SLQ Wiki engagement:the_great_and_grand_rumpus

Apple Head Flying Costume

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 14:55:09 +0000

Apple Head Flying Costume

The idea brief: IDEAS BRIEF 2: Flying Apple Men; Red Ants from Pluto; Snot Blurping Monster; Moon Swing; Troll Fairy

Designed and made by:

Toby an education student worked on the apple head along with Mick. The cape was worked on by Emma Che and Toby. After many iterations the helmet and cape that you see here was made.

Story #1-5072 The Flying Apple Tribe

Warriors of the Flying Apple Tribe. You must be asking, for what do we fight? Our trees have been destroyed? Why don’t we give up? I’ll tell you why. We fight to defend our friends the Plutoni-ants. We fight because snot blurping monsters have blurped on their beautiful, baffling poetry. We fight because we look dashing in our Serenity Capes’ designer outfits.

Here are your orders: Apple up. Don your cape. Go forth and shut down dem bad apples.

Commodore Granny Smith

Idea by Luciella (10), Leo (6) and Neson (8). Designed by Toby. Made by Ted and Jennifer.

apple_head_foam.cdr

frantic_turing-gogo_3_.stl

123d make file

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Project Progress Table on Gdrive

Prototype

Actual

GGR Asset Dump

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 16:09:20 +0000

GGR Asset Dump

dream.ai

girl-hero.ai

dream.ai

lollipop-tree-1.5m.ai

lollipop-tree-1m.ai

lollipop-tree-2m.ai

lollipop-tree-38cm.ai

moon.ai

periscope_1_.docx

red-ants-from-pluto.ai

robot.ai

sea-2.mp4

snake.ai

snot-blurping-monster.ai

troll-fairy-2.ai

Star Making Bullfrog

anonymous@undisclosed.example.com (Anonymous) — Thu, 12 Jul 2018 13:07:00 +0000

Star Making Bullfrog

star_making_bullfrog_stage_projection_idea_brief_ggr_project.docx

star_making_bullfrog_stage_idea_brief_ggr_project.docx

Bullfrog The design goes over the stage area. It's legs are on either side of the stage (part of the frame). Mouth is below top of the frame eyes and head above the top of the frame.

3.6metres wide

2.4metres high

1.2metres for the head

Story #96-27 The Star Making Bullfrog

It’s the Bully F.R.O.G in the place to be. Come on down, get on up. Shake your rumpus. Let’s dance. I want to make you a star.

Idea by Emilia (5), Reuben (6), Harry (6) and Jack (6). Designed and made by George, Peter, Tim, Mari and Walter.

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Bump out

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:06:44 +0000

Bump out

The Edge space is booked the Monday after the GGR installation closes. We therefore need to begin bump out on the Sunday we close. Then continue on the Monday. The first things we considered for the bump out were:

- Is there anyone that would like to keep any of the work in the installation? (including The Edge and YPF as well as community members)

- what needs to be bumped out first

- How are we going to get rid of all of the cardboard! (In the end, a cardboard-only skip was ordered, and filled - the material was then removed and recycled)

Draft Plan

Bump out Sunday 15th July 3-8pm

Cut up into small pieces and dismantle in the auditorium:

- Meg’s Garden & Tree

- Bullfrog

- Catamaran

Bring the following down to the office area at 6pm:

- Troll Fairy

- Snot blurting monster

- Apple people

- Cat

- Lollipop trees

- Meg

- Handbag

6-8pm A community member to dismantle the robots head and take to Junction Park state school

Bump out on Monday 16th July

- The moon

- Pluto cut down

- Entryway cut down

- The Shark cut down

- Tunnel

- Jellyfish and net

Cat in a Catamaran

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:56:30 +0000

Cat in a Catamaran

Idea came from and the process for this idea:

IDEAS BRIEF 3: Cat in a Catamaran; Fashion Designer from Candytown; Star Making Bullfrog; Pluto Whispering Booth

Designed by:

Two university students worked on the design for the catamaran. Brianna was one. They had a few prototypes and then…. came back in to fabricate what you see here.

Story #9752-Cat in a Catermaran

Welcome aboard The Catamaran Catch. My name is Katsa Awesome. I will be your cat-ain and co-superhero today. Our job is to take passengers across the river, provide an audio tour of our beautiful city and to avert cat-aclysmal cat-astrophes. In the event of a cat-aclysmal cat-astrophe, hoist the ninja flag onto the mast. If the nature of the cat-astrophe is animal, vegetable or mineral, switch out to the sparkle flag. If the cat-astrophe is a natural disaster, raise the rainmaker flag. If the cat-astrophe is supernatural, feed me a tin of sardines in brine. It will turn me into an inflatable life raft for our escape. Alternatively, feed me sardines-in-oil to turn me into a powerful cat demigod.

Idea by Jack (5). Designed by Sofia an Breanna Made by Sofia and young people from Flying Arts.

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Celebration Day

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 16:05:25 +0000

Celebration Day

There were two opportunities to celebrate with the communities involved in the GGR process:

1. Thursday 12th 6-7pm (during Hack the Evening) for Edge design and fabrication community

2. Saturday 14th July children and families community celebration day (10-12pm) including a parade.

Edge community

PREP:

- Write up on board in the fabrication lab and in the Slack groups for the project

- Create a slideshow of photos from the whole project

- Submit catering form for pizza

The Plan

(Mick and Emma Che)

- Welcome (Have music playing)

- Thanks for coming,

- Introductions (in case everybody doesn’t know each other)

- talk to the process that has been undertaken (design and fabrication and the struggle to hit deadlines)

- See if anyone would like to keep any of the work as well

- Do a tour of the complete work on level one together, make a mini me and use tag tool in the auditorium (projecting on to the moon and the bullfrog in the auditorium with the audio playing in the space as well)

Children and families community day

Here is the running order for the day:

10.30am Director arrival to the Edge Auditorium for 30 minutes of informal conversation and installation touring with community and staff about project.

11am

Director address the community and children about the GGR project, speech notes provided.

11.15am

Tim (creative play arts worker) speaks to children about the installations in the Auditorium and describes some of the stories whilst in character.

Tim invites children to Parade.

11.30am

Parade commences.

11.45am

Tim closes proceedings with a call to have a group photo and to PLAY!

Lead in workshops with Children and Families

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:23:24 +0000

Lead in workshops with Children and Families

Engagement Style: Free children’s workshops, facilitated creative process, fabrication sessions

Venue: The Corner, The Edge Auditorium, Innovation Lab, Window bays

Dates: 13 May – 17 June

Capacity: 5 family groups of 5 (max)

Staffing/Contractors: Lead facilitator, Corner Artsworkers, 1 writer, 1 Edge staff

Rationale: Over 6 weeks of workshops the creative team will work with children and families to create artefacts that will be used in final installation of the Great Grand Rumpus at The Edge. The workshop process aims to showcase the creative output of children and families and use their designs as the stimulus for community and young people led fabrication process with purpose. Resulting in a large scale installation at The Edge designed and created by the public.

Activity: Facilitated activities to include · Groups of children and families will be led by professional artists through a facilitated creative process to generate designs for space making and set design for the GGR. Artefacts and stories of the ideas generated by children and families will be collected. The writer will be in attendance to document the process and narratives. · A designer with a group of design students, weekly will enter children’s designs digitally. · Fabrication volunteers will receive the designs each week and fabricate for installation · Before the school holidays all large scale works will be installed by The Edge and YPF staff.

Participation/Outcomes/Success Measure

12 x workshops with children and families.
24 x artefacts for translation to digital design and fabrication by Edge community
6 x weekly fabrication sessions with Edge community
Ongoing Professional development for YPF staff working with Edge team and using wiki documentation to create library of resources from workshops
Public installation at The Edge to be used as the site of provocation and design for workshops through the winter holidays.

Workshop Description: Imagine the Rumpus!

A workshop series for children aged 6-9 and their families.

State Library is seeking a group of young advisers to imagine the wild and wonderful world of ‘The Great and Grand Rumpus’, a community created play-based installation taking over The Edge in the upcoming winter school holidays.

In these collaborative and creative workshops, children aged 6-9 and their families will join a team of artists to play with stories, art and ideas. Bring yourselves and your imaginations, everything else will be provided!

Ideas developed throughout this workshop series will be the building blocks of ‘The Great and Grand Rumpus’ installation, a magical and interactive place where children’s ideas have been brought to life, realised at scale by student and community design and fabrication teams at The Edge.

Clown Fish Eye View

anonymous@undisclosed.example.com (Anonymous) — Thu, 12 Jul 2018 11:08:15 +0000

Clown Fish Eye View

clown-fish-marquette.cdr

clown_fish_1.ai

Cut files for clown fish

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Project Progress Table on Gdrive

Lead in installations: Plan

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:21:39 +0000

Lead in installations: Plan

Why?

These lead in installations are a way to re-engage with community after a break (Christmas holidays) and to build new community that will become repeat users. It is hoped that from these installations a community will emerge that will stick around and will be the fabricators for the next stages in the Great and Grand Rumpus.

The first installation also acts as a transition from the One Last Apocalypse programming to The Great and Grand rumpus programming as it is still referring to a known entity (cardboard Kaiju) and beginning to introduce GGR (party).

The communities involved in these installation processes are:

re-engaging communities that engaged with One Last Apocalypse. These include a flexible learning school, men's sheds and individuals in the community that emerged from call outs)
Edge volunteers and Hack the Evening community
the wider Edge community
Community groups that are new to The Edge

How we reach out to new communities

We have found that some organisations want to hear about the whole program that we are offering and some don't (it can be a little overwhelming).

How do you know what do to?

- what is an organisation going to get from or want to engage in with the program? Is it hands-on skills initially that may lead to continued engagement or are they trying to commit to a long process of engagement? (eg: an education institution).

Numbers

The lead in installations and community groups engaged with this program during March and April. There were 231 individual engagements over the span of this time.

Installation processes

Making a Kaiju

Imaginary World Design Process

This imaginary world design process was implemented during a 3 day process with Flying Arts (educators and young people)

Also, see here for the complete program offered Flying Arts 11-13th April 2018

Light up The Edge

Making a sign

Community Session 1

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:42:57 +0000

Community Session 1

These sessions focus on building and strengthening a making community. This one occurred on Thursday 8th March 9.30-11.30am

Materials needed

- hand tool area set up

- induction paper work

- photo consent forms

- cardboard making area

- computers for digital design

- camera for taking photos

Preparation

This is the first session with multiple groups and generations present. Things to consider:

- music in the space to make everyone relax. Remember to have a playlist that will be relevant and appropriate.

- introduce the different spaces available as well as what we will be doing today.

- allow for group intro's as well.

The Plan

After introductions to the space and each other

Hand tools induction- where everyone will complete an induction and make a name badge

Once everyone has completed the induction we will all move onto viewing and discussing the Kaiju design.

Then solo or in pairs work with cardboard to make a small detail from the Kaiju design.

solo or in pairs move to the computers and turn the cardboard design into a digital design. This process will be lead by Mick.

QCWA

anonymous@undisclosed.example.com (Anonymous) — Sun, 17 Jun 2018 00:03:27 +0000

QCWA

Handtools & tour

Design a new Kaiju

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:53:57 +0000

Design a new Kaiju

This session will solidify the process that was used when the edge previously designed a Kaiju. The session happened on Monday 5th March 6-8pm

See here: Cardboard Kaiju Session 1

Preparation

Book the space

(if this is the first Kaiju that you are making- Research and collect some monster texts (in this case it may be useful to research Australian monster texts)

Create an event for the session for people to sign up to

Write the copy for the event

Source an image to go with the event or use one of these

Cardboard Kaiju Design Kit 1

Create Slack group (or a FB group) for participants to be able to collaborate afterwards

Materials needed

pencils

large piece of paper

hard copy of texts with monsters

screen for watching snippets of texts

computers available for participants to pull up information to share

music playing in the space

A device to check people in on Eventbrite

Have a Slack group set up

The Plan

In the Fabrication Lab

Facilitators: Mick Byrne & Emma Che Raethke

1. Introductions in the group

2. Look at the Kaiju that is in the foyer and discuss the process of designing this. (that it is an Australian kaiju)

3. Explaining that we are making this monsters mate

4. Introduce the parable of the blind man and the elephant https://en.wikipedia.org/wiki/Blind_men_and_an_elephant

5. Follow a Rhizome design process (https://en.wikipedia.org/wiki/Rhizome_(philosophy))

- Everyone in a circle or some kind of shape where you can keep an order-

Rules:

- one at a time draw or write on a piece of paper that keeps going back into the middle for the group. (when it is your turn again you do not go back to the element that you chose initially)

- Accepting what has come and adding 'and' or' not a 'but' (don't contradict)

- individuals have the power to veto a decision once (group consensus if they agree with the veto)

- Don't take too long to come with an idea (you could also have a timer for each person)

- Don't think too much

- Don't assume

The Process

For the first round break off into groups of three. For level 1-3 each person gets to add in 2 ideas. This first round is a warm up round.

For the next round bring the group together to do the process

Level 1: Feature

Each person around the circle decides on body parts/ senses (including magic powers) that the monster has

Level 2: Details

Each person describes the details of the senses that were established

Level 3: Why?

Each person describes the why of a detail (it comes from these previous answers, explaining why that detail exists)

Level 4: Narrative

On a separate piece of paper the group writes the narrative - joining the dots of the details that have been described.

Level 5: Specimen name

Decide on a name for the Kaiju

Each person goes back to their first idea and has the choice to add to it if they like

6. Tack the paper up onto the board so now see the monster in a vertical way

7. On the board the group now explores and creates a mood board (colours and textures)

8. Ask the group if they would like to join the Slack group to continue to stay connected to the project as well as invite to the drop in sessions

(Alternate process Use an exquisite corpse process to design https://en.wikipedia.org/wiki/Exquisite_corpse flip book style)

Reflection

We had 8 people attend this session (out of 9 that signed up). two people arrived late which made it a little challenging for the group to propel forward initially.

We began the process as one large group. Many amazing, creative ideas came out of this first go. Then we broke up into two groups to design. This was a quicker process. One group found it challenging to transition into a smaller group and to allow each other the space to input ideas. This is where a timer would have come in handy. The other group was very passionate about the ideas that they generated.

Having chips and cold water on hand was important. Music worked well in the space (although it went to sleep regularly).

Ideas generated

Group design:

Double hammer head with false eyes which confuses it’s prey as they don’t know which is which. It has flipper wings, and three platypus flipper feet. It has a large protruding jaw with two layers of blunt teeth.

It has 2 large grass trees as ear antennae which blasts stuff out of them at certain times. Emerging from its back there is a tentacle that is a defensive mechanism and used as a hunting device. With a long curly tail that has a stinger on the end made of diamond minerals with horns and scales.

Its skin has armour that helps deal with the high pressure of the water. It can swim in water and in the air.

There is s group of small drones that control this Kaiju. They also repair any of the wounds or injuries that they may have.

This Kaiju has evolved these features to survive in the scary lava aquatic rock.

Group 1:

This Kaiju has a large hole with two eyes that have lids that move open and close sideways. One of the eyes can see best in the dark and the other in the light. Each eye is a different colour. He has a huge chest and six pack with scales all over. The Kaiju has two massive wings that are webbed and close like fish gills or an accordion. They are used for movement as well as a scare tactic when others come close. He has a long tail that propels him forward that has a secret weapon of a lethal stinger on the end that flips around. This Kaiju has been hunted by something larger than them and has needed to get away. This has led them into many different environments and the need to adapt to these environments. It is a semi-aquatic creature trying to survive.

Group 2

Ferro Ichizoku. trans-One Iron Family.

This Kaiju consists of a giant human skull (approximately the size of an average automobile body) that slides around on a single slimy, oily black mass of ferrofluid foot like a snail. This ferrofluid is a suspension of iron fragments that can be shaped and used for locomotion using magnetic fields controlled by the individual's brain. The beast travels, and hunts in large Clans and communicates with the brothers and sisters by sending out vibrations from the skull that acts like a giant hollow resonator. These vibrations are in a frequency outside the range of human hearing. A pair of glowing red eyes look out from the eye sockets of the skull.

