how much of a difference it would make, since I previously had only worked with people from a similar background than me. We began our project with two starting points: The notion that traveling influences someones thought process and outlook on life and on the other hand the concern for rising right-wing populism in Europe, dividing people in opposite groups and further nurturing hostility in an „us vs. them“ thinking. While at first glance not having much to do with each other we soon realized that a red thread could be found in our topics - the Filter Bubble, which ended up being the focus of our project.
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rese ar c h an d p la n n i n g The first weeks of our project were spent mostly on research without an actual outcome in mind which was a new experience for me, having mostly worked with briefs with fixed outcomes before. Personally, I feel that it taught me to open up to different ways of researching even if it might not be my preferred way to work. Having now experienced different workflows I have come to the conclusion that I tend to work with a „flexible outcome“ in mind: a rough outline of what I will do which will then through iterations morph into its final state. Our research consisted mostly out of reading online material as our topic very present in all forms of online media and discussion. The discussion about the „Filter Bubble“ could be found anywhere. „Our digital social existence has turned into a huge echo chamber, where we mostly discuss similar views with like-minded peers and miserably fail to penetrate
“Travel, in other words, is a basic human desire… We travel because we need to, because distance and difference are the secret tonic of creativity. When we get home, home is still the same. But something in our mind has been changed, and that changes everything.” (Lehrer, 2010) 08
other social bubbles that are often misled by fear and xenophobia. This is especially damaging because peer views and referrals are the strongest, most convincing form of marketing.“ (El-Bermawy, 2017) Combined with the notion that travel is able to broaden our minds and give us a new focus on our surroundings, we decided to create a social awareness campaign, which would focus on bringing a „travel mood“ to our daily life and encourage adventures behavior when communication and encountering new cultures. A feature as we find we often lack in our „home“ which is seen as a space where everything should be safe and familiar. At the time we also attempted a survey, however, after getting some results dismissed the idea since it did not gain any major insight. We did he survey on our campus and through that results were mostly similar to our own views - one could say we did not move out of our own filter bubble. In retrospect, I think it would have been beneficial for our project to consider seeking out people in different life situations as it would have provided us with new points of view.
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social awarness campaiGn
comics right wing shadow Travel in ordinary places
filter bubble home
Change the environment
Travel maks at home
travel
n.personality - roles n situations - context
theatre
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th e kic k s tar t proc es s The Kickstart Process - a tool for designers invented by Mario Pricken, is something that I had learnt about in my previous graphic design education. It proved to be highly useful in our process of coming up with ideas as it helped us to combine traditional „travel adverts“ with our message. The most challenging part of this was to keep our defined message we wanted to convey, in other words our USP. „The unique selling point (USP), also known as the unique selling proposition, is the thing that makes the product or service unique and meaningful to the prospective consumer“. (Batty, Cain, 2016) While we weren’t looking to sell a product per se we definitely, in the beginning fell into the trap of producing actual „travel campaigns“ instead of focusing on our original concept. I find that the most useful tool for us to overcome this problem was to create a „slogan“ which functioned in a way as our USP. Subsequently this slogan also helped us to connect our comics into a bigger narrative.
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^ first comic drafts, scrapped due to not being simplistic enough
„…in humor we experiecen a sudden change of mental state - a cognitive shift…“ (Moreall 2009) 12
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For me, the most challenging and significant aspect of this project was my role as an illustrator in a group project. Initially, I had not considered going into this project as an illustrator exclusively and was open to every option that would present itself. With our decision to produce comics, however, through which we wanted to create „a pick me up“ which would encourage viewers in daily life situations“, I was presented with a situation I had not encountered before: Creating illustrations that would not only live up to my standard but also to that of my group. During the process of our project this lead to a lot of pressure I put on myself, which in retrospect hindered me as it made me second guess everything I did. My group mates did encourage me a lot, but looking back on it now I can see how I need to work on my ability to be more confident in my work.
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s ty l e a nd s imp lif i c a t i o n As mentioned above it also lead me to the conclusion that I work best in an iterative way as for example my early sketches of comics were too detailed something that would not really suit our strategy eye-catching posters of displaying the comics in spaces where people might only have limited time to look at them. Our inspiration to change this were drawn from comics such as: pearls before Swine, The social Guidebook to Norway, Calvin and Hobbes and similar comics, which worked in three to four panel form and which relied on repetition and text to produce humour. In order to simplify our comics to be optimized to be seen by people who do not have much time we do not have the aspect of relying heavily on text. A decision which forced us to rely on visual comedy only, since our aim is to engage the viewer by having an element of surprise and humour in our comics.
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^ story ideas developed through brainstorming and combining
Inspired by Mario Pickens Kickstart technique we started to link „typical travel slogans“ with what could be unusual interpretations in comic form. Most difficult proved to be keeping in mind that we were not trying to create a new and fresh
travel advert but remember our core statement: breaking the comfort bubble/zone. Many of the concepts we came up with had to be scrapped again because while they were creative, did not closley connect to our message.
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tria l a n d erro r Our first attempt was in retrospect made very hastily and illustrates perfectly our problem of creating travel adverts without taking our own slogan and unique message in consideration. We had come up with an idea of someone being changed by their „travel mood“, being transformed by it and coming back refreshed and more open minded. However, its main focus lies in the character actually travelling, which, while did reflect our initial ideas about travel being able to change our outlook on life and make us more open minded did not really showcase a breaking out of a bubble in everyday life. Furthermore the character of an elephant is closely related to topics such as exotic travel and zoos than what we intended. Personally, I feel that a mascot would have been of benefit for our campaign but would have needed more consideration and research.
