Practitioners Report

For my 1000 word report I have chosen to compare and contrast the processes and practices of Tal Rosner and Tracy Kendall. Both Tal and Tracy were visiting lectures at college and both discussed there background and history up to present day and explained their thoughts and experience working in the industry. They obvious showed their work and explained the meanings behind some pieces.

I found Tal’s and Tracy's lectures both interesting and I felt I could relate to both there work and interests. Tal explained how he developed an interest in moving image and became fascinated with rhythm and composition, and shown how he brought the two elements together in his experimental animations. Tracy also discussed her interests within design and explained how from a fine art background she progressed into becoming a wallpaper designer. Explaining her passion for using and sourcing organic material as a basis for her designs.

When initially looking at these two designers in comparison with one and other, my first thoughts were that they couldn't be further apart. However at a more in depth look and viewing them as individuals not as a traditional wallpaper designer and a unique, abstract animator they both share similarities.

Tal rosner discussed that after his studies he thought he landed his dream job working in the south of England for a large company. However he explained that he discovered his dream was short lived as he turned out to dislike the environment he worked in and found that the lack of creative freedom was uninspiring. Further more he preferred to work alone which allowed him full control over creative decisions and gave him freedom. You could suggest that Tracy shares Tal’s working methods as she works alone and develops ideas from her own creative thinking without any boundaries from working within a company.

Tracy explained that she enjoyed working with organic source material such as Flowers, grass, feathers and preferred to have as few technical barriers between the source material and the final piece (wallpaper). She also explained that she used a variety of materials and elements that she liked to work with such as sequins, different textures of paper and metals. Moving on to discuss the process she goes through to create the pieces such as laser cutting, digital stitching and basic printing. I feel that Tal’s working processes and practices in this area are dissimilar to Tracy’s as tal’s work seems to rely heavily on manipulation of his source material. In the case of his piece ‘doppleganger’ the recordings of the industrial surroundings and scenery are then heavily manipulated, perfected and refined to create exquisite compositional animations. This seems to be a very technical approach using effects like mirrors and masks etc. in after effects, when compared to the limited technical barriers Tracy seems to prefer. However I cant help think that Tal’s work also has an organic feel. His sourced footage is mostly of industrial settings, steel frame constructions, pipelines, factorials and has a very mechanical and structured feel to the footage. Yes, his final piece is heavily manipulated and abstracted but I feel that his final compositions some how retains and relates to the original recorded footage resulting in both the final piece and the source material looking and feeling like they both have been produced from the same processor or source. With this in mind one could argue that Tal’s and Tracy’s final pieces some how are similar.

Both Tal and and Tracy explained how their personal work and designs changed due to the external rigours of the industry. This was mainly due to them taking on briefs and having to adapt there style to meet the clients need. At first you would think that the negative side of working with a client would out weigh the positives, but both describe how they were able to bring in there own style of work to meet the requirements of the brief. (This seemed positive.) In Tal’s case he explained how he worked to complete the skins opening title sequences. When looking at the idents for skins you can instantly recognise that it is the work of Tal. Looking at the sequences I think the brief and work didn't turn out to be a rigourous experience in the industry for Tal as it is evident that he was given creative freedom which allowed him to produce idents in his own unique style. Therefore resulting in this brief and experience not to be an ordeal but a pleasure for Tal, adjusting his style to a brief.

Tracy also explained these external rigours working for clients and working to briefs. This area of the industry also seem to be a positive for Tracy. She explained how she, like Tal was given freedom when working for clients and seemed to only come across problems in regards to how her work was displayed. She explained, when creating pieces for industry and clients which in some cases is displayed in public places such as shops, there are certain restrictions like health and safety standards which she must comply with. Tracy explained how her work with sequins (shown in image) had to comply with certain health and safety regulations, in this case there was a fire hazard.

Both Tracy and Tal’s experiences within this area seem quite positive with some if any problems encountered. I think one reason for this is that the briefs they have took on are requesting their style of work, obviously allowing them to work within an area they are comfortable in. I feel that this could be seen as both a positive and negative thing. Obviously the positive is that they will work doing something they are familiar with. The negative being that they could become type cast to that one area of design and clients will think that they only do one thing and only ask for that one style of work. Making the designer feel restricted and that there is more to their design and creative skills then that one area.

In concluding I wanted to using Tal Rosner and Tracy Kendall for this report because I felt that they both seemed very distant to one and other within the industry. Enjoying the work of both I wanted to look more in-depth at Tal and Tracy, comparing their Processes and Practices and how they are defined by the industry they work in. I feel that in overview, before applying the lessons I have learnt in this report to my own practices I need to decide weather I want to work individually like Tal and Tracy, having full creative control. Or within a team, company or organisation all using each other skills and abilities to complete a successful brief. At the moment I feel that I am leaning towards the later.

