In the stop-motion and mixed-media classes, I gained a lot of experience across multiple fields.

In the clay animation class, we created very simple geometric character designs. Since the three characters needed to interact with each other, time management was crucial. We carefully controlled the sequence of their movements to avoid visual clutter. In the end, I also experimented with adding music and sound effects to this short animation. Later, in my sand animation and other projects, I continued exploring sound design, which laid a preliminary foundation for my future ideas about creating my own music.  

In the puppet-making class, I systematically learned how to create the basic armature of a puppet. I discovered that corkwood is an excellent material—I had never used it before. It is easy to shape, resistant to deformation, lightweight, and more convenient to work with compared to the clay I previously used. In terms of costume-making, I am not skilled at hand sewing, so I was especially grateful to our teaching assistant for patiently demonstrating how to make a pleated skirt. In the end, I successfully crafted a well-fitted outfit for my puppet.  

During the animation stage, I found that achieving smooth movement was relatively easy, but capturing rhythm and expression was the real challenge. I reshot my class assignment multiple times. In my first attempt, the puppet’s antennae and limbs moved simultaneously, making the animation feel unfocused and rigid. Later, I deliberately controlled the sequence of movements, emphasizing the anticipation and follow-through of each action. This significantly improved the final result. Additionally, I experimented with scene effects that matched the thematic mood of my animation.  

In the sand animation class, I realized the importance of storyboarding. Due to the nature of sand animation, once a frame is shot, it cannot be revised, making the initial storyboard construction crucial. For my assignment on ocean pollution and marine life, I first sketched a series of storyboards to establish the sense of motion and spatial composition I wanted to convey. Then, during the actual animation process, I focused on exploring the texture of sand at different densities and experimented with the use of positive and negative space. I primarily used blank negative space to shape the main subjects, aiming to create a sense of fluidity and breathability within the composition.  

The final stage was paper-cut animation. The biggest difference from the previous techniques was that this class was much more freeform and unpredictable. Paper-cut animation embraces the uncertainty of shapes and patterns, breaking conventional creative boundaries. For instance, when designing our characters, we did not overly refine the details, yet they still appeared vivid and lifelike.

Additionally, I learned how to use multiple layers to synchronize animation production, and I even experimented with holding cut-out pieces by hand to create a blurred foreground effect that complemented the movement. While paper cutouts may seem flat, the clever use of space and layering resulted in a more dimensional artistic effect. We were quite satisfied with our final shoot. In the beginning, the characters entered the scene in sync with the music. Then, by moving the background instead of the characters, we created the illusion of forward motion, gradually revealing the blurred foreground elements. Within the limited time frame, we explored various techniques under our instructor’s guidance, striving to bring the visuals to life.  

Throughout each stage of the stop-motion and mixed-media classes, I gained valuable technical skills and a great deal of enjoyment. I loved experimenting with new materials and techniques and continuously exploring different artistic approaches. This experience made me feel like I was not just making animations but also playing with my materials and characters. I am also deeply grateful for my teachers’ patience and detailed guidance. I hope that in the next phase of my studies, I will be able to independently create more outstanding personal works.

Woodcut animation, with its unique handcrafted texture and visual tension, has pioneered a form of animation characterized by powerful artistic expression. This style not only preserves the charm of traditional woodcut art but also opens new creative avenues in experimental animation.

The origins of woodcut animation can be traced back to the early 20th century during the experimental animation era. German Expressionist art had a significant influence on its development. Animation created using woodcut prints emphasized lines, contrasts of light and shadow, and dramatic visual effects. At the time, it was often used to express social critique, satire, and intense inner emotions, showcasing strong theatricality and artistic depth.  

Lotte Reiniger’s “The Adventures of Prince Achmed” (1926) features a striking visual style with bold black-and-white contrasts. It maintained the handcrafted quality of traditional art while transforming it into dynamic imagery, providing inspiration for the future of woodcut animation.

After the mid-20th century, woodcut animation began incorporating modern technology. The advent of digital tools further enhanced its expressiveness and efficiency. 

The Japanese artist Segawa37 uses Photoshop and After Effects to integrate traditional woodblock illustrations with modern cultural elements, creating a series of humorous and engaging GIF animations.

 “A Picture of Floating Worlds”, inspired by Japanese ukiyo-e, combined woodblock printing, manual techniques, and customized digital programming to explore the integration of traditional crafts and modern technology. Its visual style retained the bold black-and-white aesthetic and handcrafted textures while becoming more fluid and lightweight. Through processes like laser cutting, reassembly, frame scanning, and digital compilation, it created a more efficient workflow—a significant innovation in woodcut animation’s evolution.

Today, the woodcut animation style has gradually found applications in commercial fields such as advertising and music videos. For instance, the MV “Sun More Often” (2020) by Beabadoobee, while not directly using traditional woodcut techniques, presents a visual style with textures and carving-like qualities reminiscent of woodcut art. This approach enhances the song’s vintage and whimsical atmosphere.

Woodcut animation, with its unique artistic expression, embodies the fusion of traditional craftsmanship and modern technology. From the experiments of German Expressionism to the revival of modern digital animation, woodcut animation continues to evolve, expanding the boundaries of animated art and offering audiences a fresh visual experience. However, due to its high time and labour costs, its application in commercial fields remains relatively rare.