Jon Mortimer’s project aims to make animation and visual effects careers more accessible
An Edinburgh Napier University (ENU) lecturer is hoping to make animation, visual effects and gaming more inclusive – by identifying industry and technical phrases that need their own sign in British Sign Language (BSL).
Award-winning animator Jon Mortimer was inspired by his efforts to learn BSL alongside his 4-year-old son, as well as experience of supporting deaf students at ENU, where he teaches 3D animation and modelling.
Jon leads the community project, Animsign, with the aim of gathering words from the world of animation that don’t currently have a specific BSL sign. He took the research to industry events around the world to seek suggestions from professionals, educators and signers.
Following his work with the deaf community and industry to develop new signs, Jon created an animated explainer video to help get the word out and provide further information.
An Animsign pilot at a conference in Scotland helped to pinpoint 74 terms which needed a new sign, such as WIP (work in progress), pipeline and props.
Jon is now inviting members of the deaf community, educators and animation and games professionals who are interested in being involved with Animsign to reach out, and work towards developing a BSL glossary of animation and gaming terminology.
There are thought to be more than 70 million sign language users worldwide, with more than 300 different sign languages. It is hoped that having a more accessible breadth of BSL terms could open potential new career opportunities to people who are deaf or hard of hearing.
Jon said: “Gaps in language can put people starting out in animation at a major disadvantage. It is like looking up a technical term in the dictionary and finding a blank page.
“Our aim with Animsign is to create a bridge between the animation and games sectors and the deaf community.
“My family and I have been learning BSL to support my son, who currently has limited language. Learning sign language has allowed him to express himself so much more than before.
“I think it is so important that we work with people from the deaf community and not for them, which is what I have aimed to do throughout this project, while also working with deaf artists.
“The hope is that with support like this we can make the process of learning about animation more accessible.
“You don’t need to be an animator to work in animation. This could open up a whole range of careers to talented people who have stories to tell.”
Jon now hopes to take this research further by forming focus groups of animation & games professionals, educators and sign language users to develop a glossary of new signs. He is encouraging anyone and everyone to get in touch with him and talk about his research.
Doting grandmother Jeanette Townsend from West Sussex has been named the Great British Grandparent 2024, following an extensive nationwide search which received over 650 entries from loved ones nominating a family member or friend for the prestigious title.
Grandmother to eight grandchildren and another eight great-grandchildren (plus one more on the way), Jeanette, who is affectionately known as ‘Nan’, is overjoyed (if not a little overwhelmed) with the news.
On National Grandparents Day in October, Ambassador Cruise Line launched its search for the UK’s Grandparent of the Year. The initiative was conceived as a heartfelt tribute to the unsung heroes who give so much of their time, consideration, emotional and, in some cases, financial support to their nearest and dearest, day in, day out.
Jeanette was nominated for the title of Great British Grandparent by her granddaughter, Chloe.
Chloe’s submission included details outlining the incredible support Jeanette has provided to all generations of her family, notably during a difficult time when Chloe’s mother fell ill before sadly passing away.
The entry also included fond memories of how Jeanette has actively contributed to quality family time over the years, including teaching those close to her how to bake, go fishing or spending hours with the children while they played games in the back garden. Chloe also described how Jeanette is unconditionally ‘always there’ and come what may – both during times of need and in day-to-day life.
Despite facing extremely tough competition from other nominees, many of whom would have proved worthy winners of the title, Chloe’s nomination truly moved Ambassador’s expert judging panel headed-up by Ambassador’s CEO, Christian Verhounig, and the decision was unanimous in voting Jeanette the Grandparent of the Year.
After being named Great British Grandparent 2024, Jeanette said: “I was shocked by the news, because everything that I do I simply do because that’s what you do for your family.
“I always love having the grandchildren at my place, whether that’s playing in the garden, going down the beach, or cooking together. I consider myself very lucky to have such an amazing family.”
Granddaughter Chloe said: “I didn’t really believe it when we found out the news. I’ve never nominated someone for an award like this before, but everything that I said is true – I don’t know any grandparent more deserving than her.