The beast possesses a muscular tongue apparatus that it can shape into a tube for drinking and sucking or can be projected ballistically to grab prey or utilized as defensive punch. Although this ballistic punch serves as a strong defence, the relatively slow speed of locomotion achieved by its ferrofluid foot, has caused this very intelligent Kaiju to develop another defensive technology. The Kaiju grows 6-8 Katana like blades that can be thrashed around violently when under attack from an apex predator. The Kaiju has also been observed scuttling around on the blades like a crab as means of escape.

Ferro Ichizoku are evolved from species of Giant that was all but wiped out by a flesh eating plague caused by a terrible accident. The Ferro Ichizoku evolved into their current form discarding almost all the original organism but the skull structure.

Evaluation

9 people signed up online.

Community Development

44 % of sign ups were not sure if they have a connection to The Edge

22% probably not connected at all

44% it will be the first time they come to The Edge

Everyone that signed up is interested in design. With most interested in monsters. 55% wanting to meet new people

Post:

8 people attended the session. 2 people completed the survey.

Community Development

Do you feel connected to The Edge community?

50% somewhat connected. 50% not sure

Cultural participation

Did you feel engaged by the design session?

100% very much so

Community Development

Did you have a conversation with someone new?

50% somewhat yes

50% very much so

Accessing Resources

Was the design session inclusive?

100% very much so

Idea building

Did you have any new ideas?

100% very much so

Design session 1

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 14:37:47 +0000

Design session 1

~~REVEAL~~

Intro to project

What?

IMAGINE - 4-10 yo develop ideas for an imaginary world that would be fun to visit and party. (output: ideas)

DESIGN – big people (interested in designing interactive creative space) interpret the ideas and turn them into practical designs for installation at the Great & Grand Rumpus. (Output: Resolved Designs)

FABRICATION – Young Adults and young-at-heart community members (interested in hands on and digital making) Cut out, Finish and construct designs.

EXPERIMENT – SLQ’s the school holiday workshop program will offer young people 10-15 yo an opportunity to be inspired by these product of this creativity to explore animating the installations with light, sound and movement.

RUMPUS – a team of young people and young-at-heart community members will transformed Level 1 of The Edge into a space for party, play and activities. Everyone whose been involved can invite their friends and family to come along on the XX July and immerse themselves in the imaginary worlds we’ve created together.

Why?

Why collaborative?

Why community?

Why start with children – imagination is a muscle that can be exercised– use it or loose it parameters- aesthetic, resources (budget space and tools) and timeline, integration with other programming.

Why you?

Fun & Productive

Share & Learn

Meet & Connect

How?

Principles of Community Collaborative Design

Honour communities collaboration.

Be inspired by previous contributions and build on them.

Don’t contradict, hold on too tight or close the door on an opportunity for a new direction

Rhizomatic collaborative creativity describes a process that allows for development along multiple, non-hierarchical directions, entry and exit points.

Creative Pallete for Design

Structure

- Flat-packable and extreme in scale

- Timber frames, Nuts and bolts, Cardboard, Foam, Hot glue cut by hand, CNC or laser.

- Very limited use of other materials.

- Colour

- Economic application by roller, brush and spray-can.

- All the hues of cardboard plus economic use of highlights of colours in the GGR Pallete

Texture

- Makes creative use of the vocabulary of shapes, textures and treatments of cardboard construction.

Light and Sound

- Makes use of light and sound to create an general atmosphere or to trigger features thru interaction

Space

As much (or as little) of Level 1 of The Edge and surrounds that can be convincingly activated.

Floor plans and dimensions available.

Documentation and Asset Management

Assets-

- Floor plans with dimensions

- Ideas from kids

- Pallete swatches

Structure

Colour

Texture

Light and Sound

Space

Agenda for the Day

In small teams we will be working rapidly stand ideas on their feet in a space.

We’ll take the childrens’ imaginative ideas interpret these for our space and the context of our event - bring them to life using our pallet.

Explore idea or ideas-

- Choose an idea to work on (20min )

- Create a design concept (40min )

- Develop and test concept practical constructible design (30min)

- Generate DFD and suggestions for finish. (30min)

- Share & Document- (10 min)

Output: practical model, drawings, swatches, and proof of concept for construction/ finish.

Where possible – Digital Fabrication Designs (DFD) and practical scale maquette of finished product. Where this is not possible

facilitator will generate DFD and Volunteer to create maquette ready fabrication team to start work on the Thursday.

Reflection

Time flew in this session.

If we have a complete new set of people again next week we will need to simplify the introduction to the project as well as the safety spiel.

Also, we will need to allow more time to work digitally with Gregory. During this session we ran out of time to get the rather complicated designs inputted.

Digital files

clown_fishdesigs.zip

jelly_designs.zip

sharkdesigns.zip

photos

Design session 2

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:20:44 +0000

Design session 2

INTRO TO PROJECT

What?

‘The Great and Grand Rumpus’ installation, is a magical and interactive place where children’s ideas will be brought to life, realised at scale by student and community design and fabrication teams at The Edge. IMAGINE - 4-10 yo develop ideas for an imaginary world that would be fun to visit and party. (output: ideas)

DESIGN – big people (interested in designing interactive creative space) interpret the ideas and turn them into practical designs for installation at the Great & Grand Rumpus. (Output: Resolved Designs)

FABRICATION – Young Adults and young-at-heart community members (interested in hands on and digital making) Cut out, Finish and construct designs.

EXPERIMENT – SLQ’s the school holiday workshop program will offer young people 10-15 yo an opportunity to be inspired by these product of this creativity to explore animating the installations with light, sound and movement.

RUMPUS – a team of young people and young-at-heart community members will transformed Level 1 of The Edge into a space for party, play and activities. Everyone whose been involved can invite their friends and family to come along on the XX July and immerse themselves in the imaginary worlds we’ve created together.

WHY?

Why collaborative?

Why community?

Why you?

Fun & Productive

Share & Learn

Meet & Connect

HOW?

Principles of Community Collaborative Design

Honour communities collaboration.

Be inspired by previous contributions and build on them.

Don’t contradict, hold on too tight or close the door on an opportunity for a new direction

Rhizomatic collaborative creativity describes a process that allows for development along multiple, non-hierarchical directions, entry and exit points.

CREATIVE PALLETE FOR DESIGN

Structure

Texture

Light and Sound

Space

Designs

Look at the 5 designs that we have to work with ( Troll Fairy, Red ant people costume/headdress, Apple people costume/headdress, snot blurping monster and the moon)

Brainstorm as a group

break off and work on the 5 designs - translate into cardboard/plasticine

As soon as possible Gregory and Mick to work digitally with designs with each group

The designs at the end of the session

The idea that has evolved is for the designs along with notes from the designers with the fabricators. We are making the decision to not take the conversation all the way back to what the design session responded to from the children's work. But where the design session designs got to and those descriptions.

DESIGNS: week 2

Red Ant Helmet

Ant body as a headdress 2 x antennae and 2x front bits that hang down either side. Colour red Laser cut design 2 head sizes (adult and child) 10-12 in total

Apple Head Flying Costume

Headdress/helmet. Red with brown stalk? Has a cape that attaches to the headdress/helmet

Moon

1.8 meters? Sparkle (chrome), craters (cardboard texture), cheese (yellow). May need to swing

Troll Fairy

Scary but cute

Body is child size and hair/hat is the same size again

Body and face rounded (like the cat)

Wire (or something similar) through cardboard to twirl the hair

Red hat

Yellow, green and chrome in hair parts

Fabric on the end of a piece of hair like bit with cardboard lettering on the material ' Rules: You must play at all times'

Arms are attached from the back

Blueberry button sits in the pocket (may have recording of the rules)

Overalls with a pocket

Reflection

There were 7 people in this session. 2 people from the previous session came again as well as 2 people who are working in the fabrication teams. Everyone was focused and got on with making and designing in a group or solo.

There was some lovely work that was created and some of the work even had a few iterations (see photos of the ant people headdress below)

Both Mick and Gregory worked digitally with the group and Emma Che seemed to fill the role of helping to unpack the ideas and remain focused on what the designs represent as well as that these sessions are not for activation.

Photos

Troll Fairy

The Moon being laser cut

Snot blurping monster

handmade ant people

Laser ant people

Design session 3

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:45:03 +0000

Design session 3

The plan is to work with the 6 ideas that came over from children this week. We photocopy the ideas that come over and then read them, watch any videos that have come over and then unpack them in terms of our palletes (space, colour, texture) with the group.

Brainstorm as a group

Then break off and work on the 6 designs - translate into cardboard or plasticine

As soon as possible Gregory and Mick to work digitally with designs with each group. Hopefully some designs will be laser cut during the session as well.

Designs

These are the designs that were generated during this session.

Bullfrog

Handbag

1.3 metres high

2 metres wide

1metre depth

Clasp needs to be 35cm shorter in width than on file. To create a latch a hole needs to be cut in the middle bottom of the clasp. Be sure that it does not go over the hole. Then we need to laser cut the latch piece to go over the top.

hole is 30cm wide

Needle: 900 long and 10 width at the widest end (with the hole) and tapers to a point at the other end.

The back side has holes with coloured material strips attached to them (for threading and weaving). Maybe every second row has material attached. The front side there is a buckle that you can lift and peer inside. When you lift the clasp there may be 'ahhh sound' to signify the magic needle. There are also green dots painted on the outside. Inside: a knitting needle is suspended (using fishing line). It is chrome in colour and may have lights to illuminate it more. Inside could be painted black as well.

Robot's Brain

https://cad.onshape.com/documents/d2fb42c55eeae56ee45addbf/w/dfcab83438e9c75768ed4765/e/869e03438fd52c2b9b15870d

Inputs of the brain relate to 5 senses. Ear holes for sound coming from Pluto. Eyes have lights or buttons. Cogs for food to go into its mouth. Inside there are cogs, wires, spinning wheels, things to pull. There could be pictures of unicorns.

Catamaran

2.4 metres length/ 2.2 metres wide

80cm width sides

60cm between sides

2.4 metres high for the mast (it is attached to the bridge that joins the two sides)

Flags can be swapped in and out (flag making station to make your own somewhere else or bring from workshop earlier).

Internal structure is wrapped in soft corrugated cardboard.

Cat sits on the ground

Child on a covered milk crate (in the fab lab)

There is a steering wheel attached to the structure near the seat

Whispering booth: Pluto

IDEAS BRIEF 3: Cat in a Catamaran; Fashion Designer from Candytown; Star Making Bullfrog; Pluto Whispering Booth

Reflection

Photos

Whispering booth

Bullfrog

Catamaran

Handbag

Robot

Design session 4

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:38:29 +0000

Design session 4

1. The plan is to work with the 6 ideas that came over from children this week. We photocopy the ideas that come over and then read them, watch any videos that have come over and then unpack them in terms of our palletes (space, colour, texture) with the group.

2. Brainstorm as a group

3. Then break off and work on the 6 designs (allowing for participants to choose which design that they would like to work on) - translate into cardboard or plasticine

As soon as possible Gregory and Mick to work digitally with designs with each group. Hopefully some designs will be laser cut during the session as well.

Designs

1. Entryway

Inside and outside of the main entry to the edge. It is where the edge has turned upside down. It is made up of bricks and has formed a tunnel/cave like entryway. There needs to be a spot for a screen to go in to show you upside down. 'welcome' could live on a brick written upside down.

2. Girl hero. She does not need to be huge. Lady beetle body with a snake tail and eagle feet with mouse ears. She has come to library and turned it upside down and revealed all the hidden stories. All the special ones have tipped out. She goes to different places to collect stories. Each story has a number and a tag. By adding our stories we help the world turn upright again and for girl hero to share stories elsewhere.

When we add a story near her you then can spin her. Either her body or her tail.

She will be in the window of the auditorium as well as in the knowledge walk.

3. Girl hero display (to fit toilet rolls). This is where children's art/stories will be placed. It will frame the auditorium window and floor. It will also be in other parts of the edge.

4. Candy town lollipops

These will be used to create candy-town where the handbag will be. They may also be in other parts of the edge and main library. Can be different sizes.

Designs from the session

Entryway

A tunnel like structure that is inside the edge. It has the ground up high (grass and flowers) and the sky down low attached to it (yellow Sun and white clouds). There are foam bricks in the structure. These bricks will also spill outside. Flowers could cover the light bulbs in the entrance way as well.

Possible add on ideas: a sign on the ceiling upside down. Cut holes in the tunnel to access parts. Upside down posters, upside down graffiti.

Girl Hero

Eyes are grey/black with white spot. Front black. Wings are red with black spots on both sides. She is 800-900 high from top to bottom. Back and front needed to bulge out a bit more. The rotating needs to be resolved. Add a bottom disk for the stand on the bottom.

Girl hero landscape

There is a foam mushroom that has holes in it with a cardboard stem. There are holes in the mushroom for the toilet roll characters to go in.. The mushroom tops can be red, yellow or green or blue.

The main landscape are organic shapes cut out of 7mm cardboard and stacked on top of each other. Many Islands like this can be made. The children can then plant their characters in the holes. They need a bottom layer.

The toilet rolls that the children are making with need to have a 8mm space at the bottom so that they can fit comfortably into the landscape. More work needed on this in terms of the typography. (mushrooms, waterfalls, trees). More levels.

Candytown lollipops

They come in multiple colors and heights.

10x medium sizes (1metre)

1 x big (2 metres)

1x 1.5m

10x 30cm

Design session 5

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 09:42:46 +0000

Design session 5

This week is the final week that we will be receiving new designs. We received a number of designs and we decided not to go ahead with a number. The reason for this was the amount of time that is remaining along with the number of other elements that still need design work.

This is what we focused on during this session:

- Inside of the robots brain - girl hero garden - girl hero spinning

There as 5 people in attendance. 2 extra people dropped in who decided to fabricate rather than design.

The designs

Here is where the designs got to:

Inside the robots head

Brain is suspended from the roof

negatives of the design could be spray painted to the walls

layer the cogs

TV'S are on the right and left as you enter. 4 images on each of the TV's that spin

The screen images are the following drawings from children:

Meg, Bull frog, robot, big duck, troll fairy, moon, snot blurting monster, red ant. These will be scanned in and glued onto cardboard and inserted into the TV screens. Diane will be scanning these images in and posting these to slack.

Garden

Ideas of shrub around the blue trestle tables that have holes in them and leaves.

There is a tree in the garden with a swing and some ledges for the toilet rolls. Meg sits on the swing. There is grass at the base of the tree. There are holes in the grass for toilet roll characters.

There could be cardboard trellises around the window of the auditorium that has holes in it for toilet roll characters.

Design session 6

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 09:44:16 +0000

Design session 6

During this session there were 3 people working on designs for the flags to go on the catamaran. This was what they all decided that they would like to do.

They worked in Adobe Illustrator and then cut out the stencils for spray painting onto material on the laser.

Display garden

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:36:11 +0000

Display garden

Idea came from and the process for this idea:

IDEAS BRIEF 4: Lollipop Trees; Girl Hero; Upside Down Entry

Designed by:

The initial display garden was designed by Niamh and Tom. Then it was picked up by….

Made by:

Activated by:

back to project matrix

Project Progress Table on Gdrive

Drop in Making Session 1

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:16:30 +0000

Drop in Making Session 1

This session will focus on building a making community. It will be in the Fabrication Lab and there will be a sign out in the foyer that it is a drop in session. It will happen from Thursday 8th March, 4pm onwards

Preparation

- Make a sign (drop in session)

- Have a link to the Slack group on the sign as well as on a board in the drop in session

- prepare a music play list (see if there is a spare device to play music from)

- Decide on one person being the welcome person into the space

Materials needed

- Cutting boards

- Plasticine

- Cardboard

- box cutters

- hot glue

- Laptops

- A sign for out in the foyer about the drop in session

The Plan

- introductions

- look at the designs that we have from the design session

- group chooses one to work with

- model using plasticine

- maybe some more anatomy research of an animal to be able to make a more stable shape. (think of making the overall shape dynamic as well as opposed to flat and boring to look at)

- translate a design to using cardboard

- work with the design digitally

Tinkercad
123d make
Mesh mixer

- make a mock up of the Kaiju design on the laser

Reflection

The session was drop in and did not require sign up. In hindsight, as we are at the beginning of the process for this project and for the year, creating events for each session is needed.

