'Cause we are living in a (moving image) world and I am a (moving image)(person)' - Madonna

The relevance of learning how to make images move can't be overstated for a designer looking to cultivate a multimodal skillset. This studio sidelines pre-concieved ideas of how animation looks and feels to explore the wider possibilities of motion + time + image-making. By taking a broad view of animation we can explore the design of motion itself: how can we make things move for feeling, for meaning, for surprise?

We will build an understanding of the 12 principles of animation (the bedrock of traditional animation) through a process of hands-on experimentation in a wide range of media. Outcomes produced in workshop sessions will be self-contained studies which require their own inventive visual and movement solutions, teaching the craft of animation through varied application. For those without animation experience the aim is to build a raw motion skillset, suited for finding clever and inventive ways to merge movement into your existing design practices. For those coming in with an animation background the studio is a chance to challenge and broaden the scope of your current animation approach.

Each outcome will be fit for a different purpose. How and where we share the work will be part of our in-class discussions (we'll be using the 'democratic decision making' model). Results may include but are not limited to: generating a GIF library, choreographing and filming an exhibition experience, taking our work to a zine fair, entering a film festival.

The focus will be on producing hand-made 2-D animated works with the option of working digitally. As this studio is less focused on software and equipment, we will use what is available and accessible to problem-solve and create interesting things that move. We will produce zoetropes, flip-books, puppets, large-scale works, gifs and collaborative films. In making these outcomes we will employ the techniques of stop-motion, hand-drawing, rotoscoping, photography and collage. We'll get our heads around various filming equipment and Adobe After Effects, our editing software of choice.

There are 3 assessment tasks:

1. The Bootleg: A chance for analysis, appropriation and re-enactment. A DIY challenge to make things move (in unexpected ways).
2. The Project Portfolio: A series of animations that explore various media and techniques. Made to stand-alone and work together in collaborative outcomes across the class.
3. The Micro-Film: Your final SKO is a self-initiated moving-image project in the medium of your choice, informed by your studio experimentation.

Have a look through Edge of Frame, an experimental animation blog for work that piques your interest. Once you find one artist's work you respond to give their interview a close read www.edgeofframe.co.uk

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Designing Experiences, Designing through Image

No personal equipment is strictly required for this class (necessity is the mother of invention) but if you have things like: light-boxes, drawing tablets, phone tripods, camera equipment- these are all tools you can utilize.