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To have failed fail three times, means to have gained experience. It is more sensible to try several things to make something work. It needs the courage to go as far away from the established. With the programmed possibility to fail. (Interview with Mario Pricken, Die Presse 2017)
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set up the Scenery
build up tention
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Subsequently, we tried to tackle this problem by refocusing our stories on everyday situations. The idea was to take the grandiose statements linked to travel campaigns and to resettle them in a more ordinary context to show that even your immediate surroundings might be worth discovering. Our aim was to to engage the viewer - and to do achieve this goal our comics would need an element of surprise. „When used before the punchline, a pause sets up the anticipation of „here comes the funny stuff!“ (John Kande, 2017) In the comic „Explore the world - start with home“ we tried to use this principle by adding repetition and setting the viewer up with an expectation of what is the „stereotypical“ vacation. The middle panel acts as the pause while the last one defies the expectation by breaking with what the viewer might have imagined. Further explanation is however given by the title text and our slogan. For me the most significant experience during this stage was to analyse famous comics and their use of humour and how they achieved the use of a „punchline“ in only a few panels. I was very interested in comics such as Calvin and Hobbes, which I personally had never really paid close attention to. In the course of this project I gained a lot of new insight into the history of traditional newspaper comics and their use of a mixture of text and humour to achieve their unique form of entertainment. Equally, I do regret a bit that our comics had to work mainly without text, but do feel like it was a good decision for our main goal.
defy expectation
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st y l e cho ice s Something which for me was very important during this project was to try out different media for the comic. My first ideas were all digital and I felt that they overall gave the impression of being a bit sterile and too clean. We wanted to create a very welcoming, almost homey feeling, which would encourage the reader to stop and look at our campaign. While I felt that we already were in a way different from the „normal“ advertisement which can be seen in public spaces by using a very bright and playful style, that did not rely on vector graphics like so many modern ads, I also felt that an analog media could maybe distinguish us even more. I personally think that the biggest strength in our campaign lies in it’s earnestness, and I wanted to recreated that feeling of almost „nativity and openness“ by using an art style which was not complete redefined and clean. An aesthetic which I tried to reach by using watercolors. I found that I also benefited personally from this decision to try out different media, as it forced me to really explore their different strengths and different applications.
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ap p lica t i o n and c o n c l u s i o n Our main idea was to use public space as a possibility to raise awareness in the public and maybe provide some food for thought. People, especially commuters would be targeted by the awareness campaign, which leads to a very diverse potential target audience. In hindsight I do think we maybe should have considered our possible applications sooner to ensure that we would target the right audience. However I am overall very pleased with the outcome of this project, even though during some parts of its creation I felt unsure of our concept. While I do think that there would have been more active ways to put our main idea of breaking filter bubbles into practice I think that we were able to accomplish and outcome which we were all satisfied with. Would I do this project again I think I would pay more attention to our target audience and the means through which we can reach them. I found the most important experience for me during this time was to, as I said before really explore my role as an illustrator in a group project. This experience has also thought me that if I want to collaborate in this way that I have to be secure in my abilities and confident in my work, as insecurities on my side slow down the process and do not help the project.
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art ma n i f e s t o Brief: For this subproject durng our preperations for „What the GDCP has done for me we were asked to interact with art manifestos as well as create a personal one.
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se lf sabota ge The personal art manifesto was for me one of the most exciting experiences in this module. Going through several different projects in this and the previous module I have found that I tend to self manipulate me as soon as I consider a project „serious“. The art manifesto, however, was treated as a kind of sub project and by that gave the opportunity to work freely without pressure. In retros-
pect, I think this is something I will have to keep in mind when working on future projects as I am convinced it would help me stay more focused on my work. This manifesto was by far the project were I found myself with least desire to procrastinate. I had set myself a goal to finish a whole sketchbook and was determined to go through with it.
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“You can‘t just turn on creativity like a faucet. You have to be in the right mood. What mood is that? Last-minute panic.” (Bill Watterson, 1992)
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a p erso n al vie w In retrospect my art manifesto is less focused on the actual design aspect than on a personal view of my way of working and in a grander scheme even my view on ways of living. While this was not an complete conscious decision I was aware of it during my process of creating my manifesto. I had previously been very interested in the Bauhaus art movement and had always been very impressed with their manifesto. Their statement of form follows function and especially the aim to „reunite art and craft and restore art’s social purpose“ (Shiner, 2003) have always impressed and fascinated me. Had I done a personal manifesto on graphic design it might have been a very different outcome. Since illustration however is for me a lot closer to my heart it felt natural to focus on those more personal aspects. To strengthen this idea all of the illustrations done for the manifesto have themes in theme which I personally enjoy working on and which follow I style I have come to regard as my „go to“ during the two terms at Kingston University beginning with my first use of gouache ever during my the first project in the Module PM6000.
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re c e v i n g f e e d ba c k During the group session for presenting our manifestos all students were asked to leave feedback on our peers work. I found it extremely interesting how many different outcomes had been produced and how they all mirrored their creators personality. It showed me again that any brief could lead to a huge amount of different final pieces. I was also not prepare for how much positive feedback I would get for my manifesto. I often struggle with too much negativity in regards to my work and seeing so many of my peers enjoying what I had created was a new experience for me. A lot of them commented on how it felt very personal which I was glad to hear, as this was one of my main goals to achieve. I found that I have troubles with analysing my strengths which I need to be able to do, not only in order to find a more balanced satisfaction with my own work but also to identify my target market. Therefor being told by my peers that my work, had a personal and story telling aspect was pleasing and ecouraging for me to hear. Overall I can say that this year has thought me a lot about not only receiving feedback but also giving it. I am glad that we are encouraged to interact with each other not only in our subject groups but also in a bigger form with fashion and fine art designers. Through mixing our respective courses I believe we are able to get a broader view on our projects.
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f ut u r e p er s p e c t i v e s At the beginning of my studies here in Kingston I was convinced that these were my two years of being able to follow my passion for illustration, but that I would after hopefully finishing my master go back to work in a graphic design area. At the time I felt it impossible to imagine a future in which I would pursue illustration further even though I struggled with the idea working in a marketing and advertisement context. While enjoying the process of graphic design itself, I found that especially commercial work does often not coincides with my personal views. The statement in the first things first manifesto 2000 that „Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.“ (Eye Magazine, 2017) is one I can very much identify with. While I am realistic enough to know that I will always have to rely on commercial work for my income the experience of reading through other peoples art manifestos and their opinions have further steadied my wish to create work that is meaningful to me and overlaps with my values and viewpoints. To sum it up I can only agree with what the Eye Magazin already wrote in 1999: „We propose a reversal of priorities in favour of more useful, lasting and democratic forms of communication – a mindshift away from product marketing and toward the exploration and production of a new kind of meaning.“ (Eye Magazine, 2017). While I am still unsure of how my future job perspective will look like I am, especially after completing my manifesto, more and more enthusiastic about the possibility of illustration being a job option combined with graphic design. Personally I fell that this besides learning to analyze my strengths and weakness has been one of my main developments during this module.
