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Publisher / Editor: Instituto Politécnico do Cávado e do Ave Address / Morada: Vila Frescaínha, S. Martinho,

4750-810 Barcelos, Portugal

July / Julho 2018

ISBN: 978-989-99861-6-9

6th International Conference on Illustration and Animation

6 ed. Conferência Internacional em Ilustração e Animação

Editorial Design / Design editorial

· Cláudio Ferreira

Pagination / Paginação

· Manuel Albino

Cover Design / Design da Capa

· Jorge Marques

ORGANIZING COMMITTEE

General chair

Paula Tavares - IPCA

Organization chair

Manuela Cunha - IPCA

Pedro Mota Teixeira - IPCA

Program chair

Alan Male - Univ. College Falmouth

Organization

Paula Tavares, Pedro Mota Teixeira, Marta Madureira, Jorge T. Marques, Manuel Albino, Susana Jorge, Isabel Xavier

Scientific Committee

Alan Male -

Univ. College Falmouth (UK)

Alan Young -

Auckland Univ. of Technology (NZ)

Ana Leonor Madeira Rodrigues -

U. Lisboa (PT)

Ana Lúcia Pinto -

IPCA (PT)

Ana Margarida Ramos -

U. Aveiro (PT)

António Costa Valente -

Univ. Aveiro (PT)

António Quadros Ferreira -

Univ. Porto (PT)

Antonio Horno -

Univ. Jaén (ES)

Birgitta Hosea -

University for the Creative Arts (UK)

Carlos Nogueira -

Univ. Nova Lisbon (PT)

Chelo Matesanz -

Univ. Vigo (ES)

Cláuida Bolshaw - PUC Rio de Janeiro (BR)

Fernando Galrito -

Inst. Polit. Leiria (PT)

Francisco Laranjo -

Univ. Porto (PT)

Hannes Rall -

Nanyang Techno. University (SG)

Helena Barbosa -

Univ. Aveiro (PT)

Jorge Teixeira Marques -

IPCA (PT)

José Andrés Iglesias -

Univ. Vigo (ES)

José Chavete Rodriguez -

Univ. Vigo (ES)

Juan Carlos Róman -

Univ. Vigo (ES)

Júlio Dolbeth -

Univ. Porto (PT)

Luís Lima -

IPCA / UAL (PT)

Manuel Albino -

IPCA (PT)

Marcelo Dematei -

(AR)

Marcos Rizolli -

Univ. Presbit. Mckenzie (BR) Maria Lorenzo Hernández - Polytechnic

University of Valencia (ES)

Marta Madureira -

IPCA (PT)

Martin Salisbury -

Anglia Ruskin Univ. (UK)

Miriam Harris -

Auckland Univ. of Technology (NZ)

Nelson Zagalo -

University of Minho (PT)

Nilton Gamba Júnior -

PUC Rio de Janeiro (BR)

Paula Tavares -

IPCA (PT)

Pedro Bessa - Univ. Aveiro (PT)

Pedro Mota Teixeira -

IPCA (PT)

Pedro Vieira Moura -

(PT)

Roderick Mills -

Univ. of Brighton (UK)

Rui Vitorino Santos -

Univ. of Porto (PT)

Samuel Viñolo Locuviche -

U.-TAD (ES)

Sara Álvarez -

Polytechnic University of Valencia (ES)

Sara Pereira -

Univ. Minho (PT)

Sara Reis da Silva -

Univ. Minho (PT)

Sara Reis da Silva -

Univ. Minho (PT)

Sophie Van der Linden -

(FR)

Stuart Medley -

Edith Cowan University (AU)

Susan Hagan -

Carnegie Mellon Qatar (QA)

Susana Jorge -

IPCA (PT)

Tania de León -

FAD/UNAM (MX)

