In the fall 23 semester, Drs. Katrina Rushing and Christine Veras joined forces with Associate Professor of Practice Hal Gupta-Fitzgerald in a collaborative project inviting their students to work together. Students from the upper-level experimental animation and music theory courses collaborated and combined their creativity to create a project that included original animation with an original musical score. The final musical pieces were recorded in the Bass School sound studio under Gupta-Fitzgerald’s guidance and his talented student Maikhanh Ho. The final projects of this collaboration were showcased at the Jonsson Performance Hall in October.
The students were divided into pairs, one from each discipline. At the start of the collaboration, we organized a special talk with Aardman Studios director Lucy Izzard, offering inputs from her work with musicians in creating the stop-motion animation series Very Small Creatures.
After the initial group meeting, the students shared ideas around the theme Sweater Weather, and the animators started to develop storyboards. Unlike most music/animation collaborations, the musicians were involved early in the production, offering insights and feedback throughout the creation process.
The animators provided an animatic to their partners to help them plan the key moments of the composition in connection with the action in the animation. While the experimental animators were animating, the musicians rehearsed and prepared to record the music. Associate Professor Gupta-Fitzgerald states: “During the audio production phase of this project, the focus was on precision and technical finesse. Guiding the musicians through live recording in UTD’s sound studio involved meticulous attention to equipment and acoustics. Maikhanh’s high skill level and attention to detail played a crucial role in achieving the seamless synchronization of the musical scores with each animation. The outcome is a testament to the meticulous technical execution that underpins the creative synergy between audio and visual elements in this collaboration.”
The collaboration was 7 weeks long, and before the public screening, the students presented their final animation to the group for input. Animators and musicians have learned a lot about each other’s creative process and production.
The final projects were shared with the public, family, and friends on a special screening.
Dr. Rushing provided insights on the collaboration: “The Bass School of Arts, Humanities and Technology brings together a wide variety of creative and technical possibilities. As a music instructor, I wanted my advanced music theory students to have the opportunity to compose music for a specific purpose as well as develop collaborative skills. After discussing the mood, theme, and color scheme with the animators, the musicians composed a short piece of music to accompany the experimental animation project. Furthermore, the musicians had the opportunity to produce a live recording of their pieces in UTD’s audio engineering studio. The students gained an appreciation for the challenges of experimental animation and discovered the thrill of recording their music in a professional studio. All of the music students were excited and grateful to have this “real-world” experience! “
For Dr. Veras, “This collaboration not only showcases the immense creative potential of our students and faculty but also unfolds the creative possibilities when interdisciplinary talents converge. It was also rewarding to see our facilities in full use, in service of our creative endeavors. In this exchange, the animation students explored the intricacies of their field, sharing their creative process while gaining insights into the field of music. By engaging in this collaboration, students expanded their horizons and learned to cultivate a deeper understanding of the subtleties and challenges involved in collaborative creative projects. In summary, we all learned a lot and have started planning for future collaborations.”
Watch the animations and interviews with the students as screened at our event:
The experimenta.l. lab was invited to showcase the work of its student-collaborators at the Museum of Texas Tech University in Lubbock in an exhibition titled “Animation as Art: A Multisensory Experience” in Spring 2024. Drs. Jorgelina Orfila, Francisco Ortega (Associate Professors at Texas Tech), and Christine Veras, (UT Dallas Assistant Professor), are co-curating the exhibition “Animation as Art: A Multi-Sensory Experience,” which will be held at the Museum of Texas Tech University in Spring-Summer 2024.
The exhibition aims to offer the public the opportunity to encounter animation as an experimental artistic practice and as a multi-sensory experience within and through the intersections between science and magic, the tangible and digital, arts and crafts, and technology. Animation is a cross-disciplinary practice that can also use techniques traditionally associated with the plastic arts (sculpture, drawing, painting, design) to create animated films.
The works presented here were developed in some cases for over a year, and some of the pieces were specially conceived for the 2024 show in Lubbock. In October 2023, we presented the work-in-progress version of the exhibits at the AHT Gallery to test and gather public feedback. The results were successful and the pieces were implemented. Below are the construction and behind-the-scenes images of the student progress and photos of the test exhibition, followed by an overview of each piece.