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ca p s t on e pro jec t Brief: This element of module PM7000 is a ‘capstone’ final major project, which represents an extended selfdirected response to a theme or topic which you identify as interesting to yourself as a creative practitioner.This capstone project is the ultimate expression of your personal position and endeavour within the GDCP. (Postle, 2017)
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Research about your chosen topic in depth to be able to simplify it to an easily understandable level. In which ways can you use traditional forms of story telling, for examples in adventure books and apply it to a scientific topic? Inform yourself about the interest of your target audience and which kind of media they consume. In which ways can a media form primarily functioning as entertainment but also convey informative content? Research about how books, comics and video entertainment for children can encourage critical thinking. Also, think about different media forms this could be applied: comic, animation, magazine?
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Create an interesting and stimulating form of visual entertainment for children aged 11-14 about a historic, philosophic or scientific issue.
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ONCE UPON A TIME ‌
The final outcome should not only be engaging but informative and be able to clearly communicate the scientific background to your target audience. 17
ex p l o r i ng
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While doing my mind map I quickly real that every word I had written down had so connection to another word. Overall it clear to me that everything I had written do had in some way or the other something to with how I grew up and how I view the wo My childhood had been very much influence two main factors: stories and exploring. It not just my parents who instilled this love in
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THE THE THREE THREE INVESTIGATORS INVESTIGATORS THE THREE INVESTIGATORS
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THE WAY THINGS WORK THE WAY THINGS WORK
MAMMUTLAND MAMMUTLAND MAMMUTLAND
SCOOBY DOO SCOOBY DOO
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opposite page top: (action press, 2016) middlemiddle of pageofbottom: (actionjaxon.de, n.d.) n.d.) opposite page top: (action press, 2016) page bottom: (actionjaxon.de, opposite page bottom: (film-rezensionen.de, 2015) 2015) this page (amazon.co.uk, n.d.) n.d.) opposite page bottom: (film-rezensionen.de, thistop: page top: (amazon.co.uk, middlemiddle of pageoftop: (videobuster.de, 2016) 2016) this page left: (neogaf.com, 2013) 2013) page top: (videobuster.de, thisbottom page bottom left: (neogaf.com,
Last term I had given myself the task of cre- in me as a child. For me creating a similar ating a project aimed at a younger audience project seemed to be the perfect opportunity that would not only be entertaining, but also to mix my enthusiasm about researching tended to get feedback whenwhen Seeing someone I admired for her tended tothe getbest the best feedback Seeing someone I admired for her realizedbutbut type of media I consumed. Many lized alsoalso thethe type of media I consumed. Many of of convey adealt form of scientific knowledge in aor way and digging up information and sharing it any kind of character story was was inamazing art saying she actually likedliked any kind of character or story inamazing art saying she actually d somethem them were shows which with a science ome were shows which dealt with a science or or volved. In one a classmate told told that that aspect of my reallyreally opened volved. Insession one session a classmate aspect ofwork my work opened it washistory history aspect, summed up and simplified in a was aspect, summed up and simplified in a that was Others engaging and fun to watch. as my well as decided my wish to create visual material. me that she liked how how manymany of chaeyes and Iand to trytototry embrame that she liked of chamy eyes I decided to embran downwayway a child could understand. Others were more own a child could understand. were more
ng to dofocused focused experience a group experieno do on on thethe experience of aofgroup experieneorld. world.ce. ce. Of uncovering a mystery together. I decided Of uncovering a mystery together. I decided nced I wanted these aspects to abemain a main factor ed by byI wanted these twotwo aspects to be factor g.was It wasin for in for capstone project. Looking back at my capstone project. Looking back at my pro-prove in mejects jects on my groupmates feedback work n me andand on my groupmates feedback my my work
racters werewere funny or amusing. This This ce this thanthan trying to chanracters funny or amusing. ceside this rather side rather trying to chanwas was a biga revelation to me. hadI had al- alge it.ge I hope to betoable to incorporate big revelation to Ime. it. I hope be able to incorporate waysways triedtried to dotomore »serious« workwork this into project do more »serious« this my intocapstone my capstone project because I hadI had somesome kind kind of belief in in because of belief me that this is what I should be doing. me that this is what I should be doing.
I wish to do this was mostly inspired by the media I myself consumed during that age - media, which mixed storytelling with educational aspects without talking down to their audience. Instead, they were able to inspire and evoke a sense of wonder and excitement
Looking back at my initial brief now I wish I had revisited it more often during my process. Whi109 be le I believe I have accomplished to in 109 part able to fulfil my brief during some time spans I lost my original focus and concentrated too rigidly on the technical aspect of my project.
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My initial idea was to create my project with analog media. At the time I was stuck in a mindset of having to stay true to an idea of illustration which i perceived would of course manifest itself as print.
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s tar t i n g point However, during my research I quickly realized that I was limiting myself due to this belief when it came to actually reach my target audience. I feel this situation arose mainly because I used my own childhood media as reference which of course was created during a time in which the media structure was very different. However the more in depth my search got, the more I began to understand how the market since then had changed drastically. Many of the children growing up now rely solely on online media as their information and entertainment ground. Ofcom’s report on Children and Parents Media Use and Attitudes, (...) reveals that children’s internet use has reached record highs, with youngsters aged 5-15 spending around 15 hours each week online – overtaking time spent watching a TV set for the first time. (Ofcom, 206) And the video sharing platform YouTube is the centre of the attention, especially for young people with „three quarters (73%) of those aged 5-15 using the video site“ (Ofcom, 2016) and the popularity of TV sinking Among 15 to 16-year-olds, less than a quarter would typically watch television as it is broadcast (...)“ (Coughlan, 2016) In the face of all this information I had to reevaluate my idea - since I wanted to create up to date content I decided to change my project to an animated video.
