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Investigation Form
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INTRODUCTION
Follow these steps to help you research information for
your project. You must do the activity one step at the time.
STEP 1 TASK DEFINITION
A. Defined Problem/Background
The motivation/inspiration of the project is
the fact that I am quite capable and interested in art, which has to do with
sand animation. Sand animation is also a media and art form that compared to
others is less explored and so will be an interesting topic to learn about. I
choose the content of my sand animation to be about stories from countries so
that the animation will be more meaningful and not random. Lately, sand
animation has also been performed at events.
B. Goal:
My goal will be to create five different sand
animations based on five stories from five countries and to pick the best
product, to showcase to my grade level, grade 10.
C. What is your inquiry
question?
How will I create five sand animation movies based
on five stories from five countries for my grade level, grade 10?
D. What kinds of information are you
looking for?
Examples, facts, statistics and
diagrams.
a. What stories can my sand
animation will be about?
i. What are the 5 countries that my sand animation will be about?
ii. What are interesting or famous folktales/fairytales from each country?
b. What do you need to know in order
to create sand animation?
i. What are the examples of sand animation which exist now?
ii. What materials are needed (the sand type and such)?
iii. What tools are needed?
iv. What are the steps in creating the sand animation?
v. What hand movement techniques are used in sand animation?
c. What animation principles can be
applied to sand animation?
d. Target audience:
i. Who will be my target audience?
ii. What types of stories do they like/enjoy or suit them?
iii. How/when/where will I present it to them?
IDENTIFY THE INFORMATION REQUIREMENTS. (What
information do I need? i.e facts, examples, diagrams, table, graphs, experts.)
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Step 2. INFORMATION SEEKING STRATEGIES
Consider: accuracy- (complete); related (on the
topic); availability (ease of use); appealing, etc.
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Step 3 LOCATIONS & ACCESS
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Consider possible sources. e.g. BOOKS, REFERENCE
BOOKS (Encyclopedias, dictionaries,
almanacs, other reference materials); AUDIO VISUAL (CD roms,
Videos / VCD’S & DVD’S, cassettes, others), PERSONAL INTERVIEWS; INTERNET
(record websites used).
Indicate which maybe the best sources and why.
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Locate sources (Where will I find these
sources?). List call numbers
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Primary Sources:
Books, personal interview, video of an expert
creating a sand animation, websites written by experts of the subject,
articles (newspaper and magazine)
Secondary Sources:
Internet (websites from a second hand source)
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I can find books in libraries
and books stores, and I can interview people through the internet or by
meeting theme depending on where they are at the time, I can find videos and
websites on the internet, and I can find the internet at home and at school.
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STEP 4. USE OF INFORMATION NOTE-TAKING
SHEET (show references in a
bibliography (MLA)
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Criterion A.
Process Journal
Students should demonstrate
information literacy, thinking and reflection.
What stories can my sand animation be about?
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Sources (MLA)
Rovicky. “TIMUN MAS
(THE GOLDEN CUCUMBER).” Dongeng Geologi.
21 Sep. 2006. Web. 2 Oct. 2012.
<http://rovicky.wordpress.com/2006/09/21/dongeng-timun-emas-dan-lusi/>.
Mason, Victor, Beal,
Gillian. Balinese Children’s Favorite
Stories. Singapore: Periplus, 2001. Print.
Hartland, Edwin Sidney.
“JACK AND THE
BEAN-STALK.” sacred-texts.com.
1890. Web. 14 Sep. 2012. <http://www.sacred-texts.com/neu/eng/efft/efft06.htm
>.
Ashliman, D. L. “The
Three Little Pigs.” pitt.edu. 23
Nov. 2008. Web. 14 September. 2012.
<http://www.pitt.edu/~dash/type0124.html#lang>.
Donn, Lin. “This is the
Story of Jupiter, Juno, and Little Io.” mrdonn.org.
Web. 14 September. 2012.
<http://rome.mrdonn.org/jupiter.html>.
Sakade, Florence. Kumpulan Dongeng Klasik Jepang.
Jakarta: PT Bhuana Ilmu Populer, 2007. Print.
Mama Afrika. “The
Guinea Fowl Child.” The Travel Guide to
Victoria Falls. 2011. Web.
2012. <http://www.victoriafalls-guide.net/guinea-fowl.html>.
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Indonesia:
Timun Mas (folktale):
A
long time ago, a farmer and his wife lived in a jungle. Everyday they went to
the sacred tree where they prayed begging for a child. When they were
praying, a giant passed and heard their prayed. The giant gave them a
cucumber seed. He said to the farmer, “You will have a baby girl, but you
have to promise me to give the child to me when she is seventeen years old.
They agreed, because they wanted a baby very much. The giant gave them the
seed, then they went home.
Next
day, they planted the seed in the yard. They watered it everyday. They made
fences around it to keep it from animal’s disturbances. Day by day the vine
got bigger and bigger. A flower bloomed and finally it became a small gold
cucumber. The cucumber grew rapidly, then became a big cucumber. The farmer
picked it when it was ripe and brought it home. When they arrived, they laid
it on the floor. Slowly the farmer cut it. Wow! They were surprised. The farmer
said to his wife, “Look! My wife, there is a baby in it. His wife
replied, “Yeah! How cute the baby is” They were very happy and they
named her Timun Emas, means the golden cucumber.
Timun
Emas blossomed into a real beauty with black hair, slim body and bright eyes.
When she was seventeen years old, the giant came and said to the farmer, “I
am coming to take your daughter”. The farmer tried to calm the giant by
saying, “Ooo … do not worry. She is playing in the garden now. Let my wife
get her”
Meanwhile
his wife found Timun Emas and gave her four things in a cloth bag and said to
her, “My daughter, the giant has come to take you. Bring this bag with you
for fighting him”
“What can I do, mother?” asked Timun Emas
“Run
as fast as you can, “ said the farmer’s wife. “Throw one of three
things whenever the giant comes close”
Then Timun Emas ran as fast as she
could.
Meanwhile
the giant was impatient. He broke the hut and looked for Timun Emas. From the
garden he saw Timun Emas running towards the jungle. Then he ran after her.
When he almost caught her, she took out the first thing from the bag, a
handle of salt, and threw it towards the giant. Suddenly the ground between
Timun Emas and the giant turned into a wide sea. The giant tried to catch
Timun Emas by swimming. It was very hard of course. It was a good chance for
Timun Emas to run further. But in a short time the giant almost caught Timun
Emas again. Timun Emas threw a handful of chilies. In a flash, there grew a
thorny dense bush around the giant. The giant screamed with a pain, but
again, the giant got free and was almost able to catch Timun Emas.
She
took out the third thing from the bag, a handful of cucumber seeds. Suddenly,
the ground turned into very wide field of cucumber vines. The giant felt thirsty
and hungry, and then he ate lots of fresh cucumbers. The giant ate, ate and
ate again and finally he feel asleep. When she saw this, Tminu Emas ran as
far as she could but the giant woke up and ran after her quickly. Knowing the
giant was coming closer and closer, Timun Emas threw out the last thing, a
handful of shrimp paste. The ground where the giant running suddenly turned
into a sea of mud. He was trapped there. He screamed and sank into the sea of
mud. Timun Emas quickly went home. The farmer and his wife were very happy.
“Mother, Father, I am still life” shouted Timun
Emas.
“Oh, my dear” said the farmer and his wife while embracing
her.
“Thank God, our daughter is safe”, said the farmer and his wife
again. They were very happy. No more fear. They did not want to lose their
daughter anymore. The giant was died.
The Three Fishes (folktale):
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England:
Jack and the Bean-Stalk (folktale):
THERE lived a poor widow, whose cottage stood in a country village, a
long distance from London, for many years.
The widow had only a child named Jack, whom she gratified in
everything; the consequence of her partiality was, that Jack paid little
attention to anything she said; and he was heedless and extravagant. His
follies were not owing to bad disposition, but to his mother never having
chided him. As she was not wealthy, and he would not work, she was obliged to
support herself and him by selling everything she had. At last nothing
remained only a cow.
The widow, with tears in her eyes, could not help reproaching Jack.
"Oh! you wicked boy," said she, "by your prodigal course of
life you have now brought us both to fall! Heedless, heedless boy! I have not
money enough to buy a bit of bread for another day: nothing remains but my
poor cow, and that must be sold, or we must starve!"
Jack was in a degree of tenderness for a few minutes, but soon over;
and then becoming very hungry for want of food he teased his poor mother to
let him sell the cow; to which at last she reluctantly consented.
As he proceeded on his journey he met a butcher, who inquired why he
was driving the cow from home? Jack replied he was going to sell it. The
butcher had some wonderful beans, of different colours, in his bag, which
attracted Jack's notice. This the butcher saw, who, knowing Jack's easy
temper, resolved to take advantage of it, and offered all the beans for the
cow. The foolish boy thought it a great offer. The bargain was momently
struck, and the cow exchanged for a few paltry beans. When Jack hastened home
with the beans and told his mother and showed them to her, she kicked the
beans away in a great passion. They flew in all directions, and were extended
as far as the garden.