UTD students Eesha Muddasani, Nick Mahoney, Zarah Najmi, Katherine Norris, and Mickey Dolphin are featured here. Discover their process and the work they will be presenting in Lubbock in 2024.
Eesha Muddasani
Title: Bee Phenakistiscope (2022-2023)
Materials/Techniques: Animation in Procreate and After Effects, Laser Cutter Files in Illustrator, black poster board, clear acrylic, plywood, metal, and torch light.
This animation of a bumblebee flying around flowers is based on the bumblebee in the Texas Tech University Museum natural history collection. Inspired by shadow puppets and paper cut-out artists, I combined paper cut-out animation with a phenakistoscope to make an animated shadow. I enjoy the intricate patterns and small details in paper cut-out art, so I implemented those techniques in my design. I also wanted to incorporate a round Texas flower that bumblebees pollinate, so I chose firewheels for my animation.
Instructions: Turn on the flashlight and then turn the knob to spin the disks. Spin the disks clockwise for forward motion and counterclockwise for backward motion.
Details: My project involves using a light to cast a clear shadow. I would try using a directional light if the museum has or can provide one, but if that does not work, I will use a flashlight attached to the mic stand, as seen below. Measurements of my project are provided in the images below, and the podium is about 10 inches from the wall. The distance from the wall might be adjusted depending on the light source. Ideally, my piece will be in a dark room so that the shadow on the wall can be visible and clear.
“I’m really excited to participate in this exhibition and share my artwork with others! I enjoyed creating an interactive animation device, and I would love for people to experience the shadow animation themselves. I think it is important to display this interactive piece to a diverse audience and learn from their reactions, and this exhibition is a great opportunity for me to do so. It would also be amazing to go to Lubbock and see my artwork displayed among all the other pieces and to see others interacting with my device in person. I would also love to see/interact with the pieces from the international animators showcasing their work.” Eesha
Nick Mahoney
Title: Hummingbird Travels West (2022-2023)
Materials/Techniques: Adobe Photoshop, Adobe After Effects, Glass Panel.
Every March, the hummingbirds come out for the Spring, traveling from Dallas to Lubbock this time! Follow the bird as it travels through these two cities and watch closely for other moving elements in the background. This piece uses a form of animated optical illusion known as lenticular printing. The method of creating lines from drawings that fit within a gap of strategically placed black bars is intriguing and fun to create and play with. The piece took several prototypes of tinkering with the black bar thickness, changing and rearranging background details, ultimately culminating in this fun, rewarding optical animation.
Instructions: Slowly move the front panel over the background and watch for moving parts!
“Working on this unique and special exhibition over the past year has been such an honor. The environment that Dr. Christine Veras provided was a great space to toss around ideas and give each other different critiques to improve the quality of our projects. My Lenticular bird project has gone through many different stages and has required a lot of trial and error but eventually led to a project I’m incredibly proud of working on. Being able to go to Lubbock and seeing the launch of the exhibit would be a once in a lifetime moment for me and the other students. A pivotal moment in my tenure at UTD that feels well deserved after working with the lab and this project for over a year. Seeing how different people interact with the project and explain to attendees my work is something that I would not only enjoy as the creator of the piece, but also be able to learn from and get the proper resources for my future work out of.” Nick
This project aims to show a snapshot of the life of a family of mockingbirds, the state bird of Texas. This snapshot shows a mother bird stretching her wings as she looks for food for her babies so close to hatching. Under the cover of their tree’s branches, a caterpillar takes cover from the mother’s prying eyes—a lovely family portrait. The mother bird’s body is sculpted to incorporate some of my love of working with clay. For the backdrop, I wanted to incorporate some of my culture by taking inspiration from mehndi/henna designs. Finally, the flipbook boxes give a level of interactivity to the whole piece.