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vi d e o essa y s Looking back now it is almost ironic that I had not considered online media from the beginning. But through this experience I definitely learned how important it is to in depth research your target audience before starting with any project - as I would complete run in a different direction had I not re-evaluated my goal. The switch to online media, however it felt very natural for me - just as I previously had used my initial inspiration form my own experiences, I again used my own interests as research material. To be specific a form of video content which I felt had become very popular in the last years - video essays. According t to Andrew McWhirter the video essay traces its root back to 1940 (Owens, 2016) but it was only with the rise of YouTube that their their popularity gained among the mainstream. John Armstrong, a philosopher and writer for the YouTube Channel „School of life“ states that „The idea of presenting things visually has always been a big ambition. I remember years ago discussing (…) the idea of making books with
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Another big factor in the rise of the video is the fact that with the ongoing technical development it has simply become a lot easier for content creators not only to produce their material but also to find their audience. „Today artists have access to video editing tools that ship free on most computers.“ (Bresland, 2010) As the creator kaptainkristian states in a video himself: „Anyone with the dedication and the drive [can] produce a film.“ (kaptainkristian, 2017)
From Top to Bottom: (Nerwriter, 2016), kaptainkristian (2016)
“We see Youtube as offering a better artistic medium (...) I certainly think it’s comparable to, say, the invention of the paperback (...) which changed people’s access to reading and changed the kind of writing that went on. (Owens, 2017)
lots of images where the intellectual content and the images would play off each other very strongly so that it would be a visual experience as well as a reading one.” (Owens, 2016) YouTube channels such as School of Life, Every frame a Painting, Nerdwriter1, Kurzgesagt, kaptainkristian and Extra Credits all accomplish in their own ways to convey a lot information in a an entertaining way and were all media I consume as well. While their approach may differ, with some being more traditional in their use of video essays than others who expand the genre, they all boil down to one idea: To make learning new information more accessible and interesting for their viewer. The visual aspects opens up an „entirely new dimension (…) that makes it much more arresting. It’s because of this more engaging format that video essays are much more popular than their textual counterparts. (Owens, 2016)
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While most of, what I would call „traditional“ video essays concentrate on analysing a movie by looking at specific scenes or themes, I think another genre can also be found which I identified to be more interesting for my project. Instead of using movie material to explain their
content, they use, illustrated or animated sequences and mainly focus on philosophical or scientific questions. While looking through their content I observed that most of these channels created their own brand image through the illustration style they used. A clever technique
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Very early in my project I had neglected to pay attention to those which I feel was again attributed to the fact that I had
become too engrossed with practicing my animation skills. While this may have been necessary for me in this early stage, in retrospect, I now would begin my project my creating a visually distinctive design as anchor point for my animation. Left page top: (Kurzgesagt – In a Nutshell , 2016) left page bottom:(Bernaus, 2013) right page top: Orgesticulanismus - Mathieu Labaye, 2013) right page bottom: (Good Books - Metamorphosis, 2011)
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which I personally think is similar to how a TV show would ensure to be recognized by the viewer.
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the c o nten t In the beginning, for me, one of the most significant aspects of this project was the actual content which I would portray. When writing my initial brief, I felt very excited about the possibility to research a topic in depth and then transform it into a visual medium. However, I soon had to realize that if I want to do a new topic justice and still create content on a level I would feel satisfied with I would probably have to limit my research time. Subsequently, the decision to use a topic which I already had some knowledge of felt logical. Personally, I do feel that my work has benefited from this decision overall, because it gave me the time to really focus on the structural aspect of my video. The most challenging part for me during this process was separating the information I had into clusters of diverging importance. As well as to decide which were necessary to explain my topic which I had chosen: Interpassitivity. At the time, I also did not realize how much time my animating process would need and started out with a topic which ended up being too big for me, forcing me in the later stages to pick one of my information clusters for my animation - the Structural model of the psyche by Sigmund Freud as seen on the right. Looking at it now I think I did loose a lot of time in the beginning dealing with my structuring process. However, I felt it was needed as a learning process and I feel now much more prepared and eager to continue practicing my skills.
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DEMANDS M O RAL P RI N C IPLE
CON T RO L LS R EALI T Y P RIN C IPLE
DEMANDS
P LEASU R E P RIN C IPLE
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SOC I ET Y
PAR E N TS , FRI EN DS, CUL T U R E
SU P E R EG O
LAW AND P ROHIBITION
THE “ I “
CRITICAL CONCIOUSNESS
THE I D
NEEDS AND WANTS
SU RROUN DI NG S
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the c h ara c t e r s Through the organization of my content I had come to the conclusion that the simplest way to present the theory of the I, the Id and the Superego would be through personalizing those three personas. While this might not be the proper way to scientifically explain the concept I felt that it was important to keep my younger target audience of 10-14 year olds in mind. My goal was not to have an extremely philosophical outcome, but instead produce content which act as a foundation to get my audience interested in the topic, explain it on at an age appropriate level. They used the method of Personification to achieve this, which „increases empathy and understanding“ (Luu, 2016). The biggest problem I can see in hindsight is that unsure if I was able to fulfil my aim to reach my target audience. To really ensure that my material was target of my audience, I should have done testing with my selected age group. This is definitely something I need to keep in mind for my future projects and regret not doing for this one. However, I do feel I was able to test my explanation on my peer group during our sessions, which is also the original reason why I choose to personify the characters. I noticed that the best outcomes in simplifying my material are not done by brainstorming in written notes, but instead by orally explaining it to someone as it forces me to filter and structure the content in the situation which is made easier by the reaction I am getting from the audience.
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(...) personification, like our basic senses, is, a very natural way for humans to view, understand and interact with the world of objects. (Owens, 2016)
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Rennison (2015) states that Freud classified the human mind originally in the conscious and unconscious, however by 1920 arrived at a tripartite structure which would remain his model until the end of his life.
