Utopia Girls: How women won the vote

Monin, ML

Utopia Girls: How women won the vote

Monin, ML

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Publisher:: Designer
Citation:: 2013
Issue Date:: 2013-01

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Field	Value	Language
dc.contributor.author	Monin, ML https://orcid.org/0000-0003-3316-6413	en_US
dc.date.issued	2013-01	en_US
dc.identifier.citation	2013	en_US
dc.identifier.uri	http://hdl.handle.net/10453/31841
dc.format	Documentary	en_US
dc.publisher	Designer	en_US
dc.title	Utopia Girls: How women won the vote	en_US
utslib.location	Australian Broadcasting Commission	en_US
utslib.for	120307 Visual Communication Design (incl. Graphic Design)	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	open_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	Australian Broadcasting Commission	en_US
pubs.rights-statement	This research can be located in the field of visual communication design, specifically motion design and computational design processes. The documentary Utopia Girls: How Women Won the Vote was developed and aired by the ABC (2013). It tells the previously untold story of how women in Australia were the first in the world to attain full political rights. For this documentary I generated animated sections for the title and end sequences. Most design practitioners use computers as a ‘black box’ with minimal knowledge or manipulation of the internal processes and underlying technologies of computation. The use of proprietary software delimits the natural mutability of the digital to pre-configured systems. The capability of some proprietary software is extended through the inclusion of scripting or programming languages. This research contributes to the field of visual communication design by looking at design’s relationship with and expressive use of computation and how, through this engagement, designers are able to move away from pre-configured solutions towards the precise realisation of ideas. Within my practice, code is the primary material of design generation and for this animation I utilised the proprietary software After Effects and its internal scripting language. This approach was used to further extend, control and individualise my design according to my envisaged outcomes beyond the standard configurations in the software. Along with Kylie Robertson and Rebecca Stegh, who designed other parts of the introductory sequence and animations throughout the film, I was nominated for an AACTA Award (previously AFI) in 2013 for Best Visual Effects.	en_US

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