Chris Melnychuk
Castling (8/13); 1993; woodblock print on paper
Collection of Kari McQueen
ANIMATED DELIGHT
Content
Section 1 - Introduction
About the Interpretive Guide
About the Alberta Foundation for the Arts
About the ASA and Partners Developing this Exhibition
3
4
4
Section 2 - Art
Curator Comments
About the Artists - Biographies & Statements
A Listing of Artworks
5, 6
7 - 10
11
Section 3 - Educator‟s Guide
Introduction to the Educator‘s Guide
Visual Literacy
Visual Thinking Strategies
Interactions
12
12
13,14
14, 15, 16
Activities
1. Scene In A Shoebox
2. Temporary Tattoo
3. Change of View and Current Events Storyboard
4. Kaleidoscope
5. Flip Book
6. Hybrid Puppet
7. Found Object Soundtrack
16
17
17, 18
18
19
20
20, 21
Gallery Games
Glossary
Sources
Acknowledgements
21, 22
22, 23 , 24
25
25
Back Inserts Shipping Labels, Lading Bill, Reporting Forms
Press Release & Photo Reproduction
Visual Inventory, Extra Title Cards (sheet)
We welcome comments or suggestions on all material presented here. If you
would like more information on the Alberta Foundation for the Arts
Travelling Exhibition Program please contact
Program Manager / Curator, TREX Southwest
ALBERTA SOCIETY OF ARTISTS
Crossroads Market, Suite 305, 1235 26 Avenue SE, Calgary AB T2G 1R7
Tel: 403.262.4669, Fax: 403.263.4610, Email: [email protected]
2
ANIMATED DELIGHT
Interpretive / Educational Guide
The Alberta Foundation for the Arts Travelling Exhibition Program (TREX) intends to bring you
closer to Alberta's artists and collections. Since 1981, the Alberta Foundation for the Arts (AFA)
has financially supported a provincial travelling exhibition program with the vision that all
Albertans have an opportunity to experience visual art in their community.
This Interpretive Guide has been specifically designed to complement the exhibition you are now
hosting. It is one of several exhibitions distributed by the Alberta Society of Artists as part of the
Alberta Foundation for the Arts Travelling Exhibition Program (Southwest Region).
The suggested topics for discussion and accompanying activities can enhance the viewer's
enjoyment and assist teachers in developing strategies to complement the exhibition. Questions
have been included at both an elementary and advanced level for younger and older visitors.
The Interpretive Guide consists of three main sections
Information about the Alberta Foundation for the Arts and the parties organizing this
exhibition; a statement from the Curator and/or related commentary on the exhibit.
A listing of artworks with information about the participating artists.
Educational component for teachers written to coincide with the Alberta art curriculum.
Please note there is a hard cover interpretive guide for public display that travels with the
exhibition. Teachers or venue representatives will receive a soft cover interpretive guide prior
to delivery of the exhibition. It is the venue‟s option to either keep or return this soft cover guide
after the display period. It is understood that reproduction of this material is for educational
purposes only.
A Few Reminders for Venue Representatives
As part of the soft cover interpretive guide, your venue should receive a press release, a photo
reproduction for distribution to media outlets and shipping labels / lading bill to transport the
exhibition to the next destination.
At the conclusion of the exhibition, we request that you take a few moments to fill out the
reporting forms. Please fax to the Alberta Society of Artists at 403.263.4610
Artwork Condition Report: Arrival/Departure
Attendance and Visitor Feedback Form
An Evaluation Form will be faxed to you for completion at the end of the exhibition
3
ALBERTA SOCIETY OF ARTISTS (ASA)
www.artists-society.ab.ca
The Alberta Society of Artists was established in 1931 as an organization of professional
artists. The ASA, operating as a registered charity, continues to promote the visual arts in
Alberta through access and support to professional artists and their work. The Society also
educates the public on the importance of the arts in their community by developing
exhibitions that focus on aspects of Alberta‘s cultural development.
The ASA has a long history of producing and promoting local, regional and inter-provincial
travelling exhibitions. The Society is currently contracted by the Alberta Foundation for the
Arts to develop and circulate art exhibitions to venues throughout southern Alberta. The art
works are intended for display in schools, libraries, museums and other public facilities. The
southwest region of the AFA Travelling Exhibition Program is managed through the Calgary
office of the ASA located on the third floor of the Crossroads Market.
The ASA undertakes a variety of educational initiatives such as awarding scholarships to
Alberta high school students.
ALBERTA FOUNDATION FOR THE ARTS (AFA)
www.affta.ab.ca
The Alberta Foundation for the Arts (AFA) was established under the Alberta Foundation for the Arts Act,
September 1/1991. The purposes of the Foundation are:
to support, promote and contribute to the development of literary, performing, visual and media arts in Alberta
to provide people and organizations with the opportunity to participate in the arts in Alberta
to foster and promote the appreciation of artworks by Alberta artists
to collect, preserve and display artworks by Alberta artists
to encourage Alberta artists in their work
The mandate of the AFA Travelling Exhibition Program (TREX) is to provide all Albertans with the opportunity to
enjoy visual art exhibitions in their community. The TREX Program also strives to make the AFA‘s extensive art
collection available to Albertans. The growing art collection consists of over 8,000 art works showcasing the creative
talents of more than 1,700 artists.
As a major provincial art collection in Alberta, the AFA collection reflects the development of the vibrant visual arts
community in the province and has become an important cultural legacy for Albertans.
QUICKDRAW ANIMATION SOCIETY
www.quickdrawanimation.ca
In 1984, Quickdraw Animation Society (QAS) started as a society with an appreciation of animated film and a strong
desire to support young talent eager to make images move. Its mandate encourages and assists anyone who
wants to learn and train in animation techniques. To this end, QAS provides state of the art production facilities
for professionals, as well as courses, workshops and programs for youth. QAS maintains a unique library with over
three thousand animations, books, manuals and other resources. It also proudly presents an annual festival of
independent and experimental animated film entitled GIRAF (Giant Incandescent Resonating Animation Festival).
In 2011, QAS will celebrate twenty-seven years as a non-profit organization making important contributions to
southern Alberta‘s cultural growth.
4
CURATOR COMMENTS
This travelling exhibition started with the simple and timely idea of introducing the art of Chris Melnychuk to a wider
audience. He was a well-rounded artist and animator who did not achieve great recognition in his lifetime. The last
few years of his career were constrained by persistent throat cancer which eventually took his life in the summer
of 2010. It is evident after reviewing Melnychuk‘s artistic activities that he had developed a special bond with
Quickdraw Animation Society (QAS). Within its production facilities he met and befriended other talented artists
interested in making images come to life. The concept of Animated Delight gradually evolved from a celebration
of Melnychuk‘s work to include three additional dynamic animators residing in Calgary.
The Alberta Society of Artists is pleased to present seven short animated films and fifteen artworks by Brian
Batista, Leslie Bell, Stefanie Wong and Chris Melnychuk. In this exhibition there are unique objects and images
used by the artists to produce their animations, as well as complementary artworks generated before and after
the films as evidence of interconnected processes. Calgary based animator Paul Dutton recalls a story from his
youth, when his father took him to see an animated interpretation of Lord of the Rings. He was enthralled and asked
his father how animation was made. His father said, ―Someone is behind the screen drawing really, really fast.‖
Dutton says, ―Obviously, that's not correct but it always stuck with me, I thought boy, I want to be a part of that. I
don't know how you can draw that fast, but I wouldn't mind finding out.‖ 1 It is our hope that Animated Delight will
demystify some of the process related to making animated films.
Animated Delight is different than most exhibitions developed by the Alberta Society of Artists for the TREX
Program because it includes time based artworks. Time based art generally refers to moving images and sound
delivered by electronic media that span a period of time. The term is often applied to video art that takes the form
of screenings, installations and projections by contemporary visual artists. Cinematic films and animations are
considered time based artworks and are historically rooted in the 1880s with the invention of Theatre Optique
by French scientist Charles-Emile Reynaud. He is credited with the first public demonstration of moving images
that were drawn and painted on gelatinous perforated film. English artist Eadweard Muybridge had previously
represented illusory movement with his invention of the zoopraxiscope which consisted of three main parts: a
lens; a central gearing mechanism with revolving shutter and disc of still images; and a lantern for projecting light.
The technology evolved from Muybridge‘s stop-action sequence photographs of animals in motion and a theory
commonly referred to as persistence of vision. The research by Muybridge and other enlightened individuals
during the nineteenth century showed that pictures could be animated through a rapid progressive display which
is the essence of traditional celluloid animation.