“Nan is the ‘hub’ of the family, she gets us together and we all cherish the family moments we have at her place. She has gone through so much over the years that most people should never have to. Thanks so much to Ambassador for hearing her story and recognising our incredible Nan in this way. She really deserves this.”
In recognition of her achievement, Jeanette will be treated to a complimentary week-long, full-board Ambassador sailing for two to enjoy at a time of her choosing.
Jeanette said: “I’ve never been on a cruise – I’ve never been that fortunate!
“I’m really looking forward to it.”
Christian Verhounig, CEO of Ambassador Cruise Line and Head Judge of the voting panel, says: “On behalf of all of us at Ambassador, heartfelt congratulations go to Great British Grandparent 2024: Jeanette Townsend.
“The dedication and ongoing support you provide to your grandchildren and great-grandchildren is truly incredible, and you are a wonderful example of just how important grandparents are to the family unit.
“Ambassador is proud to champion the Silver Generation, whose support, friendship and companionship plays such a key role in bringing families the length and breadth of the country together. On behalf of all those friends and relatives who benefit from the unconditional love you provide, we wish to thank grandparents across the country for all that you do, every day of the year.”
As part of the campaign, the over 50’s cruise line commissioned a survey that looked at the intergenerational dynamic, with findings suggesting that grandparents remain the backbone of the family unit.
Research revealed that grandparents are viewed as both generous and reliable, providing an average of 24.6 hours a month of childcare to their grandchildren, even if over a third (38%) receive nothing in return.
Grandparents are also considered the most trustworthy people to look after children, with almost two in three (62%) of people saying they trust them most with childcare duties.
Grandparents are stepping in with financial support too – the research shows that two in five (40%) Brits have turned to their grandparents for money, and that grandparents are understood to be sacrificing on their own lives – including giving up on holidays (16%), holding back on doing things with friends (12%) and remortgaging their home (8%) – to ensure their grandchildren thrive.
Ambassador Cruise Line will begin its search for the Great British Grandparent 2025 later this year on National Grandparents Day, which falls on Sunday 5 October.
It is where criminals threaten to share nude or semi-nude photographs of their victim if money is not paid or if the victim does not comply with some other harmful demand.
Patient Harriet meets idol Rod Stewart thanks to kind-hearted NHSGGC staff
A throwaway idea from kind-hearted staff at New Stobhill Hospital turned into the experience of a lifetime this week for a patient of NHS Greater Glasgow and Clyde.
Harriet Rozanski, 74, has been a patient at the hospital for more than a year, and she is such a fan of Rod Stewart that she listens to his CDs all the time and the area around her bed is covered with pictures in tribute to her idol.
Such is Harriet’s love of the rock superstar that Consultant Geriatrician Dr Aine McGovern and Senior Charge Nurse Helena Connolly made it their mission to get Rod to record a video message of good wishes for her.
However, thanks to the help of Chief Nurse John Stuart and the Celtic Foundation, Rod went one step further and Harriet was invited to meet him at the hospitality suite at Celtic Park during this week’s Champions League fixture against German giants Bayern Munich.
Dr McGovern accompanied Harriet to her special meeting, and she said it was a wonderful occasion. She said: “We just thought we would do something nice for a patient who’s been with us for a while, but we had no idea our request would end up here.
“We’re delighted to have been able to do this for Harriet, and seeing her face when she met her life-long idol is something I’ll never forget.
“Rod was so lovely with her, and the fact he took the time to share a song and a dance with Harriet was the icing on the cake for her.
“I’d like to thank John Stuart, Helena Connolly and everyone else who did so much to make this possible – especially the Celtic Foundation.”
Dr McGovern admitted that, while Harriet is an East End girl who grew up in the shadow of Celtic Park, she wasn’t too interested in the football being played on the hallowed turf outside the Hospitality Suite.
“I don’t think I would care either,” she said. “I mean, after waiting all these years to meet the man of your dreams, there would be more important things on your mind than football!”
Drylaw Good Apples are holding a celebration in the two secret orchards on Sunday 23rd February.
There will be a light maintenance session first in the orchards between 11-1pm followed by a hot lunch at the Drylaw Neighbourhood Centre 1.15-2.15, and then back out again 2.30-3.30 for singing and music from the incomparable Jed and Jo to celebrate the start of Spring in the Orchards.