Early in the morning Jack arose from his bed, and seeing something
strange from the window, he hastened downstairs into the garden, where he
soon found that some of the beans had grown in root, and sprung up wonder.
fully: the stalks grew in an immense thickness, and had so entwined, that
they formed a ladder like a chain in view.
Looking upwards, he could not descry the top, it seemed to be lost in
the clouds. He tried it, discovered it firm, and not to be shaken. A new idea
immediately struck him: he would climb the bean-stalk, and see to whence it
would lead. Full of this plan, which made him forget even his hunger, Jack
hastened to communicate his intention to his mother.
He instantly set out, and after climbing for some hours, reached the
top of the bean-stalk, fatigued and almost exhausted. Looking round, he was
surprised to find himself in a strange country; it looked to be quite a
barren desert not a tree, shrub, house, or living creature was to be seen.
Jack sat himself pensively upon a block of stone, and thought of his
mother; his hunger attacked him, and now he appeared sorrowful for his
disobedience in climbing the bean-stalk against her will; and concluded that
he must now die for want of food.
However, he walked on, hoping to see a house where he might beg
something to eat. Suddenly he observed a beautiful young female at some
distance. She was dressed in an elegant manner, and had a small white wand in
her hand, on the top of which was a peacock of pure gold. She approached and
said: "I will reveal to you a story your mother dare not. But before I
begin, I require a solemn promise on your part to do what I command. I am a
fairy, and unless you perform exactly what I direct you to do, you will
deprive me of the power to assist you; and there is little doubt but that you
will die in the attempt." Jack was rather frightened at this caution,
but promised to follow her directions.
"Your father was a rich man, with a disposition greatly
benevolent. It was his practice never to refuse relief to the deserving in
his neighbourhood; but, on the contrary, to seek out the helpless and
distressed. Not many miles from your father's house lived a huge giant, who
was the dread of the country around for cruelty and oppression. This creature
was moreover of a very envious disposition, and disliked to hear others
talked of for their goodness and humanity, and he vowed to do him a mischief,
so that he might no longer hear his good actions made the subject of every
one's conversation. Your father was too good a man to fear evil from others;
consequently it was not long before the cruel giant found an opportunity to
put his wicked threats into practice; for hearing that your parents were
about passing a few days with a friend at some distance from home, he caused
your father to be waylaid and murdered, and your mother to be seized on their
way homeward.
"At the time this happened, you were but a few months old. Your
poor mother, almost dead with affright and horror, was borne away by the
cruel giant's emissaries to a dungeon under his house, in which she and her
poor babe were both long confined as prisoners. Distracted at the absence of
your parents, the servants went in them; but no tidings of either could be
obtained. Meantime he caused a will to be found making over all your father's
property to him as your guardian, and as such he took open possession.
"After your mother had been some months the giant offered to
restore her to liberty, on con she would solemnly swear that she would never
divulge the story of her wrongs to any one. To put it out of power to do him
any harm, should she break her oath, the giant had her put on ship-board, and
taken to a distant country where he had her left with no more money for her
support than what she obtained from the sale of a few had secreted in her
dress.
"I was appointed your father's guardian at his birth; but fairies
have laws to which they are subject as well as mortals. A short time before
the giant assassinated your father, I transgressed; my punishment was a
suspension of my power for a limited time, an unfortunate circumstance as it
entirely prevented my assisting your father, even when I most wished to do
so. The day on which you met the butcher, as you went to sell your mother's
cow, my power was restored. It was I who secretly prompted you to take the
beans in exchange for the cow. By my power the bean-stalk grew to so great a
height, and formed a ladder. The giant lives in this country; you are the person
appointed to punish him for all his wickedness. You will have dangers and
difficulties to encounter, but you must persevere in avenging the death of
your father, or you will not not prosper in any of your undertakings.
"As to the giant's possessions, everything he has is yours,
though you are deprived of it; you may take, therefore, what part of it you
can. You must, however, be careful, for such is his love for gold, that the
first loss he discovers will make him outrageous and very watchful for the future.
But you must still pursue him; for it is only by stratagem that you can ever
hope to overcome him, and become possessed of your rightful property, and the
means of retributive justice overtaking him for his barbarous murder. One
thing I desire is, do not let your mother know you are acquainted with your
father's history till you see me again.
"Go along the direct road; you will soon see the house where your
cruel enemy lives. While you do as I order you, I will protect and guard you;
but remember, if you disobey my commands, a dreadful punishment awaits
you."
As soon as she had concluded she disappeared, leaving Jack to follow
his journey. He walked on till after sunset, when, to his great joy, he
espied a large mansion. This pleasant sight revived his drooping spirits; he
redoubled his speed, and reached it shortly. A well-looking woman' stood at
the door: he accosted her, begging she would give him a morsel of bread and a
night's lodging. She expressed the greatest surprise at seeing him; and said it
was quite uncommon to see any strange creature. near their house, for it was
mostly known that her husband was a very cruel and powerful giant, and one
that would eat human flesh, if he could possibly get it.
This account terrified Jack greatly, but still, not forgetting the
fairy's protection, he hoped to elude the giant, and therefore he entreated
the woman to take him in for one night only, and hide him where she thought
proper. The good woman at last suffered herself to be persuaded, for her
disposition was remarkably compassionate, and at last led him into the house.
First they passed an elegant hall, finely furnished; they then
proceeded through several spacious rooms, all in the same style of grandeur,
but they looked to be quite forsaken and desolate. A long gallery came next;
it was very dark, just large enough to show that, instead of a wall each
side, there was a grating of iron, which parted off a dismal dungeon, from
whence issued the groans of several poor victims whom the cruel giant reserved
in confinement for his voracious appetite. Poor Jack was in a dreadful fright
at witnessing such a horrible scene, which caused him to fear that he would
never see his mother, but be captured lastly for the giant's meat; but still
he recollected the fairy, and a gleam of hope forced itself into his heart.
The good woman then took Jack to a spacious kitchen, where a great
fire was kept; she bade him sit down, and gave him plenty to eat and drink.
In the meantime he had done his meal and enjoyed himself, but was disturbed
by a hard knocking at the gate, so loud as to cause the house to shake. Jack
was concealed in the oven, and the giant's wife ran to let in her husband.
Jack heard him accost her in a voice like thunder, saying: "Wife!
wife! I smell fresh meat!" "Oh! my dear," replied she,
"it is nothing but the people in the dungeon." The giant seemed to
believe her, and at last seated himself by the fireside, whilst the wife
prepared supper.
By degrees Jack endeavoured to look at the monster through a small crevice.
He was much surprised to see what an amazing quantity he devoured, and
supposed he would never have done eating and drinking. After his supper was
ended, a very curious hen was brought and placed on the table before him.
Jack's curiosity was so
great to see what would happen. He observed that it stood quiet before
him, and every time the giant said: "Lay!" the hen laid an egg of
solid gold. The giant amused himself a long time with his hen; meanwhile his
wife went to bed. At length he fell asleep, and snored like the roaring of a
cannon. Jack finding him still asleep at daybreak, crept softly from his
hiding-place, seized the hen, and ran off with her as fast as his legs could
possibly allow him.
Jack easily retraced his way to the bean-stalk, and descended it
better and quicker than he expected. His mother was overjoyed to see him.
"Now, mother," said Jack, "I have brought you home that which
will make you rich." The hen produced as many golden eggs as they
desired; they sold them, and soon became possessed of as much riches as they
wanted.
For a few months Jack and his mother lived very happy, but he longed
to pay the giant another visit. Early in the morning he again climbed the
bean-stalk, and reached the giant's mansion late in the evening: the woman
was at the door as before. Jack told her a pitiful tale, and prayed for a
night's shelter. She told him that she had admitted a poor hungry boy once
before, and the little ingrate had stolen one of the giant's treasures, and
ever since that she had been cruelly used. She however led him to the
kitchen, gave him a supper, and put him in a lumber closet. Soon after the
giant came in, took his supper, and ordered his wife to bring down his bags
of gold and silver. Jack peeped out of his hiding-place, and observed the
giant counting over his treasures, and after which he carefully put them in
bags again, fell asleep, and snored as before. Jack crept quietly from his
hiding-place, and approached the giant, when a little dog under the chair
barked furiously. Contrary to his expectation, the giant slept on soundly,
and the dog ceased. Jack seized the bags, reached the door in safety, and
soon arrived at the bottom of the bean-stalk. When he reached his mother's
cottage, he found it quite deserted. Greatly surprised he ran into the
village, and an old woman directed him to a house, where he found his mother
apparently dying. On being informed of our hero's safe return, his mother
revived and soon recovered. Jack then presented two bags of gold and silver
to her.
His mother discovered that something preyed upon his mind heavily, and
endeavoured to discover the cause; but Jack knew too well what the
consequence would be should he discover the cause of his melancholy to her.
He did his utmost therefore to conquer the great desire which now forced
itself upon him in spite of himself for another journey up the bean-stalk.
On the longest day Jack arose as soon as it was light, ascended the
bean-stalk, and reached the top with some little trouble. He found the road,
journey, etc., the same as on the former occasions. He arrived at the giant's
house in the evening, and found his wife standing as usual at the door. Jack
now appeared a different character, and had disguised himself so completely
that she did not appear to have any recollection of him. However, when he
begged admittance, be found it very difficult to persuade her. At last he
prevailed, was allowed to go in, and was concealed in the copper.