Only 1 person came specifically for the session (from Monday nights design session). There were 2 other people who engaged in the process during the session.

There was some great research moments in the session. looking at the details of animal eyes and applying rods and cones to the design of the eye.

A Kaiju was chosen and worked on and applied digitally. We did not make it to doing a laser mock up of the design.

Photos

Bone research (in particular the lobes and pelvis of the mantaray)

Drop in Making Session 2

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:25:20 +0000

Drop in Making Session 2

The foyer Saturday 10th 10am-2pm

Prep

Take the following up to the foyer

- Container of hot glue

- 3x hexes

- Cardboard

- Box cutters

- Chips

- Music player?

- Cold water and glasses

The Plan

- Look at the model that was created digitally

- work on plan to begin building

- get into building

Journal Entry- How it panned out & What we learnt

The process of converting a very rough modelling clay model into a visually dynamic, anatomically correct, portable and structurally viable cardboard maquette is kinda demanding. This is the second time we have run through this process. The first time The Edge built a giant Cardboard Kaiju there was no modelling clay model or cardboard maquette produced. Emma Che & I on a Friday afternoon hastily came up with a rough plan after learning our contract facilitator was too ill to lead the session. After looking at images of snakes and blue tongue lizards online we used a piece of twisted newspaper wrapped in masking tape to make a very brief study of the subtleties of snakieness. As such there was a plan, its just that this plan was mainly in my head… and probably was slightly flawed.

As such we basically jumped straight into the construction of the full size Kaiju. We literally started building from the ground up and without a specific strategy for an internal frame/scaffold (we really didn't know if we'd need one).

The problem with a design that's in your head, is that its difficult for others to collaborate in the construction. With the previous experience in mind we made more time to plan this beast and committed ourselves to making actual prototypes

A simple modelling clay model the beast and
A maquette of the internal structure made from scale appropriate cardboard.

A major learning from our first Kaiju was that not only did a scaffold or framework support the mass of the cardboard and glue, it provides a physical representation of conceptual or an anatomical structure. From an internal frame collaborators can extrapolate and contribute a vision for the appearance and construction approach to the external. Just like in Jazz impro the basic structure to jam and riff on is important to facilitate collaboration. “it's what's on the inside that counts”.

Thursday (2nd Session ), we created modelling clay representations of an anatomically correct manta ray (albeit a dead manta ray that we performed a virtual post mortem dissection on to gain an understanding of the structures of the animal) and a more animated/ caricatured representation of the Kaiju with its main features:

Cycloptic dual-light-level eye structure (bender eye and sideways eyelids. Externalised cones and rods separated onto the anterior distal surface individual side by side discs) see Invertebrate Eyes and Evolution of the Eye
fold out fan of peacock like wings for a defensive display
whip tail with finned barb end for propulsion and defence
bitey worn double row of teeth
oversized Manta ray lobes
oversized manta ray hip stumps for land travel.

So today we planned to create a maquette of the framework – but again we ran into the problem not all activities are suitable for community engagement. We were encouraging community to come up with a structural plan without any cardboard experience or the most basic understanding of Giant Cardboard Kaiju construction techniques.

One doesn't always appreciate the level of idiosyncratic skill and experience you develop making something like a Giant Cardboard Kaiju. On reflection I can boast that I've been free-forming with Corrugated Cardboard for a couple of years now. You get to know what you can do with the material with this largely ignored and underestimated material. I've also been hacking together designs for larger 3D builds. I’ve collaborated and mused with community and co-workers at The Edge on the use of a range of construction strategies and different features from a range of software applications to get these hacky assemblages to hang together. From this experience I've developed a body of expert knowledge on the best way to build a Giant Cardboard Kaiju. I've even coined a new acronym for Giant Cardboard Kaiju (GCK). Members of the Edge team regularly joke about adding a new pointless skillsets to our Linked In profiles.

Now objectively speaking there is probably a better way to go about building a GCK but I only know my hacky version using the tools, resources and institutional context I find myself in.

And this is how we do it:

After creating a modelling clay model I attempted to sculpt a digital model in Meshmixer.

We then tried to demonstrate frame construction for this basic shape - mix of methods available in 123D Make or Slicer for Fusion 360 - Stacked sheet, Interlocked sheet and curves - this kinda needs to be designed by an experienced GCK builder or group of people who understand GCK methodology especially with the requirement for full size to be built in detachable segments - for portability. probably need to do more prep on this or instead have some cardboard examples already made.

After establishing a concept for a frame we move onto a wrapped conduit construction for the tail and outside skin construction - folded polygon panels - just about anyone who can cut cardboard and use a HGG can do the outside panelling

A list of concerns that should inform a GCK design

Honour the collaborative design developed by community
Aesthetically pleasing and has a critical depth (intellectually, social or politically sophisticated.)
Visually dynamic, See http://headforart.com/2016/04/14/composition-in-sculpture https://www.ipoxstudios.com/laocoon-analyzed-sculpture/ for a discussion of Dynamic composition in sculpture.
other worldly (novel) yet anatomically correct (look like it has mutated from a plausible xeno/exobiological reality and evolved to take advantages of environmental niches and mechanics of known and imagined evolutionary forces.) https://en.wikipedia.org/wiki/Xenobiology https://en.wikipedia.org/wiki/Astrobiology
Makes intelligent, elegant use of the grammar of construction materials.
Portable – deference to portability and manual handling of the structure was sacrificed in the rush to complete the first Kaiju for its hard deadline. Portability and manual handling impose a structural overhead.
Structurally Viable and an elegant design – the improvised approach to the first Kaiju meant that individual structural issues were resolved on the fly resulting in a chaotic, heavier, inefficient and ugly internal structure

Internal Framework

The Internal framework was worked out pretty quickly once we'd discussed what materials we'd use for the different parts ( Xcore & double ply cardboard for Frame, single ply cardboard for skin and details) and actually started building it. I started with a simple “TT” shape frame leaning on its tail. This would allow us to centrally support the weight of the wings and incorporate the concept of detachable wings to make manual handling/ storage more efficient.

We then looked at how we could make incorporate this frame design with the requirement of dynamic composition ( twisting and off balance. Wavey wings undulating underwater.

Photos

Drop in Making Session 3

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:34:48 +0000

Drop in Making Session 3

Prep

Mick cut out the frame on the CNC

chips

cold water and glasses

box cutters and cutting mats

cardboard (of different gradients)

hot glue (plenty of glue sticks)

The Plan

Community groups in the morning to work on putting the bone structure together.

Drop in session in the afternoon

The Process

working with community to put the frame together in the morning

continue making in a drop in session where the larger community came in

Photos

Drop in Making Session 4

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:35:42 +0000

Drop in Making Session 4

Prep

Chips

Cold water

Cardboard supply

Hot glue

Cold water ready for any burns

The Plan

continue to make!

Reflection

There were 3 people that dropped in on this session. Due to this we did not finish making the Kaiju. Those that came were very dedicated and continued to come to the next sessions that we opened up.

photos

Drop in Making Session 5

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:38:39 +0000

Drop in Making Session 5

This was an extra drop in session on Thursday 22nd March that was opened up as we did not finish building the Kaiju in the last session.

4 people attended. All were repeat people. 1 has come to nearly every session (including the initial design session).

Even though we really got a lot done during the Session 2, Edge staff members needed to spend the next day working on it. Community members even popped in off their own back during the day to help and again on Saturday even though it was not an official session.

Learnings

Pegs and clamps are really important for working with hot glue and cardboard. By using them it frees up your hands to keep working as well as more than likely saves them from getting burnt.

Always have cold water in a container on hand for any burns

Working with cardboard you learn that it is more malleable if you loosen it up with your hands. By working it with your hands, you loosen it up and it makes the cardboard less hard and flat. You can make it go round corners this way. The other technique would be to do cuts on the cardboard as well to help the bending. Depends on the aesthetic that you are going for.

Cardboard can come in different thickness as well as colour. With this Kaiju we decided to use the fact that there are different colours. We chose to alternate the colours of the scales. This gives it a texture and a thought out aesthetic. We also decided that the scales should all be going in a certain direction as well. By taking the time to plan the colour and the direction and shapes of the cardboard you are making artistic decisions of how it should look and also really considering the design elements that community decided on.

Photos

Drop in Making Session 6+

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:41:37 +0000

Drop in Making Session 6+

Drop in sessions continued to happen for those community members who were keen to help to finish up the final details of the Kaiju as well as to install.

We met some challenges with installation. We took apart the Kaiju to install (as was the plan) and we had a blow out of the x core cardboard. We needed to bring the Kaiju back downstairs and reinforce it with 6mm ply wood and also give it a base like the original Kaiju on hexes. It was decided that they should also be cut out of 12mm ply on the CNC.

The tail also became more elaborate over time by 2 community members committed to working on it and seeing it through to the end with Arduino lights and very detailed cardboard work.

Photos

There was a blow out of the ex core cardboard that was used for the skeleton of this Kaiju. We uninstalled the Kaiju and took it back to the Fab Lab for more work. This time it was reinforced with ply on both sides that join the wings. After this it was mounted on the 3 base hex's also made of wood and covered in cardboard.

Re-installed

]

The GGR Pallete

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 16:00:29 +0000

The GGR Pallete

There was a colour pallete as well as a texture pallet for GGR. The colour pallete was selected by the graphic designer at state library when they were working on the visual identity for GRR.

Why did we have a pallete?

There was a pallete so that everybody had a structure to work with. This pallete was used for every aspect of the project that used colour. Children and families worked with this pallete as well.

It was seen to be important to set a pallete so that colour was not overly used. So that it was used symbolically rather than as an afterthought or to make up for lack of ideas. This allowed for the design of the story worlds in the installation to shine through and the textures and choice of cardboard to play a role.

COLOUR PALLETE

The colours used were based on the SUGAR spray paint colours of and the amount that ended up being used is the number next to the name:

1. Dig a hole 6

2. Red Jam 8

3. Death 2

4. Cordial 3

5. Lemon Squash 12

We matched these colours to paint tins at Bunnings.

The amount of paint that we used:

1. Green: 1L

2. Red: .5L

3. Black: .5L

4: Blue: nothing

5. Yellow: nothing

TEXTURE

This is based on the different types of cardboard that you can get: corrugated, 4mm, 8mm and also the thick xcore cardboard. There was also the use of EPS Insulation foam.

Fabrication Session 1: Jellyfish

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:45:28 +0000

Fabrication Session 1: Jellyfish

Laser is booked 4-6pm

Intro the GGR along the lines of for the design session:

~~REVEAL~~

Intro to project

What?

IMAGINE - 4-10 yo develop ideas for an imaginary world that would be fun to visit and party. (output: ideas)

FABRICATION – Young Adults and young-at-heart community members (interested in hands on and digital making). Cut out, Finish and construct designs.

EXPERIMENT – SLQ’s school holiday workshop program will offer young people 10-15 yo an opportunity to be inspired by these product of this creativity to explore animating the installations with light, sound and movement.

Why?

Why collaborative?

Why community?

Why start with children – imagination is a muscle that can be exercised– use it or lose it parameters- aesthetic, resources (budget space and tools) and timeline, integration with other programming.

Why you?

- Fun & Productive

- Share & Learn

- Meet & Connect

Hands on making

2. Discuss the palette (in particular, colour and texture) Discuss the space that they are intended for as well. Depending who is there (talk to the Kaiju and the smaller versions from FA's). The internal structure and the outer structure. Some may require more detail than others.

3. Safety talk of Fab Lab and hot glue. Restrictions of making (that what is assembled needs to fit into the staff area)

4. See the cut parts of the ones that we will be making in this session (Gregory would have done these) (if Gregory is still cutting opportunity to go and see that and chat with him)

5. Set up in a space working in small groups if possible

Option to laser any extra parts that may be required

Chips and water on hand for the whole session.

Reflection

During this session we focused on making the Jellyfish (of which there was 25 to make). We discovered that the best material was the cotton after all and not fishing line which had been suggested

Photos

Working on using the construction of cardboard techniques

Jellyfish

Lots of jellyfish

Fabrication Session 2: Ant Heads and Troll

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:46:21 +0000

Fabrication Session 2: Ant Heads and Troll

The laser is booked from 4-6pm

Gregory will be cutting on the CNC from 11am.

The Plan

1. Welcome and Safety talk of Fab Lab and hot glue. Restrictions of making (that what is assembled needs to fit into the staff area)

- Discuss and refer to the palette (in particular, colour and texture) Discuss the space that they are intended for as well. Depending who is there (talk to the Kaiju and the smaller versions from FA's). The internal structure and the outer structure. Some may require more detail than others.

- Plan to make the moon and the snot blurping monster in this session (have the notes from the design session on hand)

Set up in a space working in small groups if possible

- option to laser any extra parts that may be required

- Chips and water on hand for the whole session.

Reflection and Learnings

We had a small group show this week and we got stuck into making the ant people head-dress. These were much more labour intensive than we first thought. Laser cutting parts, Spray painting sections to represent the red and that it is a fiddly design. The Troll hat was worked on as well during this session. The troll body was begun as well.

Fabrication Session 3: Troll and Catamaran

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:49:09 +0000

Fabrication Session 3: Troll and Catamaran

During this session two of the people who came along to the design session were also coming to the fabrication session to work on making the designs that they worked on - handbag and catamaran. Both commented on how great it was to see their design through to the finish. They both said that they learnt heaps about the translation of an idea into fabrication as well as working with materials.

Work was also done on the troll fairy as well as finishing off the ant people heads.

Photos

Fabrication Session 4: Lollipop Trees

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:50:34 +0000

Fabrication Session 4: Lollipop Trees

Lollipop Trees in progress:

Gramaphone test:

At the end of this session this is what we have left to cut, make and colour :

These need to be cut:

- Shark

- Fish (should we scrap this and just make small clown fish for dressing the space?)

- Robot brain

- Needle for the handbag

- Apple heads

- Bullfrog

- Entranceway bricks

- Candy town lollipops (9 x 1metre, 2 x 2metre)

- Girl hero landscape/mushroom (needs more work)

To make:

- Snot blurting monster

- Buttons for the snot blurting monster

- Lollipops

- Capes x 5

- Flag for troll fairy

- Flag template for catamaran and cut

- Craters cut and make and colour

- Pluto (make it in window 8?)

- Cardboard Mache

- Spinning device for girl hero

- Entranceway

- Attach troll fairy hat

- Gramophones

- Microphones

- Bend Pipes

- Spinning Cogs and unicorn pictures

- Entranceway screen

Colour:

- Craters

- Girl hero

- Troll fairy

- Snot blurting monster?

- Apple heads

- Lollipops

Activation opportunities for the edge:

- Snot blurting monster

Fabrication sessions

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:51:32 +0000

Fabrication sessions

The Pallete

Fabrication Session 1: Jellyfish

Fabrication Session 2: Ant Heads and Troll

Fabrication Session 3: Troll and Catamaran

Fabrication Session 4: Lollipop Trees

Examples of using slack

Response workshops with families

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:11:08 +0000

Response workshops with families

Workshop 1: Mask Making

Engagement Style: Drop-in workshop.

Venue: The Edge Auditorium

Dates: 9-14 July 2018

Capacity: Flexible, with craft table accommodating up to 20 people.

Staffing/Contractors: One arts worker.

Rationale:

The activity was inspired by one of the family workshops that was run in preparation for the GGR, during which the participants were asked to help come up with a central character (Lady Meg Wittica Bird) that would bring together the individual children’s stories that were used as inspiration for the project.

The method used was an exquisite corpse-style activity, where different features and characteristics of various animals were highlighted, then combined together to make a hybrid animal character.