Come along for all or some of it! Bring your friends and neighbours.
World-renowned woodworking school, the Chippendale International School of Furniture, is once again offering aspiring furniture makers in Scotland the opportunity to attend its popular 10-Week Course free of charge.
The third ever to be offered, the Ronnie Guild Bursary covers the full course fees for young people in Scotland who are passionate about woodworking but face financial barriers to entry.
Fine furniture making is often an expensive career or hobby, with costs increasing as skill sets expand to include the use of machinery, specialised tools, and premium materials.
The Chippendale International School of Furniture, founded in 1985, has taught woodworking to countless students from all walks of life, including retirees, career changers, and school leavers. In recent years, the school has also worked to make woodworking more accessible through its bursary program.
The 10-week course, running from 12 May to 18 July 2025, offers hands-on experience in woodworking and fine furniture making.
With personal guidance from expert tutors in a fully equipped studio and world-class resources, students gain the confidence to either pursue a career in woodworking or continue on their path toward becoming expert craftspeople.
Gregor Hogg, the bursary recipient from last year, shared how the experience changed his life: “The bursary gave me the opportunity to train in an amazing environment with some of the world’s best woodworking tutors.
“My time at Chippendale was truly life changing. It gave me the skills, confidence, and industry knowledge to pursue a future career in woodworking, something I’d always dreamed of.”
For young woodworkers who may not have had the means to pursue formal training, the Ronnie Guild Bursary offers a unique opportunity to study at one of the world’s leading woodworking schools.
How to Apply
Open to Scotland-based applicants under 30
Full tuition fees covered – transport, accommodation, and living expenses are not included and must be self-funded
A new Outdoor Recreation report from NatureScot’s Scotland’s People and Nature Survey (SPANS) 2023/24 reveals that 61% of Scots engage in outdoor recreation at least weekly, with 17% venturing out daily. It also highlights the importance of urban greenspaces in outdoor recreation.
The survey found that 41% of outdoor visits in Scotland take place in apark or other open greenspace in an urban area, making them the most popular destination. Woodland and forest visits follow closely at 39%.
Young people (16-34 years) and residents of the 10% most derived areas are more likely to use urban greenspaces, reinforcing their importance in ensuring equitable access to nature.
However, residents from the most deprived areas are less likely to engage in outdoor activities, pointing to a need for more inclusive policies and investments in local parks.
People in Scotland participate in a wide range of outdoor activities with walking being the most popular outdoor activity, the overwhelming majority of visits involved walking (93%).
Walking was also the most popular way to get to local parks, overall, 84% of people said they normally walk or wheel to their local greenspace.
These findings emphasize the crucial role of local, accessible urban greenspaces in promoting health and well-being.
Travelling Gallery is delighted to be partnering with the University of St Andrews this February to present the exhibition Between Women.
The exhibition features the work of Franki Raffles, Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu.
Between Women takes images made by the photographer Franki Raffles from her base in Edinburgh during the 1980s and 1990s as a starting point to explore relationships between gender, labour, education, care and activism in documentary photography since the 1950s in Scotland and internationally. Raffles’ photographs will appear alongside images by Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu which together illuminate how gender is produced and reproduced through workplaces, housing, healthcare, and particularly schools, playgrounds and nurseries, across urban and rural landscapes.
In examining the relationships and power structures between women, this exhibition takes inspiration from two projects by Raffles. The first is a trip Raffles made in 1984–85 to the Soviet Union and Asia, including an extended period in China, during which her concern with women at work crystallised.
The second, Picturing Women, was part of a 1988–89 educational initiative organised by Stills Gallery, Edinburgh, aimed at helping young people analyse photographs, for which Raffles studied the working relationships between women at a school. These two projects provide a framework through which connections and comparisons with Niu Weiyu, Carolyn Scott, Sandra George and Sylvia Grace Borda’s photographs emerge.
One of the few women photographers to gain professional recognition in twentieth-century China, Niu worked for state-run media organisations and produced a large number of photographs that portray women’s roles as workers throughout the 1950s, 1960s and 1970s.
Carolyn Scott’s documentary photographs images of children and families in Newcastle’s Rye Hill area where she lived between 1967-68 observe the relationships and socialisation forged through play, but also the effects of deindustrialisation on the community.