When the giant returned, he said, as usual: "Wife! wife! I smell
fresh meat!" But jack felt quite composed, as he had said so before, and
had soon been satisfied. However, the giant started up suddenly, and
notwithstanding all his wife could say, he searched all round the room.
Whilst this was going forward, Jack was much terrified, and ready to die with
fear, wishing himself at home a thousand times; but when the giant approached
the copper, and put his hand upon the lid, Jack thought his death was
certain. Fortunately the giant ended his search there, without moving the
lid, and seated himself quietly by the fireside.
When the giant's supper was over, he commanded his wife to fetch down
his harp. Jack peeped under the copper-lid, and soon saw the most beautiful
one that could be imagined. It was put by the giant on the table, who said:
"Play," and it instantly played of its own accord. The music was
uncommonly fine. Jack was delighted, and felt more anxious to get the harp
into his possession than either of the former treasures.
The giant's soul was not attuned to harmony, and the music soon lulled
him into a sound sleep. Now, therefore, was the time to carry off the harp,
as the giant appeared to be in a more profound sleep than usual. Jack soon
made up his mind, got out of the copper, and seized the harp; which, however,
being enchanted by a fairy, called out loudly: "Master, master!"
The giant awoke, stood up, and tried to pursue Jack; but he had drank
so much that he could not stand. Jack ran as quick as he could. In a little
time the giant recovered sufficiently to walk slowly, or rather to reel after
him. Had he been sober, he must have overtaken Jack instantly; but as he then
was, Jack contrived to be first at the top of the bean-stalk. The giant
called to him all the way along the road in a voice like thunder, and was sometimes
very near to him.
The moment Jack got down the bean-stalk, he called out for a hatchet:
one was brought him directly. Just at that instant the giant began to
descend, but Jack with his hatchet cut the bean-stalk close off at the root,
and the giant fell headlong into the garden. The fall instantly killed him.
Jack heartily begged his mother's pardon for all the sorrow and affliction he
had caused her, promising most faithfully to be dutiful and obedient to her
in future. He proved as good as his word, and became a pattern of
affectionate behaviour and attention to his parent.
The Three Little Pigs (folktale):
There
was once upon a time a pig who lived with her three children on a large,
comfortable, old-fashioned farmyard. The eldest of the little pigs was called
Browny, the second Whitey, and the youngest and best looking Blacky. Now
Browny was a very dirty little pig, and, I am sorry to say, spent most of his
time rolling and wallowing about in the mud. He was never so happy as on a
wet day, when the mud in the farmyard got soft, and thick, and slab. Then he
would steal away from his mother's side, and finding the muddiest place in
the yard, would roll about in it and thoroughly enjoy himself.
His
mother often found fault with him for this, and would shake her head sadly
and say, "Ah, Browny! Some day you will be sorry that you did not obey
your old mother."
But
no words of advice or warning could cure Browny of his bad habits.
Whitey
was quite a clever little pig, but she was greedy. She was always thinking of
her food, and looking forward to her dinner. And when the farm girl was seen
carrying the pails across the yard, she would rise up on her hind legs and
dance and caper with excitement. As soon as the food was poured into the
trough she jostled Blacky and Browny out of the way in her eagerness to get
the best and biggest bits for herself. Her mother often scolded her for her
selfishness, and told her that someday she would suffer for being so greedy
and grabbing.
Blacky
was a good, nice little pig, neither dirty nor greedy. He had nice dainty
ways (for a pig), and his skin was always as smooth and shining as black
satin. He was much cleverer than Browny and Whitey, and his mother's heart
used to swell with pride when she heard the farmer's friends say to each
other that someday the little black fellow would be a prize pig.
Now
the time came when the mother pig felt old and feeble and near her end. One
day she called the three little pigs round her and said, "My children, I
feel that I am growing old and weak, and that I shall not live long. Before I
die I should like to build a house for each of you, as this dear old sty in
which we have lived so happily will be given to a new family of pigs, and you
will have to turn out. Now, Browny, what sort of a house would you like to
have?"
"A
house of mud," replied Browny, looking longingly at a wet puddle in the
corner of the yard.
"And
you, Whitey?" said the mother pig in rather a sad voice, for she was
disappointed that Browny had made so foolish a choice.
"A
house of cabbage," answered Whitey, with a mouth full, and scarcely
raising her snout out of the trough in which she was grubbing for some potato
parings.
"Foolish,
foolish child!" said the mother pig, looking quite distressed. "And
you, Blacky?" turning to her youngest son. "What sort of a house
shall I order for you?"
"A
house of brick, please mother, as it will be warm in winter and cool in
summer, and safe all the year round."
"That
is a sensible little pig," replied his mother, looking fondly at him.
"I will see that the three houses are got ready at once. And now one
last piece of advice. You have heard me talk of our old enemy the fox. When
he hears that I am dead, he is sure to try and get hold of you, to carry you
off to his den. He is very sly and will no doubt disguise himself, and
pretend to be a friend, but you must promise me not to let him enter your
houses on any pretext whatever."
And
the little pigs readily promised, for they had always had a great fear of the
fox, of whom they had heard many terrible tales.
A
short time afterwards the old pig died, and the little pigs went to live in
their own houses.
Browny
was quite delighted with his soft mud walls and with the clay floor, which
soon looked like nothing but a big mud pie. But that was what Browny enjoyed,
and he was as happy as possible, rolling about all day and making himself in
such a mess.
One
day, as he was lying half asleep in the mud, he heard a soft knock at his
door, and a gentle voice said, "May I come in, Master Browny? I want to
see your beautiful new house."
"Who
are you?" said Browny, starting up in great fright, for though the voice
sounded gentle, he felt sure it was a feigned voice, and he feared it was the
fox.
"I
am a friend come to call on you," answered the voice.
"No,
no," replied Browny, "I don't believe you are a friend. You are the
wicked fox, against whom our mother warned us. I won't let you in."
"Oho!
Is that the way you answer me?" said the fox, speaking very roughly in
his natural voice. "We shall soon see who is master here," and with
his paws he set to work and scraped a large hole in the soft mud walls. A
moment later he had jumped through it, and catching Browny by the neck, flung
him on his shoulders and trotted off with him to his den.
The
next day, as Whitey was munching a few leaves of cabbage out of the corner of
her house, the fox stole up to her door, determined to carry her off to join
her brother in his den. He began speaking to her in the same feigned gentle
voice in which he had spoken to Browny. But it frightend her very much when
he said, "I am a friend come to visit you, and to have some of your good
cabbage for my dinner."
"Please
don't touch it," cried Whitey in great distress. "The cabbages are
the walls of my house, and if you eat them you will make a hole, and the wind
and rain will come in and give me a cold. Do go away. I am sure you are not a
friend, but our wicked enemy the fox."
And
poor Whitey began to whine and to whimper, and to wish that she had not been
such a greedy little pig, and had chosen a more solid material than cabbages
for her house. But it was too late now, and in another minute the fox had
eaten his way through the cabbage walls, and had caught the trembling,
shivering Whitey and carried her off to his den.
The
next day the fox started off for Blacky's house, because he had made up his
mind that he would get the three little pigs together in his den, and then
kill them, and invite all his friends to a feast. But when he reached the
brick house, he found that the door was bolted and barred, so in his sly
manner he began, "Do let me in, dear Blacky. I have brought you a
present of some eggs that I picked up in a farmyard on my way here."
"No,
no, Mister Fox," replied Blacky. "I am not gong to open my door to
you. I know your cunning ways. You have carried off poor Browny and Whitey,
but you are not going to get me."
At
this the fox was so angry that he dashed with all his force against the wall,
and tried to knock it down. But it was too strong and well built. And though
the fox scraped and tore at the bricks with his paws, he only hurt himself,
and at last he had to give it up, and limp away with his forepaws all
bleeding and sore.
"Never
mind!" he cried angrily as he went off. "I'll catch you another
day, see if I don't, and won't I grind your bones to powder when I have got
you in my den!" And he snarled fiercely and showed his teeth.
Next
day Blacky had to go into the neighboring town to do some marketing and to
buy a big kettle. As he was walking home with it slung over his shoulder, he
heard a sound of steps stealthily creeping after him. For a moment his heart
stood still with fear, and then a happy thought came to him. He had just
reached the top of a hill, and could see his own little house nestling at the
foot of it among the trees. In a moment he had snatched the lid off the
kettle and had jumped in himself. Coiling himself round, he lay quite snug in
the bottom of the kettle, while with his foreleg he managed to put the lid
on, so that he was entirely hidden. With a little kick from the inside, he
started the kettle off, and down the hill it rolled full tilt. And when the
fox came up, all that he saw was a large black kettle spinning over the
ground at a great pace. Very much disappointed, he was just going to turn away,
when he saw the kettle stop close to the little brick house, and a moment
later, Blacky jumped out of it and escaped with the kettle into the housed,
when he barred and bolted the door, and put the shutter up over the window.
"Oho!"
exclaimed the fox to himself. "You think you will escape me that way, do
you? We shall soon see about that, my friend." And very quietly and
stealthily he prowled round the house looking for some way to climb onto the
roof.