The artists featured in Animated Delight use diverse animation methods with intriguing and fantastic results.
Leslie Bell seeks and explores the endless possibilities of an ―organic abstract universe‖. In her film Painted Moon
she uses a rostrum camera and digital technology to capture the energetic manipulation of water based paint
on a light table. The ebb and flow of paint is confined to an illuminated circle or sphere which is centrally placed on
a dark background.2 Sudden bursts of color, swirling shapes and layers of formative marks suggest the beginning
of life. The addition of hand drawn cels helps to intensify the metamorphic persona of the celestial body. The
random energy in IO quickly evolves into radiant and opulent kaleidoscopic patterns. Mirrored images rotate and
pulsate from a central axis to create new ways of viewing the content. The overall effect is mesmerizing. Io is a
name given to one of the four large moons orbiting Jupiter that were discovered by Galileo in the early seventeenth
century. In Greek mythology Io was a victim of Zeus and his sexual desire. Zeus transformed her into a white cow
to conceal her from his wife‘s jealousy. Caught in a battle of titans Io is set adrift and wanders the earth in her
unwanted disguise. There is a recurring theme in Animated Delight which references masks that can transform,
disguise or manifest alter ego.
Handmade puppets and objects are theatrically presented in What Remains by Stefanie Wong. This type of three
dimensional animation requires stop-motion photography to capture incremental movements of pliable puppets and
props. Each subtle adjustment in posture or position is recorded to create a sequence of action. The film‘s narrative
is implied and open ended as there are no words exchanged between the main characters (a girl and monkey).
Communication is achieved through gesture, symbols and emotionally infused music. A question often asked is
whether the sound or visual component comes first in the development of an animated film. According to Wong, ―It
really depends on the nature of the project and its collaborators.‖ The sound effects by the band Ghostkeeper in
Around The Corner From Solitude were added after the visuals were produced. The unusual instrumentation links
perfectly with Wong‘s meticulous method of threading canvas to represent the cyclical growth of organic matter.
The display of the canvas tablet in the round provides a rewarding view of the reverse side and appreciation for the
concentrated effort of stitching and unstitching the composition.
1
2
Fast Forward
Over millennia the elemental circle has attained great symbolic value often being equated with life nurturing properties of the sun, earth and deities.
Uniquely defined the circle is a continuous line equidistant from a centre point. It has no beginning, no end and no divisions. Archetypal symbols like
the circle transcend the boundaries of time and place - although their meaning can also be altered or expanded due to cross cultural influences.
5
CURATOR COMMENTS
Animated Delight includes a selection of seventy-two original cel drawings for Zap Girl Makes Toast by Chris
Melnychuk. This is approximately a quarter of the drawings created for this animation. With elegantly simple
line work the artist presents a humorous sequence of events between a young girl and uncooperative toaster
which offers lessons on human behavior. His graphite drawings on bond paper are made slightly different, but
progressive in nature, to depict certain actions. These are commonly referred to as cels (short for celluloid).
Traditionally cels are drawn, painted or printed on transparent or semi-transparent sheets with the outline of images
usually placed on the front side of the sheet and color on the reverse side. In this way an animator is able to quickly
compose scenes by placing (stacking) cel transparencies over a variety of backgrounds. Melnychuk‘s paper cels
were photographed with a rostrum camera and digitized for further editing. Moving characters are often shot ‗on
twos‘ that is to say, one drawing is shown for every two frames of film. The standard animated film is presented at
twenty-four frames per second (meaning there are twelve drawings per second). The illusion of movement on film
can be achieved with various ratios of drawings per frames. Quick movements may require more drawings to
maintain fluid movement or quiet moments may require fewer drawings to carry over from frame to frame.
Away from the spotlight and in the creative ‗trenches‘ Melnychuk searched for his personal voice while persistently
developing his artistic acumen. He was naturally gifted in drawing and printmaking. Animated Delight presents
two exceptional woodblock prints from his portfolio related to chess pieces in action. Castling in chess involves a
positional change of the king in relation to the rook. This is considered a defensive move or transition to an offensive
strategy which enables the king to move two squares which is not otherwise allowed. Melnychuk chose to portray
the maneuver as a casual dance like a do si do. In the Reining Queen the white knights are emphatically captured
by the black (partially red) queen. In chess the queen is the most powerful piece with the ability to move in any
direction and number of squares as long as her path is unimpeded. In later years the queen motif frequently
appeared in Melnychuk‘s art as a companion, competitor and obstacle, like cancer, to be overcome.
Along with an impressive body of work and many friendships, Melnychuk‘s legacy as a mentor will be acknowledged
in the form of a scholarship for emerging artists engaged in the study and production of animated films at Quickdraw
Animation Society. He will also be remembered as the proprietor of Christopher‘s Canvases which supplied many
painters with customized stretched canvases. Canvasman: Best In The West shows Melnychuk in his workshop at
an accelerated pace constructing a large stretched canvas.3 The film finishes in real time with him tapping the taut
canvas surface and exclaiming, ―That‘s the sound painters just love.‖ This quirky short video reminds us of the
diverse skills and resiliency required by artists in order to make a living.
Melnychuk‘s friend and colleague, Brian „Bunny‟ Batista reveals a passion for Eastern mysticism, pop culture and
character animation through vibrant paintings, cel drawings and films. Early in his college experience he realized
that he wanted to develop as a media artist. Animation was a natural fit given his virtuosity as a draughtsman.
Batista‘s Twosday was created during his final year at the Alberta College of Art & Design (ACAD). It focuses
on a plethora of cultural influences that have shaped the life journey and multi-faceted personality of the ‗bunny‘
character. An interplay of exotic masks and costumes expresses a genuine desire to exchange ideas about the
world in which we live. Batista also reveals his appreciation and knowledge of twentieth century animation with
intense episodes of historical cartoons flashed at a rapid pace. During the 1970s and 80s many of these cartoon
heroes, villains and underdogs pervasively ruled weekend morning television in Canadian households. They
exercised imagination and defied expectation with entertaining scenarios that transcended daily life.
Batista is deeply involved with the study of Buddhist spirituality and tenets of Tibetan scroll painting. He says in an
article on his recent painting exhibition, ―My mom thinks that I must be a reincarnated Japanese man because I am
interested in all things Asian.‖4 In the painting Makara – Snail of the Sea Batista combines two natural adversaries
into one entity. It is this imaginative and anything-is-possible attitude in animation that will be enjoyed by all who
view this exhibition.
The ASA would like to thank Brian Batista for his invaluable service in authoring and mastering the Animated
Delight DVD. We would also like to thank Quickdraw Animation Society (QAS) for its advice in developing this
travelling exhibition. In 1984, Quickdraw Animation Society started as a society with an appreciation of animated
film and a strong desire to support young talent eager to make images move. In fact its mandate encourages and
assists anyone who wants to learn and train in animation techniques. To this end, QAS provides state of the art
production facilities for professionals, as well as courses, workshops and programs for youth. For more information
visit www.quickdrawanimation.ca
Curator Comments by Les Pinter
3
4
6
Canvasman: Best In The West was completed as part of EMMEDIA Compression Camp
Marcella Ducasses. “When Eastern Art Meets A Western Artist”. Fast Forward. Calgary AB. June 9 - June 15, 2011.
ABOUT THE ARTISTS
Biographies & Statements
BATISTA, Brian
Known as ‗Bunny‘, Batista was born in Burnaby and lives and works in Calgary.
According to his website he is ―a man of many skills and talents - an arranger of
things; a painter, sculptor, performer, media artist, mentor, teacher, animator,
entrepreneur and „magic man‖. In 2001, Batista received his Bachelor of Fine Arts
with distinction from the Alberta College of Art & Design (ACAD). In the same year
he was the Valedictorian and recipient of the Board of Governors award.
Batista has taught animation at Quickdraw Animation Society (QAS) for the last
four years. He has been the lead instructor of the Aboriginal Youth Animation
Project at QAS since 2008, as well as recently an instructor in the Extended
Studies department of ACAD. Batista is a co-founder of the Calgary Underground
Film Festival (CUFF) and served as its technical director for six years.
Batista is active in the film community, screening one or more productions each year. He is the recipient of
several awards and a frequent participant in artist residencies. He recently received an AFA grant for an upcoming
animation entitled Snack Time. According to his ACAD biography, he has a love for rubber hose arms and pre-code
animation characters.
