2 3 COMMITTES General chair Paula Tavares Organization chair Pedro Mota Teixeira Program chair Alan Male Organization Paula Tavares, Pedro Mota Teixeira, Marta Madureira, Jorge Marques, Manuel Gaspar Albino, Cláudio Ferreira Scientific Committee Adrian Holme - Camberwell Coll. Arts (UK) Alan Male - Univ. College Falmouth (UK) Alan Young - Auckland University of Technology (NZ) Álvaro Barbosa - Univ. Católica (PT) Ana Madeira Rodrigues - Univ. Lisboa (PT) André da Loba (PT) António Costa Valente - Univ. Aveiro (PT) António Quadros Ferreira - Univ. Porto (PT) Carlos Nogueira - Univ. Nova Lisbon (PT) Chelo Matesanz - Univ. Vigo (ES) Debora Harty - Loughborough Univ. (UK) Eduardo Corte Real - IADE Lisbon (PT) Fernando Galrito - Inst. Polit. Leiria (PT) Francisco Laranjo - Univ. Porto (PT) Helena Barbosa - Univ. Aveiro (PT) James Walker - UCA (UK) João Manuel Ribeiro - IPCA (PT) Jorge Campos - Inst. Politécnico Porto (PT) Jorge Marques - IPCA (PT) José Chavete Rodriguez - Univ. Vigo (ES) Edição IPCA José Manuel Saraiva - ESAD (PT) ISBN: 978-989-97567-6-2 José Antonio Castro - Univ. Vigo (ES) Design editorial · Cláudio Ferreira Juan Carlos Róman - Univ. Vigo (ES) 4 5 Júlio Dolbeth - Univ. Porto (PT) PREFACE Marcos Rizolli - Univ. Presbit. Mckenzie (BR) Maria Lorenzo - Hernández Polytechnic Univ. of Valencia (ES) Marina Estela Graça - Univ. Algarve (PT) “These three ields require a high degree of collaboration with Mário Moura - Univ. Porto (PT) artists, producers, story editors, directors, programmers, and Marta Madureira - IPCA (PT) any number of other people in both the executive and creative Martin Sallisbury - Anglia Ruskin Univ. (UK) ends of the business.This is most emphatically true for anima- Nelson Zagalo - University of Minho (PT) tion and games. Depending on the project, you will receive Nilton Gamba Júnior - PUC São Paulo (BR) notes and feedback from any variety of people. In animation, Paul Wells - Loughborough University (UK) from story editor, producers, more producers, the producer’s Paula Tavares - IPCA (PT) pet sitter, maybe a toy executive—whoever is allowed to have a Pedro Bessa - Univ. Aveiro (PT) say. In comics, primarily the editor, but your artist must feel Pedro Mota Teixeira - IPCA (PT) that he or she is an integral part of a team, not a hired hand. Pedro Moura (PT) In games, you might get feedback from anyone on the design Rui Vitorino Santos - Univ. of Porto (PT) team—publisher, producer, designers, programmers, anima- Sara Pereira - Univ. Minho (PT) tors, and so on.” Susana Jorge - IPCA (PT) Christy Marx, in the preface of her book Writing for Ani- Suzanne Buchan - Middlesex University (UK) mation, Comics and Games, pg. xix. We open our book of proceedings with the words of Christy Marx, mainly because CONFIA 2013 - International Conference on Illustration and Animation aims to be synonymous with plurality, multiplicity and interdisciplinarity. Our teamwork and above all our passion are ever present in CONFIA’s areas of focus: illustra- tion and animation. We started with the need to build critical mass around the sub- jects we research and teach in our educational institution - graphic design, illustration and animation in graduate and postgraduate programs - and today, we are proud to present another edition of CONFIA. It is very important that this opportunity serve as a moment for relection and questioning, as it is not possible to understand illustration and animation in a contemporary world without thinking of the strong growth experienced by both ields in recent years. Their ability to adapt everyday to new visual languages, mainly due to the constant pressure exerted by constant techno- logical developments, is also a key factor. Both illustration and animation have been showing strong signs of being autonomous, inside the broader areas of art and technology. We therefore 6 7 believe that these two collaborative subjects have shown that state-of-the-art solutions; to provide guidance for further research there is a wide space for discussion and a vast ield for research and development; and to strengthen the bridge between research practice. Indeed, this international conference represents a meet- and practice. ing point for researchers from around the world, with speakers from all continents joining us this year. As we write these words, Welcome to CONFIA 2013 we are already certain that the second edition of CONFIA will be successful for two reasons: irst, the high quality of the papers we Paula Tavares and Pedro Mota Teixeira received, and second, the multiplicity of activities carried out by Polytechnic Institute of Cávado and Ave, Portugal the authors in the present edition. The conference features a wide range of specialists, lecturers, researchers and illustration and animation