Gillian Blease

Gillian Blease was a visiting lecturer earlier in the university year. I found her lecture interesting as she talked through how she has progressed as an illustrator coming from a fine art background. She talked us through her work, influences, source material, professional constraints, and problems she has encountered working in the design industry.

Gillian talked about her previous education and places of study, starting at Stockport college moving on to MMU and then to study fine art at Newcastle University. She then moved on to discuss her influences such as Andy Warhol, Paul Rand and terry frost. She then explained that her time spent in japan had massive influence and inspiration on her work, causing her to think simple and produce clean and clear aesthetics, lines and shape.

As she began to show her work you could start to see the results of having such influence and inspirations. Her colour pallets are beautiful and vibrant which you could say contributes to her work becoming instantly recognisable. Gillian came across humble and quite modest but let her work do the talking. Although, with this said I felt her work also reflected her personality and seemed to show an innocence and purity. Which one could suggest comes from the simplicity and limited colour scheme within each piece.

Overall I really enjoyed Gillians lecture and work as a whole. Throughout the lecture and looking at her work I was constantly thinking how her static pieces could develop and progress in to moving image works. I think her unique simple style would work well as animations.

Tracy Kendall Visiting lecturer

The wallpaper designer Tracy Kendall was a visiting lecturer at Stockport college.

During this lecture she talked about her background and progression into this industry discussing her influences and work. She firstly explained her fine art background and moved on to discuss working in the Royal College textile department as a “technical Support Print Technician” for 15+ years, where she specialized in screen printing. She then explained that her influences are much the same as ours as she sources and is influenced from a variety of things such areas as:
- magazines
- internet
- books
- galleries
- exhibitions
- photography

She also described how she keeps her source materials and influences so she can revisits them again and again. She then explained the first production of her own designed wallpaper. Describing that she first designed the wallpaper for her own kitchen in 1996, which consisted of a large scale cutlery set. She explained that she liked working with organic source material such as Flowers, grass, feathers and preferred to have as few technical barriers between the source material and the final piece (wallpaper).















Throughout she discussed the variety of materials that she like to work with such as sequins, different textures of paper, metals and then talked about methods of creating the final pieces such as laser cutting, digital stitching and basic printing.

Overall I found the lecture interesting and enjoyed looking at an area of design which sometimes seem far removed from the area of multimedia design. I liked the use of organic materials and how Tracy kept the designs simple but effective.

Tal Rosner

Recently the film maker and artist tal rosner gave a lecture at Stockport College. During this lecture he talked about his progression from completing an BA in graphic design where he studied composition and magazine design. From then he discussed the development of his work since receiving an MA in animation from Central Saint Martins.
He explained how he wanted to develop the composition skills he discovered in graphic design in to moving image as he had an interest in rhythm and movement.

The first piece he shown in the lecture was entitled “Doppelganger”. He explained how he produced the piece by filming from the front of a moving train. He this was perfect as he could record a vast amount of shots and scenery without moving. He also mentioned that this suited his style of working as he prefers to work alone so he can have full control over a project. He then moved on to discuss how he edited his captured footage to a match a rhythm. The piece consists of various shots, pauses, cuts, rewinds and mirror imagery that give a kaleidoscope effect. The piece starts with simple versions of these editing techniques and as the beat/rhythm becomes more complex so do the edits and effects. As the piece progresses the imagery becomes more abstracted and takes the form of patterns and shapes as the journey on the train continues.


He then moved on to talk about a later piece of work he created for two french pianist’s who had seen his earlier work and requested something similar. I found the piece very effective but quite overpowering because of the music. However Tal Rosner matches the fullness of sound with relevant imagery which is synced perfectly with the music, rhythm and atmosphere. This piece consists of more editing techniques and manipulation within the animation which attracts the viewers eye.

Overall I found the first two piece really effective and visually exciting. The editing techniques are seem complicated and sometimes very abstracted but are unique.

After showing these pieces tal moved on to show his bafta winning title sequences for the channel 4 show, skins. The skins tv show in its self consists and is aimed at a youthful target audience which I think Tal’s work can relate to as it is original, vibrant and attractive. The title sequences consists of abstract shapes and imagery which hold clips from the tv show. The title sequence comes to its climax with the skins logo being visual created by Tal’s abstract animations. Tal rosner explains that each title sequence is different as each sequence represents the content of each episode. So if an episode revolved around one character or subject the title sequence for that episode would involve that character or subject area.


