Selected Exhibitions & Screenings
2012
2011
2010
2009
2008
2007
2006
Divine Inspiration; Stride Gallery, Calgary AB (solo)
Sacred Images: East Meets West; Untitled Arts Society Gallery, Calgary AB (solo)
Music Box / Automata; Artcity Festival, Calgary AB (group)
Birdhouses; Bird Dog Video, Calgary AB (group)
7 by 7: Rising Talents selected by the Royal Canadian Academy of Arts, Stride Gallery, Calgary AB (group)
1111 Group Art Exhibition; Calgary Renaissance Project, Calgary AB (group)
International Festival of Animated Objects, Vertigo Theatre, Calgary AB (group)
Battle Between The Sexes, Artcity & EMMEDIA, Calgary AB (screening)
The Lesson; Calgary International Film Festival, Calgary AB (screening)
Twosday; Southern Alberta Art Gallery, Lethbridge AB (screening)
Garuda Lion In Flight
The garuda is the lord of the skies and the lion is the lord of the earth. Together they unify heaven and earth
in victory.
Its Western equivalent would be the griffin or gryphon. The writer Herodotus wrote that griffins lived on high Indian
mountains where they dug for gold with their talons. I have painted it here in warm hues flying high over mountain
peaks. A white floating banner above will contain a message requested by the person who wishes to possess the
piece. My intention with this image is to bring the bearer good fortune and protection.
Makara - Snail of the Sea
The Makara - Snail of the Sea is a companion painting to Garuda Lion in Flight. The Makara - Snail is a union of
a water monster most easily associated with a crocodile and its traditional prey the conch or water snail. It closely
resembles a hermit crab which destroys the conch mollusk and takes over its shell as its new home. The water
monster has horns, scales, tusk, mane, upturned snout, and two claws grasping from the shell. I have painted it
here in cool tones, thrusting itself fearlessly from the shell over a bed of ocean waves. This image is intended to
bring the bearer a source of power and provide protection over the home.
For more information on the artist please visit www.Brianbatista.com
7
ABOUT THE ARTISTS
Biographies & Statements
BELL, Leslie
Leslie Bell is a Calgary based abstract painter and experimental filmmaker. In
2002, she received her BFA from the Alberta College of Art & Design (ACAD),
and in 2009, she completed her MFA in Painting and Drawing at Concordia
University, Montreal.
Bell's studio practice is motivated by media experimentation, methodical process
and a fascination with an infinite number of ways that forms can be assembled
into composition. Her work can be found in the Colart collection in Montreal,
the Canada Council‘s Art Bank and in numerous collections across Canada and
Germany. Bell‘s animated work Painted Moon was included in the Worldwide
Short Film Festival. It is a stop motion animation that combines water based
paint over backlit glass with hand drawn cel animation which is set to music.
Bell is an occasional instructor with the Extended Studies department at the
ACAD.
Selected Exhibitions & Screenings
2011
2010
2009
2008
2003
Simulacrum; Skew Gallery, Calgary AB (solo)
Light Matter Research; Untitled Arts Society, Calgary AB (solo)
Radiant Array; SQ Art Projects, Calgary AB (solo)
Moons of Jupiter; video installation for Artcity opening gala, Uptown Stage and Screen, Calgary AB
(screening)
Painted Moon & River Teeth; in collaboration with Kiarra Albina, EMMEDIA, Calgary AB (screening)
Light Matter; Les Territoires, Montreal QC (solo)
Prismatic Spray; Galerie Division, Montreal QC (group)
Strata; Concordia University MFA Studio Arts show, Espace Artefacto, Montreal QC (group)
In Residence; Truck Gallery main space, Calgary AB (solo)
There are times, when thinking about all the possible paintings and drawings that could be made, the boundless
permutations, I feel like the volume in my brain gets turned on to full. I see painfully bright colors on the insides
of my eyes flashing by at increasing speeds. Forms emerge only to mutate, spiral and collapse back into the
maelstrom. Sitting in front of and staring endlessly at a blank canvas, paper or wall and visualizing hypothetical
manifestations is a crucial part of my process. Then comes the transcendental moment of brush and paint hitting
the blank surface and potential collapsing into actualization. Impulsively, some zone of interest catches my eye,
my hand follows and from there the new form extends metabolically outwards into an infinite number of possible
branches, references or relational structures. For me, painting is not exhausted, its history is just a grain of sand
on the beach, and its potential is as wide open as the expanding universe.
For more information on the artist please visit www.lesliebell.ca
8
ABOUT THE ARTISTS
Biographies & Statements
MELNYCHUK, Chris
Chris John Melnychuk was a Calgary based artist who exhibited his work
throughout Alberta. He received his education at Grande Prairie Regional
College and the Alberta College of Art & Design (ACAD). A painter, printmaker
and animator, Melnychuk died in 2010 following a recurrence of throat cancer.
He was active in the Calgary arts scene and a member of Quickdraw Animation
Society (QAS) for fifteen years. One of his last pieces was a large mural dedicated
to the Society. A retrospective of Melnychuk‘s art was presented in his memory at
the Untitled Art Society in Calgary in September 2010. Along with an impressive
body of work and many friendships, Melnychuk‘s legacy as a mentor will be
acknowledged in the form of a scholarship for emerging artists engaged in the study
and production of animated films at Quickdraw Animation Society. He will also be
remembered as the proprietor of Christopher‘s Canvases which supplied many
painters with customized stretched canvases.
Selected Exhibitions & Screenings
2010
2006
2005
2004
2002
2001
2000
In Memoriam: Retrospective; Untitled Arts Society, Calgary AB (solo)
Chesscentric; Artpoint Gallery and Studios, Calgary AB (solo)
Extravaganza; The Triangle Gallery of Visual Arts, Calgary AB (group)
Summer Solstice at the Auburn; Auburn Saloon, Calgary AB (group)
Alien; The Regina Festival of Cinematic Arts, Regina SK (screening)
6th Annual Bare Bones International Film Festival, Oklahoma USA (screening, best animation)
Dawson City International Short Film Festival, Dawson City YK (screening)
11th Annual Victoria Independent Film and Video Festival, Victoria BC (screening)
EMMEDIA, Calgary AB (screening)
OutNorth, Anchorage USA (screening)
Interlude; Weeds Café, Calgary AB (solo)
The Guitar Series; Artview Expositions, The Globe Cinema, Calgary AB (solo)
Artpark 5; Daniel Sponagle Gallery of Contemporary Art and Mischief, Calgary AB (group)
The BiFrost Connection Art Exhibition & Sale; BiFrost Studio, Calgary AB (group)
The Second Annual Amnesty International Arts Jam; The Pumphouse Theatre, Calgary AB (group)
The Guitar Series; Cultural Center Gallery, Medicine Hat AB (solo)
Friend and artist, Greg Jones on Chris Melnychuk
(Read by Kari McQueen at Melnychuk‘s Memorial)
I am very sorry I couldn‟t be here. I have put together a few thoughts and
experiences for this occasion that I hope someone will read in my place.
I recently did some research on the spiral symbol. The spiral … a powerful ancient
symbol; known for centuries in many different cultures worldwide to represent
many things: the Goddess, fertility, the womb, life energy and change. When used
as a personal talisman the spiral helps consciousness to accept the turning and
changing of life as it evolves.
While I have used it for many years as a way of marking my welding gloves with a small branding iron, I noticed that
Chris also used it in his sketchbooks, and in his Vision Quest book while recovering from his initial tongue operation.
He saw one of my gloves with the mark on it and simply nodded to me and gave a thumbs up.
I used to spend afternoons with Chris in his favorite coffee shops around the city with all his things around him.
Sketch book, pens, a deck of cards, laptop and coffee with CKUA or CJSW as background. He insisted on one
outing that I learn to play rummy and it was during future outings that I learned to enjoy playing cards after years of
avoiding it as much as possible. Sometimes more recently as his voice became difficult to understand we had his
9
ABOUT THE ARTISTS
Biographies & Statements
MELNYCHUK, Chris (continued)
‟talking book‟ between us so he could write things down. This saved many frustrating moments that I know we all
experienced while trying to talk to him. One day I walked into his apartment while he was in a panic on the phone
trying to talk to someone from the government about his taxes. He thrust the phone at me and stormed off into his
bedroom. I finished the conversation and he came out , gave me a hug, apologized, and began blending something
in a bowl with a hand blender. As he was pushing the blender down he was saying something with every grinding
stroke, and I finally caught it: Taxman…Taxman …Taxman.
One day we drove out to Waiparous Creek for a picnic by the river. As we sat on a rock sipping our coffee I took the
opportunity to describe an experience I had a few years ago while attending a Lakota Sioux Sundance ceremony.