artists, who are often active in both theory and practice, which makes the debate and the quality of proposals richer. We go from theory to practice and then return to theory. This translates into the 45 selected papers in this publication, covering a variety of broad subjects such as drawing/illustration, animation and art theory. The content dis- cusses speciic areas of knowledge including traditional drawing, contemporary drawing, graphic illustration, information graphics, editorial illustration, illustration for children, character design, comics & graphic novels, scientiic Illustration, 2D and 3D anima- tion, animation for video games, character animation, animation for virtual and augmented reality, animation in interactive media, motion graphics, sound and animation, linear storytelling, crea- tive writing, visual culture, interactive storytelling, narrative and non-narrative animation illustration and animation pedagogy and authorship in animation and illustration. In such a diverse context, we are pleased to have as guest keynote speakers Professor Paul Wells of Loughborough Univer- sity, director of the Animation Academy, and Professor Martin Salisbury of Anglia Ruskin University, with extensive research experience in animation and illustration, respectively - which strengthens the link between research and practice in the result- ing academic debate. So with the mission of discussing these issues, challenges, op- portunities and trends related to everything from tradition to the constant new developments and applications, the overall objec- tives for the conference were achieved and now lie in the readers’ hands: to present new ideas, new technological developments that fulill the requirements of the market and practical, 8 9 Illustration Research and Illustration research: The Chairy Tales: Object and Materiality in Animation maker in the academy In 1957, Norman McLaren made a playful short entitled A Chairy Illustration is often described as a ‘hybrid’ subject, activity or Tale, essentially playing out a relationship between a man and a craft. Universities are often unsure what to do with it, where to put chair; some years later, PES made a ilm called Roof Sex, shall we it, and even what to call it. In recent years, terms such as ‘Visual say, showing two chairs having a ‘relationship’ with each other ! Communication’ and ‘Communication Design’ have emerged and Both encounters then, between the animator and the object. then drifted away again Animation, though more often lauded and understood for its The speed with which autonomous art schools were absorbed drawn and computer generated idioms, is nevertheless full of into universities in the last twenty years left many questions such objects and materials – pieces of clay, lego bricks, puppets, unanswered. Most signiicantly, the thorny issue of ‘research’ and matches, toys, Christmas decorations, screws, etc – all demanding what that means in the creative, expressive and applied arts has a speciic approach and use. caused much head scratching. With funding and esteem increas- This discussion addresses three issues concerning this aspect ingly based on the research proile of departments, all manner of of the shifting technologies of animation. First, looking at the improbable research gymnastics have been undertaken in the ield meanings and afect of objects and materials in animated ilms, of Art & Design generally. Illustration and illustrators have not second, the visual dramaturgy made possible by objects and ma- tended to be at the forefront of this unseemly activity, the subject terials for animation screenwriters, and third, looking at the status being seen so often by universities as a quiet, cosy backwater. Yet of animation process materials as archival objects. authorial illustration is now a signiicant sector of the creative Using the work of, among others, Tom Dixon, Sherry Tur- industries. Illustration students rightly expect to be taught by kle, Norman Klein and Adrian Forty, this analysis will look at a leading professional practitioners whilst universities increasingly number of animated ilms in a spirit of their design form, mate- expect their permanent teaching staf to have PhDs. Are these two rial association, and narrative function in deining the scripted expectations reconcilable? artefact. This will also operate in a spirit of thinking about theories or practice and practices of theory in animation. Martin Salisbury The presentation will also include some extracts from my keynote speaker latest documentary ilm, Mackinnon & Saunders: A Model Studio, Anglia Ruskin University, UK looking at the puppets made for the ilms of Tim Burton. Paul Wells keynote speaker Loughborough University, UK 11 CONTENT “ONE SECOND IS STILL SOMETHING”