In
the meantime Blacky had filled the kettle with water, and having put it on
the fire, sat down quietly waiting for it to boil. Just as the kettle was
beginning to sing, and steam to come out of the spout, he heard a sound like
a soft, muffled step, patter, patter, patter overhead, and the next moment
the fox's head and forepaws were seen coming down the chimney. But Blacky
very wisely had not put the lid on the kettle, and, with a yelp of pain, the
fox fell into the boiling water, and before he could escape, Blacky had
popped the lid on, and the fox was scalded to death.
As
soon as he was sure that their wicked enemy was really dead, and could do
them no further harm, Blacky started off to rescue Browny and Whitey. As he
approached the den he heard piteous grunts and squeals from his poor little
brother and sister who lived in constant terror of the fox killing and eating
them. But when they saw Blacky appear at the entrance to the den, their joy
knew no bounds. He quickly found a sharp stone and cut the cords by which
they were tied to a stake in the ground, and then all three started off
together for Blacky's house, where they lived happily ever after. And Browny
quite gave up rolling in the mud, and Whitey ceased to be greedy, for they
never forgot how nearly these faults had brought them to an untimely end.
- Rome:
Horatius at the Bridge (myth):
   
Little Io (myth):
-
Zimbabwe:
The Guinea Fowl Child:
Pitipiti should have been a very happy woman. She was married to a
rich man who had many cattle. But after years of marriage, she was still
unable to give him the many children which a man like him deserved. She went
to see many people in the hope that they would be able to solve her problem;
but to no avail.
Day after day, she watched as her husband’s love for her faded away
before her very eyes. She was very sad the day that her husband married a new
wife so that he could at last have children. But she was also happy for him
when she learned that his new wife had given him a child, and then another.
Each time she learned that the new wife had given birth, she went to
offer the newborn a gift; yet she was refused each time. The new wife would
tell her, “My husband wasted too many years with you. In just a short time, I
have already given him children. Go away since no one wants your gifts!”
Pitipiti was saddened to see that her husband’s love for her that
once used to shine in his eyes was slowly replaced by pride for his children.
Yet, she continued to work her fields and live life the best she could in her
solitude.
A few months later, while she was working in her fields she heard
some screeching from the bushes. She approached to see what it was and found
a guinea fowl at the top of a branch. He looked at her and cackled, “I am
really lonely. So will you make me your child?” Pitipiti responded that she
could not have a guinea fowl for a child because everyone would mock her. But
he didn’t give up and continued to ask her if she would make him her child
just at night so that nobody would know.
After a little thought she decided that if she kept him as a child
at nights it would give her company and someone to care for so she agreed.
The guinea fowl promised that he would come late at night and he would leave
the house early in the morning so that no one saw him.
That night, when she returned home she started to prepare her meal
when she heard the screeching of the guinea fowl at the window. She let him
in and they enjoyed their meal before going to bed. They lived very happy
together like a mother and child would.
Very often though the new wife would pass and jeer at Pitipiti
mocking her while she worked in her fields. “What a waste that our husband
gave you so much land to work. You have no one to feed but yourself.” Then
she would laugh and go to her own fields to work. Pitipiti would just ignore
her comments; but the guinea fowl could not support that someone spoke to his
mother like that.
So, he flew to the bushes just near the new wife’s fields and began
to sing this song:
Come and eat my friends there is lots of grain
Come and
eat my friends, eat all of this woman’s grain
The new wife simply thought that it was a bird like all the others
singing in the bush. One by one though, the guinea fowls started to arrive.
Soon her fields were filled with guinea fowls that had heard the song and
come to fill their bellies.
In a panic the new wife started to scream at them and kill the
guinea fowl one after the other including Pitipiti’s son. She immediately
prepared them for dinner.
Her husband was pleased to see that his wife had prepared so many
birds for dinner and thanked her for being such a good woman. They feasted to
their hearts content and sat at the table talking.
Just as they finished the last bite of the meal, they heard the song
of the guinea fowl. Looking around to see where it was coming from, they
discovered that the singing came from their own stomachs. They got so scared
that they grabbed the knives from the table and cut stabbed at the birds. The
birds flew out of the holes and left the couple dead on the floor. They then
returned to the field to eat the remaining grain.
When Pitipiti learned what had happened, she was happy that she
would no longer have to endure the insults of the new wife. She also got to
keep all of her husband’s cattle and his land.
Once people heard what happened, there were many men who wanted to
marry Pitipiti. After all, she had a very intelligent and interesting son.
-
Japan:
The Magic Kettle:
      
The Rabbit Who Crossed the Ocean:
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Evaluate your sources! (The Evaluation should be done
per-topic research, not per-resource and draft should be posted on the
journal)
a.
How the information suited to
the project? (Coverage)
Does the information help me
respond to the inquiry question?
Yes, the information helps me to list
possible stories (folktales/fairytales (chosen through survey)) from the 5
countries (chosen through survey) that will become the content of my sand
animation movie.
Does the information belong
to my topic?
Yes, the information belongs to my
topic, which has to do with creating a sand animation featuring 5 stories
from 5 countries.
Will the information help me
to develop my project product?
Yes, the information will help me to
develop my project product as it allows me to have a focus for the stories
that I want to tell through my sand animation. I will be creating my product
based the story options listed above.
Does the information connect
clearly with the area of interaction or aspects of it?
Yes, the information connects to the
area of interaction of Human ingenuity as the stories were created by people
and will help me to create my final product by interpreting the story through
sand animation.
B. Is the information source reliable (Authority)? Where
does the information come from?
Yes overall the information sources are reliable,
such as the books that I used. Also, some of the folktales listed are well
known and though there may be subtle differences based on the person who is
retelling the folktale or the version being told, the information should be
reliable as folktales remain the same.
C. is the information accurate ? Can the information be
verified in another source?
Yes
the information is accurate as other books and other websites also give the
basic same stories though there can be subtle differences based on the person
who did the retelling of the folktale. For example, at the following link http://ceritarakyatnusantara.com/id/browse/375-Jawa-Tengah#
you can find a verify the story of Timun Mas. At the website http://www.pitt.edu/~dash/type0124.html#lang
you can find the story of the three little pigs as mentioned above and
another version of it. Another example is the link http://rome.mrdonn.org/horatius.html
where you can find an online version of the Horatius at the bridge story.
Basically folktales remain the same though their may be different version and
you can find other books and websites which have the same folktale.
Especially with the book resources I used, the information should be more
accurate in order for the book to be able to be published.
D. Is the information up-to-date?
(Currency) Is the information current or still valuable if it
is older?
The information does not have to be current, as
folktales are traditional stories which have been told from generation to
generation and have basically remained unchanged. They are still valuable
even though they are older.
E. Is the information
objective/not biased? (Objectivity)
Yes, since the information is factual, about
stories from different countries, and does not have to do with people’s
opinions, it is not bias. A few subtle differences may be biased to the
version of the folktale, but what I need for my sand animation is more to the
framework for my story, so it will be the bigger picture and the different
version details will not really be seen.
F. What information do I
still need?
I don’t really need any more information
regarding the folktales.
G. What new questions does
my research bring?
My research brings the new question of the
stories that I will choose to depict from each country, for countries where I
listed more than one folktale.
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Criterion D. Application of Information
Students should transfer and apply information to make
decisions, create solutions and develop understandings in connection with the
project’s goal.
(Note: Please include reference/in-text citation)
How is this information useful throughout the project to
achieve the goal for:
1.
Specifications of the product/outcomes:
This information will help me in
achieving the goal for the specifications of my product as it gives me a
background on the content of my product, which are 5 stories from 5 different
countries based on their folktales. There are listed 9 stories from 5
countries above, “Indonesia: Timun Mas (folktale) and The Three Fishes (folktale) -
England: The Three Little Pigs (folktale) and Jack and the Bean-stalk
(folktale) – Rome: Horatius at the Bridge (myth) and Little Io (myth) –
Zimbabwe: The Guinea Fowl Child (folktale) – Japan The Rabbit Who Crossed the
Ocean (folktale) and The Magic Kettle (folktale). This helps to fulfil that
part of my goal. I chose these stories as they are quite famous. For example,
Timun Mas is a famous folktale from Indonesia, and so are The Three Little
Pigs and Jack and the Bean-stalk from England. The two Roman myths featured
are also well known. The Japanese and African stories are also some that can
be found from those countries. Therefore it will be easier for my audience to
relate to the stories presented, especially the more popular ones such as the
English and Indonesian folktales which my target audience is more likely to recognise.
Aside from this, the stories I chose are also quite easily imagined visually
which will make creating my storyboard and the final sand animation
easier. I am able to visualize
most of the stories through drawings without having to use words. These
stories also fall into the short stories category and so have a few main
points making it easier to pick the scenes that I will depict in my sand
animation.
1.
The techniques chosen in different stages:
Design:
The information helps me create my design for my final product, as the sand
animations created will feature the 5 of the 9 mentioned stories from the 5
countries, and so my design will be based on stories mentioned above. Without
this information I will not know what to base my designs upon.
Plan: The
information will help me in the planning process as I can create my planning
based on the 5 stories, so that I will create one story at a time based on
the time given for us to create the product, this will make my planning more
detailed and organized.