“This year, I had the opportunity to work with the experimenta.l. lab to create an animated installation for the Texas Tech University Museum exhibition. I was so excited to have this opportunity, as it allowed me a chance to branch out into different areas of animation that I didn’t have the chance to explore before. It means a lot to me that I was able to create something so fun and different from outside my comfort zone, something that will be displayed for the wider public to enjoy in Lubbock. This has been a wonderful opportunity for me to expand my skills, learn from my peers, and share what I learned and created with a wider audience. I’m so glad to have been a part of this!” Zarah
Katherine Norris
Title: Garden Knock (2023)
Materials: Upholstery foam, wire, wool roving, needle felting needle, cotton fabric, needle and thread, small hook and eyes, lace, ribbon, fabric dye, fake grass, hot glue, nuts and bolts, epoxy, lights, camera, dragon frame
The concept for this work is based on the juxtaposition between an animal commonly associated with trash and disease, a possum, and the opulent gowns of the Edwardian era. I also wanted to play with the animalistic trait of opossums about how they play dead and how that could play within the social norms of the Edwardian era of strict social rules. This idea was solidified with the Texas Tech Museum dress that was gorgeous and set the scene at a garden party where ladies would chat and play croquet. In the short, someone off-screen hits a ball too hard, and Daisy, the opossum, thinks nothing of it and gets hit with the ball. She then has to play off her natural reaction of playing dead and go back to conversing after collecting herself as if nothing happened. The Edwardian era is seen as very stiff, so seeing someone dressed in the attire acting in an unexpected way helps bring back life and relatability to something that seems so far from modernity. With the display, we wanted to show people behind the scenes in stop motion how everything isn’t perfect out of the shot. And how you can see hidden techniques like the bolts in her feet that can be seen under the stage that keep her standing and still when being animated.
“It was amazing to be in a room with my peers, getting insight into my abilities, and the assistance I needed to bring my ideas to life. When we did the test exhibition, it was amazing to interact with people and hear what our art reminded them of. To see people’s faces when they got to control their experience with the works of art. Seeing how the public views our work is not something that a student gets to experience often, if ever. Having fellow students and professors interact with our work was unique enough, so I can’t imagine how helpful the general public, people from all walks of life and ages, would be. It would be truly a once in a lifetime event for me to see.” Katherine
Mickey Dolphin
Title: Fiery Searcher in the Leaves (2023)
Materials: Cardstock, washable marker, and cellophane (for the beetle), cardboard, acrylic, and glass (for the kaleidoscope), Dragonframe (for the animation).
A brief animation of a caterpillar hunter beetle, also known as a fiery searcher or calosoma scrutator (its scientific name), scuttling through the autumn underbrush. This little beetle is hunting for a meal as the weather gets steadily colder. Caterpillar hunters are a plentiful species of ground beetle native to north Texas, and they fascinate me to no end! The hard shells covering their wings, called elytra, can sport an array of colors, including green, blue, violet, gold, and red. While searching for an insect to use as a subject for my animation, the bright colors on the aptly named fiery searcher caught my eye, and I immediately fell in love with it. I wanted people to view this beetle’s walk cycle through a kaleidoscope to emphasize the hypnotic colors they often sport. I’ve always been interested in the anatomy of different animal species, so I took up taxidermy as a hobby during the pandemic. I wanted to blend that curiosity with my passion for animation as an art form, which is the result so far.
Instructions: Carefully hold the kaleidoscope to view the screen and watch what happens as the beetle passes across it.
“Working with experimenta.l to create this piece of art has been a dream come true. I originally joined this project not knowing exactly what I wanted to do — only knowing that I wanted to create something. The result of working alongside my peers to craft something that I’m proud of has been so rewarding! I love art and I love animals (the stranger the better), so being able to combine both of those passions into one cohesive experience makes me extraordinarily happy. I sincerely hope that viewers enjoy interacting with my piece, and maybe come away knowing a little more about this beetle than they did previously. Perhaps they’ll be lucky enough to encounter the real deal someday!” Mickey
Coming soon: Crowdfunding campaign to help us bring the artists to the grand opening in Lubbock, where they’ll personally present their incredible creations to the public. Support the journey and be a part of this artistic adventure!
Check here the feedback the students received from the public who attended our test exhibition:
Cutouts, cutouts, cutouts. I spent most of the process of working on Made of Many Parts with a pair of scissors in my hand, cutting out frames of drawings that I had scribbled out over a lightbox with the paper provided in the lab. In order to keep things visually interesting in a film of mostly still shots, I drew each still drawing three times and had them swap every two frames in order to keep a sketchy, notebook drawing-type look to the art style.
In order to keep everything stable in each shot, I utilized a makeshift layering system on the animation table. I had two panes of glass to work with, and I separated them with manga volumes from my bookshelf at home. In a way, my inspirations were literally physically supporting me through this endeavor, and I find that heartwarming.