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the i The three parts of the psyche in his model are named the ego, the id and the superego. With the centre, being the Ego which constructs the sense of the individual self and is to a greater or lesser extent able to monitor and censor the Id. „the ego is the rational part of the mind, the part that reacts to the outside world and allows the idividual to adapt to reality, to acknowledge the „reality“ principle.(…) Freud’s most telling analogy of the relationship between the id and the ego is to compare it with the relationship of the horse and its rider. Occasionally, of course, a horse will slip from its rider’s control, just as the instinctual demand iof the id occasionally elude the restraints of the ego, but, misty he horse is guided and controlled by its rider. “ (Rennison, 2015) At first I had thought of representing the Ego as an actual human person, but later realized that would present the problem of choosing a specific age group and gender. Personally, I felt that such selection would distract from the fact that in Freuds theory every human psyche follows this same structure. A technique used in comics and cartoons to ensure the identification of the viewer with the presented person is simplification. McCloud according to Korg (2016) calls it “amplification through simplification“, a stripping down of an image to its essential meaning. Because of this, I used a cartoonish version of a brain for my „Ego“.
“[Thus], when you look at a photo or realistic drawing of a face - you see the face of another. But when you enter the world of the cartoon - you see yourself.“ (Korg, 2016) 51
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th e i d The id, according to Freud, is „the oldest most primitive part of the mind (...)“ (Rennison, 2015). Rennison claims that Freud viewed the id as something we are all born with, and that its impulses and desires demand instant instant gratification.
Furthermore, he states that the id is the force which leads to the pleasure principle, something which we have to overcome as we grow older and are introduced into society. However, according to Rennison in Freud’s belief, none of us really ever leave the id behind.
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need to portray the character. This lead me to complete many sketches of it and ultimately it is the character that went through the most changes. It was very rewarding for me to see my skills in portraing it getting better and defintely for me again highlighted the importance of iteration.
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During its creation I felt that this character was the easiest to find a form for, after all, the concept Freud described, a part of our mind that was endlessly stuck in an infantile state was very a very specific and illustrative image. The most challenging part for me during this stage was the actual skills I would
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th e sup e r e go Thirdly Freud defined the „Supergo“. It functions as the moral principle and is created „as the child develops and learns to adapt to the real world and to others“ and is able to „monitors the ego in much the same way that the ego supervises the id.“ (Rennison, 2015) Freud, as stated by Rennison explains the presence of this third instance as a projection of the internalized voices of the society in which it grows up in, for example parents and carers. The superego is able to provide the Ego with a sense of right and wrong and works against the pleasure principle, against the individual urges of the Id. This character was the most challenging for me to create, as it would need to be able to
represent absolute authority. I scrapped my original concept of picturing it as a grumpy teacher-like figure as it had the same problems as my idea to represent the Ego as a person, it would stand in the way of simple identification by the viewer. Instead, I relied on a technique which is commonly used in a lot of TV shows for kids. I had observed that, for example, in Winnie Pooh, as seen on the picture on the left side the mother, who represented a authority figure, was only ever shown up to her neck. Her face never revealed. In my opinion, this was done because she did not participate in the storyline, but was only used as a principle of power which could allow or forbid actions.
(pooh.wikia.com, 2017)
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(hpooh.wikia.com, 2017)
Another example why the head is so significant for giving a character a personality is by showing that only by blocking out the eyes of the character you also erase their „name/personality“. A „bar (…) over a person‘s eyes [is] used to censor identity. (TVTropes, 2017)
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My only previous experience in animation had been during the first term, so tackling such a big project felt like a huge step into a new foreign terrain. Mostly the first weeks I spent trying to figure out simply how to animate. At first, I had no real plan formed which would lead me to my final outcome, instead for me, the most significant experience in this stage was to experiment a lot and get used to the process itself by trying to figure out its basic principles. In retrospect, it might have been beneficial for me to use some kind of tutorial or beginners demonstrations, but at the time, I did not think about it. While it could have sped up the process I do believe that it was not necessarily a bad thing for me not to seek out explanatory content in the beginning stages. I feel
that this time of purely playing around with the technique of animating helped me to get a good basic understanding of the medium. This might be due to the fact that I personally regard myself as a person who learns through an trial and error process. I did however seek out tutorials and content by experienced creatores in later stages when I felt that I was stuck and could not improve by myself. I think for future projects I need to keep in mind to have a good balance between primary and secondary research, as this project has shown me that I tend to forget about the later one.
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Should this link be broken please u It will take you to a video showing I have complete over the course storyboards to practice animation a
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use the link given in the descrption! g a collection of animations which of this project, ranging animated and scrapped scenes. Enjoy!
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(nature video, 2017)
A main aspect of animating which I ignored in the beginning was in reference from video material. I think this simply arose from the act that my main character, the brain, was a fantasy cartoon character and therefor did not strictly require real life material besides its ground shape for me to draw it. But as my animations got more complex I was confronted with the fact that I simply did not know the sequences of movements needed. Especially walk cycles proved to be a huge challenge for me in the beginning. To solve this problem I relied on video material I found and used screenshots of it as a base for my animation. Not only do I think it helped me to understand the movements but also overall improved my drawing skills since it forced me to really pay attention in which ways the muscles of, for example this chimpanzee, worked.
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s id eq u e s t s ? One thing that I have observed myself doing during this project a lot and which might have been one of the most challenging parts for me was staying focused on only one thing. During our pervious term I had always wished for more time for one project, but looking back now I realized that I actually enjoyed the fact that time was limited. Having now had time to do a larger project during a bigger time frame has allowed me to realize that I am a type of person which needs deadlines to work and that I will need to figure out a way to set myself those strict deadlines. In my previous years in education I was aware of this type of problem before but I feel the capstone project showed me more clearly that a structured time management is crucial for me to achieve a goal which I will be satisfied with. On the other hand however it has also shown me that „sidequests“, which is how i titled any art I was making, which was not directly related to my capstone project, are very useful for my improvement and not necessarily a waste of time. At the time I only felt that I needed to take a break from the big „project“ as I felt very stuck and could not recognize any progress. However after completing some animations which were not necesarilly connected to my project I noticed that they did influnce my outcome. Not only because of the practice I naturally got through them but also working on something else lead to me trying out different techniques and brushes. Subsequently I began to change my originally design. I think through this experience I have learnt that it is benefitial for me to get out of my „bubble“ every now and then, however I need to find a good solution to integrate it into my time managment to ensure that my outcome does not suffer because of it.