Create:
It will help me to create my product as the content of my product is based on
the 5 stories from the 5 countries. This information will help in the
creation process so that I can always look back as the basis of my design and
change it if necessary so that the design will be better suited to the
information.
Evaluate/Testing
Method: It will help me so that I know that I need to evaluate my product
based on how well I have created a sand animation with the mentioned theme. I
can also test to see if my product as filled the design specification of 5
stories from 5 countries which it has based on the information.
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STEP 4. USE OF INFORMATION NOTE-TAKING
SHEET (show references in a
bibliography (MLA)
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Criterion A.
Process Journal
Students should demonstrate
information literacy, thinking and reflection.
What
do you need to know in order to create sand animation?
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Sources (MLA)
Nurmatari, Avitia. “Sosok Denny Darko, Sand Animator Pertama di
Indonesia.” detikBandung. 29 July. 2012. Web. <http://bandung.detik.com/read/2012/02/27/163050/1852678/661/sosok-denny-darko-sand-animator-pertama-di-indonesia>.
“Kseniya Simonova -
Sand Drawing.” Full Documentary. 29
July. 2012. Web. <http://fulldocumentary.com/performingarts/default.asp?action=listing&id=732>.
Kenyon, Heather.
“Animating Under the Camera.” Animation
World Magazine Issue 3.2 May. 1998. Web. <http://www.awn.com/mag/issue3.2/3.2pages/3.2student.html>.
“Life Story, written in
the sand.” Ilana Yahav. Web. 29
July. 2012. <http://sandfantasy.com/about-me/>.
“Emotions.” Ilana Yahav. Podcast. 29 July. 2012.
<http://sandfantasy.com/video-clips/?tubepress_video=_jfS2rybDOg>.
“Jungle Sandsation –
Sand Art by Charlene Lanzel.” Sand Art
by Charlene Lanzel. YouTube. 12 Aug. 2012. <http://www.youtube.com/user/CharleneLanzel>.
“Alexandra
Konofalskaya for Naturally Wood (Canada).” SANDART. To see unique. Podcast. 12 Aug. 2012. <http://www.artsand.org/en/video>.
“Sand Art – Never
Forget: A Memorial For Those Who Lost Their Lives On 9/11.” A Sand Story. Podcast. 12 Aug. 2012.
<http://www.joecastillo.com/corporate.html>.
“SAND ART – Live Sand
animation Volkswagen Touareg.” Podcast. Whisperingsand.
12 Aug. 2012. <http://www.whisperingsand.net/Videogallery.htm>.
“SAND ART INDIA – The
Resurrection – Indian.” Whisperingsand. Podcast. 12 Aug. 2012.
<http://www.whisperingsand.net/video2.htm>.
“ABOUT SAND ART.” Charlene Lanzel. 2012. Web. 1 Oct.
2012.
<http://sand-artist.com/?page_id=2>.
SimonovaTV. “Kseniya
Simonova Winner of “Ukraine’s Got Talent” - Requiem of Sand.” YouTube. 29 Mar. 2011. YouTube. 1 Oct.
2012. <http://www.youtube.com/watch?v=d-i1n9ZiUvU&feature=fvsr>.
Wells, Paul. The Fundamentals of Animation.
Switzerland: AVA Publishing SA, 2006. Print.
Ridho, M. Ainun. Workshop Film Dunia Kami Sesi 3: Penyutradaraan
dan Storyboard. Jakarta: Print.
“How It Works?” Whisperingsand. Web. 2 Oct. 2012.
<http://www.whisperingsand.net/howitworks.htm>.
Mahapatra, Dhananjay. “Patnaik
to showcase Mahatma through 'sand animation' at CWG opening.“ The Times
of India Newspaper. 27 Sep. 2010. Web. 2 Oct. 2012.
<http://articles.timesofindia.indiatimes.com/2010-09-27/india/28265253_1_sand-sculpture-sand-artist-opening-ceremony>.
“Sand Animation in
Ukraine.” Worldwide News Ukraine Mag., 2011. Web. 2 Oct. 2012. <http://wnu-ukraine.com/about-ukraine/culture/110/>.
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Some activity related to sand animation:
NEW DELHI: Sand animation art will accompany A R Rahman's theme song
at the Commonwealth
Games opening ceremony on October 3 to showcase a story on Mahatma
Gandhi.
The Organising Committee (OC) has asked internationally acclaimed
sand artist Sudarshan Patnaik to present his unique art at the opening and
sources said he has agreed to take up the assignment. (Times of India)
Kseniya Simonova is one of the few artists who perform in sand
animation not only in Ukraine but around the globe. She came into the
spotlight in 2009 upon her victory in the Ukrainian installment of the
popular talent competition Ukraine’s Got Talent.
Sand animation is a style of live performance art in which an artist
instantly creates a series of images that change each other in an
animation-like motion using sand as their material of choice. The images are
created by drawing lines and figures in the sand using one’s hands.
Over the two years since her victory at the talent competition
Simonova performed in Austria, China, Germany, India, Italy, Japan,
Kazakhstan, Russia, Netherlands, Norway, Poland, Qatar, Switzerland, United
Kingdom, and others. The Ukrainian artist rehearsed and prepared for
performing more than 200 animated sand stories. Notably, Kseniya Simonova was
the stage artist during the 2011 Eurovision show representing Ukraine
together with the singer Mika Newton. (Worldwide News Ukraine)
Tools:
-
Your hands
-
Light box/light table or overhead projector
(or other flat translucent surfaces (such as glass) and a light source)
-
Camera to video the sand animation
-
Tripod to hold the camera up in position
over the sand animation (if you are using a light table/light box as the
surface where you perform/create the sand animation.
Materials:
-
Sand (volcanic sand (based on Kseniya Simonova who
creates sand animation (the performance type (which I am doing)), white beach
sand (based on Caroline Leaf who is a sand animator)
Where to get the tools and materials:
-
Light box/light table or overhead projector: My
father has an old table with a translucent tabletop and lights underneath the
table. I can use this to create my sand animation movie.
-
Sand: I can find sand at the beach in Ancol,
Jakarta. I can also buy sand at fish stores or use the sand that is used in
my grandfather’s ceramic factory.
-
Camera: There are ready cameras at my home
including normal cameras and a video camera. I can use any of these to video
my sand animation movie.
-
Tripod: I have 2 or 3 tripods at home and I can
use any of them to hold of the camera that is videoing my sand animation. I
can also place this tripod on top of the tables that I have at home if
necessary to make it tall enough to get a good view of the whole sand
animation.
Steps in creating a sand animation:
“in most cases, customers request a special artistic
creation based on a topic of their choice [first step (in my case I will base
the topic and idea for my sand animation based on survey towards my target
audience)], so that each performance requires lengthy preparations, starting
with the many sketches that she makes in a notebook [second step], after
which she proceeds to experiment on the sand table itself [third step]. Here,
the creation generally undergoes extensive changes [fourth step] as a result
of the emotions and feelings evoked within her as she works with the sand.”
(sandfantasy.com)
“Light and music also form important elements of Ilana’s
creations. In her works, she uses lights that emerge from under a transparent
table, sometimes even multicolored illumination. For the perfect soundtrack,
Ilana carefully chooses music that matches the message and the sensations
being conveyed. [This means that after I have created the video of my product
I should also add a soundtrack]” (sandfantasy.com)
“Charlene Lanzel’s sand art
performance is rehearsed and choreographed to specially chosen live or
recorded music, enhancing the mood. Music accompanies the entire process as
the sand artist follows the rhythm. [I should also rehearse creating the sand
animation to the chosen music and even during the final movie taking play the
chosen music in the background. I can then re-edit out the music and add it
through computer to make the sound quality better if necessary.]” (Charlene
Lanzel)
Editing the Sand animation video:
The editing done for my sand animation movie will be
simple, as the video will be shot in one continues shot and itself won’t be
edited. I will simply add a soundtrack to the movie. This I can do with the
iMovie software on a MacBook, and no advanced editing is required.
Creating a Storyboard (from the second step of creating a
sand animation):
    
Storyboard examples:
 
Sound in an animation:
   
Hand Movements:
To add sand in a thick line, grip the sand and let it out by easing the
grip on your bottom fingers. Controlling how much sand to let out at a time,
you can create thinner and thicker lines.
Grouping the fingers close together you can create lines close to each
other in one movement.
By controlling the space between fingers, you can create lines in one
hand movement, either close together or further apart.
When you want to add a layer of sand over an existing picture to make
it darker but still visible you hold the sand high over the picture and move
your hands from the edge of the picture to the middle back and forth while
letting the sand fall out of your hands in thing layers.
To swipe away the sand to create a thin line, use the nail of your
finger instead of the whole tip of your finger.
To swipe away the sand and create a clean area in smaller strokes,
curve your hands like in the picture and use the middle segment of your
fingers to swipe the sand away.
To swipe away more sand than in the previous picture and create a
larger clean area in a faster time, use the whole side of your hand to clean
away the sand as needed.
You can also use the shape of your hand in clearing away sand to crate
an image, such as leaving the bit for the eyes in clearing away the area for
the face in this picture. Using the curve of the fingers, the sand artist
also creates the bend of the eyelid while clearing away the sand.