PREFACE

Esposende is a city located in the north of Portugal along 16 kilome- tres of the Atlantic coast. It is considered "a privilege of nature" for its views, and the views are indeed ... magniicent. It is in this inspiring location that we are hosting CONFIA 2018. This 6th edition of the conference will be full of shared thoughts and debates about illustra- tion and animation, with a total of 64 selected articles that will be presented over three days, certainly with a certain sea flavor. As we look forward to the best conference ever, we must thank the City of Esposende and the Municipality of Esposende for their collaboration and partnership in this event. Thank you to our keynotes of this edition, starting with Desdemona McCannon, senior lecturer at Manchester School of Art, principal editor of the peer-reviewed Journal of Illustration, and a member of the steering committee of the Illustration Research Network. It will certainly be very stimulating to see a contemporary view of illustration from her perspective. We also appreciate our keynote Hannes Rall, a tenured associate professor at the School of Art, Design and Media at Nanyang Technological University Singapore and the coordinator of the digital animation area. He is also a successful director of inde- pendent animated short ilms, as well as a friend who has always been with us since the irst editions of CONFIA. Thanks are also due to Max Hattler, Robert Seidel and Pedro Serrazi na, the participants in our special panel on animation, under the theme "Expanded Image Spaces: Animation as an Artistic Practice". This year, CONFIA will take place over three days, with lectures, an exhibition and conversations about illustration and animation. The 64 articles selected from the almost 100 submitted will be published in a book of proceedings by the Superior School of Design of the Polytech nic Institute of Cávado and Ave. A special thanks to our fantastic team that worked together to organize the event, as well as to our excellent Scientiic Commission, which had the arduous task of selecting the articles to be presented and published. To all authors, we hope you have an excellent weekend of sharing and growth in these areas that we all love.

Paula Tavares

General Chair

Pedro Mota Teixeira

Organization Chair

Índice / Contents

15 THE ILLUSTRATOR AS FOLK ARTIST? VERNACULAR IMAGINARIES IN CONTEMPORARY BRITISH VISUAL CULTURE

Desdemona McCannon

21 NEW BEGINNINGS AND CONTINUED TRADITIONS:REDEFINING ANIMATED STORYTELLING FOR NEW TECHNOLOGIES?

Hannes Rall

24 EXPANDED IMAGE SPACES: ANIMATION AS AN ARTISTIC PRACTICE

MEANING AND TEMPORALITY IN ABSTRACT ANIMATION

Max Hattler

ON FILM BETWEEN PAINTING AND SCULPTURE

Robert Seidel

SITE-SPECIFIC SAND ANIMATION FOR JEWISH MUSEUM

Pedro Serrazina

27 HOWL'S MOVING CASTLE: PERSPECTIVES FROM LITERATURE TO FILM

Catarina Vieira & Sahra Kunz

38 LITTLE RED BARD: SHAKESPEARE IN THE REALM OF ANIMATED DOCUMENTARY

Hannes Rall , Elke Reinhuber and Wibke Weber

51 SPECIFICITY OF DIGITAL MEDIA: THE MEDIUM OF 3-D CGI AND OTHER MEDIA

Alex Jukes

61 CONVERSAS CALADAS - O ROTEIRO A PARTIR DA CRIAÇÃO DE UM PERSONAGEM

Cynthia Levitan

71 THE TRADITIONAL JAPANESE ART FORMS AND THEIR INTERRELATIONSHIP WITH THE EARLY ANIME

Antonio Horno

[Animation Panel] [Animação / Animation]

80 D -

Gabriela Sá and Paula Tavares

89 C :

Susana Miguel, Luís Lima e Jorge Marques

102 C -- : L

Tomas Mitkus and Vaida Nedzinskaite-Mitke

112 B : A T

Pedro Sarmento, Nilton Gamba Junior and Paula Tavares

123 S M D I L-A C F

Eliane Gordee

132 C E A M

Diana Costa

141 E: V

H M Cátia Peres, Eduardo Corte-Real and Marina Estela Graça

157 C P: P I C A E P

Maria Pinheiro, Daniel Brandão e Luís Lima

167 V T A S-M A U V T

Iria Cabrera Balbuena

176 M ( )

Concha García

186 C 2D

Sergio Rodriguez Valdunciel

193 A C: T E C P

Giselle de Carvalho Nascimento Monteiro de Castro

201 T A: T

Filipa Cruz and Sandra Cardoso

211 M C A

M D: G P Adriana Bica, Pedro Mota Teixeira & Jorge Teixeira Marques António Ferreira, Pedro Mota Teixeira e Paulo Korpys