It was interesting to see how Tal Rosner’s work could be applied to different areas of multimedia. For example his early work was abstract and could be seen within a music video format and then in the skins work shows his style in a commercial/tv environment. Overall his working method and style influenced how I approached some of my own work in particular my self directed brief, as I created a music video. His work influenced how I planned and edited my video footage.

Grant Gilbert

Grant Gilbert recently was a visiting lecturer. Through this lecture Grant discussed his experiences and developments through his career working with motion graphics. Double G studios is Grants London based design company who specialize in motion graphics, live action and brand identity.

Grant began with a brief overview of his background explaining that he once was a student at Stockport College studying Graphic Design moving on to complete a degree in graphics from in Birmingham. Grant discussed his early tendencies of preferring moving image work compared to the print based courses he had bin on. He then moved on to talk about his time working at the production company Planet24 who leading production company on such things as ‘The Big Breakfast’. From here grant moved on to develop his creative skills and began to work on individual briefs such idents and promos for channel 4. Then after a short time spent working for Attic in New York he returned back to England to start up his own company ‘Double g studios’.

From then he talked about his work through double g studio creating broadcast commercials for channel 4. Explaining this was one of his first briefs and he was quite luck to win the pitch. He discussed the process of the brief from storyboard/mock-up level to final production. Explaining the ident revolved around the music festival scene and he had an early concept that he brought in to realization for this brief. First mocking up scenes and shots in photoshop then moved in to production. For me the piece was perfect for that scene and age group, on a design view the pieces use of Colour, Lighting and Composition was fascinating as it was Grants first production.












Moving on to his more4 ident production grant explained in detail how this progressed from start to finish. He explained the creative and technical problems they had to solve. For example how complex the ident was, he explained there was a lot of discussion on how technically complex the ident was and explained that they started of making things over complex and ended up having to go back to basics. Using after effects and 3D software he finalized the ident to a similar form compared to initial ideas and experiments for the ident.

Moving on to his work for the rebranding of the BBC similar to More4 he talked us through the development of the project/rebranding. He shown his research in to the history of the bbc idents and explained that he went back to the basics for the bbc rebrand, revolving everything around a circle to symbolize community and unification.











Grant covered a great deal during his lecture and I was fascinated by the amount of projects he has been apart of through his freelancing career. Through this lecture I discovered that problems sometimes are easily overcome. In grants case he was able to step back from a brief and simplify and find the real purpose of his work. I think one thing that was evident through this lecture was grants ability to manage a successful brief and project, bringing different skills from different areas to make his concept a reality. It was an inspiration to look at Grant’s work but to find out the meaning and process behind the work was fascinating. I will look into getting in contact with Grant Gilbert in regards to work experiences or a constructive portfolio critique.

Mainframe - London Studio Visits

On a recent University trip to London we visited the creative production studio Mainframe. The Mainframe studio works in Motion Graphics and animation for tv ads, promos and branded creative content. Some of there projects reach platforms for cinema, online and mobile media. Their clients include BBC, BBC Radio , Channel 4, Five, Virgin Media Television etc. Our visit was hosted by Adam Jenns, founder and Managing director at Mainframe. Adam brought us around the studio and explained that their studio holds full time designers and also free lance designers that work within a different area of the studio. The main bulk of the studio held about 10 to 15 staff, where they seemed to be working on a variety of projects. (by what was displayed on their screens it seemed to range from 3D projects to illustrative work.)

The environment seemed relaxed and creative and I really liked the fact that there was a quite a large group of designers working closely. I think this environment would be great, because as an individual you would be able to bounce concept of one-and-other and get advise/feedback.

From the short introduction of the studio we moved to a smaller area/booth which looked like half a storage area and half render suite. Here he shown us the current house showreel. I was really impressed with their showreels as it visualized the range of skills with mainframe. He moved on to show and explain some current projects such as the Nickelodeon promo rebrand. He explained the relationship with Nickelodeon saying that they area an on-going client so there was no pitching involved in this case. Furthermore he told us that most work and brief they take on is from reoccurring clients such as Nickelodeon. The meeting and visit to Mainframe was very relaxed and casual, reflective of their working environment. Adam went on to give some advice in regards to our portfolios and showreels suggesting to keep this all simple and easy. He suggested that showreels should just show our best work and to keep them short and to avoid repeating content throughout. Then suggested that a blog style online portfolio works well and can easily be found and referred to, also can be easily be updated. His main advise was to keep easily accessible and simple explaining that companies can be overloaded with emails showreels and the whole process needs to be quick.