During the three day ceremony the dancers blew whistles made of eagle bone up at the sky to call down the eagle
spirit, to gain strength to endure the pain and discomfort of the three day initiation, as they danced from sun up to
sun down. While sitting with the elders watching the dancers I looked up and saw an eagle high up circling the
arbor. I nudged an old man beside me and pointed to the bird. He jumped up in a flurry of excitement spilling his
coffee and proceeded to get everyone‟s attention around the arbor including the dancers as they toiled under the
summer heat to the drumbeat. Later on in the ceremony I became known to the band members as “the one who
sees the eagle” or “that white guy”. As I was telling this to Chris I noticed he was looking past me at something up
stream. I was just about to repeat the best part of my story thinking he had missed it when he pointed behind me
and grunted wide eyed. I looked and saw an eagle flying towards us. It circled above us and headed south. He
looked back at me nodding, smiling and said this was meant to be. From that point on he joked I was an eagle. I
felt a much stronger bond with Chris after that day.
There were moments on these outings when conversation would come around to his condition. Generally he didn‟t
like to talk much about it except when updating me on the daily changes. It was one of these moments I took the
time to tell him how much I admired his courage and strength through his struggle. He said he came to accept it and
openly embraced it as part of his path in life, and I thought to myself how most people, me included, would be crazy
with depression and self pity. He seemed to push it aside and treated it like a big inconvenience. When I saw the
spiral symbol on his Vision Quest book, I realized he really did know its meaning. Representing strength to endure
life‟s journey, and the acceptance of change.
WONG, Stefanie
Stefanie Wong graduated with honors in 2008 from the Alberta College
of Art & Design (ACAD) in Calgary receiving a Bachelor of Fine Arts.
Since graduation, she has maintained a diverse studio practice, often
combining textiles, film and animation. Wong explores and manipulates
materials to reveal, through time and movement, the process and
intensive labor involved in the work. Her 2008 animation Around the
Corner from Solitude, a black and white 16 mm film has been screened
in festivals across Canada.
In collaboration with artist Marci Simkulet, Wong recently created one
hundred and fifty handmade banners using a variety of textile media,
along with recycled materials (including previous bridge banners). The
banners were created for seven urban bridges spanning the Bow River
in Calgary. Each series of banners was site specific, addressing the
history and context respective to the individual bridge, and was
positioned so as to be seen by pedestrians and drivers.
She has said repeatedly that her greatest inspiration is her daughter.
For more information on the artists please visit:
stefaniewong.blogspot.com
10
ANIMATED DELIGHT
Inventory List
ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM
Southwest Region (ASA)
Exhibition Title:
Total # of Art Works:
Source of Art Works:
Animated Delight
15 framed / presentation units & 7 short films
Artist Inventories & Collection of Kari McQueen
Artist
Title
Medium
Date
BATISTA, Brian
Garuda Lion in Flight
Makara-Snail of the Sea
oil on canvas
acrylic & oil on canvas
2011
2011
Twosday (Part 1)
Collection of Kari McQueen
Twosday (Part 2)
Collection of Kari McQueen
graphite, color pencil & ink
on paper (19 hand drawn cels)
graphite, color pencil & ink
on paper (19 hand drawn cels)
2002
Kaleido #3
inkjet print on archival paper
2011
Kaleido #16
Kaleido #18
inkjet print on archival paper
inkjet print on archival paper
2011
2011
Network, the depth and
spread of thought
Network 2, the depth and
spread of thought
ink on mylar, paper
2010
ink on mylar / paper
2010
The Reining Queen (A/P)
Collection of Kari McQueen
Castling (8/13)
Collection of Kari McQueen
Zap Girl Makes Toast (Part 1)
Collection of Kari McQueen
Zap Girl Makes Toast (Part 2)
Collection of Kari McQueen
woodblock print on paper
1990
woodblock print on paper
1993
graphite on paper
(40 hand drawn cels)
graphite on paper
(32 hand drawn cels)
2007
Around The Corner From
Solitude
raw stretched canvas & thread
2008
What Remains
mixed media / stage set
with props & puppets
2010
BATISTA, Brian
Twosday
2D paper animated film
2003
BELL, Leslie
Painted Moon
stop motion animation with water-based
paint over backlit glass & hand drawn
cel animation
stop motion animation with water-based
paint over backlit glass & hand drawn
cel animation
2009
BELL, Leslie
MELNYCHUK, Chris
WONG, Stefanie
2002
2007
SHORT FILMS
Io
2011
MELNYCHUK, Chris
Canvasman: Best in the West
Zap Girl Makes Toast
digital video
2D paper animated film
2005
2007
WONG, Stefanie
Around The Corner From
Solitude
What Remains
16mm black & white film
2008
stop motion puppet animation
2010
11
INTRODUCTION TO THE EDUCATOR’S GUIDE
Prepared by Kate Schutz
The purpose of this guide is to assist educators with integrating this travelling exhibition into the visual
arts curricula. It is a beginning for looking at and working with art. The ideas and activities can be used
as a starting point for furthering appreciation and investigation into the visual arts.
In this guide are suggestions for viewing the artworks, including gallery games, discussion ideas and
studio activities. The Interactions section consists of questions that encourage discussion and deeper
looking. The Activities section consists of studio-based art activities related to the artworks in the
exhibition as well as the Interactions discussion questions. The Gallery Games section can be copied
onto 3 x 5 cards and used as a framework for viewing these and other artworks in the future. This guide
explores a variety of ways to increase visual literacy and art appreciation through inquiry and hands-on
practice. All of these activities can be adapted to any age or grade level.
Please take time to preview the educator's resource kit and enjoy the show!
CURRICULUM
This guide explores a variety of ways to increase visual literacy and art appreciation through inquiry and
hands-on practice. The Alberta fine arts curriculum outlines four components for responding to art.
Reflection:
Develop the ability to observe and respond to visual imagery; natural forms, designed objects and art.
In this guide, responding to art via questioning and interactive discussions addresses this component.
Depiction:
Use observations from the visual world to influence the development of personal imagery. By looking at
the artworks included in this exhibition, students will learn to make artwork uniquely their own.
Composition:
Organize the basic elements of design to create a unified artwork. Using the art-based activities in this
guide addresses this component.
Expression:
Use appropriate art materials and media to represent personal ideas and feelings. Using the artworks
included in this exhibition as inspiration, students will make artwork uniquely their own.
The interactions and activities in this guide are designed for beginning level students, but can be
adapted for any grade level. Options for higher level students are included in some activities.
VISUAL LITERACY
We live in an increasingly visual culture. From art to television, to the emergence of the Internet, we
are surrounded by images as a form of communication. The ability to understand and interpret these
images helps us better understand the complexities of our world.
Visual literacy is defined as not only the ability to understand communications composed of visual
images, but the ability to create and use imagery in ways that advance thinking, decision making,
communication and learning. We become visually literate by expressing our thoughts and ideas in
visual form and also by translating and understanding the meaning of visual imagery from others.
It is important to keep in mind that experiencing contemporary art is a personal experience and it is
important to emphasize there is no wrong way to interpret the artworks.
12
VISUAL THINKING STRATEGIES
We tend to look very quickly at art and objects leaving little time for contemplation and reflection. Asking
thoughtful questions that guide students in finding the answers for themselves creates a meaningful
relationship to the art, object or concept at hand and helps the students slow down and look deeply.
It is helpful to develop tools that assist in the looking process. There is not just one way to approach
a work of art; there are many tools to choose from to mediate the experience. One way to approach art
is through a methodology called Visual Thinking Strategies (VTS). VTS is a visual arts program for
elementary school students and teachers that uses art to teach thinking, communication skills and
visual literacy.
Growth is stimulated by three things: looking at art of increasing complexity, responding to
developmentally-based questions and participating in group discussions that are carefully
facilitated by teachers.
From www.vue.org VTS encourages:
a personal connection to art from diverse cultures, times and places
confidence in one‘s ability to construct meaning from art
active class discussions and group problem solving
development of thinking and communication skills
development of writing skills
transfer of these skills to other subject areas
What Visual Thinking Strategies Look Like
From www.vue.org
Starting the Lesson
Introduce the VTS: it allows students to examine art, to think, to contribute observations and ideas, to
listen and to build understandings together. Ask students to recall these aspects of the process often.
Call students‘ attention to the first image. Always give students a moment to look in silence before you
invite them to speak.