Of course, a lot was going on behind the scenes as well. In my favorite shot from the film, the TV shot, there was a very roundabout process involved. To start, I had to render out each individual clip I was going to use in Adobe Premiere, isolating each individual frame as a PNG file. From there, I combined every frame of each clip together into PDF files and printed out every single one onto pieces of paper. It came out to hundreds of sheets. It was quite a large stack of paper, and part of me felt silly going through this much effort for something people may or may not even notice. The most important part to me was making sure the entire animation process was made with zero digital edits involved (Aside from compiling everything together in an editing software, of course), and to achieve this, I shot every single frame of each TV/movie clip that I had printed out and edited them into a cute little compilation to highlight the media that inspires me. After all, that’s what the film is about!
Another standout point of the short that I loved working with was the backgrounds. For the sake of saving time, I wanted the film to take place in a sort of blank, empty, void-type environment, but I also wanted it to be visually interesting. To do this, I edited together six different images of paint splatters in Photoshop and put a lot of different adjustment layers and filters over them in order to make sure they were all highly saturated and brightly colored. I was worried it might be a bit overstimulating for viewers (I’m sure it is for a lot of people), but it ended up working in my favor due to the messy, splattered backgrounds contrasting very well with the clean, white paper I used for the actual cutout drawings.
All in all, I really enjoyed working traditionally with this kind of animation style. It was the type of hands-on approach I desperately needed to preserve my interest in the medium, and I would highly recommend any animator, 2D or 3D, give it a shot just to really dig into the bare elements of animation.
Grace’s film was completely created in the experimenta.l. lab, in Fall 2022. It just got accepted into the Les Femmes Underground Film Festival in Los Angeles.
In December 2022, the jazz guitarist and Associate Professor of Jazz Studies at UNT, Davy Mooney, reached out to our lab to collaborate on a unique experimental animation of the song Wintry Mix from his latest album, Way Back. Here we share the behind-the-scenes of the creation of this project that just got completed in time for the launch of Mooney’s new album.
Christine Veras and Philip Martin collaborated to create unique hands-on frame-by-frame animations for Wintry Mix in the experimental animation lab. The process started during winter when they captured videos and images of the Texas landscape, as that was one of the inspirations for the song:
They animated using a variety of techniques and tricks: In a multiplane structure, we shot through ice, we used calculator rolls to paint sequences, strips of paper cutouts to simulate the guitar strings, we used torch lights to create light effects captured frame-by-frame, and we even animated time-lapse sequences of plants seem through a kaleidoscope to mimic the saxophone vibrations. All to create textures and movements to help the animation reinforce and play with the melody.
All the animations were captured using Dragonframe, the industry-standard stop-motion animation software. Once exported, the material was edited in Adobe Premiere Pro, mixing and remixing the animations, layering, and overlapping them to match the mood and rhythm of the music. The entire process was a playful experimentation.
The complete video for Wintry Mix was launched in June 12, 2023. See the complete animation below:
Wintry Mix Animation
Watch here the audience reaction to the film compiled by the Experimental, Dance & Music Festival 2023:
Planning: During class on January 23rd, I volunteered to present a workshop on rotoscoping for our lab on February 3rd. With this limited time, I had to develop a simple idea that the lab members could participate and complete under 1 ½ hours. I spoke with Dr. Veras a few times and we decided on simple tools to use: filming equipment, Photoshop, After Effects, and a drawing tablet. For the reference footage, I found a film on my phone of a musical jewelry box from Neha’s China and Crystal, my family’s store. I wanted to have the lab members draw an object instead of a portrait since portraits can vary in style quite a bit. I took the 23 seconds of film and cut the time down to a 3-second loop. I then took the cut film and imported it into photoshop, converting the frames into 36 layers to split among 12 members. I labeled each consistently in accordance with sequence and then split them into 12 different photoshop files. I uploaded these files to Box to share with our members, along with an excel sheet to assign the files, and a short list of instructions on how to complete each file. The instructions went along the lines of, “keep drawings on a separate layer, use the assigned colors only, and do not draw the background”. I accompanied my presentation with a brief PowerPoint lecture so I could give detailed instructions on the process of importing, exporting, and organizing files for this type of animation.