In addition to this narrative, the activity was designed for children to make something that could be worn/presented during the Rumpus Parade, the finale celebration for the GGR program. The masks were made from simple white paper plates that were cut in half, with holes punched out for the eyes and incisions made so to fit comfortably around the nose & face. The children were encouraged to colour and decorate the plates using pens, crayons, colourful cupcake wrappers and feathers.

Further options for various features were designed to be decorated, constructed and attached to the mask – these included ears, beaks, whiskers, horns, wings, spikes, eyelashes, etc. Again these were made from the same paper plates and were created by cutting and folding it in certain ways to give dimension. Finally, the mask was completed by attaching either an elastic band to fit and hold around the head, or a straw/paddle pop stick on one side so that it could be held up to the face, similar to a masquerade mask.

Workshop 2: Frog Percussion Making

Workshop 3: Flag Making

Feedback

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 17:52:07 +0000

Feedback

“I travel the world a bit and I always check out family outreach. The Edge is the finest offering I've encountered. It respects children's imagination and allows their thoughts to grow and come to life! The entire staff, including the winter events crew are masters at invitation and encouragement. A Canadian, teacher, mother and grandmother.”

We all totally loved it. Hours of fun. You guys did an amazing job! Love your work

I'm blown away by the Rumpus. The scale and detail in everything is so amazing.

Education Student

What did you do during the Great and Grand Rumpus program?

I engaged with the workshops on a Monday evening which looked at design. Took ideas from kids who were engaging through the library and then took those ideas and brought them into a level of fruition. Translated those ideas from little people to what we could make on a larger scale.

During that process of coming on a Monday night did you learn anything?

I think that's an understatement. There was a huge amount of things that I learned. Explicitly I learnt about how to navigate Corel Draw and Adobe Illustrator to create cut files for the laser cutter. I also learnt about engaging through that design process and being a component of that rather than being a person who takes it from the beginning to the end. Then learning a little bit more abstractly about how The Edge operates and how it engages with individuals and with people who are working in this space and the community.

Are there any of these skills that you will use once you are a teacher?

The kind of resource bank that I've become aware of and then been engaging with like the Wiki and the intellects of the people that work at The Edge or volunteer through the edge that I've been able to engage with. They will be resources that I'll be able to utilize in my professional career.

Is there anything that you would tell other students who have never been to The Edge and was thinking about getting involved in a similar project or the Great and Grand Rumpus?

As somebody who hasn't done a huge amount of work within coding or electronics, in either a professional or a hobbyist way it can be a bit overwhelming to move into a space where there's a lot of moving parts, there's a lot of people, there's a lot of new ideas and so, I think do not be afraid to ask questions or ask for assistance, to see the opportunities and to engage with people that are both working for the library at The Edge or volunteering at The Edge. To engage with them in both a professional and on a personal level as well, and they can be probably the best support that you will get using the technology that's available.

Edge Volunteer - Emerging Arts Worker

How long have you been coming to The Edge for?

I have been coming to The Edge, I think for over 12 months now.

Can you tell me a little bit about what you did during the Great and Grand Rumpus?

I think I did a bit of everything actually. I predominantly did the fabrication side on the Thursday nights. I was heavily involved in that. I did some of the smaller maquettes, the mark-ups and things like that. I also did some manipulation of some of the files, but not a great deal of that. Mostly building and constructing things, and gluing things.

As an emerging artist what would you say you got out of being involved in the Great and Grand Rumpus?

Where do I start! I look at it in different areas and zones. I've got the part where I'm always watching you and Mick, and seeing what you guys are doing and how you make things happen. Beginning with an idea and making them grow and become something. Then we are doing it and seeing it being done.

I really enjoyed seeing the ideas brought to life with the design part of it. I got a lot from seeing how that's done like how a picture that a child has provided goes through a process and then it's turned into an actual installation. I got a lot from that.

Did it trigger any new ideas for you as a maker and artist?

A hundred percent! I felt really drawn to wanting to be involved in the ideas and design part, and I want to bring something to life that comes from my head. So it got me energized towards that.

It made me inspired for my own creative work. It made me want to bring to life some of the ideas that I have. It got me fired up around thinking what my ideas are and what would I like to do. Seeing the installation brought to life showed me the reality of what can be achieved.

Have you met many people while coming to The Edge?

I've met so many people. I reckon I meet someone new every couple of weeks. I really enjoy that. Like for me it's really great to have a place where you can come where most people are new and you don't know everyone. There's like a common theme that runs through everybody at The Edge.

Everybody's really helpful, everybody's got different ideas, they've got different specialties. You can learn from so many people here, and I've gotten a lot from watching how other people approach certain tasks. I like to dive in and get straight into it. But sometimes it's nice to consider it a little bit more. That's learning for me. There are always new people down here. I really enjoyed that part of it. To me, I like being around people that think like me, so. I find that exciting.

Were there any major challenges that you encountered?

There's material challenges, and the limitations of the pallete. You might have a fantastic idea. There is an art in being able to strip it back. That is a challenge if you are not used to doing that. You'd be surprised what you can make out of cardboard, I guess.

I would like to do more of the design stuff, and I would like to be across the whole project because I found that although we had the design team, and the fabrication team, it sort of became two separate things just because I guess people show up on different days. Me, I was only here on Thursdays. And I think it's really important for you to design and fabricate, and if you design without experiencing the actual construction part, you just don't get the limitations on the materials. So, we would have designs that we would have to spend a lot of time on a Thursday changing, essentially redesigning or re-prototyping, just so that they could actually be built at large scale. So I think it probably wasn't my challenge and that I didn't do the designing, but it was definitely my challenge when I was doing the fabricating.

If you are going to design something, it's really beneficial for you to experience the building side of it because when you put those two experiences together, then you have a solid idea of how to make something on the computer because you have a clear idea of how that actually would be made in real life. It has like a whole heap of constraints that you just don't think about when you're making something in small scale or if you're just doing it on the computer. You just never see those realities. But then, when you get it life size and it falls over, then that's the challenge.

Level 1 Floor plans

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 11:46:49 +0000

Level 1 Floor plans

Having access to the floor plans helped in the designing of each installation. Designers were able to work with scale and consider the space fully in the design process.

level0_floor_plana3.ai

level0_floor_plana1.ai

level0_floor_plana_ggr.ai

Photo Gallery

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 17:44:59 +0000

Photo Gallery

Full sized versions of these thumbnails can be downloaded by right clicking on them and saving the image to your device.

Get Involved: Comms

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 16:06:54 +0000

~~REVEAL~~

Get Involved: Comms

Fashion Designer hand bag and magic needle

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:50:36 +0000

Fashion Designer hand bag and magic needle

Idea came from and the process for this idea:

IDEAS BRIEF 3: Cat in a Catamaran; Fashion Designer from Candytown; Star Making Bullfrog; Pluto Whispering Booth

Designed by:

Gerard, a student from University of Canberra, worked on the handbag and needle design. He also came back to The Edge to fabricate it as well. He completed them in one week.

Story #468-70 Fashion Designer from Candy Town

Dear Diary

Found a beautiful handbag at the markets today. It was made of soft, pink velvet with two, front pouches embroidered with flowers..

But…where would I store my Bone Needle with its eye of truth, and all my marvellous fabrics?! That was when I decided to design my own work bag, complete with a pincushion and fabric roll dispensers so I can whip up customised superhero outfits for my clients.

Weave some magic. Take a look. Peep inside.

That’s fashion!

Serenity Capes (Super Fashion Designer)

Idea by Alexia (6) Arabella (7) aged Iris (4). Designed by Gerard, George and Markus. Made by Gerard, George, Marcus, Halida, Mitchell and Sam.

handbag.cdr

handbag.ai

back to project matrix

Project Progress Table on Gdrive

IDEAS BRIEFS

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:39:38 +0000

IDEAS BRIEFS

The following briefs were written by the artworkers who interacted directly with the young participants.

Ideas Brief 1: The Wiggly Tooth Door

Ideas Brief 2: The Underwater Dance Party

More Idea Briefs (some deriving from the above) can be found here: Lead in workshops with Children and Families

Imaginary World Design process

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 14:12:42 +0000

Imaginary World Design process

This process steps away from designing a Kaiju and opens out to a world. This plan was developed by Sue Loveday and Marainna Shek using the design process developed by Daniel Flood, Mick Byrne and Emma Che Reathke as a premise.

The Plan for Youth Participants

Creating an Imaginary World 3D INTERACTIVE INSTALLATION AT THE EDGE

Introductions: As young peeps take their places - Draw a symbol of something you’re into on a sticker Sue introduce herself Marianna introduce herself. Go around circle with symbols

BREAK INTO THREE GROUPS make adjustments to achieve 3 groups of 5 per table

Sue What is the project? What are we doing Today?

You will be designers, writers and makers over the next three days. You are going to make 3 group installations for this space that will be viewed by an audience.

In this session: We are making a model of your ideas and creating a narrative that goes with it.

- Brainstorming - Design Game

WARM UP EXERCISES

The space

Sue: Walk around the room looking and observing the details - what’s outside, how many windows, ceiling height, colours. Take mental notes. Back to seats.

What is an installation?

Marianna: An artwork that is added to a space to get a reaction from an audience.

Examples • uses unusual space in unusual ways

• sound - light

• combines ideas

• makes an audience feel a certain way

• wants the audience to participate (eg go inside to hear, see or do something)

Drawing collaboration

Sue

Use one large piece of butchers paper, drawing ink and brushes - Doodle, scribble, write a word in 20 - 30 secs

- Spin the page so that you are looking on someone else's drawing

- Observe it, Add to it, make it into something else or add a word

- Spin it, add to it spin it add to it, and so on

- Drag the drawing to the floor to look at it from above.

- As a group can you add lines to turn it into one form?

- Share results

- multiple ideas come together to make one form/ artwork/ world

Entering your imagination

Marianna and Sue

- Find a spot and sit on floor with sharpies and post it notes. Close your eyes, enter your own imaginary world, open eyes and write down the first thing that comes to mind what is the first word or phrase that comes to your mind based on where you went.

- Do 3 times, to end up with three words on post its, 15 per group.

- Examine all of the words

- go around the circle reading each word.

- Are there links? common themes?

- Is it possible as a group to sort through all of the forms and come up with one? Or a combination to make one form? link to naming team

NAME YOUR TEAM

Marianna and Sue Based on the above decide on a team name and what your team stands for. SHARE with other groups

BREAK

THE DESIGN GAME

(Working in three groups)

RULES OF THE GAME

Sue

• Remember we are designing your groups imaginary world based on your team name.

• Respect and listen

• Work quickly to access the thoughts that flow out of you without thinking too much.

• Accept the challenge of the ideas in front of you and add to it by using words like ‘and’ and ‘but’

• No contradicting the idea in front of you eg if a participant says your world/artwork has three eyes you can't then say it has no eyes.

Working on A3 sized butchers or bank paper

LEVEL1. FEATURE

Sue Word association - Write down 5 words that you associate with your team name. Quickly - Pick one word and add it to the centre.

LEVEL 2. DETAILS

Marianna Everyone takes a word from the centre. It cant be the word you wrote. - Respond to the word in front of you by drawing what it looks like or describing it. In 2 mins. - Share your detail around the circle. - Add back to centre.

LEVEL 3. WHY

Marianna Everyone takes a new detail from the centre. It can't be something you have worked on. - Explain why or how this might exist in your groups imaginary world? in 5 minutes - Share around the circle.

LEVEL 4. REFINE THE FORM

Sue On a new page. Each person draws a quick sketch or write a description of what the imaginary world looks like so far.

- Share with group

Break into groups - WRITERS and MODELLERS - 15 mins briefing with M+S respectively Go back to groups and carry out the challenge given to you

LEVEL 5. MODELLING AND WRITING

Marianna and Sue - back to group

- Are there things to change as you model and write?

- How can you work this out as a group?

- Are there things you need to research?

- Can you start to MOOD BOARD or describe scale, colours and textures etc.

LEVEL 6. TITLE

- Give your collaborative idea a title

SHARE your idea with other groups

The Plan for Teacher Participants

Introductions

Who are you? - Draw a symbol of something you’re into on a sticker Sue introduce herself Marianna introduce herself Go around circle with symbols

BREAK INTO THREE GROUPS make adjustments to achieve 3 groups of 6 per table

==Present the ideas from young people==
//Sue//

- Introduce the idea of responding to what they have made. Distribute one to each group.

- Introduce the idea of working exactly the way we have worked with the young people.

Continue as we did with the young people… Marianna The only adjustment we should make is when they are doing the entering imagination game they need to visualise the model in front of them and come up with their words based on that?

Entering your imagination

- Do 3 times, to end up with three words on post its, 15 per group.

- Examine all of the words

- go around the circle reading each word.

- Are there links? common themes?

- Is it possible as a group to sort through all of the forms and come up with one? Or a combination to make one form?

Materials:

Felt pens and sharpies

Stickers or Post it notes

Roll of butchers as wide as possible ( trimmed into communal size (big) and A3 size)

Drawing brushes thin and thick, 1 each Drawing ink

charcoal sticks

Masking tape

Blue tac

pencils and biros

ruler

plasticine

boards to model on (that create a size indication)

old pencils for shaping

Room set up:

Screen for pdf projection 3 x communal desks

Open space for break outs and visualising the space

Things we might mention to the teachers along the way

The workshop with the young people aimed to develop skills in:

• Getting to know each other

• Collaboration and team work to achieve achieve a creative result

• Brainstorming and exploring imagination

• Activating the creative centre in the brain

• Refining an idea

• We used warm up games and the design game to help with:

- fear of the white page,

- descision making,

- equalising the ideas

- ownership and group organisation

• We used a Rhyzomatic approach

- An idea sprawls outwards at first, hearing everyones input and then refining with group consensous as the idea rises to the top.

• Group size can have an influence the design

• Food is an important part of engaging the community

Reflection

Photos

Installation

anonymous@undisclosed.example.com (Anonymous) — Thu, 19 Jul 2018 11:23:26 +0000

Installation

Installation of the Great and Grand Rumpus happened over a period of a week. After this first week we were still installing and fabricating and the installation was also still growing. It was being activated with projection mapping, sound and lights.

Installation Phase 1

Installation Phase 2

Installation Phase 3

Installation Learnings

Installing the Rumpus: Learnings

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:02:15 +0000

Installing the Rumpus: Learnings

- installing after the installation is up works well only if there is one visible story world being worked on and it is clearly sectioned off.

- It works best for install week if you have materials prepared and ready to work on at set up work stations. Have an example made for people to be able to see and replicate. This saves time for all.

- set expectations clearly with community members working on completing their own world project. We did this by putting up a sign in the Fabrication Lab as well as posting it to the collaborative platform we engaged with community on (Slack).

Installation: Phase 1

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 11:53:32 +0000

Installation: Phase 1

Before installation week we decided to build Pluto in The Edge space. This was done for a number of reasons:

1. To get ahead in the installing process

2. To build awareness in the space about what was coming (we did up a sign for in front of the window bay)

3. The large scale sign was also on display for the same above reasons in the main part of State Library

See photos of that process here:

Pluto whispering booth: Pluto Whispering Booth and Red Ant Helmet & Pluto whispering booth

Sign: Making a Sign: Install

Installation: Phase 2

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 11:57:11 +0000

Installation: Phase 2

This happened in the week 25th-29th June

We broke the install up into the areas that they would be installed into at The Edge. We also considered that they were part of 'story worlds'.

We began with the entrance way and then the auditorium. Most of the tech elements were in the auditorium so needed to be installed early on.

We also needed to put deadline dates to worlds so that community knew that they existed and why.

There was one major piece that we did not finish installing during install week and that was the shark. Throughout the first week of the installation being up a number of people worked on building it with the space sectioned off to public. Many children, families and community members commented on how great it was to see it being built and not knowing what it was. Seeing the mechanics in process. What it takes to build the large scale pieces in the Rumpus.

The other thing to note is that it was extremely important to have things prepared enough so that volunteers and staff could help. They could jump in and get started quickly this way. For example, having work stations set up ready to go (with parts spray painted, glue set up).