Asking the Questions
After they have examined the image, ask the question, "What's going on in this picture?" Once
students have learned this question, use variations.
Whenever students make a comment that involves an interpretation (a comment that goes beyond
identification and literal description), respond first by paraphrasing, and then ask, "What do you see
that makes you say that?"
In order to keep students searching for further observations, frequently ask them, "What else can
you find?"
Responding to Students‟ Comments
Listen carefully to students, making sure you hear all of what they say and that you understand it
accurately.
Point to what they mention in the artwork. Be precise, even when it is a comment that has been
repeated. Use encouraging body language and facial expressions to nurture participation.
Paraphrase each comment. Change the wording, but not the meaning of what is said. In rephrasing,
demonstrate the use of proper sentence construction and rich vocabulary to assist students with
language.
13
What Visual Thinking Strategies Look Like
(continued)
Responding to Students‟ Comments
Accept each comment neutrally. Remember this process emphasizes a useful pattern of thinking, not
correct answers. Students are learning to make detailed observations, sorting out and applying what
they know. Articulating their thoughts leads to growth even when they make mistakes.
Link relatable answers even when there are disagreements. Show how the students‘ thinking
evolves, how some observations and ideas stimulate others, how opinions change and build.
INTERACTIONS
Interactions are questions to encourage discussion and deeper looking. Definitions in bold type can be
found in the Glossary section of this guide.
The term animation is derived from the Latin word Animare which means ―Breathe Life Into‖. In
animation, a series of images is displayed in rapid succession to create the illusion of movement.
Every cartoon you have ever seen is actually comprised of thousands of separate images, each drawing
differing slightly from the one before it. Traditional animation (also called cel animation or hand-drawn
animation) was the process used for most animated films of the 20th century (think: Disney).
Not into drawing? Animation is much more than just cartoons; it can be made in many diverse ways
using cut-out characters, 3D computer programs, sand / paint on glass, plasticine and puppets (think
Coraline). At Quickdraw, we teach you to bring your stories and ideas to life and welcome artists and
non-artists of all disciplines to experiment with this versatile art form.1
(Related to Activity 1 - Scene In A Shoebox)
Animated Delight is a travelling exhibition which features a variety
of animation processes. Stephanie Wong uses handmade puppets,
detailed sets and props to create the animated film What Remains.
How is motion created with three dimensional objects and translated
to film? What challenges and options does this technique offer that
may not be possible with a two dimensional approach? How do the
sets and props in Wong‘s film help her tell a story? In Around The
Corner From Solitude Wong uses a needle and thread to draw on
canvas. It requires extraordinary patience, skill and diligence on
the part of the artist to sequentially photograph individual stitches
for stop motion animation. Can you remember a time when you
used patience and skill to achieve a certain outcome?
Stefanie Wong
(Related to Activity 2 - Temporary Tattoos)
In a Fast Forward article about a recent solo exhibition, Brian Batista‘s
Tibetan inspired paintings are described as using ―bold colors, rich
iconographic symbols and motifs, complex narratives and fascinating
technique.‖ Batista‘s paintings have a lot of contrast, little tonality and
are very graphic. Looking for flat areas with lots of contrast what do you
notice when you compare Batista‘s paintings with Leslie Bell‘s ink jet prints
or Chris Melnychuck‘s Zap Girl cels and woodblock prints. How do these
artists depict texture and movement in work that is very graphic? How is
Batista‘s interest in cartoons and animation reflected in his paintings?
Brian Batista
1
14
Quickdraw Animation Society website
INTERACTIONS
(Related to Activity 3 - Change of View and Current Events Storyboard)
Some of the artists in Animated Delight work abstractly and others prefer a narrative or to work
representationally. In the latter method, how does the artist‘s point of view and perspective affect
how you view the films? What if you used the same character to create a story? What would you do
differently? How would it turn out?
(Related to Activity 4 - Kaleidoscope)
Like kaleidoscopes, Leslie Bell‘s inkjet prints and animations use light
and moving color to create fantastical, morphing shapes and patterns.
She paints on backlit glass and before each addition of a new color
or movement, she photographs the painting for stop motion animation.
The process is laborious but the results are beautiful and mesmerizing.
Like Batista‘s figures, Bell‘s paintings shape-shift into various forms that
bring about many macro and microcosmic associations such as celestial
weather, aquatic environments and biological organisms. How does backlighting her ‗canvas‘ affect the way we see the paint in Bell‘s animations?
Leslie Bell
(Related to Activity 5 - Flip Book)
Batista describes his technique of painting as more like a printmaker‟s than
a painter‘s. ―He works from light to dark and then dark to light again, at times
reversing the foreground and the background and playing with the idea
of making a flat cartoon-like artwork that still has a hierarchy of perspective.‖2
Traditional cel animation used by Batista and Melnychuk has a direct correlation
to their interest and experience in printmaking. Both artists work serially and
build up images in layers. Looking at the sampling of Batista and Melnychuk
cels in this exhibition and knowing that not every cel used in the films is
represented, how many hours do you think it takes to draw, photograph and
produce these short films? How do the artists keep track of each small movement
and what they need to draw next? What type of attributes and skills are required
to be an animator?
Chris Melnychuk
(Related to Activity 6 - Hybrid Puppet)
In Brian Batista‘s film, Twosday, the main character changes into a variety
of personalities. Masks and costumes, just like the ones used at Halloween
in Alberta, are devices of transformation; helping one being to become another.
Why do you think Batista chose masks, costumes and pop culture images for
his animation, Twosday? What unique qualities do these different characters
have (i.e. the Dali Lama, Mickey Mouse, the horse from Picasso‘s Guernica and
the Garuda Lion etc.) and how do they transform the bunny character? Do you
ever wonder sometimes about the different aspects of your personality and how
they are expressed? In his paintings, Garuda Lion in Flight and Makara-Snail of
the Sea, how many different physical characteristics from nature can you see in
the hybrid Tibetan figures he represents? How is a puppet like a mask? How
can puppets play different roles in animation (see Stephanie Wong‘s film What
Remains) as compared to cartoons?
2
Brian Batista
Marcella Ducasses. “When Eastern Art Meets A Western Artist”. Fast Forward Magazine. Calgary AB. June 9 - 15, 2011.
15
INTERACTIONS
(Related to Activity 7 - Found Object Soundtracks)
Soundtrack is a considered element in all the animated films in this exhibition. The artists recognize
the composers and give credit to their compositions. How is music used to tell a story? How do different
instruments cause different emotions? What about speed / tempo in music? View all the films with the
sound on. How do you feel? Now, turn the sound off. How are the films different for you?
ACTIVITIES
The following activities are studio-based art activities related to the artworks in the exhibition as well
as the Interactions discussion questions. These lessons are designed to create a comprehensive
final project based on the concepts and ideas in Animated Delight. Few materials are required and each
activity can be adapted easily to the age, grade level and needs of your students. The final activity is a
bookbinding lesson in which students can create a bound book to display their artwork and writing. If you
choose to do all the activities and create a book at the end, use the same sized paper throughout.
ACTIVITY 1 – SCENE IN A SHOEBOX
Dioramas are a classic way to create a narrative. Dioramas can be seen in the re-creation of scenes
from the past in museums and are used to illustrate habitats or the cosmos in science centers.
Filmmakers and theatre directors use dioramas to design sets. Architectural models are a more
complex form of diorama that can be seen from all sides. Dioramas are usually small models of realistic
scenes - but they don‘t have to be! Dioramas can be used to tell any kind of story. In this activity, be
inspired by the childlike nature of Stephanie Wong‘s What Remains and use the art of diorama to bring
one of your fondest memories to life.
Materials
shoebox, small toys, dollhouse furniture and other small found objects such as pinecones and rocks
scraps of interesting papers including newspaper, magazines, wallpaper, cardboard, construction paper,
and wrapping paper
craft supplies including yarn, fabric, felt, beads, plasticine and pipe cleaners
monofilament / fishing line, scissors, tape and glue including white glue and hot glue (with adult
supervision!), Mack Tack
Procedures
1. Consider a memory of yours. Who was involved? Where was it? What did it look like where you
were? What time of day was it? What were you wearing?
2. How would you represent your memory in three dimensions? If you could only illustrate one moment
from the memory, which would be most significant to represent? Use a sketchbook to sketch some
ideas and write some instructions as a plan to make your diorama.
3. Tip the shoe box on its side. The bottom of the box will become the background of your diorama. It
may be useful to reinforce the bottom, top and back of the box. It needs to be sturdy. For this you
can cut up the lid and glue extra cardboard onto the box.