What did I learn? Students will not strictly follow directions and they will do their own thing for an assignment that is not graded. Looking at the final product, however, I think that this rebellion was beneficial to our final piece. Students should have fun in the lab, experimenting and trying new things. It is funny because one student’s submission that went totally against all the rules ended up adding a sense of humor, charm, and eye-catching quality to our animation. It highlighted the fact that this is student-made artwork, so you are combining many different personalities and skill levels into one output animation. The organization was KEY to managing this project with multiple participants. I was able to export the file so easily once everyone submitted their section. However, even with organization, I need to keep my files accessible and not have too many folders or instructions. With such a short time to create, I must make my lecture brief and to the point so instruction is clear.
What am I going to do next? Another workshop idea I have still falls under the method of rotoscoping. However, I would like to have it done individually with a focus on animating fluids – such as water dripping or bubbles. There is lots of freedom with animating water, and I think it is a wonderful way to study natural movements. I would incorporate texts and images from Joseph Gillard’s Elemental Magic because it was an eye-opening and influential reading in my own animation practice.
Notes for the future: I should use a tripod to maintain stability because you can see the background jump when the dinosaur pops up with the original background. I think it would engage students more if they could film their own references, but because I was more focused on technique, I did the right thing by filming my own reference to use in the group project. If I do another group project, I should limit each member to drawing only two frames of animation so we can get it done during our lab. Overall, I genuinely think that the experimenta.l. lab members did a wonderful job, and I would call this workshop a success. I was able to show students a new technique, and we ended with a quirky animated loop.
This project starts from a circle. A circle which turns and thus creates a rotation, a continuous flow of images.
It is also a circle across the Atlantic, an inquiry into the cultural similarities and differences between what used to be called ‘the Old World’ and ‘the New World’. At the same time, it is an exploration of ‘old media’ and ‘new media’, opportunities that arise from the interrelation between both, creating yet another circle.
Students from the School of Arts, Humanities, and Technology in Dallas partnered with students from LUCA Arts School in Brussels in a virtual exchange project to experiment and create animation using a proto-animation device: the phenakistiscope.
This project was developed in collaboration between professors Guido Devadder (LUCA) and Christine Veras (AHT). Here are some behind-the-scenes and production process photos:
The final compilation of all the animations is available below:
A project reflection by Marcelo Rocha Capstone Project Spring 22
Working on A Decree From the Stars has been a very fun yet stressful process that I would love to go through all over again. My main goal with this short was to do some type of animation using experimental methods in some fashion. Whether animating with non-traditional materials or using unconventional digital methods, I wanted to work on something experimental. I mainly did this because I wanted to challenge myself and work on a project that would have a unique style and look to it, but also because working with experimental methods is something that I have always had an interest in.
Animating using paper cutouts was super fun and almost felt relaxing. Drawing and cutting those drawings took up a lot of my time on this project, but I think it was worth it overall, and the style was just about what I was aiming for with the short. The part that I felt needed more refining was the digital animation and effects that came up for the monster’s portions. I’m still satisfied with how it came out, but I feel like I could’ve made the monster look more striking or ominous.
Paper cutouts and title card
My original intention was to find a way to incorporate real paint into the animation. If I were ever to go back, I would try and take the time to incorporate that paint in with the digital animation. The tests where I used paint gave the animation physicality and had a real-world presence that I loved. When thinking of the story and message for this short, I wanted to focus on an environmental message because it was starting to frustrate me at the time, as well as something that I could easily fit with a giant monster story that I always wanted to write. Looking back, I would change the story to make this message clearer and possibly even bring up more pieces of climate change and environmentalism that I didn’t bring up.
Animation excerpt
When I look at the final product, I feel like I treat myself too harshly, only paying attention to all of the flaws or small things that make it hard for me to view my work all the way through. However, looking at all of the work that I have done for this short, writing and scripting, animating, editing, and putting it all together, I think I accomplished what I originally set out for and enjoyed the time I spent working on this short even if it was very stressful at certain times. Being proud of my work is normally hard for me to do, but when I look at the work I’ve done for A Decree From the Stars is something that I am definitely proud of.