Sandra George’s photographs of Edinburgh during the 1980s and 1990s attest to the importance of community educational groups and spaces in activism and organising, alongside public demonstrations and gatherings.
Sylvia Grace Borda’s studies of schools, leisure centres and nurseries in the New Town of East Kilbride reflect on the complex legacies of post-1945 Welfare State architecture from the perspective of the early 2000s.
Together, these photographs highlight the possibilities for solidarity between women in sites and spaces spanning the local and the global, but also the importance of recognising differences and intersectional identities that account for the constructs of gender, sexuality, race, disability and class in activism and organising.
Launching in Edinburgh at the Community Wellbeing Centre on Monday 17 February from 11am to 5pm, the exhibition will tour throughout the week visiting the following locations:
Wednesday 19 February, 10am – 4pm – Dundee International Women’s Centre
Thursday 20 February, 10am – 4pm – Fluthers Car Park, Cupar
Friday 21 February, 10am – 4pm – East Sands Leisure Centre, St Andrews
Between Women is curated by Vivian K. Sheng and Catherine Spencer, with support from the University of St Andrews Impact and Innovation Fund.
Culture and Communities Convener, Councillor Val Walker said:“It’s brilliant to see the Travelling Gallery return for 2025.
“It’s crucial that art and culture is as accessible to as many people as possible. I’m proud that through our ongoing support of the Travelling Gallery, and the recent increased Creative Scotland investment, art is brought straight into the hearts of towns and cities across Scotland. I hope everyone takes the opportunity to visit the exhibition, bringing together work which illuminates how gender is produced and reproduced through workplaces.
“Here in Edinburgh, we’re clear that that our residents should be able to easily access a variety of cultural activities, and this exhibition brings art closer to people’s communities.”
Louise Briggs, Curator, Travelling Gallery said: “We’re delighted to be working with Vivian, Catherine, and the University of St Andrews to present this exhibition.
“We’re looking forward to discussing the work of each artist with our visitors, who we believe will have their own stories and experiences to share that chime with many of the references (and local sites) found in the work on display.”
With thanks to the University of St Andrews Libraries and Museums, Edinburgh Napier University, Franki Raffles Estate, Craigmillar Now, Gaofan Photography Museum, Sylvia Grace Borda and Carolyn Scott.
Travelling Gallery is a contemporary art gallery in a bus. Since 1978 it has been bringing exhibitions to communities throughout Scotland. We recognise that art can change lives and we create fair conditions and remove barriers to allow access and engagement to audiences in their own familiar surroundings.
The gallery space offers an open and welcoming environment for people of all ages, backgrounds, and abilities to discover and enjoy contemporary art. Over the past forty years, Travelling Gallery has brought innovative exhibitions to every part of Scotland reaching hundreds of thousands of visitors and school pupils.
Travelling Gallery is a ‘not for profit’ organisation, regularly funded by Creative Scotland and supported by the City of Edinburgh Council.
The gallery has ramp access for wheelchairs; hearing loop and will have large print format exhibition interpretation.
Artist Biographies
Sylvia Grace Borda is an artist working with photography, net art, video installation, and eco-art, who has undertaken projects in Canada, Finland, Northern Ireland, Latvia, Scotland, Ethiopia and Taiwan. Her artwork is concerned with establishing systems of public understanding that underpin literacy, advocacy, and action to conserve the built and natural environments. In Scotland, she focused on New Town architecture in EK Modernism (2005–10) and A Holiday in Glenrothes (2008), and created an edible photo artwork, the Lumsden Biscuit (2016–17). Her roles at Queen’s University Belfast (2008–10); University of Salford (2011), and University of Stirling (2012–15) have focused on visual arts and social histories, digital engagement and innovation. In 2023, she received the Mozilla Foundation Rise 25 award in recognition of her transformative media arts practice to democratize the web for communities. Exhibitions include National Galleries of Scotland, RIAS, Street Level Photoworks, and The Lighthouse, Glasgow.
