{"id":317,"date":"2026-03-04T00:23:51","date_gmt":"2026-03-04T00:23:51","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/nsag\/?page_id=317"},"modified":"2026-03-04T00:52:01","modified_gmt":"2026-03-04T00:52:01","slug":"layout","status":"publish","type":"page","link":"https:\/\/blogs.napier.ac.uk\/nsag\/layout\/","title":{"rendered":"Layout"},"content":{"rendered":"

Innovation and Experimentation in Animation Layout for New Signs for Animation: AnimSign<\/em> (2024)<\/strong><\/h3>\n

New Signs for Animation: AnimSign<\/em> is an inclusive research and creative project funded by Edinburgh Napier University’s Public Engagement fund and CTN (Creative Talent Network). Created by animator and educator Jonathan Mortimer, the initiative began as a short animated film highlighting a significant gap in sign language vocabulary for animation and games terminology. Many technical terms commonly used in industry and education have no established equivalents in British Sign Language (BSL) or other signed languages, creating barriers for Deaf and Hard-of-Hearing [DHH] students and professionals.<\/p>\n

First released as New Signs for Animation<\/em> (2021) and later expanded into AnimSign<\/em> (2024), the project combines animation, sign language performance, and voice-over narration to explore how new terminology might be developed collaboratively. It positions animation not just as a storytelling medium, but as a tool for linguistic innovation and educational access.<\/p>\n

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1. Influences and Constants<\/strong><\/p>\n

In developing AnimSign<\/em>, I drew particular inspiration from Fraser MacLean<\/span><\/span> and his book Setting the Scene: The Art & Evolution of Animation Layout<\/a> (2011)<\/span><\/span>. The book traces the historical development of animation layout – from early studio systems through to contemporary practice – and foregrounds layout as both a technical discipline and a storytelling craft.<\/p>\n

Engaging with this history prompted a deeper consideration of how layout shapes meaning. MacLean\u2019s exploration of staging, spatial clarity, and the evolution of visual storytelling reinforced the idea that layout is never neutral; it determines what the audience sees, how they see it, and where their attention rests.<\/p>\n

During the development of AnimSign<\/em>, I also reached out to Fraser MacLean directly to discuss the project and its approach. Those conversations were invaluable in situating the film within a broader lineage of layout practice, while also recognising that this work pushes layout into less conventional territory – as a tool for accessibility and linguistic development.<\/p>\n