The Plan

Auditorium

• Garden ByTthursday (6 x tables, 6 pairs of boxes, 6 x window frames)

• Bullfrog (By Thursday ) Sheet on Wednesday and add features

• Meg/Tree - Structure Thursday/ Sheet Friday

• Moon By Friday (Cable installed Wednesday, Moon structure Wednesday , Sheet Thursday, Install Friday)

• Catamaran Sail Wednesday , Mast and flags install Friday

• Snot Blurp done

Shark & Underwater Party

• Entrance - mid week of the following week

• Tunnel Wednesday

• Jelly Fish Friday and net attach

Signage

• make stands , attach stands by Friday

Ant Nest

• Tape and paint pipes, install pipes, install microphones. Finish Thursday

Robot

• Periscopes, pipes paint and bend, Tv's attach, Cogs attached and be able to turn, gramophones attached. Finish by Friday

Handbag/Lollipops

• Finish making lollipops, Sandbags in large handbag, arrange the space all by Friday

Apple people wall

Finish the wall and fix hooks to hang capes and helmets

Installation: Phase 3

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:00:47 +0000

Installation: Phase 3

This happened in the final week of the installation: 2-13th July

We were faced in this week with the question of 'When do you stop and how much detail is enough?'

We were left with the following list carried over from the previous weeks:

Meg’s tree

• Tree installed • Meg’s tail and eyes lit and attached • Meg installed on swing • Meg and swing installed into auditorium • Projector install for mapping on tree (mapping workshops are finished)

Meg's Garden

• We may need more this week? Add base to the tree/trellises

Dance Party

• Clownfish on decks • Lighting Effects (This should have been Arduino on Saturday)

Robot’s brain

• Interaction reaction sounds installed (Arduino Monday) • Interaction reaction cogs & lights (Arduino Monday) • Install 3rd earhorn (need to 3D print)

Designers handbag

• Install magic needle of mystery (Needs fishing line other than that ready to go?) • Install mirror ball ( I can bring one in tomorrow) • Install clasp switch • Activate weaving activity (this is on the tag)

Other

• Mirrors at apple hero and ant nest for children to see themselves in costume.

#GGRumpus signs around installation

Cat in a catamaran

• Complete flags

Sharkhead

• Groans and eyes activated by wobbly teeth?

Digestive tract (This was a YPF job?)

• Set dressing Inter-intestine membranes

Entrance tunnel

• Design and install upsidedown live screen feed installation (This was scrapped due to the upside down world being so clear that the screen was seen as not needed)

• More bricks

Response Workshops for 16+ : Inter-generational workshops

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:46:22 +0000

Response Workshops for 16+ : Inter-generational workshops

Engagement style

Venue

Innovation Lab

Fabrication lab

Dates

Monday 2nd July 4-7pm

Arduino 101 at The Edge

2 Jul | 4-7pm | The Edge | 16+

This free workshop will focus on some of the basics of electronics theory and how to program lights and sound using the Arduino micro-controller platform.

Saturday 14th July 10-1pm

Arduino Skills in Motion at The Edge

7 Jul | 10-1pm | The Edge | 16+

During this free workshop you will have the opportunity to apply the skills you learned in the Arduino 101 workshops to program lights and or sounds for the Great and Grand Rumpus Installations. If you didn’t attend the first workshop but have Arduino skills, come along and play!

Monday 16th July 4-7pm

Arduino Intermediate at The Edge

9 Jul | 4-7pm | The Edge | 16+

This free workshop expands on the introductory workshop, and will get you started with coding your own programs for Arduino. You’ll draw on some tried-and-true project circuit designs that combine multiple sensors and actuators to make things glow and move.

Capacity

Staffing/contractors

1 external artist will be contracted and work with an Edge Volunteer

Rationale

These 3 workshops are offered as an entry point into working with Arduino and Neopixels. It is a way to develop skills as well as have a noticeable outcome for participants and larger community. The Edge also offered a few drop in tinker and open lab style sessions to come in and have access to people, tools and skills.

The following is what happened in each workshop.

Skills development workshop

Skills development: Arduino and Neopixels

Content Development workshops

Content 1: Arduino in Motion

Content 2: Intermediate Arduino

The final installation in The Edge will

* Showcase the creative output of State Library’s community of participants

* Showcase the variety and capacity of State Library design and fabrication resources

* Build new audiences and extend current audience knowledge of SLQ programs and resources

Content Development 1: Arduino in Motion

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:43:36 +0000

Content Development 1: Arduino in Motion

Saturday 7th July 10-1pm

The plan

Using the skills from 101 build using light to activate the jellyfish described in: Undersea Disco: Jelly Fish

Code was provided and you can adjust as you want to. Then attach the lights to the jellyfish using glue guns.

Reflection

Full house of 15 people attended.

If we had done a 101 into programming in the first workshop. Intro to programming with a arduino now is what we would move onto.

The people who benefitted most in this series were people that already had some programming skills.

A number of people brought along their own laptops to work on which worked well.

Photos

Content Development 2: Intermediate Arduino

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:45:24 +0000

Content Development 2: Intermediate Arduino

Monday 9th July 4-7pm

This was a full session of 15. With many of the participants coming back into The Edge over the next few days to finish and perfect their work from this session.

The Plan

As a group see the robot

- some examples of editable code will be available.

- working with the robot - interaction. mp3 player, motors and lights.

- Demonstrating each of these and giving the code to edit by themselves.

Skills Development: Beginner Arduino 101 and Intro to Neopixels

anonymous@undisclosed.example.com (Anonymous) — Sat, 15 Apr 2023 11:15:07 +0000

Skills Development: Beginner Arduino 101 and Intro to Neopixels

Monday 2nd July 4-7pm

Preparation

Set up the Innovation lab with computers and power supplies

The Plan

Intro to Arduino

- what it is and then give example code to edit.

Introduction to Arduino Microcontrollers

What is a micro controller?

(For description of where this part of the workshop and its origins please go here: Deskduino

A microcontroller (or MCU for microcontroller unit) is a small computer on a single integrated circuit.

one or more CPUs (processor cores)
memory
programmable input/output peripherals
can be mixed signal devices interacting with
- digital signals
- analog signals

Why use an MCU?

Microcontrollers are small, low powered and robust, making them perfect for embedded systems such as:

medical devices
remote controls
office machines
appliances
power tools
toys
wearables!

What is Arduino?

Arduino is an open source computer hardware and software company, project, and user community (see: https://en.wikipedia.org/wiki/Arduino ).

The hardware is based on the Amtel 8-bit AVR MCU
The software uses the Processing IDE, with a simplified version of the C++ language
Open source has led to the creation of a huge range of
- clones
- compatible devices
- peripherals
A strong community means
- “Someone, Somewhere has solved the problem”
- we can run this workshop using and adapting existing resources.

Assembly and Testing

It's time to get started!

Step One: Connecting and Testing the Arduino Nano

Download the Arduino IDE

Download the latest version of the Arduino IDE.

Select your operating system and when prompted choose “Just Download”.

If you are using a genuine Arduino with the FT chipsets you won't need to download any drivers on PC and MacOS Sierra. If you are using a knockoff Arduino with the CH340G chip you will need to download the drivers for Mac.

Follow the instructions and install the program on your computer.

Connect Your Arduino

A red and then a green LED will light up on the Arduino, indicating that it's receiving power (for some Arduinos this may just be a single red light)

Now launch Arduino IDE

Go to the Tools menu and change the following:

Board to Arduino Nano
Processor to ATmega328
Port to USB/Serial (different depending on OS and Chip)
- If you are having problems finding a USB port you most likely need to download the correct drivers.
  
  Once again, the exact OS (and version) as well as the chip make a big difference.

Once that is done, run “Get Board Info” in the same menu, this should bring up a small pop-up with some information.

As long a you're not receiving an error in the console, you have successfully connected your Arduino!

Test with the Blink Example

Another step you can take to test that everything is working is to load one of the basic example projects and upload it to the Arduino.

Go to File → Examples → 01.Basic → Blink
Click on the verify button (Check mark) and let it compile. You should get a message at the top of the console telling you when it's done (this should take no more than a few seconds)
Once this is done, without any errors, click the Upload button (Arrow)
This will upload the instructions to the Arduino and it will say “Done Uploading” when everything worked
Your red LED on the Nano should now be blinking, one second on, one second off
Uploading scripts to your Arduino works!

Now we are ready for the real projects

Intro to Neopixels-

See here Introduction to Neopixels

Reflection

This session was full house of 15 people.

The feedback from one of the facilitators was that this workshop needs to focus more on the basics of Arduino and programming. This was not being captured in previous workshops such as badge and desktop such as Deskduino

So intro Arduino needs to be intro as in these previous workshops, plus programming. At the moment the workshop is only giving a few lines of programming to edit not the actual skills in programming. It is suggested that for 101 there are more core skillsets being explored and developed.

In the future offer Arduino 101 then intro to programming on Arduino. Actual programming skills. Then you can take a kit home and actually work with it. Then the 101 becomes the pre-requisite for all other workshops.

Then intro to Neopixels- crash course intro into how to edit the code. Does not give you skills to change colour and really understand. The next step is how to do it from scratch.

Then could move onto- program on Arduino, or Raspberry pi or computer etc

People working and learning together worked well. Otherwise limit numbers to how many laptops that we have.

A decision needs to be made whether skills dev or outcome based.

Undersea Disco: Jelly Fish

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 14:43:11 +0000

Undersea Disco: Jelly Fish

Idea brief: IDEAS BRIEF 1: Wiggly Tooth Shark

The Wiggly Tooth Shark which came from Idea Brief 1 included the concept of a disco under the sea, reached through the shark's mouth.

Designed by:

These jellyfish were one of the first designs to come across to The Edge and one high school teacher and a design student from University of Canberra spent time working on the design. Together they made a prototype and a file for cutting on the laser. By using cotton on the legs they were able to capture the movement of the jellyfish.

Made by: Many people were involved in the fabrication of the 25 jellyfish! From Edge regulars at Hack the evening to a new visitor Marcus who spent a good whack of time on them.

Activation by:

The colour of the jellyfish was activated during the Arduino in motion workshop Content Development 1: Arduino in Motion

back to project matrix

Project Progress Table on Gdrive

Planning Kaiju Signage

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:45:52 +0000

~~REVEAL~~

Planning Kaiju Signage

:planning:the_great_and_grand_rumpus:ckslide1a.png

:planning:the_great_and_grand_rumpus:ckslide2a.png

:planning:the_great_and_grand_rumpus:ckslide3a.png

:planning:the_great_and_grand_rumpus:ckslide4a.png

:planning:the_great_and_grand_rumpus:ckslide5lute.png

Lead in installations: Examples

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:20:50 +0000

Lead in installations: Examples

Making a Kaiju

Light up The Edge: Light installation

Making a Giant Sign

Making an Imaginary World

Documenting the learnings

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 11:57:58 +0000

Documenting the learnings

For this program to be successful it is important for there to be enough lead in time. It is suggested that that there is at least 6 months. This will allow for

- planning

- building community around the program ( collaborating with universities, community organisations and public to have the desired numbers for children and family workshops, design and fabrication sessions as well as installing)

Unfortunately with this first iteration of GGR we did not have enough lead time. If we had more lead in time we could have made the design stage of this process be inline with University or TAFE term time frames and identified different faculties that would mutually benefit from this.

i.e. There is potential to not only engage with design students but also:

- costume design students

- set design

- primary school educators

- STEM educators

- industrial design students

- architecture students

Collaboration learnings:

GGR is the first time that Young People and Families and The Edge teams have collaborated on a program. Both teams have different ways of working as well as different ways of collaborating with community. Due to this we learnt the following:

- Weekly across team meetings for just team members are important.

- Collaborative tools such as slack are invaluable

Engaging volunteers communities learnings:

- It is important to be transparent and clear on what the time frame is for the work. having it up in the space for all to see as well as on the communication channel that is being used (Slack in this case).

- Defining the level of workmanship required. We had some hiccups around designs being very intricate and then designers unhappy with the quality that they were fabricated at. Alternatively the fabricators were a little frustrated.

- Letting community know that everyone is welcome whatever skill level.

- Offering choice of projects to work on. If someone doesn't want to finish a project this is fine. If someone wants to focus on one then they have the opportunity to do that.

- When hot glue is involved always have bowls of water available.

Installing large scale work learnings:

- Allow more time than you think that you will need

Design student learnings:

- Students have varying levels of skill levels. It may be beneficial to offer an introductory session to see where skills are at or at the beginning of each session to walk through digital skills so that everyone is on the same page.

Design learning:

- Some designs were cut on the CNC and were then were extremely challenging to fabricate. At times this meant that whole designs needed to be redone and re-worked. Feedback from many fabricators was that designers should see the design all the way through to the finish so as to see how the design plays out and if it works and what doesn't work as they thought it would.

- Feedback from a designer who saw the process from design to finish in one week that it was invaluable learning and that he actually enjoyed the fabrication aspect more than designing in the end.

Bumping out large scale installation

It comes down a lot quicker than you may expect. We were a group of 6 who spent 3.5 hours to pretty much pull down the work and cut it up for recycling. A couple more hours were spent the next day as well as some clean up time. The rest of the time was spent taking bags over to the recycle bin skip when it had been emptied.

Important things:

- Have large bags to put cardboard in. It would have been useful to have stands for these giant bags.

- Sharp Stanley knives and cutting boards

- break everything into smaller pieces so as to be able to fit more into recycle bins

- If the large scale designs had been designed modular (so as to be in pieces) they could have then been transported to other venues afterwards rather than being cut up like we did with most of the work. They were too large and designed and built for the actual space.

Light Up The Edge

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 10:41:54 +0000

Light Up The Edge

Over 4 sessions participants will explore light as a creative medium and create a light installation.

Public Sessions

Lollypop Trees

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:59:10 +0000

Lollypop Trees

The idea brief

Idea came from and the process for this idea:

IDEAS BRIEF 4: Lollipop Trees; Girl Hero; Upside Down Entry

Designed and made by:

The amazing detail that you see on the lollipops are the work of Markus and George who designed and made the lollipop trees.

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Project Progress Table on Gdrive

Making a Kaiju

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:45:27 +0000

Making a Kaiju

Over 3 weeks, 6 sessions were held to design and make a Kaiju. 34 people engaged in the process over 26 hours. 2 Edge staff members were involved in the process.

Digital design hours=

Digital CNC cutting hours =

Staff making hours on top of public drop in sessions =

Public sessions

The Edge put a call out to the wider Edge community as well as community that emerged from a similar call out in 2017 for Designing the Apocalypse

Here is the call out that went out via Newsletter and as a Facebook post:

The call out was broken up into two areas:

1. A Design Session

Design a New Kaiju

2. Drop in Making Sessions

Drop in Session 6 onwards

Community group sessions

The Edge engaged with 2 Men's Sheds who came in twice. They worked on digital design skills as well as helped with putting together the initial large scale skeleton of the Kaiju

Community session 1

Planning Kaiju Signage

Making a Giant Sign

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 18:16:58 +0000

Making a Giant Sign

Practical brief: The sign will be installed on the wall outside The Edge and it can also be in the main State Library building. It will be made out of foam, cardboard and will have lights. There is a limited colour pallete. The sign's function is to showcase the equipment that we have at The Edge.

Copy: needs to be appropriate for children, teens and adults and diverse community. Encapsulate Rumpus. A sense of playful, fun and celebration. Must have a welcoming feel.

Example copy: 'Let the wild rumpus start', 'Let the party begin',

Aesthetic see Talia's design in the slideshow in design session below.

GGR brings to life the imaginary worlds of children. Cross generational community collaboration to bring to life children's imaginary landscapes. Cross disciplinary- activation activities of movement, projection and soundscape, costume and storytelling (narrative)

Making a Sign: Design Session

Making a Sign: Fabrication

Making a Sign: Cut & Prototype

Making a Sign: Finish Assembly

Making a Sign: Install

Men's Sheds Sessions

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:30:36 +0000

Men's Sheds Sessions

A group of men from various Men's Sheds are invited in outside of The Edge public opening hours. An offering is made and we negotiate dates, times and content of the sessions.