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animat i o n tec h n iq u e Iteration and Experimentation not only played a huge part in my animating and practicing process, but also in my use of programs. Photoshop might be my preferred application to work with but I soon realized that it wasn’t the best or most intuitive when it came to animation, especially not a beginner. The switch to Firealpaca, a free program, in which an Onion Layer mode can be activated which
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will show you the previous and next layer in different colours was a major factor in my learning process and improvement. I ended up switching back to Photoshop for my final version of the video because it has the advantage of a big range of different brushes, but used Firealpaca to make a „rough“ animation which I could use as a template. Ultimately this has shown me that sometimes breaking
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habits which we have grown accustomed to is necessary to improve. Equally, this has shown me that I want to learn more about other programs such as After Effects and Animate but also Premiere, which I had to use for my final cut, to further develop my skills. Another big lesson I learned from this is to be more organized. I tend to not properly label my
layers even though it often costs me a lot of time since the disorganization leads to confusion. With animation I was forced to really pay attention to my layers and groups and establish a system which would increase my work speed and limit mistakes since any mistake would immediatly be seen in the animation.
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st y le c han ge s an d p ro gr e s s As I mentioned one big advantage in photoshop was the possibility to use a big variety of brushes - something that Firealpaca could not provide. At first I did not see that as a downside, for the duration of my project I was confident that my final outcome would be done in Firealpaca. Ironically looking back at it now I had again fallen into the trap of being stuck in one program and not thinking about all the other possibilities that were available to me. It was only a coincidence that I did in the end decide to change my style and subsequently the program: during one of my „sides quests“ - animating a running cycle of a dog I had used a different brush, without real thought behind it. Through the „sketchy“ brush it I was not only quicker but also I personally felt a lot more satisfied with the output. It is an experience like this which really for me, confirm my belief that doing something completely unrelated to my overall project sometimes, is beneficial to my final outcome. Furthermore I also believe that as seen by the pictures on the side the continuing reptetation of redrawing the same scenes in diffrent programs also resulted in an improvement of my drawing skills.
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One of the most poignant things I learnt from this project is that I have the tendency to dive straight into projects without considering the process, which can harm my outcome. In this case it was the missing process of thumbnails or storyboards. In the early beginning of my project I simply began to animate without having a bigger plan or structure besides what was in my head.
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mis s i n g sto r y b oa r d s
However, I feel this situation arose not simply because of my impatience, but because I was anxious due to the fact that I still was not familiar with the process of animating. Having now explored it’s techniques and become more familiar with it, I think I would now start a similar project very differently and did so in the end phases of my project. While I scrapped most of my early animations because of their lack of structure I believe it was important for me to have this beginning period of simply playing around with the medium itself.
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One major change that helped me to get more comfortable with storyboarding was the switch from analog to digital. While I normally prefer traditional media to sketch, but I think the freedom of easily earising and moving around parts of my storyboards played a huge factor in me being able to brainstorm effectively. My analog storyboards had been very rigid, locked on one simple idea I had often times making the mistake of just sticking with one idea instead of trying several.
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th e tex t My biggest challenge during the Capstone Project in retrospect was structure. In Retrospect many of my mistakes could have been avoided simply by changing the order in which I structured my work flow. For example while I had drafts of my spoken text even in the beginning I never redefined it, working instead on storyboards which followed my idea but did not have any text connected with it. The consequence of this was that I had to completely rewrite it in the end to fit to the animation. I believe the reason for this mistake mainly was my avoidance of the fact that I struggled a lot with writing the script from the beginning. Structure and timing mistakes are a reoccurring theme when I look back on the course of this project and one main thing I will need to work on during the future. For example, it might have been easier and more organically for me to simply record myself explaining the theory and then using that as a basis to create the animation. This might have been a more organic way to produce my content. 72
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ti m e management Before switching to my final color palette - which only consists of yellow, black and white I had also played around with a colorful style, however did not end up using it one simple reason: time mangament. With many of my projects in these two terms I had to go through the learning process of making a compromise between an idea and the actual time limit. I have realized that my illustrative process, and in this case animation not only has to fullfil my own expecations but also has to be adjusted to the time frame in which I have to produce an outcome.
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co nc lu s i o n Overall I am satisfied with the resutlt of my project but I do think there are two major flaws which need to be addressed.The most important one being my target audience. I mentioned that I feel like I should have done more testing of the material on my actual audience instead of on my own age group. Furthermore I am unsure if the langue I
used is suitable for my age group. This is something I had completely forgotten about and had not spent enough attention to. Since english is not my first language it is hard for me to tell which phrasing would be easy to follow for my target group. My main goal was to make content that would not confuse but instead inform on an age appropriate level
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fact of me being to focused on a technical viewpoint of animation and my initial problems with storyboarding which I addressed in early sections of this portfolio. Of course in retrospect it is always easier to see what could have been done differently but it also encourages me to do better next time. And ultimately I think it was necessary for me to make these kind of mistakes since many of them stemmed from the fact that this was a „new territory“ for me.
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and while I think my underlying structure of the video and illustrations were able to fulfill that part of my brief I am unsure if the vocal part was too. The lesson I have learned here is a valuable one though since any project could have been thought out into detail but will still fail if it miscommunicates with its target audience and having to realize this now will hopefully help me not to repeat this mistake again in the future. The second flaw which I would point out is the missing aspect of „humor“ which I had given myself in the beginning of the brief. I think this problem arose mainly out of the
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wh a t t he g d c p has done f or m e Personally I am most interested in the ability of creative disciplines to act as an agent to convey ideas, messages and knowledge between human beings. „Our modern world is based on a global network of information exchange made possible, in large part, by our ability to communicate — in particular, using graphic or written forms of communication.“ (Petzinger, 2017) Illustration is, I believe, especially linked to the art of storytelling in which in my opinion is one of the most basic human way of sharing a body of thought. Petzinger (2017) who studies the beginning of graphic communication points out that early artists in Europe have been leaving their marks 10,000 and 40,000 years ago in remote caves, documenting that our desire and ability to communicate has played a major role in our success story and how closely linked the „(…) evolution of creativity, of imagination, of abstract thought (…)“ is „(…)about what it means to be human(…)“(Petzinger, 2017). In my opinion, by using Illustration as a tool we are able to take complex ideas and break them down into their main aspects and give them a greater accessibility. Coming from a graphic design background I aim to create experiences which are intuitive and visually interesting for my audience. This year, which has been my first real exploration in Illustration I was able to observe myself going back to methods learned in Graphic Design to achieve this goal. This has led me to the conclusion that I am unable to draw a strict line between those two fields - but rather hope to be able to combine my knowledge in communication design with my wish to be an Illustrator.