4. Design a background for your scene. The easiest thing to do is to trace the back of your diorama
(i.e. the original bottom of the shoebox) and cut out the rectangle shape. Draw, paint or collage your
background onto the rectangle (sun, sky, moon, hillside, amusement park—the possibilities are as
endless as your memory!)
5. Once your background is ready, arrange your scene inside the shoebox. You can use small toys or
you can create your own figures and objects like Stephanie Wong did. Use various glues or Mack
Tack (for a less permanent solution) to affix your figures and objects to the shoebox.
16
ACTIVITIES
ACTIVITY 2 – TEMPORARY TATTOOS
Tattooing the skin has a rich history and is prevalent in many cultures and communities. People get
tattoos for many reasons; from signifying one‘s status in society; indicating a job, affiliation or interest;
to memorializing an experience or person. Because tattoos are flat and often limited in palette and
because tattoo needles and ink require a specific technique, most tattoos tend to be highly decorative
and graphic with very little texture or tonality. In this way, tattoos are similar aesthetically to the
paintings of Batista. Consider these characteristics as you design your temporary tattoo.
Materials
artwork, light box or a sunny window, tape, tracing paper, indelible ink pen, clear gel deodorant,
water soluble Sharpie pens (various colors), rubbing alcohol, cotton swab, makeup brush, baby powder,
tissue and clear plastic wrap
Procedures
1. Choose a graphic, art piece or wording that you want to use for your tattoo. Keep in mind the size,
coloring and area of the body where your temporary tattoo will be placed or choose to draw your
own tattoo image.
2. Lay your ‗tattoo‘ art down on a light box or tape it to a window and then trace that art onto tracing
paper. An indelible ink pen works best for this project. You can also draw your original art directly
onto the tracing paper but keep in mind that tracing paper is very thin and can easily rip with too
much pressure from the pen.
3. Rub a generous amount of clear gel deodorant on the area of your body where you want your
temporary tattoo to be placed. Place the colored side of the tracing paper on your skin over the clear
gel deodorant and then hold the drawing to your skin for at least 30 seconds.
4. Peel off the tracing paper from your skin. Peel carefully and make sure that the art has been
transferred from the paper to your skin.
5. OPTIONAL: Use a water soluble black Sharpie to outline your "tattoo" and then use colored Sharpie
pens to color in the art work as desired.
6. Use a cotton swab to apply alcohol carefully over the tattoo. This will create a faded, realistic look to
your temporary tattoo. Use a makeup brush to apply baby powder all over your tattoo to set it.
7. Tattoos will fade over time and can be removed more quickly with soap and water.
ACTIVITY 3 – CHANGE OF VIEW AND CURRENT EVENTS STORYBOARD
Materials
white paper, ruler, pencils and pencil crayons, photograph from a newspaper that depicts a current
event (choose an image with people or animals in it), glue
Procedures
1. Choose an animated film from the exhibition that has a narrative. Work in a small group and see if
you can write an alternative ending to the film. What if….
2. Try writing an alternative beginning.
3. Notice how the entire story can change with a different perspective.
4. Using your white paper, divide it into at least four cels, in the style of a comic strip or storyboard.
5. Glue the newspaper image into the first cel and draw speech or thought bubbles coming from the
figures‘ (or animals') heads.
6. What do you think they are saying or thinking? Consider their context within the photograph.
17
ACTIVITIES
ACTIVITY 3 – CHANGE OF VIEW AND CURRENT EVENTS STORYBOARD
(Continued)
Procedures
7. Complete the narrative redrawing the figures/animals in the remaining cels of storyboard. It need not
be funny, but it does have to make sense!
Thinking Further
Try the exercise again, but this time, use an archival photograph. How does your perspective, as
someone living in the present, influence the narrative of the comic? How might your current events strip
be viewed in 100 years? How do you think the event you depicted will impact society in the future?
ACTIVITY 4 – KALEIDOSCOPE
Light travels in a straight line through empty space, but when it bumps into an object, it changes
direction. Some shiny surfaces, like a camera lens or mirror, send or reflect light back to you (think of
a ball bouncing off a wall). In this activity the sides of a plastic tube inside the kaleidoscope will reflect
beads, sequins, and confetti. The reflections bounce back and forth from side to side creating multiple
images. When you turn the kaleidoscope, the pieces move, and you will see a different design.
Materials
paper towel tube cut eight inches (20 centimeters) long, clear plastic report cover, ruler, pen or marker,
paring knife or art utility knife, four-inch (ten-centimeter) squares (one each) of black construction paper,
plastic wrap and waxed paper, scissors, rubber band, clear tape, colored transparent beads, small
sequins and shiny confetti, stickers and wrapping paper
Procedures
1. Draw a rectangle measuring 8‖ by 4‖ (20 by 10 centimeters) on the report cover. Cut it out. Draw
three lines across the rectangle, dividing it into thirds, lengthwise, with a thin strip remaining as the
fourth section. Don‘t cut this off!
2. Fold the plastic along the lines to form a triangular shape. The quarter inch (.6 centimeter) strip goes
on the outside. Tape the strip along the edge so it stays closed.
3. Slide the plastic triangle into the paper towel roll.
4. Turn the paper towel tube on one end. Trace a circle around it on the construction paper. Poke a
hole through the center of the circle and tape it over one end of the tube.
5. Place a square of plastic wrap on the other end of the tube. Press down to create a pouch in the end
of the plastic triangle. Put some beads, sequins, and confetti in the pouch.
6. Place a square of waxed paper over the pouch. Stretch the rubber band over both the waxed paper
and the plastic wrap. Be sure it‘s on tight so nothing spills out!
Trim the corners of the squares.
Decorate the outside of the paper towel roll with stickers or wrapping paper.
7. Hold the tube up to one eye and look through it. Turn it and watch your own kaleidoscope show!
How does the kaleidoscope remind you of Leslie Bell‘s artwork and animations?
Thinking Further
Using mylar and paint, try drawing as Leslie Bell does by swirling the paint on the surface of the slippery
mylar. Try photographing each stage of movement. This will be easier with a back lit surface such as a
light table. Using a simple software program like iMovie, you can upload your photographs and create a
soft motion film inspired by Bell.
18
ACTIVITIES
ACTIVITY 5 – FLIP BOOK
Flip books are essentially a primitive form of animation. Like motion pictures, they rely on persistence of
vision to create the illusion that continuous motion is being seen rather than a series of discontinuous
images being exchanged in succession. Rather than "reading" left to right, a viewer simply stares at
the same location of the pictures in the flip book as the pages turn. The book must also be flipped with
enough speed for the illusion to work, so the standard way to ‗read‘ a flip book is to hold the book with
one hand and flip through its pages with the thumb of the other hand. The German word for flip book Daumenkino, literally "thumb cinema" - reflects this process. In the early 20th century, flipbooks were
always made to promote films, featuring actors from the films on their pages. Traditional cel animation,
such as Disney‘s Snow White, also has its roots in flipbooks, which were used during the drawing
process.
(Source: http://www.flipbook.info/typology.php)
Materials
Post-It note books of various sizes (unlined), fine point markers, pencils (Easier to use for younger
students, but usually smudge in flipbooks. Young students can trace over their original drawings with
marker after they are done drawing and erase the pencil.)
Procedures
1. Work only on the lower half of the page. You will not be able to see the upper half as you flip.
2. Start on the last page of the pad. Your flipbook will go from back to front.
3. Draw a simple shape. A bouncing ball is the traditional choice, but you can make a stick figure, a
face, a car or something abstract. You will be drawing the entire picture each time, so keep it basic.
4. Put the next page down on top of the page you just drew on. You should be able to see through the
paper to the drawing beneath. If not, find a darker drawing implement or a pad with thinner paper.
5. Copy your first drawing, slightly changing its position. Continue putting down new pages and
repositioning your drawing. Whenever you want to check how it‘s coming out, just flip it (see next
section).
6. The more pages it takes for your drawing to move, the slower it will go. In general, you should
move your drawing by very small amounts. You have to give the eye enough time to see what
is happening.
How to Flip Your Flipbook:
Hold the pad at the top and flip it from the bottom. Put out your left hand (or if you‘re left handed, your
right hand), palm up. Place the pad in your hand so that bound / glued edge is at the top, closest to your
fingertips. Bend your fingers over the top of the pad. With the thumb of your other hand, pick up all the
pages in the pad and flip from back (last page) to front (first page).