You can swipe away a picture using your whole hands such as in the
picture above and have the effect like the one above.
You can use the nail of your thumb in the hand position shown to
sharpen the shapes created in the sand so there are more angles and you can
create thin lines from the sand such as the spire on top of the building.
You can also use your finger to create a sharp points out of the sand
(the crown of the statue of liberty), not only your thumb.
Using your thumb and index finger, you can create very thin lines out
of the sand by pinching the sand between those two fingers and letting very
small amounts of sand fall out in the wanted shape.
You can create the effect above sort of like a cloud by griping the
sand in letting it out of your hand in a random pattern.
You can manipulate the shape of your fingers to create shapes, for
example, you can use the shape of your thumb to more easily create a curve.
Simply using the tip of your finger like a pencil, pushing away the
sand, can create most shapes such as the sailor’s hat.
Using your index and little finger while curling away the other
fingers, you can create identical shapes with a bit of space in between in
one movement, such as the cross, above.
You can also erase a picture by adding sand to it from outside of the
picture area and swiping it into the area of the picture.
You can create the flowers above using a quick hand gesture, by
starting with your fingers together then spreading them out in a quick
movement, so that you knuckles touch the sand.
 
To create another type of flowers, which is more geometric, you start
with your two hand close together, using a few finger tips from each hand and
then swiping outwards, this creates an area of sand in the center (the center
of the flower) and petals.
Grouping the fingers of your hands closely together, you can use the
tips of your fingers to create multiple dots in one movement.
Close to the previous hand movement, you can group your fingers
together and create multiple dots in one movement which can create the effect
of bushes.
 
You can create a simple butterfly by starting with your thumb and index
finger close together with a bit of space between them on the sand, then make
a small motion, swiping upwards and outward. This creates a bigger top than a
bottom and gives the feel of a butterfly.
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Evaluate your sources! (The Evaluation should be done
per-topic research, not per-resource and draft should be posted on the
journal)
b.
How the information suited to
the project? (Coverage)
Does the information help me
respond to the inquiry question?
Yes, the information helps me to
respond to the question, as now I know a bit about how sand animation has
been used in recent years, what tools and materials are necessary to create
sand animation, the steps taken to create sand animation and the techniques
(creating a storyboard, adding sound and hand movements) that can be used and
practiced in creating sand animation.
Does the information belong
to my topic?
Yes, the information belongs to my
topic as I need to create a sand animation artwork, and now I know what tools
and materials are necessary to have, as well as the steps that I need to take
and hand movements that I need to practice.
Will the information help me
to develop my project product?
Yes, the information will help me to develop
my project product, as now I know the tools, materials, steps and hand
gestures that I can use to create my project product.
Does the information connect
clearly with the area of interaction or aspects of it?
Yes, the information connects clearly
with the area of interaction of Human Ingenuity as I will need the
information to learn the skill of sand animation and create and product based
on that skill.
B. Is the information source reliable (Authority)? Where
does the information come from?
Yes,
the source is reliable as the information on the activities of sand animation
in recent years are from online newspaper and magazine articles. The
information on the techniques, tools and materials of creating sand animation
is also reliable as it is based on those who are known for sand animation and
have worked with sand animation. They can be considered as experts on the
subject. The information regarding the sound and storyboarding also comes
from books featuring quotes of experienced animators.
C. Is the information accurate? Can the information be
verified in another source?
Yes,
the information is accurate as different sand animation artists, overall use
the same tools and materials; and in the information regarding the type of
sand used, I have gotten a website talking about one sand animation artist
and different websites which refer to her also say the same thing. Aside from
this, for the steps in creating a sand animation, though I have not really
verified the information with another source, I am quite sure that the
information is accurate as it comes from the artist’s own team and the
process that she goes through in creating a design is the common process that
is done in creating other pieces of artwork, where there is a design first,
then practices and experiments before the final product. As for the
information regarding the techniques (hand movements) used to create
different effects, some of the information so far as I have found is quite
unique to an artist but most of the techniques are applied by multiple sand
artists, making the information accurate. The information regarding the
activities of sand animation are part of the news as it comes from online
newspapers and magazines and mentions a few big events which did take place
and so there is proof for it. The information on creating storyboards and
sound can also be verified by the two print sources mentioned and the
information listed is also based on people experienced with animation and can
be verified through them.
D. Is the information up-to-date?
(Currency) Is the information current or still valuable if it
is older?
Sand animation has been present for quite some
time and the basic form of sand animation has not really changed so the
information is still valuable if it is older, though the information is still
up-to-date as sand animation artists are still practicing the art
form/technique.
E. Is the information
objective/not biased? (Objectivity)
Overall the information is not biased as other
sources give the same information regarding the tools and materials and the
information regarding the type of sand used comes from more than one artist.
Most of the information regarding the hand movements are also taken from more
than one source, the piece of information that might be bias is the one about
the steps used to create sand animation, as I got this information only from
one source. The information regarding the activities of sand animation can be
more bias as I didn’t quote it from various sources however the events
attended by the experts of sand animation did happen. The information
regarding creating a storyboard and about sound are also objective as most
sources say about the same main thing and the main print source that I use
has the information compiled from the experience of several animators.
F. What information do I
still need?
At this point I don’t really need any more
information and simply need to start creating my sand animation in order to
become familiar with the media so that I can do quick research if I run into
a problem.
G. What new questions does
my research bring?
My research brings the new questions of how to
mimic the different hand movements to get the desired effect, which can be
solved through practice once I start creating my product.
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Criterion D. Application of Information
Students should transfer and apply information to make
decisions, create solutions and develop understandings in connection with the
project’s goal.
(Note: Please include reference/in-text citation)
How is this information useful throughout the project to
achieve the goal for:
1.
Specifications of the product/outcomes:
It helps me to fulfill the
specification of the product of a sand animation, as the
information on the materials,
tools, steps and techniques needed in creating a sand animation is essential
to being able to create a quality product. For example without knowing the
following, “Tools: - Your hands - Light box or overhead projector (or other flat
translucent surfaces (such as glass) and a light source) - Camera to video
the sand animation… Materials: - Sand (volcanic sand (based on Kseniya
Simonova who creates sand animation (the performance type (which I am
doing)), white beach sand (based on Caroline Leaf who is a sand animator),” (Kenyon, Heather, Kseniya Simonova) The information regarding the hand movements will
help me to pick out 10 from the number that I have collected in order to meat
the specification: will
apply a minimum of 10 of the hand movements that I have recorded in my
research. The information regarding the sound will also help me in applying
sound to my movie to fulfill the specification: There must be music in at
least some parts of my video. These are the things that the information will
be useful for in fulfilling my specifications.
2. The
techniques chosen in different stages:
Design:
It will help me to think of the possibilities of the design and its
limitations, for example the different hand movements show me the variety of
shapes that I can create with lines of different thicknesses and this will
help me in creating my design. Also, I need to choose 10 of the hand
movements to become part of my design. In the design, the information about
sound and adding music is also good to keep in mind so that the story design
will integrate well with the music. The design will also be created in the
form of a storyboard with the details of that in the information above.
Plan:
Based on the information, in the planning process I now know better the tools
and materials that I need to prepare aside from simply creating a timetable.
Create:
In the creation process, I now know how to create a good quality sand
animation, and so I can create a sand animation that will be pleasing to my
viewers.
Evaluate/Testing
Method: In the evaluation, I will be able to use the information gathered,
such as the techniques used, to judge whether or not my sand animation has
met a good standard and if it has met the design specifications.
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STEP 4. USE OF INFORMATION NOTE-TAKING
SHEET (show references in a
bibliography (MLA)
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Criterion A.
Process Journal
Students should demonstrate
information literacy, thinking and reflection.
What
animation principles can be applied to sand animation?
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Sources (MLA)
Sanders, Andrien-Luc. “What is Sand
Animation?” About.com. Web. 2 Aug.
2012. <http://animation.about.com/od/faqs/f/What-Is-Sand-Animation.htm>.
De Stefano, Ralph A.
“Squash and Stretch.” University of
Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/squash.html>.
De Stefano, Ralph A.
“Timing.” University of Illinois at
Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/timing.html>.
De Stefano, Ralph A.
“Anticipation.” University of Illinois
at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/anticipa.html>.
De Stefano, Ralph A.
“Staging.” University of Illinois at
Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/staging.html>.
De Stefano, Ralph A.
“Follow Through and Overlapping Action.” University
of Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/follow.html>.
De Stefano, Ralph A.
“Straight Ahead Action and Pose-To-Pose Action.” University of Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/straight.html>.
De Stefano, Ralph A.
“Slow In and Out or Eases.” University
of Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/eases.html>.
De Stefano, Ralph A.
“Arcs.” University of Illinois at
Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/arcs.html>.
De Stefano, Ralph A. “Exaggeration.” University of Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/exaggera.html>.
De Stefano, Ralph A.
“Secondary Action.” University of
Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/secondar.html>.
De Stefano, Ralph A.
“Appeal.” University of Illinois at
Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/appeal.html>.
De Stefano, Ralph A.
“The Principles of Animation Table of Contents.” University of Illinois at Chicago. Web. 2 Aug. 2012. <http://www.evl.uic.edu/ralph/508S99/contents.html>.