Session 1

Session 2

Session 3

Moon

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:22:08 +0000

Moon

Diadactic

Idea came from and the process for this idea:

IDEAS BRIEF 2: Flying Apple Men; Red Ants from Pluto; Snot Blurping Monster; Moon Swing; Troll Fairy

Designed by:

David designed the moon during a design session. The main moon structure was then cut on the CNC by Gregory. The moon wrap and craters was then cut out and made by young newly arrived migrants that came in with assistance from QPASTT.

Made by:

George, Neil, Jennifer, Kasey and Young people from QPASTT.

Story #9752 The Moon

Hello down there! It’s me (up here). Yes me, the moon. I love to swing and spin and orbit. I love to float high up in the sky. What happens up here, you’d like to know? A big moon dance party. That’s what.

Idea by Summer (5) Designed by David. Made by George, Markus, Jennifer and Kasey.

moon_cut_files.zip

Moon wrap

Proof of concept

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Project Progress Table on Gdrive

Project Overview

anonymous@undisclosed.example.com (Anonymous) — Sun, 17 Jun 2018 00:03:18 +0000

Project Overview

The focus of this project is to showcase what SLQ can do in the space of empowering community ownership of space and activating the space we work in. It is a part of the Lifestyle Signature program. It is a collaboration between The Edge and LYPS. It will tie in with SLQs commitment to Out of the Box. It is an opportunity to go for broke and allow the team involved to do what they do best on a large scale. It will be The Edge's major project for 2018. It will involve external artists and international collaborators. It will engage as many SLQ staff members as want to be involved to the degree they and their managers see fit. It will be highly HR intensive and hopefully a majority of materials will be donated. External partners are not being brought in as experts to tell SLQ what to do or how we should do it; we already know that.

Part One - Children

anonymous@undisclosed.example.com (Anonymous) — Sun, 17 Jun 2018 00:03:18 +0000

Part One - Children

This process will happen each day of the Out of the Box Festival. The work will be displayed in The Edge space with didactic information.

These didactics will be developed and implemented by the in-residence writer working on the project and will be incorporated into the final project documentation. The in residence writer will work with the children and artist to ensure the stories captured reflects their intentions.

9am – 12pm Children will work with artists to consider and conceptualize what their own personal/collective imaginary worlds would look like from a large and a small object perspective.

This can be achieved through whatever medium the engaging artists wants to play in so long as there is something akin to a physical idea or object that can be handed over to the designers.

The large object approach will remain the same, focusing of big things that fill the space. Ideally you would restrict attendance to this program to once. This workshop might run 2-3 hours
The small object approach can change from day to day, focusing on different things to design. These workshops might run 60 minutes and could be delivered 2-3 times over a morning.

12pm – 5pm All conceptual art will be handed over to designers to develop in a studio environment designs suitable for digital fabrication. This five-hour window is a concrete deadline and there will be no facility for extension as it backs onto the next process. Designers will be a mix of commercial and student designers donating their time. SLQ will provide the coffee and pizza or sushi to fuel their creative practice, as well as technology to execute. This will be a structured process working with a lead designer and focused on providing work experience opportunities and community development/building approaches.

5pm – 10pm (or later) At 5pm there is a handover meeting with the design team to the fabrication team followed by a work planning session to deliver fabricated objects by the end of the shift.

This work will be undertaken by students and commercial fabricators donating their time supported by SLQ staff with the mandate that everything must be finalized and installed before 9am the following morning so that the next round of young people can see what has come befo

Planning Across Departments

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:52:16 +0000

Planning Across Departments

Planning The Great and Grand Rumpus took months. Like with any program there are many aspects to consider. These are:

- Budget (break downs into materials, staffing, comms and so on)

- Timeline for the program (include public facing as well as inward facing milestones)

- cultural mapping across teams: what does each team, community group need to fulfil for their funding requirements, stakeholders and so on

- Set and agree upon job roles and milestones for those across the teams

- The best way to communicate across teams and within teams

Planning Across Departments Session Outline

Communicating across teams

examples from Slack

Planning Across Departments Session Outline

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 13:51:04 +0000

Planning Across Departments Session Outline

Working collaboratively across departments and with external artists means it is required to work out logistics, reporting lines, terminology and so forth.

Meeting across departments with artists agenda

1. Project Update

o Sue Loveday (lead artist)

o The Edge team

o YPF team

2. Clarifying each team/stakeholder & activity. I’ve noticed that we are each using a bunch of different labels to describe different aspects of the project, which is getting confusing.

o YPF Team (Rena, Thom, Stella)

o The Edge Team (Emma Che, Mick, Daniel)

o Creative team / Artist team? (Sue, Marianna, Tim, Mari, other artists?)

o The Edge community of makers?

Stage 1: Design

- Lead in installations at The Corner Lead in ideas workshops

- Lead in installations at The Edge

- Design Briefs Idea briefs

Stage 2: Fabrication, Installation

- Design & Fabrication (includes handing over idea brief documents)

- Installation / Bump In

Stage 1: Activation and Response

- Young People response Workshops (8-16 y.o)

- Family response Workshops (5-12 y.0)

- Intergenerational response Workshops (Edge community and young people)

- Adult response workshops

- Celebration Day

3. Planning/Documentation

o Creating 3 templates for the creative team to work from

 Workshop Planning Template

 Reflection/Documentation Template

 Design Brief Template

- Specific questions:

o What does the design brief need to include?

o What kind of materials can be submitted? 2D? 3D?

4. Project Timeline/Discussion – Flexibility of lead in workshops in relation to design & fabrication process.

5. Lines of communication – Who reports to/communicates with who, and how?

6. Meta-narrative – full team briefing/presentation?

7. The Edge - space audit.

o Tech spec

o Floor plans

o Information/limitations on space usage

QPASTT Session 1

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:47:41 +0000

QPASTT Session 1

A group of young people will be engaging at The Edge in a hand tools induction and then applying these skills by fabricating GGR designs.

The plan

9.30am (Thursday 9.30-2.30pm)

Andrei will do a tour of the edge with 15 young people and 5 volunteers that will be attending.

Em set up sewing machines

Mick to get hand tools induction ready

10am- 12pm

- Edge safety chat in the Fabrication Lab

break off into two groups for handtools and sewing

12.pm lunch break

12.30- 2pm

Come back together and work on making the following for GGR (break off into 4 groups)

- capes for the apple people (sewing group to work on this)

- cut moon wraps and make craters

- Lollipop trees

- Snot blurping monster

Reflection

This was such a fantastic day! Everyone was engaged from the get go. Everyone decided that they would like to do the hand tools induction and got stuck in straight away. Once this was completed and everyone had made a light up badge we moved onto making various Great and Grand Rumpus installation pieces. Again the group group jumped in and used hot glue, box cutters and were creative in their idea choices.

We will be following up with links to more Great and Grand Rumpus program opportunities for the group as well as they will begin the CCC program next term as well!

Pluto Whispering Booth

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 11:36:49 +0000

Pluto Whispering Booth

Idea brief

This is the idea brief that designers worked from

pluto_whispering_booth_idea_brief_ggr_project.docx

Design generated

This is what was generated during the design session:

4 metres wide

4 metres deep

2.2 metres high

Internal structure is wrapped in cardboard paper mache technique.

3 x speaking holes (almost hidden from outside)

1. far front right

2. far front left

3. back in the window

Separate structure to the side that is 600x 1 metre x 2.2m high

People can only engage with the outside or the inside if they have the Ant people headdress on.

Considerations: the step at the back of the window bay

Lights may be needed inside to see as well as light up where the whispering microphones are

Files

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Project Progress Table on Gdrive

Red Ant Helmet & Pluto whispering booth

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:18:59 +0000

Red Ant Helmet & Pluto whispering booth

Idea brief: IDEAS BRIEF 2: Flying Apple Men; Red Ants from Pluto; Snot Blurping Monster; Moon Swing; Troll Fairy

Designed by:

Toby an education student worked on both the ant helmets from Pluto and the Pluto whispering booth. He tried a number of ways to create the helmet. People undertook desktop research around ants and Pluto to capture the shape and texture. After many iterations the helmet that you see here was made.

Made by:

Benafsha, Tim, Phil and Talia over a couple of different days.

Story #1-5076 Plutoni-ants Nest

Shhh as you enter the nest of the ancient Plutoni-ants, a mysterious race known for their love of Maltesers and whispering sweet nothings. Every year, they host an intergalactic tongue twhipsers contest to find the sweetest, silliest sequences.

Pultoni-ant babies are taught tongue twhipsers from birth. ‘Chanting Ants enchants an ancient aunt.’ ‘Polluting on Pluto is pooh-poohed by popular opinion.’ ‘Moles mostly march to mariachi music’

Perhaps you know a few famous tongue twhipsers from your own planet? Peter Piper picked a peck of pickled pepper. She sells seashells by the seashore

Try making some silly twhipsers with your name: Lucky Loki licked a lemon Jumping James jinxed junipers

Idea by Leo (6) and Neson (8). Designed by Toby. Made by Kasey, Jennifer, Toby, Benalsha, Tim, Phil, Talia, Denise, Jo and Michelle.

Cutting files

anthatlinksfinal.cdr

arnthead4mmfinal.cdr

arntheadwaveboardfinal.cdr

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Project Progress Table on Gdrive

Inside a Robot Brain

anonymous@undisclosed.example.com (Anonymous) — Thu, 12 Jul 2018 11:34:41 +0000

Inside a Robot Brain

Story #1-5079 The Robots Brain

SURVEILLANCE REPORT 134567 Performed by Droid Unit Janet Transmission received by Pronged Horse

Day 234 572, 15:00

Observations continue. The ants on Pluto are on the march. One by one, their anthills spread across the northern plains of the ice planet. My harmonic sensor detects their whispers are changing. Their silky sounds slip easily through the humans’ ears and into their puny brains. The foolish humans think their tongue twisters are part of a rumpus game. They do not understand the power of words, the sort that gets stuck in your head.

For full report, engage consciousness translation, take the required steps forward. Engage brain protocols. See what I see.

Idea by Marley (8) aged Leo (6). Designed by Diane and Thurston. Made by Dianne, Jennifer, Mitchell, Mari, Peter, Byron

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Project Progress Table on Gdrive

Men's Sheds Session 1

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:33:25 +0000

Men's Sheds Session 1

During this session 4 men from Sunnybank and Logan came in. 2 men were new to The Edge.

Preparation

Materials needed

Hand tools induction paper work as well as tools and materials for it.

The Plan

Welcome Men's Shed in the foyer. Short tour of all the spaces as there are some new men joining.

Head to the Fabrication Lab

Handtools induction framed as 'trying it out' since these individuals are already experienced with tool use (but still need to get the paper work done).

Reflection

Photos

Men's Sheds Session 2

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:40:18 +0000

Men's Sheds Session 2

During this session 4 men from Sunnybank will be coming in.

Preparation

Cold water

Buy some cookies, as well as some tea and coffee.

Materials needed

Laptops

Music

The Plan

Albert Park to have tour with peter and then do a hand tools induction with Emma (with Peter to assist)

Whilst this is happening Men's Shed grab a cuppa and then set up on laptops and begin working digitally using Inkscape.

These skills will be used to make a detail for the the Kaiju and then they will apply these skills in later weeks to make sign numbers for their community.

Reflection

Photos

Men's Sheds Session 3

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:43:09 +0000

Men's Sheds Session 3

9.30-11.30 (and onwards if the group feels)

The wider GGR program at this time is about designing and making a sign. The group that is coming have expressed that they are keen to get involved in making and one member would like to finish the CCC program. https://ccclabs.edgeqld.org.au/doku.php

Mick will work with group to begin to build the false wall for the large scale sign to go on. There is also the large Kaiju that has been installed this week that requires minor scale repairs.

See here for more about that: Making a Kaiju

Andrei will (hopefully) finalize the CCC program with the member. This way they can begin to implement it back at their Shed.

Preparation

Prepare materials needed for the false wall

Prepare for CCC (space and computer)

Make cups of tea or coffee if needed.

Shark Mouth- including digestive tract

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 12:05:32 +0000

Shark Mouth- including digestive tract

About

Idea brief: IDEAS BRIEF 1: Wiggly Tooth Shark

The Shark was one of the first designs that came across to The Edge. It has undergone many iterations to become what you see now. Two education students from QUT, Toby and Brianna spent time imagining and designing the shark in the first instance with some amazing ideas of a rocking system. Then George and Kasey picked it up and worked with the joins and to make it more accessible friendly. Then the final design landed with Gregory cutting it on the CNC.

Story #1045-6 Wiggly Tooth Shark

Snapsucker, knacker-knocker, let me in. How many pearlies make a grin? Wobble-bobble, bass and treble, twist and shout. Step inside, pull my tooth, and let’s find out.

Ideas by Elizabeth (5), Lucas (4), Jack (6) an Amelie (6). Designed by Breanna, Toby, Kasey, George, Diane and Markus. Made by Sam, Ted, Laust, Jo and Jennifer.

Design Assets

Final Fabrication Assets

Snot Monster

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:30:51 +0000

Snot Monster

Idea came from and the process for this idea:

IDEAS BRIEF 2: Flying Apple Men; Red Ants from Pluto; Snot Blurping Monster; Moon Swing; Troll Fairy

Designed by:

Diane, Markus and George worked on design.

Made by: The process was begun by QPASTT young people who were so engaged and focussed on creating lots of snot! The making was then picked up by others.

Activated by:

monstercut_files.zip

snotblurbing_monster1.ai

Story #1-5073 The Snot Blurping Monster

“Snot Blurping Monsters make too much noise” the Flying Apple Tribe will tell you. Well BLURRRP and SHLOP to that. We’re not noisy, just misunderstood. We sing sweet sloppy sounds that soothe the soul.

Tickle my spots and listen for yourself!!

Idea by Arlo (3) and Neson (8). Designed to life by George, Diane and Markus. Made by TIm, Ted, and community members from QPASTT.

back to project matrix

Project Progress Table on Gdrive

Staff, Volunteers and Artists

anonymous@undisclosed.example.com (Anonymous) — Sun, 17 Jun 2018 00:03:19 +0000

Staff, Volunteers and Artists

SLQ Staff

This program will be delivered by members of The Edge and LYPS teams. All of SLQ will be invited to participate in the shenanigans at their discretion and in negotiation with their managers. Ideally ever SLQ staff member would have a hand in engaging with the involved communities in some fashion. How this is to be achieved is a matter for negotiation and marketing.

Volunteers

A program of this volume will engage with volunteers. These volunteers are broken down into several categories

Students
Industry
General Public

Students

Students will be involved on all levels of the project. From the outset there is an evident need for them in the design and fabrication of the project. Ideally they would be managed through a studio style approach, working with industry members supervising their work. Beyond design students, there is potential for involvement in the delivery of programs to community depending on how the program unfolds. This could include pre-service teachers, artists practitioners and such.

Beyond university students there is the possibility - and not sure how feasible this is at the moment - to engage with secondary schools in the process. That is a thought that's parked here for later consideration.

A strong focus will be placed on what the students get out of this process as much as SLQ gets out of them.

Industry

We will look to engage with industry and their corporate social responsibility. This would see them acting in a mix of supervision and active engagement in process depending on what they want to do. We're thinking people like UAP, Clandestine Design and the like. It is a great opportunity to connect them with students and potential future employees. It would also provide students with an insight into what working with these professionals is actually like.

Artists

The project will engage with an assortment of artists in different capacities.

Ideally the program would have a writer in residence that would work across the program on both documentation of process/outcome and engaging with community to capture and shape the stories/narratives that emerge. This would include didactic information about discrete objects that are created, the program process and model to ensure it can be delivered by others and the development of the coffee table outcome book that collects the imaginary worlds into once place. Marianna Shek would be awesome for this.

Ideally we would engage with artists from Third Rail Projects in partnership. They specialise in creating immersive spaces and have done some amazing work in community. This is no about bringing in the talent to tell us what to do but building connective tissues between organisations to create great things.