238 A B: ,

Claudia Bolshaw e Nilton Gamba Junior

248 A C: P C N A

Sara Bairinhas, Ana Lúcia Pinto and Sara Pereira

263 C C A C S A F: D

Sara Covelo, Pedro Mota Teixeira and Paula Tavares I C

Fernando J. S. Correia e Cristiane Gardim

281 U L Q D O

Cibele Saque

290 T

Ana Sabino

298 T G N N

I C M A H: A B H R H G

Judit Ferencz

Aléxia C. Brasil e Ana S. Guerreiro

314 P , -

Gabrielle Cariolle

325 W D Y S? U G N C S

Dave Wood, Sara Ogilvie, and Ray Middleton

335 S- C S G N. P F: C S

José Andrés Santiago Iglesias

346 U '-'

Rui Tavares, João Ramalho-Santos,

Paulo J. Oliveira and Anabela Marisa Azul

[Desenho / Drawing] [{Desenho / Drawing} & Comics]

354 G:

Sara Cristina Costa, Pedro Mota Teixeira,

and Ana Lúcia Pinto

Raoni Xavier, Cristiana Serejo e Marcos Andruchak

378 M B

Brian Cairns

Ângelo Dimitre Gomes Guedes, Marcio Esdras de Godoy, Anna Beatriz

Oliveira Santos Costa and Aparecida Lopes Gama

398 A P M S

Patrícia Penedo e Luís Lima

408 A  A L

L S-R

Sara Reis da Silva

417 D A

Turine Ngoc-Viet-Tu Tran

428 "P O O E M»: I A L-Á

Dulce Melão

437 S:

Helena Major and Magda Cordas

[Design] [Ilustração / Illustration]

447 C H -/ P: O!

Diana Maria Martins and Sara Reis da Silva

458 T
: 2D

Cláudia Barrocas and Fernando Correia

466 A I C

Marcela Gomes, Susana Loureiro e Fernando Correia

Fernando J. S. Correia

483 P-M "E" - P T C

Cidália Marques, Helena Silva e Fernando J. S. Correia

492 R B F E

Awoniyi Stephen

504 T, M N - R B D Á I

João Paulo Figueiredo e José Saraiva

Sara Matos, Aldo Passarinho,

Cristina Pires dos Santos, Liliana Rodrigues

524 O

Najla Leroy e Rui Vitorino Santos

534 I S: A P T P S T I

Dave Wood

543 O P P I: P , L

Sandra Cardoso, Luís Lima e Marta Madureira

551 I F I E

Marta López López

558 A' , E- . A

Karolina Kornek Freixial

568 I F. N

Sónia Rafael

577 A : ,

Ana Catarina Lopes, Paula Tavares, Jorge Teixeira Marques

585 V U

: A A

Ana Isabel Albuquerque and Luís Nogueira

596 T I F A V C

Swayamsiddha Panigrahi and Mazhar kamran

608 I L L D: S O E P, T I N

Linda Scott

[Jogos Digitais /

Digital Games]

[Narrativa e Teoria /

Narratives & Theory]

625 S I

I M

Vincent Larkin

636 A P S I V N C' S A

Douglas Menegazzi, Cristina Sylla and Stephania Padovani

645 V ,

Raquel Boavista and Rui Vitorino Santos

658 "H

Mary Finn-Saisselin and Filipa Cruz

The Illustrator as Folk Artist? Vernacular imaginaries in contemporary British Visual Culture