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Magazines such as Horrible Histories overlap a lot which exactly the content I want to create - it is able to merge illustration with an aspect of fun to convey facts and ideas on an age appropriate level without looking down on their audience.
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In this year I have also noticed myself to be drawn to certain topics, themes and audiences, which overlap with my interests and passions. I have realized my desire to create content stems not only from a place of „wanting to make pretty pictures“ but of a wish to share my interests and enthusiasm with my surroundings. I could also observe how I am influenced by past experiences: As a sister of a much younger sibling, someone who worked as an au pair and organizing a children’s playing group I have been often been confronted by the need to entertain, explain and transfer ideas on a child-appropriate level - and illustration has proven to be my most natural tool to do so. Working with children has also led me to be very interested in the challenges which are present in those developmental stages. This knowledge of my interests was present before starting the GDCP but only now I have realized how much it really is a recurring theme in my work. I had been approached by a few people in my recent education on the subject of pursuing a career in teaching, however never considered it a possibility. Throughout this course I realized that those two interests do not have to be separate and that conveying issues which are of interest to me to other people is a huge drive in my motivation to create.
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Especially the project „„target audience“ ended up being the very influential in my understanding of this - I had known about target audience before and felt like I had studied it in enough depth to be able to use it in my work. Through my previous graphic design education being focused on business and not personal work I had, however, never taken the time to reflect what kind of target audience I would choose if I was free to do so. In retrospect, I did not put a lot of thought in my decision as to why I was choosing a children’s book, which I believe was a positive decision because it allowed me to choose what felt most natural to me. I believe the wish to create this material was certainly also influenced by the media I consumed as a child myself, a sentiment which I also found in some of my favorite artists. For example Christine Nöstlinger, a big figure in the children’s book literatur in austria said that „In every children’s books of mine is also a part of my own childhood“ (Deutschlandfunk, 2016) I admire her work greatly for an honestness and ability to create stories which might on first sight cater to children but really are universal for every age group in their message. Her sentiment that she think she is „(...) suited to write children’s books especially because I do not idealize them“ (Willkommen Österreich, 2013) is, in my opinion, a very important one which I believe is necesarry to keep in mind when creating for a younger audience. Ultimately I believe stories help us to confront reality by providing us a new lens to look through - As a creative practitioner I strive to be able to find the best way to - in every sense of the word - illustrate my view of the world. „He does not despise real woods because he has read of enchanted woods: The reading makes all real woods a little enchanted.” (C.S. Lewis, 2002)
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(Joe Blogs Musings from the Riverside, 2017)
Similiarly to C.S. Lewis Tove Jannson is able to give me a new view on the world by their stories and illustration, inpacting me on a very profound level.
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Overall one main thing the GDCP gave me was time to improve my work in the direction I wanted and examine my strengths and weaknesses.. In retrospect, I often sabotaged myself with my own fear of failure. I still struggle with the problem of starting and following through with something once I encounter problems. Especially helpful against this type of thinking proved to be the group sessions. The feedback provided by the group not only helped me to realize mistakes in my work but also inspired me to do better because of seeing their progress and improvement. While I have discovered that I mostly am my own biggest critic hearing my peers review my work has helped me grow as a creative practitioner and consider new points of views. Furthermore I believe that the weekly sessions helped us to establish a safe discussion climate in which everyones work could be reviewed and be given honest feedback. This has also has given me the challenge to learn how to give good feedback - a task which in my eyes is even harder then receiving it. For my future I hope to further explore my field of work, which direction I want to go and in and in which ways I can be able to combine illustration and graphic design. I would also like to explore the field of narrative storytelling more, something I have had a wish to do but never had the courage to follow through. Furthermore, while I feel I have made progress in analysing my strengths and weaknesses this year has also shown me even more ways in which I can improve myself and my work. Overall, thinking back to the back to the beginning of the year I feel I now have a much clearer view of what I want to achieve and what it will take to get there.
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bi b lio g r ap h y beyond borders
personal manifesto
Lehrer, J. (2010) Why we travel. The Guardian. Available at: https://www. theguardian.com/travel/2010/mar/14/whytravel-makes-you-smarter. (Accessed: 22nd January 2017)
(2017): „MOOD - Calvin and Hobbes - The Full Story“. Web.mit.edu. Available at: http://web.mit.edu/manoli/ mood/www/calvin-full.html. (Accessed: 28th March 2017)
El-Bermawy, Mostafa M. (2017) Your Filter Bubble is Destroying Democracy. WIRED. Available at: //www.wired. com/2016/11/filter-bubble-destroying-democracy/. (Acessed: 27th March 2017)
Larry (2003): The Invention of Art: A Cultural History. 1.st ed. Chicago: Univ. of Chicago Press.
Batty, Craig; Cain, Sandra (2016): Media writing. 1st ed. Palgrave Macmillan, p.159 Morreall, John (2009): Comic Relief: A Comprehensive Phiklosophy of Humor. 1st. Ed. Chicester: Wiley-Blackwell.