Thinking Further
Research the photographs of Edward Muybridge, an early photographer interested in movement who
captured each stage of various people and animals in motion. Visit the American Museum of Natural
History: http://www.amnh.org/ology/features/stufftodo_horse/horse_gaits.php to download Muybridge
horse gait flipbooks that you can make yourself!
19
ACTIVITIES
ACTIVITY 6 – HYBRID PUPPET
What are the characteristics of different animals, plants, people or objects that you would combine to
create your own hybrid monster? If your monster had a superpower, which characteristics would it need
in order to be most effective in that power?
Materials
one pair of old socks, piece of card stock (an old cereal box or tissue box will do), needle and thread
and / or hot glue (with adult supervision), yarn, googley eyes, felt, beads, sequins, pipe cleaners, ribbon,
buttons and other materials
Procedures
1. Lay out the two socks and cut the toes off of one of them to create a hole at the bottom.
2. Use a needle or thread or hot glue (with adult supervision) to attach the cut sock to the opening in
the whole sock. This will create an extra long sock. Be careful not to glue the sock openings closed.
You need to be able to put your hand in it later so keep the sides of the sock separate while the glue
dries.
3. When the glue dries, test that you can put your hand in the sock with your fingertips going all the
way up to the toes, your puppet face. The sock will extend all the way down your arm. This is your
puppet body.
4. Cut an oval out of the cardboard. The oval will fold in half and form the mouth of your puppet so it‘s
size will depend on the size of your sock.
5. Use the cut oval as a template to cut another oval in felt. Glue felt onto the cardboard oval.
6. Cut the toe off the top of your sock now and stick your hand all the way through. Take the oval
between your fingers and thumb and fold it, felt side in. This will be your puppet‘s mouth.
7. Glue the oval onto the ―face‖ of your sock puppet by carefully running a bead of glue along the edge
of the oval and attaching the rim of the cut toe side to it.
8. Now the fun part! Consider the characteristics you chose for your hybrid monster and create them
using various craft materials on your puppet. Teeth, antennae, tails, tongues—anything goes!
Thinking Further
Victor Frankenstein is a fictional character, the protagonist of Mary Shelley‘s 1818 novel Frankenstein.
He is the scientist who gains an insight into the creation of life and makes his own creature (often
referred to as Frankenstein's monster) out of various body parts from different corpses. Frankenstein‘s
monster is not the only fictional creature that is a hybrid. Research other hybrid creatures such as the
centaur, minotaur and mermaid.
ACTIVITY 7 – FOUND OBJECT SOUNDTRACK
Materials
a variety of found objects made of various materials including dishes, pots, game pieces, sticks,
springs, cello-wrap, bubble wrap, crumpled paper, shoes, blown up balloons, instruments - anything you
can think of; a simple recording device (i.e. iPhone)
Procedures
1. Working in small groups, choose a film from the exhibition to watch several times with the sound off.
2. Make notes about key moments in the film where there are emotions or actions. How do you
feel when watching them? What kinds of sounds can you make with your body to reflect those
emotions? What is the overall mood of the film?
20
ACTIVITIES
ACTIVITY 7 – FOUND OBJECT SOUNDTRACK (Continued)
3. Using the found objects, your voice and your body, create sounds to accompany the film; a new
soundtrack. Consider a beginning, a middle and end part. How will you stop and start and transition
between sounds?
4. Practice several times before recording your composition.
5. If it is the right length and well-timed, try playing it aloud alongside the film on mute. How does your
soundtrack affect the way you view the film compared to the soundtrack the artist chose?
GALLERY GAMES
The Gallery Games can be copied onto 3 x 5 cards and used as a framework for viewing these and
other artworks in the future.
Shape Detective
Isolate and draw specific shapes from the artworks on small cards. Students can work alone or in pairs
to find their shapes. For younger children, this activity can be done in a large group and the shapes to
be found can be simple geometric and organic shapes.
Line Hunt
Isolate and draw specific lines from the artwork on small cards. Students can work alone or in pairs.
Ask a volunteer to act out his or her line while the rest of the group tries to figure out which line is
being represented.
Painting in Action
An ―artist‖ (one of the students) arranges the other students to become the artwork. Students must
become lines, shapes, colors, as well as objects in the work like rocks, trees, buildings and figures.
This is a great activity to learn about space in a painting – foreground, middle-ground and background.
ArtWord
Write descriptive words on small cards, one word on each. Have students choose one card. They then
must find the artwork that best suits their word. Students must explain their choice.
Sample Words:
fuzzy, rough, smooth, soggy, hot, cold, prickly, soft, excited, sad, happy, angry, tired, boring, delicate,
surprising, scary, relaxed, soft, warm, gloomy, silent, noisy, loud, smoky, tangy, bitter, sweet, sour, quiet,
echoing, musical, bouncing, crowded, lonely
What will you choose?
Assign a space to each group of three children – e.g. laundromat, grocery store, school, museum,
kitchen, office, restaurant, library, hospital, etc. Each group then must choose five artworks that best
belong in that venue. Present choices to the group with reasons why those were chosen over the others.
Elimination
The next place this show will be exhibited is very small and one of the artworks must be removed.
Which one would you choose and why? Be sure to back up your judgments with reasons and be
prepared to argue your choice.
Amazing Shrink Machine
Imagine shrinking to the size of your thumb and you are now able to enter right into the artwork. Where
would you enter into the picture? Where would you travel? How far could you go? What would get in
your way? What sounds can you hear? What can you taste? What can you smell?
Personal Taste
Choose one of the artworks that would appeal to each of the following characters and describe why it
would attract them: an elephant, a mosquito, a dancer, a baby, a teacher.
21
GALLERY GAMES
Art Charades
A volunteer chooses an artwork without revealing his or her choice. Without speaking the volunteer
describes the artwork (lines, shapes, colors, and objects) through movements and actions. The rest
of the group tries to guess which work was chosen.
Curator Game
Ask students if they know what a curator is; explain the job of selecting and defending works to be
exhibited. In small teams, students are assigned a work of art (this is more challenging than if they
choose one they already like). Students then place themselves in the role of the curator and write down
some positive statements about the artwork and a statement on why it is included in the exhibition.
GLOSSARY
Abstract: A type of art done in lines, shapes and colors that separates the subject from concrete reality;
subject matter reduced to essential aspects
Abstract art: Imagery which departs from representational accuracy, to a variable range of possible
degrees, for some reason other than verisimilitude. Abstract artists select and then exaggerate or
simplify the forms suggested by the world around them.
Animation: Derived from the Latin word Animare meaning to “breathe life into”; To give movement
to a thing. Also, making animated cartoons - films that are also called animations. Types of animation
include:
Cel animation: A dominant form of animation in cinema until the advent of computer animation.
In this process, various pictures are created which are slightly different but progressive in nature, to
depict certain actions. These are commonly referred to as cels (short for celluloid). Traditionally cels
are drawn, painted or printed on transparent or semi-transparent sheets with the outline of images
usually placed on the front side of the sheet and color on the reverse side. In this way an animator
is able to quickly compose scenes by placing (stacking) cel transparencies over a variety of
backgrounds. Cel drawings are usually photographed with a rostrum camera and transferred to film
stock. Moving characters are often shot "on twos" that is to say, one drawing is shown for every
two frames of film which usually runs at 24 frames per second (meaning there are 12 drawings per
second). The illusion of movement on film can be achieved with various ratios of drawings per frames.
Quick movements may require more drawings to maintain the fluidity of movement. Cel animations
are made more attractive by using the drawings together with music, matching sound effects and
association of timing for each effect.
Claymation: An animation process in which clay figurines are manipulated and filmed to produce an
image of lifelike movement.
Stop animation or stop motion animation: A technique to make images / objects move on their
own. A few images are drawn with some different positions and photographed separately. Puppetry
is the one of the most common frame-to-frame animation types. Some famous movies that are
animated via stop animation effects are King Kong, The Dinosaur and the Missing Link, The Curse
of the Were-Rabbit and The Lost World.
Computer animation: The latest technique of animation that includes 2D and 3D animation.
These animations not only enhance the hand drawn characters but also make them appear real
as compared to the above mentioned animations.
2D animation: It is used through Powerpoint and Flash animations. Though its features are similar to
cel animation, 2D animation has become popular due to simple application of scanned drawings into
the computer.
22
GLOSSARY
3D animation: It is used in film making where unusual objects or characters are not easy to display.
The use of 3D animation can create a crowd of people in a disaster like an earthquake, flood or war.
With the support of mathematical code, shape, action and color can be manipulated to generate
amazingly realistic renderings.