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Not all animation principles may apply to the sand animation form that
I am practicing, which is the performance one, because of the following:
"Sand
animation" is a broad term used to refer to two methods of creating
moving pictures / films of sand art; one method is an actual animation
technique, while the other focuses more on capturing the act of painting with
sand on film. They can end in the exact same result, but they're still
different...and only one counts as real animation… In actual sand animation,
each frame is created individually by the animator, then captured on camera,
just like in cel animation. The only difference is that instead of using ink
and paint on acetate cels, the animator is using sand on a flat surface,
usually made of either wood or backlit glass. Because this form of sand
animation still follows the basic definition of animation (still images
arranged in sequence and played at a speed that creates the illusion of
motion), it's still considered an animation technique… The other practice
often referred to as "sand animation" isn't animation at all, but
just video of sand painters creating their art. Instead of creating the
illusion of motion, the camera is capturing actual motion on video…This
practice is more accurately referred to as "sand painting."
(about.com)
The following
are basic animation principles:
-
Squash
and Stretch:
Rigidity: How rigid or stiff an object is made out to be is based on
how stretched or squashed the object is. For example when you are bouncing an
ball, how far it stretches and squashes determines how rigid the object is.
Volume: When you stretch and squash an object in an animation, you
have to make sure that the volume of the object remains the same.
-
Timing:
Weight: Timing an determine the weight of an object based on how
long it takes the object to perform an action, such as how long it takes a
ball to roll.
Scaling Properties: Timing partly contributes to the size and scale
of an object. Something larger will move slower than something smaller.
Determining Emotion: How fast or slow a character takes to do a
movement helps to show the emotion of the character.
-
Anticipation:
Indicating Speed: The position of a character can help the audience
to anticipate the action that follows. For example, if a batter in a baseball
game prepares to hit the ball with the bat swung far back, the audience will
expect that the ball move to a far distance and at a fast speed.
Directing Attention: An audience can be made to anticipate an action
in a certain direction. For example, if a character glances in a certain
direction, it will indicate that something will happen from that direction.
Revealing: The action of a character will make the audience
anticipate what the character does next.
Rules are made: You can use anticipation to mislead the audience.
For example, if a person bends down in a position that indicates he will lift
a heavy object, the audience thinks that the object will not be easy to lift,
however, the person might fall from a miscalculation so that the objects are
actually light.
-
Staging:
Readability: To draw the audience’s attention to a certain point
within the animation frame.
Personality: The features and body language of a character will help
tell the audience about its personality
Mood: The composition and light and dark can be used to give of a
certain mood.
-
Follow
Through and Overlapping Action:
Follow Through: Actions don’t suddenly come to a stop but have a
follow through.
Initiation: On action can initiate another.
Weight and Drag: Characters and object normally have a loose part so
that after the main or lead part of the object stops, the loose parts
continues to drag before stopping later. The heavier this loose part the
longer it takes to stop and vise versa.
Overlapping Action: There should not be a gap between on action to
another. This makes the actions more realistic.
-
Straight
Ahead Action and Pose-To-Pose Action:
Straight Ahead Action: This is when the animator works straight from
the first drawing of the scene. This is used for wild, scrambling actions.
Pose-To-Pose Action: The animator figures out exactly what drawings
will be used in a scene. Used when good acting, poses and timing are
important.
Relevance to CGI: You have to build a hierarchy. The animation is
built up from the first pose till the end of the action.
-
Slow In and Out or Eases:
Interpolation: Shows an object’s in between position, from one
position to the next.
Speed: Eases are used to show the acceleration and deceleration of
an object.
Tangency: The in between of the object needs to be animated
correctly or their can be overshooting.
-
Arcs:
Expressive Motion: An arc describes the visual path of an action
from one extreme to another. The arc makes motion less stiff then a straight
line.
Relevance in CGI: In computer animation the arc is used to create
more expressive motion.
-
Exaggeration:
You can exaggerate some things in a scene, such as expressions so it
is easier for the audience to get the idea of the feeling expressed. You should
also remember about balance, so don’t exaggerate all of the objects and
features in a scene this will make the scene still look realistic.
-
Secondary Action: An action that results directly from another
action.
Conflict: A secondary action should not become more interesting or
dominant from the first action. If this happens then there is probably a
wrong choice or improper staging.
Facial Animation Dangers: A facial change in expression should
happen before or after a move, not during one so that it will be noticed.
-
Appeal:
Quality: The characters and pictures in a scene should have a good
quality so that it will be pleasing to your audience and capture their
attention.
(University of Illinios at Chicago)
-
Strong Drawing
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Evaluate your sources! (The Evaluation should be done
per-topic research, not per-resource and draft should be posted on the
journal)
a.
How the information suited to
the project? (Coverage)
Does the information help me
respond to the inquiry question?
Yes, the information helps me to respond
to the inquiry question as it teaches me that animation principles don’t
necessarily apply to the form of sand animation, also called sand painting
that I am studying. There are though, a few principles that can still be
applied in the scenes I produce in my sand animation.
Does the information belong to my
topic?
Yes, the information belongs to my
topic as it will help me in creating my final product through the few
applicable principles and it also teaches me that the direction that I go
with this project is not necessarily pure animation.
Will the information help me to develop
my project product?
Yes, the information will help me in
developing my product through the information regarding the animation
principles that can still be applied to my project and it teaches me that the
development of my product is not truly in the direction of animation.
Does the information connect clearly
with the area of interaction or aspects of it?
Yes, the information connects with the
area of interaction of Human Ingenuity, as the principles show creation and
creativity as people have developed sand art into different forms and people
have developed animation till they have come up with basic principles.
B. Is the information source reliable (Authority)? Where
does the information come from?
The
information is reliable as about.com is still part of the New York Times
Company and the other sources all come from Illinois University.
C. Is the information accurate? Can the information be
verified in another source?
Yes,
the information is accurate as you can find the information regarding the
definition of sand animation in other sources as well as the information on
the principles of animation on other websites, such as: http://www.rizawerks.com/how/12principles/12%20principles.htm
D. Is the information up-to-date?
(Currency) Is the information current or still valuable if it
is older?
Sand animation has been around for quite some
time so the information may not be that current but it is still valuable, as
there are still those two branches of sand animation today. As for the
information regarding animation principles, they are still valuable if they
are older because though animation technologies may change, the basics of
animation haven’t, so the principles related with animation should not change
overtime.
E. Is the information
objective/not biased? (Objectivity)
The information is not bias as other sources give
the same information as can be seen through the verification.
F. What information do I
still need?
In this topic I don’t think I still need to find
information.
G. What new questions does
my research bring?
My research brings the new questions of how to
apply the applicable principles in my storyboard and design, which will come
when I start creating my product and designing my product.
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Criterion D. Application of Information
Students should transfer and apply information to make
decisions, create solutions and develop understandings in connection with the
project’s goal.
(Note: Please include reference/in-text citation)
How is this information useful throughout the project to
achieve the goal for:
3. Specifications
of the product/outcomes:
The information helps to achieve the product
specifications as sand animation, from the name you can tell is a branch of
animation. From the information above I can further understand what a sand
animation is and so fulfill my design specification of creating a sand
animation. For example, I have found that the type of sand animation I am
aiming for is not an actual form of animation (about.com). Therefore not all
the principles of animation can be applied to my product. Also from the information I can
conclude from the various animation principles, which can still be applied to
‘sand painting’. Not all of the listed principles are applicable, for as
mentioned ‘sand animation’, the type that my project is about, is not a true
animation form but more of a ‘sand painting’ media. The following are the
animation principles that are still applicable to the type of ‘sand
animation’ that I am studying:
-
Staging:
Readability: To draw the audience’s attention to a certain point
within the animation frame. [This may be applied by the direction of the hand
movements and the speed of the hand movements.]
Personality: The features and body language of a character will help
tell the audience about its personality
Mood: The composition and light and dark can be used to give of a
certain mood [the composition of the scenes and the amount of sand used (to
create darker or lighter images) can help to give a mood as well as music]
-
Exaggeration:
You can exaggerate some things in a scene, such as expressions so it
is easier for the audience to get the idea of the feeling expressed. You
should also remember about balance, so don’t exaggerate all of the objects
and features in a scene this will make the scene still look realistic.
-
Appeal:
Quality: The characters and pictures in a scene should have a good
quality so that it will be pleasing to your audience and capture their
attention.
(University of Illinios at Chicago)
- Strong
Drawing
I can then use
the information regarding the animation principles as my design
specifications, so that the applicable principles are present in my product.
4. The
techniques chosen in different stages:
Design: I
can use the information to create a design that fulfills the applicable
principles of animation in this media of sand animation to create a better
design outcome.
Plan: In
planning, I will now know better how much time to allocate for the creation
of the sand animation, which (the actual video of the sand animation) can
take a shorter time to create then a video of real animation, as you do not
need to move the sand bit by bit, but video the whole process of shifting the
sand. This will make my plan more realistic.
Create:
In the creation process, I can apply the applicable principles of animation
in my sand animation; it also helps to give further points to check my
product on.
