As an artist with a formal background originally in live-action film production, Cable Hardin creates content, narrative, short form (and very short form), and creates it while experimenting with existing aesthetics, and often manipulates viewer expectations through exploitation of genre or parody. Due to his combined experience in film production and animation, specific areas in creative activity often include the combination of live-action and animated elements. Humor, playfulness, moments of frenetic energy, and the unexpected are major common elements in his work.

Cable also serves as Program Director for the Graphic Design program at Cape Fear Community College in Wilmington, North Carolina. Past experiences include teaching as a full professor in the School of Design at South Dakota State University. He has also organized film and animation exhibitions like the SoDak Animation Festival and related iterations both in SD and NC. Professional clients include National Geographic Digital Studios, Cartoon Network, Iowa State University and South Dakota State University, The SD Agricultural Heritage Museum and The Ecdysis Foundation. In an alternate universe, Cable has also specialized in special effects makeup for film and tv, an area he looks to revisit when the opportunity arises. 

Process

While humor and light-heartedness are frequent qualities in most of my individual work, I usually aim to vary the form, media, and processes involved. In recent years, collaboration with others outside my traditional field has allowed for rich experiences in science and agriculture, film and video, and museum exhibition. Recent collaborative projects include working with non-profit agencies, data analysts and developers to automate and translate data processing in the grass-roots regenerative agricultural movement.

Regarding process, let’s look at two different approaches I use. The short animated films White Out (2015) and Infestation (2016) were made with very different approaches, but both met the goals of learning through process and experimentation, and increasing technical proficiency and modes of expressiveness. Both projects emphasized the exploration of analog and hand-made processes, which contrast greatly with my prior, mostly digital experience. I also expect my processes to change based on the interdependence of teaching and creative research, which so often can inform each other.

White Out was a new concept for me and a much more complex process in establishing character and story, told through stop-motion and other physical, time-consuming and meticulous in-camera processes. This film was made in response to my prior experience in film and animation, which had been primarily digital. That process had left me bored and unsatisfied with the comparative sedentary and sterile experience. After being inspired by such contemporary animators such as Kirsten Lepore (Bottle, 2010), Quique Rivera (El delirio del pez león, 2012), and Emma DeSwaef (O Willy, 2011), I shifted to explore analog animation processes such as stop-motion and traditional drawing that use hand-made elements and exhibit rich texture in the imagery. Craft processes such as puppet-making, set-building, lighting, and photography were a welcome and refreshing change.

The first significant collaboration happened recently with Minneapolis-based audio designer Mike Hallenbeck on Infestation. Mike contacted me after seeing (and hearing) White Out at an area film festival and explained he was interested in working on a future project of mine. The collaboration was straightforward in that he was given pretty much free-reign to illustrate the visuals with sound as he saw fit and also took it as an opportunity to experiment on his own. I have come to highly value this outside expertise and perspective and plan to seek collaborative opportunities in the future, particularly in audio.

Infestation, although brief in production and duration, is an example of working quickly and loosely with experimentation in mind. This approach allowed for less controlled expressiveness with the end result completed relatively quickly. Collaboration with an audio designer was also a significant new dimension of process. Much of the content for Infestation was created while traveling around the US and much inspiration came from unexpected and real experiences (with insects).

Teaching and Methods
View student work here

My teaching approach involves three major components: Introduction and emphasis of Principles and Theory, Mastery of those principles through practice, and extracurricular experiences based on successful practice.

 One of the underlying principles in my teaching is that design, animation and motion graphics are forms of visual communication with languages of their own. Another core dimension of my teaching is that even though digital processes are universal and the tools nearly ubiquitous, at some point in research or production, it can also be influenced by fine arts approaches (painting, drawing, printmaking, sculpture), and not underutilizing a pencil-on-paper approach for initial ideation. Therefore, I encourage thorough research and exploration from different sources of inspiration. Hybrid forms of making have always served student portfolios and experiences better than if siloed in software-only mode of production. Being exposed to process and critique is also an integral part of laying solid foundations. Early in coursework, students are required to justify their decisions and articulate their process. It’s the soft skills so often lacking (especially since 2020) that stress the need for improvement in interpersonal communication and citizenship. Early practice and safe failure in these areas can help students pre-empt shock and disappointment outside the shelter of the academic immersion.

 Teaching methodology emphasizes project-based application of principles and process, and basic software technique with standard digital tools. Success of even basic application of the principles is achieved through extensive practice. In introductory courses, hand-drawn animation and analog processes can often serve as a foundation to all other processes and also provides a perspective and appreciation for which many digital animation applications derive. Sketching for ideation is emphasized as not a ”beginner” process, but one that is proven to work with efficiency and reliability and one that should not be replaced with software. Moving forward, digital applications,  expanded processes and media, more complex workflows with professional applications are explored (branding and design systems for example). Basic techniques in a variety of approaches and media are covered on a weekly or bi-weekly schedule in the beginning of foundational courses. After many approaches have been introduced, projects with a longer production time and more subjective approaches are assigned with the goal of allowing greater confidence in technique and expressiveness.

 To encourage creative and professional life outside of the classroom setting, I stress completion of quality work for exhibition and application beyond the educational environment. Attendance and involvement with professional clubs and competitions (AIGA, AD Federation) and film, animation, or design exhibitions, and professional internship experiences are integral methods for student engagement beyond classroom function and professional connections.

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