Overall I found this visit and exciting experience. To see a fully working studio producing high end work was fascinating and Adams advice was very constructive and helpful. This visit helped me analyze and think of what situation and environment I would like to work in in the future. I feel that obviously as a new comer to the industry the working environment at mainframe would be perfect, as working closely with colleges in a team you are able to support each other and work to a high standard.

Double Negative London Studio Visit

Double negative was also a company we visited during our trip to London. Dneg was the largest company we visited during this trip. Located in Soho, London Dneg began with a staff of 30 people in 1998. From the late 90’s the company progressed to around 500 staff which went from occupying a small section of one floor to spreading over the whole building. Their scale as a company is also represent by their history of work and clients. Including Harry Potter, Iron Man, Batman (The Dark Night), Hellboy 1 & 2, James Bond (Quantum of Solace) etc.

























The main point in the visit was in the viewing room which was presented similar to a cinema. During this time we was shown a short showreel of their work and then moved on to watch the making of ‘The Dark Night’ which consisted of visuals and an explanation of how they approached the project and completed the work. It was an interesting an extraordinary watch as it show behind the scene look at how scene were created in 3D and real. They also broke down some of the shots in which they produced special effects for. Including a look into some of the green screen work and stunt doubles. It was amazing to see the work Dneg created on this film and just how much they produced for the film.

We was then given some advise by Dneg in regards to out show reels and what they look for and what their scheme is to progress through the company. The advise was similar to what Studio aka and mainframe suggested. That being to keep the showreels snappy and show our best work. (meaning less is more). Moving on to how people start at Dneg and how they can develop, they referred to Paul Greenwood an ex-student at Stockport. explaining that him and any person will start as a runner. They explained that this is a brilliant way to get in to the industry (similar to studio aka) it provides runners with experience around the company and experience on how projects are handled. In Dneg’s and Paul Greenwoods case the next step is Match moving. Which is the entry level in the production stages. Which basically consists of a designer matching the environment of a live action shot with elements or full scenes of chi (Computer Generated Images). It was great to see another company (especially the size of Dneg) having this root to a successful job, providing support and guiding for there employees. Overall it was another inspiring experience at a Studio.

Studio AKA London Studio Visits

During the University trip to London we visited the animation production company ‘Studio AKA’. Some of their clients include Lloyds bank, Guinness, Bupa etc. Working within a range of mediums and aesthetics they have produced high end commercials which are seen internationally on television and online. Along with their multitude of commercials they have produced a range of animated short films. Their most recent short is entitled ‘Varmints’. At 24 minutes the piece follows the narrative of Helen Ward’s children's illustrated book also entitled ‘Varmints’. We were treated to a full viewing of ‘Varmints’ which was a great experience and pleasure to watch.

During this visit we were shown Studio AKA’s showreel and then shown a range of some of their well none and unseen commercials. Such as their well liked commercials for Lloyds and a piece which I wasn't familiar with for BMW entitled ‘Road Monster’. I really enjoyed the ‘Road Monster’ commercial as it was more in the style of a short film then an advert. The piece seems to represent the battle between the road and the car, as through out the road is continually looking out to find the week spot of the car to defeat it. The car manages to stand tall against the road monster and therefore showing the power and quality of the BMW. The piece is shot in black and white, I think the reasoning behind this is that with no colour the viewers attention is detailed on the action and brings the advert down to its bare essentials, which is the BMW motor. The voice over narrates this action and brings the ad together as a finished piece. Obviously aka’s experience and knowledge working and producing short films played in to the hands of this commercial. The commercial/short film, as a whole flows perfectly and seamlessly.






















After viewing these master works by studio aka we then were given advise in regards to our portfolios, showreels and advise on which ways are best to get ahead in the industry. Their main advise was to keep showreels short and only edit together some of your best work. Aka told us that a showreel that is to long and repeats content is off putting. They also said a good way to distribute your portfolios and showreels is online so that it is easily accessible for people you are sending it to. They also suggested to show the making of our work from early sketches to storyboard to animatic and then resulting in the final piece, they explained this is a great way for employers to see how you work and develop ideas. In regards to starting off in the industry they explained how they look for and develop graduates. Explaining that they take people on as runners who have an good design and creative eye, then possibly working their way through the company learning technical skills and creative thinking. One of the main things they discussed was that if they see talent they will try and nurture and develop that person. I think what aka were explaining by saying this was that, by encouraging the growth and development of young designers it can be beneficial to a company. As new, fresh, and creative minds can develop the company through changing times and styles. The technical side to things can always be gained by experience.

In concluding I found the visit to Aka refreshing and inspiring. Their work in my eyes did show they are technically matched with the best, but most of all that they are a able to visualize their creative concepts well. Overall the visit was brilliant and I think studio aka would be a great environment and studio to work in.