Eyemagazine, (2017): „Eye Magazine | Feature | First Things First Manifesto 2000“. Eyemagazine.com. Available at: http://www.eyemagazine.com/ feature/article/first-things-first-manifesto-2000. (Accessed: 28th March 2017)
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Mayer, Marlene (2010): „Mario Pricken: „Kreativität ist wie backen““. Die Presse. Available at: http://diepresse.com/home/ leben/kreativ/541235/Mario-Pricken_Kreativitaet-ist-wie-backen. (Acessed: 27th March 2017)
Ofcom, (2017): „Online overtakes TV as kids’ top pastime“. Ofcom. Available at: https://www.ofcom.org.uk/ about-ofcom/latest/features-and-news/ childrens-media-use. (Accessed: 31st March 2017)
Kande, John (2017): „Comic Timing - The Pause That Refreshes“. Westsidetoastmasters.com. Available at: http://westsidetoastmasters.com/article_reference/ comic_timing_pauses.html. (Accessed: 26th Feburary 2017)
Coughlan, Sean (2016): „Time spent online‚ overtakes TV‘ among youngsters BBC News“. BBC News. Available at: http://www.bbc.co.uk/news/ education-35399658. (Accessed: 31. March 2017) Owens, Simon (2016): „The rise of the YouTube video essay“. ART + marketing. Available at: https://artplusmarketing. com/the-rise-of-the-youtube-video-essay79289aa02458. (Accessed: 31. March 2017)
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Bresland, John (2010): „“On the Origin of the Video Essay” by John Bresland | Blackbird v9n1 | #gallery“. Blackbird.vcu. edu. Available at:http://www.blackbird.vcu. edu/v9n1/gallery/ve-bresland_j/ve-origin_ page.shtml. (Accessed: 31. March 2017) kaptainkristian, (2017): Newgrounds The Foundation of the Future of Animation. Available at: https://www.youtube. com/watch?v=kFS7APAApBA. (Accessed: 29th March 2017) Rennison, Nick (2015): Freud And Psychoanalysis: Everything You Need To Know About Id, Ego, Super‑Ego and More. 1.st ed, Oldcastle Books. pp.28-29 Kord, T. S (2016): Little horrors. 1st Ed. McFarland. p.8 Luu, Chi (2016): „Jstor Daily“. daily.jstor. org. Available at: von https://daily.jstor. org/personification-is-your-friend-the-amazing-life-of-letters/.(Accessed: 1st March 2017)
Petzinger, Genevieve (2017): „Transcript of „Why are these 32 symbols found in ancient caves all over Europe?““. Ted.com. Available at: https://www.ted.com/ talks/genevieve_von_petzinger_why_are_ these_32_symbols_found_in_ancient_caves_all_over_europe/transcript?language=en#t-172080. (Accessed: 29st March 2017)
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Deutschlandfunk, (2016): „Kinderbuchautorin Christine Nöstlinger - „Ich sehe eigentlich nicht, dass der Rechtsrutsch aufhört““. Deutschlandfunk. . Available at: http://www.deutschlandfunk.de/kinderbuchautorin-christine-noestlinger-ich-sehe-eigentlich.1202.de.html?dram:article_ id=367958. (Accessed: 29st March 2017) Lewis, C. S. (2017): On Stories: And Other Essays on Literature. Houghton Mifflin Harcourt. p.38 Available at: https://books. google.co.uk/books?id=t1CpOOdxLfsC&hl=de&source=gbs_navlinks_s (Accessed: 29st March 2017)
TVTropes, (2017): „Censor Box - TV Tropes“. TV Tropes. Available at: von http:// tvtropes.org/pmwiki/pmwiki.php/Main/ CensorBox. (Accessed: 1st March 2017) Postle, Paul (2017): Graduate Diploma Creative Practice Module PM7000 Core II Level 7
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i ma g e r e f e rn e n c e s Page 39 action press, (2016) peter-lustig-tot-loewenzahn.jpg. Available at: https://i0.gmx.at/ image/188/31373188,pd=4,f=lead-xxl/ peter-lustig-tot-loewenzahn.jpg (Accessed: 11 December 2016). videobuster.de, (2016) mammutland-1. Available at: https://www. videobuster.de/dvd-bluray-verleih/75553/mammutland-1#bilder-offen (Accessed: 12 December 2016). amazon.co.uk, (n.d.) 91QL8sqUzhL. jpg. Available at: https://images-na. ssl-images-amazon.com/images/I/ 91QL8sqUzhL.jpg (Accessed: 13 December 2016). film-rezensionen.de, (2015) Es-wareinmal-das-Leben-Szene-3.jpg. Available at: https://www.film-rezensionen. de/wp-content/uploads/2015/06/ Es-war-einmal-das-Leben-Szene-3.jpg (Accessed: 11 December 2016). actionjaxon.de, (n.d.) Cover Front (002).jpg. Available at: http://www. actionjaxon.de/Die%20drei%20 %3F%3F%3F%20Erstauflagen/Cover/ Cover%20Front%20(002).jpg (Accessed: 11 December 2016).
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Page 43 kaptainkristian, (2016) Godzilla - The Soul of Japan. Available at: https:// www.youtube.com/watch?v=IGCTSSWT4lg&t=326s (Accessed: 31st March 2017). nerdwriter1, (2016) Rihanna‘s ‚Work‘ Is Not Tropical House. Available at: https://www.youtube.com/watch?v=ljbohB2_WnU&t=247s (Accessed: 31st March 2017). Page 44-45 http://kurzgesagt.org/, (2016): A New History for Humanity – The Human Era. Available at:https://www.youtube. com/watch?v=czgOWmtGVGs&t=209s (Accessed: 31st March 2017). ed.ted.com, (2016): What is depression? - Helen M. Farrell. Available at: https://www.youtube.com/ watch?v=z-IR48Mb3W0&t=139s (Accessed: 31st March 2017). ed.ted.com, (2016) The psychology of narcissism - W. Keith Campbell. Available at: https://www.youtube.com/ watch?v=arJLy3hX1E8&t=99s (Accessed: 31st March 2017). http://future.arte.tv/de/wer-nichtfragt-stirbt-dumm-die-serie , (2016) Warum sind Jugendliche so lasch? - Wer nicht fragt, stirbt dumm! - ARTE. Available at: https://www.youtube.com/ watch?v=ckPXe2KfZeQ (Accessed: 31st March 2017).
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Page 44-55 pooh.wikia.com, (2017): Christopher Robin‘s Mom. Available at: http:// pooh.wikia.com/wiki/Christopher_Robin‘s_Mom (Accessed: 31st March 2017). Page 60 nature video, (2017): Walking with chimps. Available at: https://www. youtube.com/channel/UC7c8mE90qCtu11z47U0KErg (Accessed: 1st April 2017). Page 85 Joe Blogs Musings from the Riverside, (2017): hobbit-illustration-tove-jannson-03.jpeg. Available at: https:// wharferj.wordpress.com/2016/01/16/tove-janssons-illustrations-for-the-hobbit/ (Accessed: 1st April 2017).
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