Ideally we would be working with a diverse range of artists from different disciplines to create different aspects of the final outcome. These will be identified as the project planning gets underway in earnest.

The Great and Grand Rumpus

anonymous@undisclosed.example.com (Anonymous) — Thu, 03 Jun 2021 15:01:59 +0000

~~REVEAL~~

The Great and Grand Rumpus

The Great and Grand Rumpus is a community engagement and capacity building project consisting of a series of creative workshops, design sessions and fabrication that contributes to a growing inter-generational community installation work at State Library of Queensland. It focuses on engaging community participants who are children, teenagers and adults. This program runs for 5 months with 6 months of planning time.

The program will enable:

Access to creative resources, collections and digital technologies
Experimentation with ideas
Problem solving, knowledge building, and skills development
Cultural participation, creation and self-expression
Social interaction and collaboration across generations
Engaging with story and making activities that inspire a love of words and creation.
Community lead fabrication
Showcase the work that children, young people and community users are creating through State Library programs
Documented process of community engagement that can be used by public libraries.

Program Objectives

Design and deliver a program that links young people, children and families and adults to The Great and Grand Rumpus program by providing, multiple engagement opportunities and multiple engagement styles for children, teenagers and adults.

Enable Access

Programs offer opportunities for participants to creatively engage with State Library collection materials
Program provides opportunities to showcase content created by children and families to wider audiences
Membership opportunities are embedded in program

Engage Community

Facilitate children and families to be creative producers at State Library though programming that engages curiosity, creativity and self-expression
Deliver programs that promote both social interaction and collaboration between families, adults participants, and professional facilitators
Engage in collaboration and co-creation with participants to produce and showcase community generated content
Raise the profile of State Library as a provider of innovative and engaging intergenerational programming

Build Capability

Enable expression and experimentation through creative processes
Encouraging members of the community to engage with arts, science and technology including design and digital fabrication tools.
Extending skills and experience of volunteers and makers in the community
incubator model – program design and delivery supports resource development for public libraries that will be made available on The Edge wiki
Support YPF and The Edge casual staff in the development and refinement of skills that connect community with creative literary and literacy experiences.

Program Deliverables

Planning/Templates/Learnings

Documenting the learnings

Sub Project Progress Matrix

The sub project progress matrix is where you can find each story world. The cut files, story tag, and the making and installing photos

The Pallete

Stage 1: Design

Rationale:

From the beginning of the process GGR aims to engage children and families in the design of the engagement, making and performative aspects of the GGR. Creative workshops for children will be developed and implemented in collaboration between YPF and contracted arts workers to create a play based framework of engagement for ongoing workshops. At The Edge, GGR begins with small lead-in installations through business as usual programming that focus on building a group of committed emerging artists and adult community around the project that are interested to fabricate and generate ideas. This community of fabricators will then engage in all later stages of GGR.

March- May 2018: Lead in installations at The Edge

May- June Lead in workshops with children and families

During stage one each engagement was 2 hours in length.

There were 63 children and families engaged

and there was 154 individual engagements during the lead in installations.

That is a total of 193 for 386 hours of engagement

Stage 2: Fabrication/Installation

Rationale:

Over 6 weeks of workshops the creative team will work with children and families to create artefacts that will be used in final installation of the Great Grand Rumpus at The Edge. The workshop process aims to showcase the creative output of children and families and use their designs as the stimulus for community and young people led fabrication process with purpose. Resulting in a large scale installation at The Edge designed and created by the public.

Idea briefs

May- June Student design sessions

May- June Fabrication sessions

During the Design and Fabrication sessions there were 105 individual engagements.

Each engagement was 4 hours in length.

That is a total of 420 hours

Story Worlds

Installation

Bump out

Stage 3: Response & Activation

Rationale

This stage will operate during the school holiday period. Community groups will be lead through a series workshops by artists and STEAM practitioners that use the rich imaginative content of children as a point of departure for developing and exercising new creative and technical skills. Groups will respond to and expand the modality possibilities of the installation in small scale ways. They will generate content and will add to the overall installation begun by children. This will focus on creating new objects and augmenting existing elements in the installation through the use of sound, digital projection, electronics and writing. The final installation in The Edge will

• Showcase the creative output of State Library’s community of participants

• Showcase the variety and capacity of State Library design and fabrication resources

• Build new audiences and extend current audience knowledge of SLQ programs and resources

Response Workshops with Families

Response Workshops with Young People

Response Workshops for 16+

During the edge response workshops there were 53 individual engagements . Each time spending 3 hours at a time.

Total hours spent 159

The Greater and Grander Rumpus

Each Part of the installation was a 'story world'

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 11:40:36 +0000

Each Part of the installation was a 'story world'

The Main Story

ATTENTION: PLEASE READ THIS NOTICE PRIOR TO ENTRY

Unheard stories are everywhere if you know where to look, my friends. Hiding in the empty fairy-wren’s nest from last season. Pulling faces from the brim of your cricket cap. Once I found an Unheard story stuck to a wad of gum on the underside of a school desk. Its heart trembled when I cupped it in my hands.

And there was that one time, I flipped the river. Everything got wet and everyone had to be punted around in boats but you should have seen the stories that floated up.

As a matter of fact, I’m about to create a rumpus at the library. I bet some hidden gems will shine. The grown-ups are panicking. They’re sticking everything down with safety tape and waving umbrellas. Maybe you can help? For every Unheard Story you find, I’ll spin the library a fraction until it’s the right way up again. Do we have a deal, my fellow seekers?

Yours in keeping.

Lady Meg Wittica Bird

(Collector of the Unheard Stories)

#GGRUMPUS

Story worlds

These were 10 Story worlds presented.

These are the 9 story worlds that were in the final installation:

1. Wiggly tooth shark entryway, a underwater dance party in its stomach Shark Mouth- including digestive tract

2. Snot blurping monsters make too much noise Snot Monster

3. Flying Applemen fighting for quiet and good Apple Head Flying Costume

4. Star making bullfrog flies to the moon for bouncing and spinning Star Making Bullfrog

5. The Troll fairy has one rule. You must play at all time. (Everyone flosses, even the troll fairy) Troll Fairy

6. The Red Ants from Pluto whispers sweet nothings to the river (in a booth). The Sweet Nothings are heard in the robot’s brain. Pluto Whispering Booth

7. Inside the Robot’s brain, there are unicorns, sweet nothings and Rumpus vision Inside a Robot Brain

8. Fashion Designer from Candy Town uses magic needle to fight evil and to keep the troll fairies flossing Fashion Designer hand bag and magic needle

9. Cat in a catamaran Cat in a Catamaran

There was also the main story of Meg who turned the library upside down to reveal all the untold stories (the story worlds above)

SUB-PROJECT PROGRESS MATRIX

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:39:16 +0000

SUB-PROJECT PROGRESS MATRIX

This table serves as a central hub to track the progress of sub projects (each of the design concepts chosen) within the greater GGR project. Via this table you can access subprojects in this table it links to

Design brief
Proof of concepts, practical design notes, Scale drawings
Maquette files and photos
Digital fabrication files and assembly notes
Photos of the process
The narratives that became the storytags on each work in the installation

Rumpus Idea	Design Brief	Digital Fab Design	Assembly notes	Design Files
Shark - Week 1 Brief
Sharkguts (tunnel)	This is a decoration job that staff will probably handle
Jellyfish - Week 1 Brief
Applehead Flying Costume - Week 2 Brief
Red Ant Helmet - Week 2 Brief
Moon - Week 2 Brief
Troll Fairy - Week 2 Brief
Snot monster - Week 2 Brief
Display garden - Week 4 Brief
Clown-fish-eye-view - Week 1 Brief
Sharky Danceparty	This is an activity that will be developed with community later in the process and will host Clown fish and jellyfish as features
Bull Frog Stage - Week 3 Brief
Fashion Designers Handbag and the magik needle - Week 3 Brief
Inside a Robots Brain - Week 3 Brief
Cat in a catamaran - Week 3 Brief
Upsidedown Entrance to the Rumpus - Week 3 Brief
Lollypop trees - Week 4 Brief

back to project matrix

Project Progress Table on Gdrive

engagement:the_great_and_grand_rumpus:tech_specs

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 11:54:11 +0000

Here is where both departments collaborated and considered the technical requirements and limitations for the project.

It was broken up into the following categories:

1. A tech audit (of what resources we actually had available)

2. tech audit and allocations across the space

3. Digital content audit.

https://docs.google.com/spreadsheets/d/1zCfzwvg3ZvbqCTfnw4w4cpBt5mSEnFpArvdBn1tbN7s/edit#gid=511991543

Templates

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 11:46:06 +0000

Templates

Planning/Documentation

Creating 3 templates for the creative team to work with . These were used in the lead-in children's workshops.

They are:

1. Workshop planning template

2. Workshop reflection template

3. Idea brief template

See here for examples :

'Imagine the Rumpus' Workshop PLANNING template

Troll Fairy

anonymous@undisclosed.example.com (Anonymous) — Wed, 26 May 2021 15:29:32 +0000

Troll Fairy

Diadactic

Idea came from and the process for this idea:

IDEAS BRIEF 2: Flying Apple Men; Red Ants from Pluto; Snot Blurping Monster; Moon Swing; Troll Fairy

Designed by:

The troll fairy was designed by Brianna, an education student from QUT.

Made by:

A number of community members. Kasey began the fabrication and worked on the hat, then it was picked up by David and Ted (from the Sunnybank Men's Shed) and then Mari worked on the overalls and body some more. Pauline added some colour to her hair.

Story #1984 The Troll Fairy

Omigosh! I’m so glad you could make it. Your hair looks great. Now the Rumpus can really begin. I had no idea there’d be so many Unheard stories in the library. Haha! I’ve been stuck to gum on the underside of a school desk for months. I still can’t get all the gum out of my hair. Lady Meg says you’re gonna help find all the stories. Step on through. Don’t worry about taking off your shoes. There’s only one rule in a rumpus. You must play at all times.

Press my BLUEBERRY BUTTON, and repeat after me.

Idea by Zylah (7), Nina (6), Mitch (8) and Jacob (8). Designed by Breanna. Made by Kasey, Ted, David and Mari.

troll_cut_files.zip

Maquette cut file

back to project matrix

Project Progress Table on Gdrive

Upsidedown Entrance to the GGR

anonymous@undisclosed.example.com (Anonymous) — Fri, 13 Jul 2018 07:56:10 +0000

Upsidedown Entrance to the GGR

Designed and made by:

Brianna and Toby worked on this design together. They had many elements to consider with the main being accessibility.

Location: Main Doors Size: A1

ATTENTION:

I am the collector of hidden tales. It’s very tiring. I have to turn everything upside down to find them. You’d think grown-ups would be grateful. So what if the ceiling fans are a little dangerous whirling around on the floor? Or people get tangled up in the computer cables hanging like strangler vines? And there was that one time, I flipped the river. Everything got wet and everyone had to be punted around in boats but you should have seen the stories that floated up.

Yours in keeping Lady Meg Wittica Bird (Collector of the Unheard Stories)

Location: Tunnel Size: A2

The Beginners Guide to Story Collecting. By the great and glorious Lady Meg Wittica Bird

The secret for being a glorious story collector is having good senses, my friends. You need eyes to see and ears to hear and fingers to touch, One. Two. three. Follow my trail of advice to learn more and collect stories, wild and wonderful, as you go.

Location: Edge Bay Size: A2

The Beginners Guide to Story Collecting. By the great and glorious Lady Meg Wittica Bird

Tip #1. Big foxy ears. The bigger the better to hear the chitter-chatter-crunch-crunch of hushed up stories. Soft as a cocoon cracking open and a butterfly crawling out to dry its wings in the crisp air.

(A quick note on big ears: When I’m buzzing around for tales, I often press my ears against doors. Be careful as an Unheard Story can latch on. Why do you think parents are always nagging kids to wash behind their ears?)

The files:

back to project matrix

Project Progress Table on Gdrive

Response Workshops with Young People

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 12:23:25 +0000

Response Workshops with Young People

Engagement Style: Free 1.5 hour sessions facilitated creative process.

Venue:The Edge Auditorium, Digital Media Lab and Innovation Lab.

Dates: 2-6th July.

Capacity: 15 young people per session aged 9-16

Staffing/Contractors: 2 artists, 1 program officer

Workshop Planning

3 x 2-4 hours meetings, plus autonomous preparation time as required. Access to SLQ equipment as required

Workshop Delivery • 2-6 June • 5 days of delivery. • 10 x 1.5 hour workshops, 2 workshops per day.

Content Integration • 1 day total, allocated as required.

The final installation in The Edge

Showcased the creative output of State Library’s community of participants
Showcased the variety and capacity of State Library design and fabrication resources
Build new audiences and extend current audience knowledge of SLQ programs and resources

Rationale: Groups of community members aged 9-16 were lead through a series workshops by artists/STEAM practitioners that use the rich imaginative content of the Great and Grand Rumpus as a point of departure for young people to developing activation content and exercising new creative and technical skills in the fields of audio and video. Groups will respond to and expand the modality possibilities of the installation in small scale ways, augmenting existing elements in the installation through the use of sound, projection, electronics and writing.

Both workshop strands engaged young people in a process of rapid content creation and skills development, aiming at for short, simple intensive bursts of creativity that lead to intuitive and spontaneous artistic outcomes. Workshops were pre-fabricated technically, allowing young people to arrive and ‘play’ with digital audio and video content without needing to understand the entire process behind them. This programming choice was made to prioritise rapid, playful, uninhibited creation over deep skills development around creative technology.

AUDIO RUMPUS - Workshop Plan

The AUDIO RUMPUS facilitating artist worked with the SLQ Program Officer to develop a sound design workshop series for young people aged 9-16 year olds engaging them in a creative process to respond to the Great Grand Rumpus installation using audio recording, digital manipulation of recordings, sampling, and live triggering, using Ableton Live and trigger based hardware ('Bare Conductive Touch Boards'). The artist worked in collaboration with SLQ to develop the workshops, then worked autonomously to deliver them with young people. The artist then worked with SLQ to integrate the digital content developed throughout the workshops into the installation environment including preparation of content and system design.

Workshop Materials

15 Mac computers with a built in microphone
Ableton Live Lite on each compute
15 Headphones
USB drives

Workshop Daily Schedule

8:30: Arrive (1st day) 10:00: Workshop Start 11:30: Workshop Finish 12:00: Lunch 13:00: Workshop Start 14:30: Workshop Finish 15:00-5:00: Setting up

Workshop Session Sequence

1. Introduction: 10mins

The Story of the Great & Grand Rumpus
The story of the project.
Your role - creating audio soundscapes to activate the Great & Grand Rumpus

2. Brief: 15 mins

Each space has a story. Your space is… Read the story allocated to your space. Brainstorming ideas for content creations Brainstorm - How do we turn the installation ideas into audio. What does this space or character sound like?

3. Ableton 101: 25 mins

Task. We are going to:

Use vocal mics to do audio recordings
Manipulate the audio using effects to create sounds and stories

Step 1: Basics

Channel Strips. Layers and functionality.
Enabling recording on each channel strip.
Location of the in-built microphone.
Recording on each channel strip.
Playback of recordings.

Step 2: Recordings

Adjusting pitch
Enabling recording on each channel strip.
Recording on each channel strip.
Playback of recordings.

Step 3: Effects

Setting up a reverb bus.
Routing a channel to a reverb bus.
Experimenting with effect variables.

Step 4: Experimentation time.

Have fun! Make recordings and play with them for 40 mins

Examples of workshop audio outcomes.

Upside Down World

audio_rumpus_upside_down_world_long.mp3

Let's Drop the Bass

audio_rumpus_lets_drop_the_bass.mp3

Pluto Ant Whisper

audio_rumpus_plutoant_whisper.mp3

Robot She Sells

audio_rumpus_robot_she_sells.mp3

Audio Rumpus

audio_rumpus_ggr.mp3

VIDEO RUMPUS - Workshop Plan

The VIDEO RUMPUS facilitating artist worked with the SLQ Program Officer to develop a video design workshop series for young people aged 9-16 years, engaging them in a creative process to respond to the Great Grand Rumpus installation using the live VJ/Projection tool Tagtool https://www.omai.at/tagtool/ by Omai, creating a layer of digital animated content that can be projected onto cardboard sculptural pieces throughout the installation in a process of ‘live projection mapping’.