Desdemona McCannon

1 d.mccannon @mmu.ac.uk [Keynote Speaker] Often vagueness and fuzziness mark the presence of a primitive concept, a concept that is so fundamental to thought and discussion, that is so protean and powerful, that in large measure escapes- indeed, is defeated by- precise denition. (Oring, 1994) Like Elliott Oring, writing here on folklore and identity, I have found the term 'folk' exerts a gravitational pull on cultural narratives rather than be- ing able to discern its shape through shining lights onto it. I have a similar di€culty when trying to catch at the edges of the word 'illustration', a ‚eld of practice that pervades the everyday and exists at the interstices of every discipline and line of work. Where the two overlap of course is in the notion of 'popular art'- art validated by its function within people's everyday lives- rather than the art of a cultural 'elite' which is guarded in museums and galleries In the case of both folk art and illustration, what Barbara Jones describes as 'the museum eye' must be abandoned before they can be en joyed. Both are pragmatic forms of art practice and share a desire to com municate, and to tell stories. The synergies between folk art and illustration seem to me to oer dierent paradigms for appreciating art in its everyday contexts. Both are forms of storytelling, often utilising bricolage methods of thinking to deploy metaphors and iconographies that will have meaning- ful currency for particular audiences at particular times and places. My focus in this paper is to consider the aordances that the term 'folk' oers contemporary creative practice, its association with artisanal and amateur making practices, and as a genre or mode of storytelling that is predicated on collective memory. The adoption and positioning of 'folk' tropes within contemporary visual culture is more than an exercise in nostalgia and romanticised ruralism. There is also an uncomfortable dynamic between the metropolitan and 'sophisticated' gaze and the appropriation and positioning of 'folk' as marginal, 'unso- phisticated' or other to this. The category of 'folk art' as an art histori cal term deadens objects that may have been made for a functional or utilitarian as well as aesthetic purpose. By suturing the object from its context it becomes a fragment representative of incompleteness. Simi larly illustration needs context to be understood.

1 Desdemona McCannon is the Principal Editor of the peer reviewed 'Journal of Illustration' and on the

steering committee of the Illustration Research Network. She is a senior lecturer at Manchester School

of Art, specializing in illustration and print culture. Her work as an illustrator, writer and curator often

investigates synergies between illustration practice and folk art.

16CONFIA . International Conference on Ilustration & AnimationEsposende . Portugal . July 2018 . ISBN: 978-989-99861-6-9

Illustration covers the surface of the everyday world we live in. It is decorative in the sense that it does not demand our full attention, but instead populates our thinking at a subliminal level. Within the context that they are made to be viewed- whether as a shop sign, or the pages of a book, illustrative work has an evocative functionality that becomes part of the patina of memory of particular times, places and 'fuzzy' ways of thinking through images and social imaginaries. It is this particularity that makes il lustration practice so attuned to the reworking of past 'styles' - the granular ity of memory associated with particular kind of line or printing process acts as a kind of gestalt that accesses great silos of folk memory and emotion. Folk art, like illustration, is the art that people make for themselves or for people who are like them- it is art that makes communities visible to each other. Both folk art and illustration exist on a spectrum - from amateur and home made to professional and highly skilled, and both exist private and public realms as a currency of meaning and stories. The dem- ocratic nature of 'folk art' complicates notions of value, often being made from materials that are found easily to hand rather than being costly or valuable in themselves. This challenges both the art academy and the art marketplace, questioning assumptions about who gets to call themselves an artist, ways of valuing the work, the kinds of education or training that making 'art' entails, and the place of art in people's lives. Popular culture and folk culture are closely related, intertwined. They are both terms that are used to describe the taste and cultural prac- tices of 'ordinary' people, and the artefacts associated with both are em- bedded in everyday lives rather than found in art galleries and museums. The 'folk' are conceptualised as subaltern to the dominant institutions and cultural elite - they are the congregation rather than the priest, the workers rather than the factory owner, the voters rather than the politi- cian. In this sense the folk are the populus , however within the sense of folk as genre, they tend to be a populus that no longer exists, and is being retrieved or revived, or reinvented. This is often signalled by the deployment of archaic framing technol- ogies through which the folk are viewed. The patina of the recording de- vices used by nineteenth century folklorists - crackling phonogram sound recordings, ƒickering sepia tinged ‚lm or silver print photography has been absorbed into the texture of contemporary 'folk' inƒected cultural production. For example Matthew Cowan's Super 8mm ‚lm of his per- formance of Morris dancing on a bouncy castle 'A Morris Dancer Should Never Appear to Touch the Ground' (2010) or Faye Claridge's 'Kern Baby' (2012) inspired by the photographs of Benjamin Stone, both referencing the historical moments that the 'folk' manifested as a coherent idea in thequotesdbs_dbs13.pdfusesText_19

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