Architectural model: An architectural model is a type of a scale model - tangible or physical
representation of a structure built to study aspects of an architectural design or to communicate design
ideas to clients, committees and the general public.
Contrast: A large difference between two things; for example, hot and cold, green and red, light and
shadow. Closely related to emphasis, a principle of design, this term refers to a way of juxtaposing
elements of art to stress the differences between them. Thus a painting might have bright colors
which contrast with dull colors or angular shapes which contrast with curved shapes. Contrast refers
to differences in values, colors, textures, shapes, and other elements. Contrasts create visual
excitement and add interest to the work. There are many forms of contrast:
Contrast in color intensity occurs when a pure, fully intense color is next to a muted or grayed color
mixture. The pure color‘s strength and intensity seem to cause it to glow
Shape contrast occurs when organic shapes are placed in a geometric environment. Or in an
opposite way, a building in a landscape will produce shape contrast, as a person in a city street.
Simultaneous contrast occurs when two pure complementary colors are placed side by side. Each
will appear brighter than when placed next to any other hues. Visual vibration might occur.
Temperature contrast refers to the contrast of warm and cool colors. If small warm areas are placed
in a dominantly cool painting, temperature contrast is evident.
Textural contrast is easily noted when artists use heavy textures to contrast with smoother areas
in painting, sculpture, photography, architecture, or any of the crafts. Textural contrasts are found
abundantly in nature.
Value contrast is most evident when black is next to white, and when light values from one end of
the gray scale are next to dark values from the other end. A black and white photograph is readable
because of gray value contrasts.
Composition: The art of combining the parts of a work of art to produce a unified and harmonious
whole; the manner in which the areas are related to each other.
Contemporary art: Art, current, belonging to the same period of time. Usually referring to our present
time, but can refer to being current with any specified time.
Diorama: A three dimensional representation of a scene, either full-scale or miniature. It may have
a background painted to merge with elements nearest it by means of aerial and linear perspective. It
may be made on a platform with or without a clear glass front, set into an illuminated niche, and viewed
from a darkened area. In miniature form, it may be entirely enclosed and viewed through a peephole.
It has been used for life-size scenes in which figures, stuffed wildlife and other objects are arranged in
a naturalistic setting; for exhibits of engineering and for industrial projects and advertising displays.
Found Objects: An image, material or object, not originally intended as a work of art, that is obtained,
selected and exhibited by an artist often without being altered in any way. The Cubists, Dadaists and
Surrealists originated the use of found images, materials and objects. Although it can be either a natural
or manufactured image, material or object, the term readymade refers only to those which were
manufactured. Also known in the French objet trouvé.
Graphic (adjective): Any image that is especially linear in character, such as a drawing, and any image
made by or for printmaking or digital imaging.
Hybrid (noun): A thing made by combining two different elements; a mixture; (adjective) of mixed
character; composed of mixed parts.
23
GLOSSARY
Iconography: The use or study of images or symbols in visual arts. The visual images, symbols, or
modes of representation collectively associated with a person, cult or movement.
Identity: The collective aspect of the set of characteristics by which a person is definitively recognizable
or known; the set of behavioural or personal characteristics by which an individual is recognizable as a
member of a group; the distinct personality of an individual regarded as a persisting entity; individuality.
Impression (as in printmaking): In printmaking, a single print made from a block, plate or stone; the act
of impressing - the contact between the printing surface and surface on which the print is made.
Sometimes refers more loosely to a mark left on a surface by pressing something against it like
a single or initial coat of color.
Interpretation: To find meaning in writing, artwork or an exhibition
Narrative: a spoken or written account of connected events.
Perspective: The technique artists use to project an illusion of the three-dimensional world onto a
two-dimensional surface. Perspective helps to create a sense of depth and receding space.
Fundamental techniques used to achieve perspective are: controlling variation between sizes of
depicted subjects, overlapping some of them and placing those that are on the depicted ground at
different heights to define proximity and distance.
Point of View: A position or angle from which something is observed or considered, and the direction
of the viewer's gaze; a standpoint which is either a physical location or one in the mind. Examples of
the points of view possible in a picture are: from below, inside, outside, above and so on. A manner
of viewing things; an attitude. The attitude or outlook of a narrator or character in a piece of literature,
a movie or another art form. In discussing art, to use the common synonym "perspective" may be
confusing.
Printmaking: In fine art printmaking, the artist chooses a surface to be a printing plate such as foam,
metal, wood, cardboard, stone or linoleum. The artist prepares the plate by cutting, etching, carving,
or drawing a design into the plate. The artist then applies ink or paint to the plate, presses paper onto
the plate (by hand or a printing press) and pulls the paper with its transferred image from the plate.
The artist can create multiple impressions by re-inking the plate and printing new pieces of paper in
the same way. In fine art printing, each impression is numbered and signed by the artist. There are
five principal printmaking techniques: relief, intaglio, lithography, screen printing and monotypes. Each
technique produces a distinct appearance; most require professional printing materials and machines
Representational art: To stand for; symbolize; to depict or portray subjects a viewer may recognize as
having a likeness; the opposite of abstraction.
Soundtrack: A recording of the musical accompaniment to a movie.
Storyboard: A drawing or story sketch made for the storyboard, which conveys visually the plot and
action of a scene or shot. The storyboard serves as a preliminary guide for the artists.
Tonality: A quality of a color, arising from its saturation (purity and impurity), intensity (brilliance and
dimness), luminosity (brightness and dullness), and temperature (warm and cool); or to create such a
quality in a color. To tone down is to make a color less vivid, harsh or violent; moderate; To tone up is
to make one become brighter or more vigorous. Tonality can refer to the general effect in painting of
light, color, and shade or the relative range of these qualities in color schemes.
Traditional art: Tradition is the passing along of culture from generation to generation, especially orally;
a custom or set of customs handed down in this way. The idea of heritage is related to that of tradition.
Any activity that is a pattern of celebration, ritual or other behaviour which becomes a precedent
influencing comparable activities in the future. Tradition's opposite is reaction to it, change, variation
from what's been done before, what is different, new or avant-garde.
24
SOURCES & SUGGESTED READINGS
Print
Alberta Elementary Fine Arts Curriculum
Amy Edmonds Alvarado and Patricia R. Herr. Inquiry-Based Learning Using Everyday Objects.
Thousand Oaks, CA: Corwin Press, 2003.
Lila Lasky and Rose Mukerji. Art: Basic for Young Children. Washington, D.C.: National Association
for the Education of Young Children, 1980.
Marcella Ducasses. “When Eastern Art Meets A Western Artist”. Fast Forward. Calgary AB
June 9 - June 15, 2011.
Robert Schirrmacher. Art and Creative Development for Young Children. Albany, N.Y.: Delmar, 1988.
Rosemary Althours, M. Johnson; and S. Mitchell. The Colors of Learning: Integrating the Visual Arts
into the Early Childhood Curriculum. New York: Teachers College Press, 2003.
Websites
Alberta Learning: www.learning.gov.ab.ca
Art Definitions: www.artlex.com
Cartoon Factory: http://www.cartoon-factory.com/types.html
Flipbook: http://www.flipbook.info/index_en.php
Free Storyboard Software: http://www.atomiclearning.com/storyboardpro
Free Digital Movie Editing Software for Windows: http://www.virtualdub.org/
Free Stop Motion Animation software for Windows: http://www.heliumfrog.net63.net/
heliumfrogindex.html
Grade 6 Teacher Kevin Hodgson‘s blog featuring his classroom animation projects: http://
dogtrax.edublogs.org/category/adventures-of-thelonius/
Strip Designer app: http://itunes.apple.com/us/app/strip-designer/id314780738?mt=8
Visible Thinking: Thinking Routines: pzweb.harvard.edu/vt/
Visual art videos, descriptions, examples and definitions: http://www.artshow.com/index.html
Visual Thinking Strategies: www.vue.org
Yellow Sticky Note Animated Flipbook by Jeff Chiba Stearns: http://www.youtube.com/watch?
v=7IeSqVboADw
ACKNOWLEDGEMENTS
ANIMATED DELIGHT
is a presentation of the
Alberta Foundation for the Arts Travelling Exhibition Program
Developed by the Alberta Society of Artists in partnership with Quickdraw Animation Society
Exhibition curator, Les Pinter, Artist Profiles, Leslie Bell
Art works from Artist Inventories and Collection of Kari McQueen
Interpretive / Educational Guide prepared by Kate Schutz
FUNDING PROVIDED BY THE ALBERTA FOUNDATION FOR THE ARTS
25