Meet our Multi-plane Setup: Paper & Silhouette Puppets

 

DATE & TIME
Tuesday March 17th 2020 6:30pm – 9:30pm
AND
Tuesday March 24th 2020 6:30pm – 9:30pm

Technical Skills Development – Beginner

INSTRUCTOR  Lynn Dana Wilton

2 sessions

Non-member $180/ TAIS Member $144/ Subsidized $84 Registration Open!


 

Meet Our Multi-plane Setup with Lynn Dana Wilton

Nearly 100 years ago, the multi-plane setup was developed by animation pioneer Lotte Reiniger.  Come learn about its history and meet TAIS’ own setup.

This introductory course will let you discover how to employ simple cutouts on layers of glass to create a greater sense of depth.  Build puppets and environment elements using easily found materials then get them under camera. Basic materials will be provided (and your own are welcome, too) and everyone will get the opportunity to see their elements come to life.

If you bring a USB stick, you can take home a copy of your raw footage.  Leave an email address with Lynn, she will produce a credited version at a later date and connect you with a link to it.

 


Lynn Dana Wilton

A graduate of Sheridan’s Classical Animation programme, Lynn’s diverse experience covers commercial work for a wide range of studios and filmmakers including Cuppa Coffee, Halifax Film Corp., Alliance Atlantis for the CBC & BBC, Family, Nickelodeon, Teletoon, and Logo; TV series (Scout & the Gumboot Kids, Rick & Steve: The Happiest Gay Couple In All the World”); specials (“A Miser Brothers’ Christmas”); docs (“Book of Dog”, “Four Faces of the Moon”); interstitials (Sesame Street, TVO); independent film & art installations (“Biidaaban”, “Star Blanket”); as well as international film festivals with personal projects (“Chrysalis”, “(Re)Cycle”).  She teaches at OCADU and works repeatedly with TAIS and TIFF.  She was also the first animator selected for TPL’s “Artist In the Library” residency, producing “10,000 … Or So”.

 

“I’m a stop-motion nomad. Getting my hands on a range of materials and moving them around under a camera is what gets me excited. The best thing about stop-motion is having a connection to something real; whether it’s a fully armatured, three-dimensional puppet or pile of sand on a light table. An audience understanding what your character or material is thinking & feeling is where the real magic happens.”