Sandra George (1957–2013) was an Edinburgh-based social documentary photographer, multi-disciplinary artist, and a community worker in Craigmillar. George studied Photography at Napier University, Drawing and Painting at Edinburgh College of Art, and Community Education at The University of Edinburgh. For over 30 years she worked extensively as a freelance photographer for organisations and publications including the Sentinel, Tollcross Community Newspaper, Shelter, Craigmillar Festival News, and Craigmillar Chronicle, and taught photography and art to communities across Edinburgh. She started working in community development in Wester Hailes in the 1980s, and in Craigmillar from the 1990s, and was an integral member of initiatives including McGovan house, the Thistle Foundation, and the Craigmillar Arts Centre. Alongside a commitment to community work, anti-racism and social justice, George’s photographs document children at play and their educational and leisure environments. George’s archive is held at Craigmillar Now, a community-led arts and heritage organisation in Craigmillar.
Franki Raffles (1955–1994) was a feminist photographer specialising in social documentary. Raffles studied philosophy at the University of St Andrews from 1973–1977, where she was an active member of the Women’s Liberation Movement. After experimenting with photography while living on the Isle of Lewis, she moved to Edinburgh in 1983, and started documenting women at work, as well as organising and campaigning. Raffles frequently collaborated with Edinburgh District Council’s Women’s Committee, including on the project To Let You Understand: Women’s Working Lives in Edinburgh (1989) Zero Tolerance campaign against domestic violence in the early 1990s. She travelled widely throughout her career, including extended trips to Asia and the Soviet Union. Raffles’ work is currently the focus of a major exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. Her archive is held at the University of St Andrews.
Carolyn Scott is an artist working in photography, film and installation. She was raised in Edinburgh and now lives in Cupar, Fife. Carolyn lived in the Rye Hill district of Newcastle Upon Tyne in the late 1960s where, in the spring and early summer of 1968, using a twin-lens Rollieflex camera, she photographed the immediate area in which she lived. Her Rye Hill Social Documentary Photography Collection images were unseen for nearly 40 years until she revisited them during her studies at Duncan of Jordanstone College of Art and Design, Dundee University, where she received a BA and MFA. Carolyn’s work has been shown in the Cupar Arts Festival, St Andrews Photography Festival, Royal Scottish Academy and The Centre for Theology and Inquiry, Princeton. The Rye Hill Social Documentary Photography Collection is now held at the University of St Andrews.
Niu Weiyu (牛畏予) (1927–2020) worked as a photojournalist and photographer for North China Pictorial, Southwest Pictorial, and the News Photography Bureau. She later joined the Xinhua News Agency, where she worked for various branches from the 1950s to the 1980s. Weiyu was one of the few women photographers during this period, who were often assigned to feature women workers, such as the first women pilots, as well as public figures and officials in the Chinese Communist Party, and she travelled extensively throughout her career.
Vivian K. Sheng is an art historian working on contemporary Chinese and East Asian art in transnational contexts and an assistant professor in contemporary art at the University of Hong Kong. In Fall 2022, she was a Global Fellow hosted by the School of Art History at the University of St Andrews. Her research investigates the intricate interrelations between women, domesticity and art practices in contexts of ever more intensified cross-border movements and exchanges, provoking reflections on notions of identity, home and belonging beyond the territorial fixity of natio-state. Relevant issues are explored in her forthcoming monograph book— The Arts of Homemaking: Women, Migration and Transnational East Asia. Her writings have appeared in ASAP/Journal,Art Journal, PARSE Journal,Third Text, Sculpture Journal, Yishu and INDEX JOURNAL.
Catherine Spencer is an art historian at the University of St Andrews. She is currently working on a book entitled Abstract Subjects: Art, Borders and ‘Britain’, and co-editing Grassroots Artmaking: Political Struggle and Activist Art in the UK, 1960–Present with Maryam Ohadi-Hamadani and Amy Tobin (Bloomsbury, forthcoming). Her writing on Franki Raffles has been published in Art History (2022) and the catalogue for the 2024–5 exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. In 2021, she co-curated Life Support: Forms of Care in Art and Activism with Caroline Gausden, Kirsten Lloyd, and Nat Raha at Glasgow Women’s Library. Her essays have appeared in Art History, Art Journal, ARTMargins, Tate Papers, Parallax and Oxford Art Journal.
