School of Art and Design - Te Kura Toi a Hoahoa

Permanent link for this collection

https://hdl.handle.net/10292/857
Research within the School of Art and Design brings together visual artists, spatial designers, fashion designers, filmmakers, curators, entrepreneurs, graphic designers, digital designers, product designers and other cultural practitioners from New Zealand and around the world to work on expanded notions of art and design through creative-led research. Their research disciplines and study areas include: Visual Arts, Graphic Design, Spatial Design, Product Design, Digital Design, Fashion and Textile Design, and across disciplines.

Browse

Recent Submissions

Now showing 1 - 5 of 336
  • Item
    Thinking Through Colour: Designing a Collaborative Paint-Based Co-design Method
    (Informa UK Limited, 2024-02-25) Sames, Hannah; Reay, Stephen; Khoo, Cassandra; Terry, Gareth
    This study describes the development of a paint-based toolkit, which explored how thinking through the act of painting, colour choices and mark-making might enhance meaningful conversation. Painting methods were valuable in creatively engaging patients and staff in co-design activities and helped them consider the focus topic of what ‘care’ looked like and meant to them. As such, we illustrate how a ‘simple’ creative activity can be used to help uncover different perspectives and sense-making around a shared focus. We hope that such an approach may support people to come together to help challenge the boundaries of what insight-driven healthcare might look like.
  • Item
    Fashion Design Process
    (Te Pukenga, 2023-11-30) Johnson, Leica
  • Item
  • Item
    Carnival Land: An Creative Consideration of Sequential Storytelling to Discuss Cultural Dislocation
    (School of Art and Design, AUT, 2023-12-21) Tavares, Tatiana
    This presentation will outline the practice-led research project Carnival Land, a picture book that weaves together sequential storytelling and illustration to discuss cultural dislocation. Based on my experiences as an immigrant from Brazil to New Zealand, it provides a narrative in metaphors and a creative orchestration of photomontage, bilinguality, and theatricised multi-page spreads. The story tells of the trials and eventual transformation of a young girl in a foreign land, where aspirations appear as costumes in an annual Carnival parade. Several theoretical frameworks significantly influenced Carnival Land. These were notions of transgression, carnality, and Carnival (Bakhtin, 1968); structure and discourse surrounding bricolage (Strauss, 1962); and writings relating to journey both as a rite of passage (Gennep, 1960; Turner, 1979); and as a process of immigration. Carnival has served as a primary metaphor, underpinning both the story and conceptual aspects of the work. Traditionally, people in Carnival parades participate in a symbolic ritual of identity change and re-negotiation of social and cultural contexts. They do this by assuming (in costume and behaviour) an alternative self. This transformative aspect of Carnival may be seen as a form of symbolical reversal, a brief moment of liminality that allows people to imagine new meanings and values in a ritual of performance. It is through this process that the performative nature of Carnival becomes a transformative process of being. The carnal (bodily) nature of Carnival enables specific linkages between the transformation of the self and the nature of immigration as a transitional physical/social/personal experience. Methodologically, the project emanates from an artistic research paradigm (Klein, 2010) that supports a heuristic approach (Douglass and Moustakas, 1985) to the discovery and refinement of ideas. The project employed autoethnography as a research design intended to facilitate the strategic accessing of personal experience and synthesised it into a fictional work. Thus, the research draws upon both tacit and explicit knowledge in developing the narrative, its structure, and stylistic treatments.
  • Item
    The Animator’s Sensorium: The Impact of Acting and Animation Experience on Creating Reference Performances
    (Intellect, 2022-09-30) Kennedy, Jason
    This research provides an initial investigation into strategies for creating reference performances for animation. The term reference performance has various meanings in animation production; in this article, I use it to refer to a recording of a person performing physical and emotional cues, from which performance elements of an animated character may be derived. Beginning with Max Fleischer’s invention of the rotoscope process in 1915, animation studios began to record actors as a means to inject greater believability – that is, a “[reconciliation of] realism within the animated form” (Pallant 2011: 41) – into the movements and expressions of animated characters. While various methods exist today to capture reference performances, it remains axiomatic that the utility of the reference is only as good as a performer’s ability to produce the desired performance. While seasoned actors would seem ideally suited to the task, large-scale animation studios frequently require animators to film their own reference performances, even though the animators may have limited (or non-existent) acting experience. By comparison, smaller studios and independent productions may not have the time or ability for each animator to self-produce reference; instead, they may opt for an animation director/supervisor to record reference for every character, to work from clips available through online video sites (e.g.: YouTube), or to forgo video reference altogether. This research examines the potential for acting experience to enhance reference performances, and specifically explores three different preconditions of experience when producing animation reference: an actor with no animation experience; an animator with no acting experience; and an academic with both acting and animation experience. As an additional site of inquiry, this research explores the use of head-mounted cameras (HMCs) in the production of animation reference as a means to more fully and reliably capture the research participants’ expressive range. This research engages with ethnographic and autoethnographic research models to compare the creative choices of each participant and their ability to produce meaningful expressions, gestures, and body movements as reference performance for a short, auteur 3D animated film in a predominantly realistic style. From these analyses, the maximal performance utility of each participant is gauged. By extension, this limited data provides an initial suggestion that acting experience is an essential precondition when producing useful reference performances for the type and style of animation explored in this study. Furthermore, this article relates the acting strategies of its participants to the acting theory of Ivana Chubbuck (2004) and the theory of emotional effector patterns as described by Bloch et al. (1987). This research suggests that these practice-informed performance theories may prove useful to animator when producing their own reference, regardless of performance experience.
Items in these collections are protected by the Copyright Act 1994 (New Zealand). These works may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use:
  • Any use you make of these works must be for research or private study purposes only, and you may not make them available to any other person.
  • Authors control the copyright of their works. You will recognise the author’s right to be identified as the author of the work, and due acknowledgement will be made to the author where appropriate.
  • You will obtain the author’s permission before publishing any material from the work.