Our research project is shaping up, and we presented our work in progress during the 52nd Annual Scholars’ Conference on the Holocaust and the Churches, organized by the Ackerman Center for Holocaust Studies, at the University of Texas at Dallas, from 5-7 March 2022. Our talk was titled “A Lasting Image (work in progress): The Challenges of Documenting the Holocaust Through Animation.” The animation is produced at the experimenta.l. lab in partnership with the Ackerman Center. The story is based on the testimony of Dr. Zsuzsanna Ozsváth, a Holocaust scholar and survivor who founded the Ackerman Center for Holocaust Studies.
The work in progress animation was showcased at the Conference on Sunday, March 6, 2022. The work was presented by Dr. Christine Veras and the undergraduate students Scott Huddleston, Kirstin Stevens Schmidt, and Ana Villarreal in a panel moderated by Dr. Nils Roemer.
Still from “A Lasting Image” (2022)
During our research phase, Dr. Roemer introduced us to Dr. Ozsváth’s book “When the Danube Ran Red,” where she tells her personal story. Chapter 23, “Witches’ Shabbat,” was particularly visual when she recounted when she and her brother were separated from their parents and taken to the ghetto in Budapest in December 1944. Inspired by her story, I discovered Dr. Ozsváth’s testimony to the SHOAH Foundation. She was 64 years old when she gave this testimony. When listening to the four tapes of recordings, one particular segment stood out when she experienced a defining moment in her life.
Dr. Ozsváth’s BookBook ChapterShoah Foundation Testimony
Inspired by Dr. Ozsváth’s writing and testimony, Dr. Veras created the script used as a guide for the storyboard, and the visuals were created by the students working on the project. From the start, students had creative freedom to interpret and participate in different phases of the project, exchanging ideas, critiquing, and proposing visual and technical solutions for what the story needed.
See below a few images of the ongoing production.
“A Lasting Image” has been part of the official selection of four international animation festivals so far, including a festival in Ukraine, and it was awarded at a festival in Italy. The film is also part of the ASIFA International selection and has been screened in multiple places in Poland, India, and the United States. Full program available here: https://iadasifa.net/2022/10/11/times-and-showings-around-the-world/
Animated Perspectives on Violence Against Women March 1st, 2022 From 4 to 6 pm At the Davidson Auditorium at UTDallas IN-PERSON EVENT
Our lab’s director, Dr. Christine Veras, in partnership with WiA, the Student Club Women in Animation UTDallas, and the Ackerman Center for Holocaust Studies, have put together the event: Animated Perspectives on Violence Against Women.
Originally planned as part of the commemoration of the International Day for the Elimination of Violence Against Women, the event grew into a screening and panel of discussion around the topic. Instead of taking place on November 25, as established by the United Nations, our event happened on March 1st to kick off the celebration of Women’s History Month.
With a program specially curated around the topic, each animation uses experimental techniques that were all created by women, displaying different takes on violence against women. The animations screened were:
Awakening the Goddess (2020) by Debjani Mukherjee
Granny’s Sexual Life (2021) by Urška Djukić and Emilie Pigeard
Carne (2019) by Camila Kater
Kam (2020) by Zeynep Akcay
Each animation portrays different types of violence against women, using a wide range of experimental animation techniques to invite the public to reflect upon the situation and sometimes even offering a way out. In raising awareness of these issues while also celebrating the female body, these films help to empower women to accept and love themselves.
The screening of the animations was followed by a panel discussion between the public and our guest panelists: the President of the Wia UTDallas Jennifer Garcia, WiA officer Eliana Nark, Assistant Professor and Director of experimenta.l. lab Dr. Christine Veras, Associate Dean of Graduate Studies at the School of Arts and Humanities Dr. Shilyh Warren, and the Interim Dean of ATEc and A&H, and Director of the Ackerman Center for Holocaust Studies Dr. Nils Roemer.
Acknowledgments
We thank our collaborators at WiA UTDallas, the Ackerman Center for Holocaust Studies, the School of Arts and Humanities, as well as the filmmakers Zeynep Akcay, Debjani Mukherjee, Camila Kater, and the distributors at Feel Sales Documentary & Short Films and IKKI Films for their support in making this event happen and allowing us to screen their films. A special thanks to the support team at the School of Arts, Technology, and Emerging Communication, UTD Facilities, and JSOM for all their logistic support.