The artist worked in collaboration with SLQ to develop the workshops, then work autonomously to deliver them with young people. The artist then worked with SLQ to integrate the digital content developed throughout the workshops into the installation environment preparation of content and system design.

Workshop Materials

15 iPads
Each iPad pre-installed with ‘Tagtool’ app (pro version) https://itunes.apple.com/au/app/the-new-tagtool/id1129269238?mt=8

NOTE: You only need to purchase one license of the Tagtool Pro app to access it on all 15 iPads, as long as you have all iPads logged in on the same Apple account.

Projector 1, for projecting onto cardboard sculptures. The larger the sculpture, and longer the projector throw, ideally the more lumens (brightness) the projector should have.
1 x Apple Mac Computer installed with ‘Tagtool Player Beta’ AND Qlab 4 outputting to Projector 1.
Projector 2, for the Tagtool demonstration portion of the workshop.
1 x Apple TV outputting to Projector 2.
Appropriate video & power cables.
1 Music stand

Workshop Preparation

This workshop requires the facilitator to have a working knowledge of iPads and the iOS environment; Tagtool; QLAB 4; and the operation of digital projectors.
For Step 3 of the workshop (see below) the facilitator should connect their iPad to a projector via the Apple TV using the Airplay Mirroring’ function on the iPad’s dock. Both the Apple TV and the iPad need to be connected to the same WIFI network for this to function. Tagtool automatically outputs to ‘Airplay’ in performance mode, showing on the connected screen or projector the full screen canvas being worked on in Tagtool.
Before the workshop begins, the facilitators iPad should be outputting in ‘Demonstration Mode’. To activate ‘Demonstration Mode’, the iPad should be turned off, then turned on again. Once the ‘Tagtool’ app is then opened, it will do so in demonstration mode.
For Step 4 and 6 of the workshop (see below) Projector 2 and the Mac running Tagtool Player an QLAB 4 should be setup, focused, and tested. QLAB 4 will require a ‘Pro Video License’ to be installed, at a hire cost of $4.50 AUD per day.
For Step 6 of the process, a GGR QLAB file should be setup and saved onto the Mac it is running it on.

Creative Commons Agreement

Because this workshop is collecting the digital content and therefore the intellectual property of the workshop participants, their parent/guardian should ideally sign a Creative Commons agreement, licensing you to collect, share, reuse or remix the content as part of the exhibition, or for other purposes.

This document makes clear the nature of the workshop, and protects the moral rights of the participants whilst allowing State Library to capture and present workshop outcomes in a public exhibition content.

Workshop Daily Schedule

8:30: Arrive (1st day)

10:00: Workshop Start

11:30: Workshop Finish

12:00: Lunch

13:00: Workshop Start

14:30: Workshop Finish

15:00-17:00: Setting up

Workshop Session Sequence

DURING WORKSHOP

Step 1. Introduction

Introduce yourself, participants introduce themselves, cover any housekeeping.
Cover basic group rules such as working together, being respectful.
Set up a process and way of working, building a positive and productive dynamic within the group.
The goal of this section is to get participants feeling relaxed, supported and collaborative.

Step 2. Discussion & Brief

Facilitate a discussion to give context to the content that you will be creating throughout the workshop.

The story of the Great & Grand Rumpus
The story of the project.
Roles - create animations to project onto the Great & Grand Rumpus cardboard sculptures.

Step 3. Demonstration & Learning

Introduction to TagTool - What is this tool? What is it used for?
Deliver a basic instructional session, demonstrating the basic functions of TagTool.
Ask participants to copy you step by step. Do not move on until everyone in the group has completed each step in sync with you.
For more information, see the ‘Tagtool Instructional Info’ section below.

Step 4. Tagtool Mapping

Once everyone has learnt the basic functionality of Tagtool, move into the space where the final projection will take place. Ask them to keep experimenting on Tagtool by themselves as they prepare to create their GGR animation.
With the Projector 2 & Mac already setup, connected to WIFI and tested, start a new session on the Tagtool Player called VIDEO RUMPUS. Connect the facilitators iPad to VIDEO RUMPUS session. You should now be able to paint/animate live onto the cardboard sculpture via the projector.
All participants will use the facilitators iPad to create their GGR animation. Invite each participant to come up to use the connected iPad to create their animation. Once a participant completes their animation, group their layers, an add that group to the DECK using the Save to Deck button.
Once all participants have completed their animation, time should be up, and the workshop will finish. Let each participant know that their animation will be exported an added to the GGR installation.

POST WORKSHOP

Step 5. Exporting content

Reload each participant’s animation from the Saved Decks section.
Curate/edit/tidy up each animation as required to ensure it is suitable for public exhibition.
Using the ‘Screen Record’ function on the iPads dock, make a recording of the animation whilst Tagtool is in ‘fullscreen’ mode.
Repeat this recording process for all animations created during the workshop.
Save each animation recording to Google Drive or another cloud based service.

Step 6. Integrating content

On the Mac computer, close the Tagtool Player, an open a web browser.
Accessing Google Drive or another cloud based service, download the animation video files from the workshop, and save them into the QLAB content folder associated with your QLAB GGR file.
Open your QLAB 4 GGR file, and drag and drop the video files into the QLAB playlist.
On each of the video files, use the INSPECTOR tool to play the loop to an ideal duration, trim the file to its ideal start and finish time, and rescale the image to match the proportions of the cardboard sculpture.
It may be the case that the recorded resolution of the animation on the iPad is different to the output resolution of the projector. If this is the case, use the SURFACES function in QLAB 4 stretch the image and map it back to the sculpture proportions. Save your final edits to a custom surface, so you can apply this saved preset to the other files in your playlist
Repeat this step for each file in your playlist.
Use the ‘follow-on’ function in QLAB to program the time sequencing of your playlist.
Program a ‘load’ and ‘go’ cue at the end of your playlist to allow the playlist to loop.
This process will require some troubleshooting.

Refer to the QLAB manual for additional support. http://figure53.com/docs/qlab/v4/

TAGTOOL INSTRUCTIONAL INFO

A. Gestures.

Tagtool is a multi-touch gesture based interface, so it’s important to have a good grasp of a variety of multi-touch gestures before you even pick up an iPad. Before you hand out iPads to start the hands on session of the workshop, teach the gestures that you’ll need to the participants. This seems like simple stuff, but really comes in useful down the line!

Gestures to cover include:

One finger tap
One finger hold
One finger drag
Two finger tap
Two finger pinch
Two finger drag up/down
Two finger drag left/right
Three finger tap

Tagtool is an app that requires two hands to operate, and often you will be required to do two gestures at once, on each hand. Ask the participants to respond to your instructions. For example.

Left hand = One finger hold. Right hand = Two finger pinch.
Left hand = One finger drag. Right hand = One finger hold
Transparency selection

B. Discovering the interface

Learn mode

Make sure all participant have their iPad in ‘Learn Mode’. This will cause Tagtool to show you the functionality of the interface whilst it is in use. Encourage participants to tap around the pane and read the text that appears to learn different functions.

Paint Mode

There are two interfaces to Tagtool, Paint Mode which shows your paint pallete pane and paint functions, and Animate Mode which shows your animation layers pane, and animation functions.

Discuss paint mode as the illustration aspect of the app, an interface for creating visual content to animate. Learn the following functions.

Colour selection
Hue (tone) selection
Transparency selection
Brush Size selection

Instruct participants to draw a shape with their chosen colour, and to fill it in.

Creating New Layers

Discuss the concept of layers, the idea that you can have different elements of your image in different layers, so they can be edited and animated independently. Demonstrate layers by:

Do a 3 finger tap in the colour selection pane box. The screen should flash to indicate a new layer has been created.
Choose another colour and add two dots to your shape to make eyes.
Do a 3 finger tap in the colour palate pane. The screen should flash to indicate a new layer has been created.
Choose another colour and add a line to create a mouth or smile to the shape. Your end result should look like a face.

Animate Mode

Ask participants to press the ANIMATE button to toggle to the Animation mode of Tagtool. On the left, they will see the Layers pane, with the three layers they have just created (shape, eyes, mouth). These layers will be visualized as rectangles.

Ask the participants to drag the layers up and down to re-arrange the layers, where they should notice that the top of the pane is the rear of the image, and the bottom of the pane is the front of the image. Ask them to re-sort the layers to make sure the head shape is at the rear of the image, with the mouth and eyes on top.

Ask participants to tap the layers, either in the layers pane, or on the image themselves, and notice that the layer selected turns yellow in the canvas pane, whereas the deselected layers are grey.

Animate Layers

Instruct participants to tap and hold the PANELS button with one finger, then with the other, tap on the arrow buttons to ensure that the panels around the canvas pane are not hidden.

Participants can then follow these instructions to animate their first layer (the shape/head).

Tap the shape/head layer so that it turns yellow in the canvas screen.
With one finger, tap and hold the record button on the bottom panel below the canvas pane.
With the other hand, tap and drag, or pinch the layer in the canvas pane to move it around, and resize it.
You will see a dotted circle appear whilst you are moving the layer. When this dotted circle is red, remove both hands to set a smooth animation loop.
Notice that the animation loop is shown in the bottom panel and can be scrolled through.

Ask participants to repeat these steps with each of the two other layers to separately animate both the eye and mouth. The end result should be an animated face with eyes and mouth that move separately. If they wish, they can add additional layers and animation loops to the image. You can create more than one animation loop on a single layer.

To preview animations, ask the participants to tap the FULLSCREEN button in the top menu row, and hold up their iPads to show each other their progress.

Group Layers

The Group function allows you to group layers together so they behave as a single animated layer. This allows for complex layers animated in sync to be connected, and re-arranged, duplicated, or saved. To use the group function participants can:

Make sure that you’re in Animate Mode.
With the left land, tap and hold the SELECT button.
With the right hand, tap the layers you would like to group, in this case, the head, eyes and mouth. They should all turn yellow once selected. Remove your finger from the select button you were holding.
Press the GROUP button. All the selected layers will now be connected as one grouped layer. Notice that these layer are now stuck together in the Layer Pane.
If you wanted to un-group that layer, you could do so by selecting the grouped layer, then pressing UNGROUP.

Save to Decks

Deck is a functionality that allows you to save components of, or the entire animation for future use. You can save individual, or grouped layers to your Decks. To save to Decks, instruct participants to:

Ensure you are in Animate Mode.
Select your grouped ‘face’ layer that we have been working on. You’ll know it’s selected because it will have turned yellow.
Press the + SAVE button in the bottom right hand corner of the screen. You will now see an icon of your grouped layer in the Decks pane. Drag and drop your saved layer to you canvas pane to add it to your canvas.
Note: When you drag and drop saved layers to you canvas from a Deck, it will automatically be set at 100% opacity. To make the layer visible, turn your opacity up using the OPACITY bar next to the Canvas Pane.

Editing Layers

Once a layer has been created or imported, it can then be edited using Paint Mode. Ask participants to follow these instructions to learn how to edit layers.

Make sure you are in ‘Animate Mode’.
Using your left hand, hold the SELECT button, then with your right hand tap the layer you would like to edit. You’ll know your layer is selected because it will appear Yellow in the canvas pane. Remove your finger from the select button you were holding.
Now tape the EDIT button. You will see that Tagtool takes you straight to Paint Mode, but rather than be creating a new layer, you will now be able to edit the layer that you had selected ready to edit.
You can now paint and erase your image as you wish.

Erasing parts of a layer

Once a layer has been made available for editing in ‘Paint Mode’ by following the above process, it is possible to erase the parts of the image that you do not require in order to animated specific parts of the image. For example, and using an image containing a butterfly, the butterfly can be extracted by erasing the rest of the image. That butterfly can then be animated as a layer. Ask participants to follow these instructions to extract the foreground object/figure from an imported image.

In ‘Animate Mode’ choose the layer that you would like to edit and follow the previous ‘Editing Layers’ process to make that layer editable.
Change your paintbrush size by pinching in the colour palette. The size of your paintbrush will also equal the size of your eraser. A larger brush size is great for erasing large sections of an image, whereas a smaller brush sized is great for erasing small detailed sections of the image.
One you’re editing that layer in ‘Paint Mode’ and have your desired brush size, with your left hand tap and hold the ERASE button.
With your right hand, hold and drag on the image to erase the desired portions of the image.
A handy function to use when erasing smaller detailed sections of image is to use the Zoom function. You can tap and hold the ZOOM button with one hand, then pinch the Canvas Pane with the other to zoom in or out of your canvas, to get more detailed to your image and do finer erasing.
Once you’ve erased the sections of the image you wanted to, you can tape back to ‘Animate Mode’ to animate this new foreground layer.
It’s a good idea to save these extracted layers to your Decks, for easy access later on.

Session 1

anonymous@undisclosed.example.com (Anonymous) — Sun, 17 Jun 2018 00:03:20 +0000

Session 1

Youth Outreach - Albert Park flexible learning school

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:26:10 +0000

Youth Outreach - Albert Park flexible learning school

Young people are invited into the lead in process of the program. We focus on building a relationship and creating access points into engaging with the programs at The Edge.

We will evaluate how each session goes after each session and evaluate where to next.

Session 1

Youth Outreach Session 1

anonymous@undisclosed.example.com (Anonymous) — Thu, 27 May 2021 12:33:55 +0000

Youth Outreach Session 1

Albert Park will begin with a tour of The Edge spaces ending up in the Fabrication Lab.

During this session 4 men from Sunnybank Men's Shed (previously engaged during OLA) will also be coming in and heading straight to the Fab Lab.

Preparation

Cold water

Buy some cookies, as well as some tea and coffee.

Materials needed

Laptops

Music

Hand tools induction materials.

Plasticine

The Plan

Albert Park to have tour with Peter and then do a hand tools induction with Emma (with Peter to assist)

Whilst this is happening Men's Shed grab a cuppa and then set up on laptops and begin working digitally using Inkscape.

These skills will be used to make a detail for the the Kaiju and then they will apply these skills in later weeks to make sign numbers for their community.

1. Handtools

2. Plasticine- then straight into working with cardboard to create the facial detail they are working on.

( if digital tools interest exists: Tinkercad- Meshmixer- 123d )

SLQ Wiki engagement:the_great_and_grand_rumpus

Apple Head Flying Costume

Apple Head Flying Costume

GGR Asset Dump

GGR Asset Dump

Star Making Bullfrog

Star Making Bullfrog

Bump out

Bump out

Draft Plan

Bump out Sunday 15th July 3-8pm

Cat in a Catamaran

Cat in a Catamaran

Celebration Day

Celebration Day

Edge community

Children and families community day

Lead in workshops with Children and Families

Lead in workshops with Children and Families

Workshop Description: Imagine the Rumpus!

Workshop Plans and Reflections

Weekly Idea briefs

Digital recordings

Clown Fish Eye View

Clown Fish Eye View

Lead in installations: Plan

Lead in installations: Plan

Why?

How we reach out to new communities

Numbers

Installation processes

Community Session 1

Community Session 1

Materials needed

Preparation

The Plan

QCWA

QCWA

Design a new Kaiju

Design a new Kaiju

Preparation

Materials needed

The Plan

The Process

Reflection

Ideas generated

Evaluation

Design session 1

Design session 1

Intro to project

Why?

How?

Creative Pallete for Design

Agenda for the Day

Reflection

Digital files

photos

Design session 2

Design session 2

INTRO TO PROJECT

Designs

The designs at the end of the session

DESIGNS: week 2

Reflection

Photos

Design session 3

Design session 3

Designs

Reflection

Photos

Design session 4

Design session 4

Designs

Designs from the session

Design session 5

Design session 5

The designs

Design session 6

Design session 6

Display garden