Evaluate/Testing Method: The information helps me in
evaluating as I can evaluate my product based on how well the principles of
animation were applied as it is my design specification.
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Criterion A.
Process Journal
Students should demonstrate
information literacy, thinking and reflection.
What does my target audience need?
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Sources (MLA)
Adipratama,
Agung Kurnia. “Sand Animation.” Survey. 1 October 2012.
Arroyo, Alejandro
Rafael Guariguata. “Sand Animation.” Survey. 13 September 2012.
Bavidge, Brodie. “Sand
Animation.” Survey. 13 September 2012.
Beatrice, Prisca. “Sand
Animation.” Survey. 13 September 2012.
Budiman,
Raymond. “Sand Animation.” Survey. 14 September 2012.
Cassandra, Vanessa.
“Sand Animation.” Survey. 13 September 2012.
Christianto,
Hansen. “Sand Animation.” Survey. 14 September 2012.
Ferdinand, Kevin. “Sand
Animation.” Survey. 13 September 2012.
Georgio, Antonius.
“Sand Animation.” Survey. 13 September 2012.
Geralno, Christoper.
“Sand Animation.” Survey. 13 September 2012.
Ha,
Choi Jun. “Sand Animation.” Survey. 14 September 2012.
Hiresh. “Sand
Animation.” Survey. 13 September 2012.
Ho,
Jung Sun. “Sand Animation.” Survey. 14 September 2012.
Igianto, Kevin. “Sand
Animation.” Survey. 13 September 2012.
Jacky. “Sand
Animation.” Survey. 13 September 2012.
Joel,
Axel Tobias. “Sand Animation.” Survey. 14 September 2012.
Karjawan,
Myron Marchel. “Sand Animation.” Survey. 14 September 2012.
Kartadinata,
Darrell. “Sand Animation.” Survey. 14 September 2012.
Kristianto, Tiffany
Valeska. “Sand Animation.” Survey. 13 September 2012.
Kurniawati,
Rininta Ayu. “Sand Animation.” Survey. 14 September 2012.
Kusumahadi, Chiquita
Vania. “Sand Animation.” Survey. 13 September 2012.
Lukita, Benedicta
Jeanne. “Sand Animation.” Survey. 13 September 2012.
Makhijani, Sherni.
“Sand Animation.” Survey. 13 September 2012.
Megasari,
Dewi. “Sand Animation.” Survey. 14 September 2012.
Michelle. “Sand
Animation.” Survey. 13 September 2012.
Osari,
Yuu. “Sand Animation.” Survey. 14 September 2012.
Pitaloka, Amanda Dyah.
“Sand Animation.” Survey. 13 September 2012.
Purba,
Regina Jessica Angeline. “Sand Animation.” Survey. 14 September 2012.
Rangita, Chandrika.
“Sand Animation.” Survey. 13 September 2012.
Reyhan,
Muhammad Ega. “Sand Animation.” Survey. 14 September 2012.
Rosejasmin,
Keri Liza. “Sand Animation.” Survey. 14 September 2012.
Ryan,
Vincent Parluhutan. “Sand Animation.” Survey. 14 September 2012.
Salim,
Jordy Celia. “Sand Animation.” Survey. 21 September 2012.
Sanantha, Jennifer.
“Sand Animation.” Survey. 13 September 2012.
Sekartaji, Najla
Latifa. “Sand Animation.” Survey. 14 September 2012.
Sitorus,
Anggiat Bright. “Sand Animation.” Survey. 14 September 2012.
Sugianto, Felicia.
“Sand Animation.” Survey. 13 September 2012.
Tjia, Michelle. “Sand
Animation.” Survey. 13 September 2012.
Veronica, Angel. “Sand
Animation.” Survey. 13 September 2012.
Wijaya,
Calvin Anugerah. “Sand Animation.” Survey. 14 September 2012.
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My target audience will be my grade level, the
people currently in grade 10.
Based on the survey bellow, I can understand
what my class knows about sand animation and their preference on the
animation time and theme. In brackets are the number of people who chose the
option:
1.
Have
you ever heard of sand animation?
a.
Yes
(22)
b.
No
(18)
Sand
animation is a technique where you move sand around using hand motions to
create pictures that when combined create a story.
2. How
long do you think a short animation should be?
a. <5
minutes (15)
b. 5-10
minutes (23)
c. >10
minutes (2)
3. If
the story that I create with sand animation is themed about countries, which
countries would you suggest? Pick any three.
a. Europe:
i. England
(22)
ii.
France (8)
iii.
Rome (17)
b. Asia:
i. Japan
(12)
ii.
Indonesia (16)
c. Africa:
i. South
Africa (5)
ii.
Zimbabwe (14)
d. America:
i. USA
(11)
ii.
Brazil (9)
e. Australia
and Oceania:
i. Australia
(6)
4. What
should the story from your chosen countries be about?
a. History
(8)
b. Folktales/Fairytales
(17)
c. Culture
(7)
d. Famous
sites/landmarks (8)
When I have finished creating my Personal
Project product, I will show the animation that I created during technology
class on either December 3, 7, and 10. The following are my survey questions:
1.In which parts of the movie do you feel that
the music is suitable to the movie?
2. What or which part do you enjoy or
find interesting about the movie?
3. What do you think should be improved?
4. Do you feel that your attention is
always focused on a certain part of the picture as the movie is playing or
that there are too many things to focus on at one time?
5. What do you think the personalities
of the characters are like?
6. In a certain part of the movie, do
you feel a certain mood?
7. Do the scenes look balanced? Is there
a part of the movie where there are too many objects and characters to focus
on?
8. Do you think the movie has a good
quality? Why?
9. Do you think the drawings are done
well? Which scene do you think was the best and which can be improved?
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Evaluate your sources! (The Evaluation should be done
per-topic research, not per-resource and draft should be posted on the
journal)
a.
How the information suited to
the project? (Coverage)
Does the information help me
respond to the inquiry question?
The information is suited to the project as I require to have a target
audience in doing my personal project, and above you can see that I have
stated my target audience. The information regarding the survey and the
answers towards the survey is also suited to the project, as I can use this
information in helping me create my design specifications. The last bit of
information where I will show my product to my target audience and conduct a
survey is also suited to the project as it will give me feedback about the
product that will help in determining the success of my product as well as if
it has met with some of the design specifications.
B. Is the information source reliable (Authority)? Where
does the information come from?
Yes, the information source is reliable as the
main research done in this research topic was the survey, which was conducted
towards the people in my grade level. As they are also my target audience,
they should know best what they prefer to see in my sand animation product
and so they are a reliable source.
C. Is the information accurate? Can the information be
verified in another source?
As the information in this research topic (the
survey answers) are based on personal knowledge and preference, every
person’s answer will be different, though you can find the majority of votes.
Though you cannot really verify the information with another source, it can
still be considered accurate in this context as the information is
subjective.
D. Is the information up-to-date?
(Currency) Is the information current or still valuable if it
is older?
Yes, the information is
still very current. The survey has just been conducted in the month of
September so people’s opinions should not have changed yet and won’t change
much once the product has been created by December.
E. Is the information
objective/not biased? (Objectivity)
Yes, the information is
objective/not biased as my target audience are the people in my grade level,
grade 10, from my school, Pelita Harapan International Sentul City, and I
have surveyed every person in my class. Therefore the information is not
biased to a certain group or personality in my grade level, but the
information is objective to my whole grade level.
F. What information do I
still need?
Information that I
still need is the precise date of showcasing my product that I have to
confirm with ibu Lisa.
G. What new questions does
my research bring?
New questions that my
research brings is how I will create a interesting sand animation, that has
the things that people prefer based on the survey.
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Criterion D. Application of Information
Students should transfer and apply information to make
decisions, create solutions and develop understandings in connection with the
project’s goal.
(Note: Please include reference/in-text citation)
How is this information useful throughout the project to
achieve the goal for:
1. Specifications of the
product/outcomes:
The information is useful in
achieving the goal for the specifications, as the information regarding the
survey answers (various people from my grade level. “Sand Animation.” Survey.
13 September 2012) will help me in determining my design specifications, such
as how long the animation should be,
and what the outcome of my product will be, based on the country and topic of
preference. The information on the survey questions for the evaluation that
has been based on the design specifications, will also help me to determine
if I have reached/achieved my specifications or not.
5. The
techniques chosen in different stages:
Design: In this stage, I can use
the information of the survey (various people from my grade level. “Sand
Animation.” Survey. 13 September 2012) to help me in designing my product.
The technique that I will choose, is where I will use the majority of the
votes, to become part of my design. For example, I will design the sand
animation story around the countries that got the most votes.
Plan: The techniques that I will
choose is to have all that I need ready and this includes being ready for
having to show my work to my target audience. This information can effect how
I plan my time, to be able to include this.
Create: The techniques that I
will choose is to video the performance of creating the sand animation a
number of times until I get the best result. The information will help me
here as a reference to the objectives of the animation. Also, the information
that I need to set up time to show my animation, will effect how long I have
in the creating stage.
Evaluate: The information
regarding the survey will help me in this part of the process, as the
technique that I choose to evaluate my product with is to do another survey
towards my target audience. The survey questions that I have created for the
evaluation, will help me determine if I have met the design specifications or
not.
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