Halloween Animation and The 12 Basic Principles of Animation

    Today in animate, the task was to make a halloween themed animation using the principles we have learnt so far. This was to includes timings, bounce, archs, squash + stretch, and finally weight.

Principles GIF

The 12 Principles of Animation

1. Squash and Stretch

  Used to give characters in animation volume, weight and flexibility, they can range from subtle to extreme. Often seen in the retraction in muscles, facial features and dancing are an excellent examples of the Squash and Stretch principle.

2. Anticipation

 The technique in anticipation is that a combination of a few smaller actions will often lead to a much larger one. This technique draws the attention of the audience. Making them want to know what's going to happen next.

3. Staging

  A combination of things, staging revolves around the camera and character movement/emotions. Firstly, staging mean that every movement or emotion made should be clear, this draws away from any unnecessary distractions. Secondly, the camera should be used to empathise what is happening with the main characters, completely directing the audience’s attention

4. Straight Ahead and Pose-to-Pose

 - Pose-to-pose requires creating the key/extreme actions in an animation first, then filling in the in-betweens after. This techniques allows clarity, structure and readble positions/movements. However, its can lose the flow of natural and seem too logical

- Straight Ahead means to draw frames directly one after another, allowing a fluid flow of movement. This is great, but there can be a loss of direction and shots become far too long. 

5. Following Though and Over-Lapping

 - Following though is the process of thing stopping at different times, mean some loser parts of the body (such as arms) will stop after the main mass in movement.

 - Overlapping is when some part of the body moves faster than others, examples being clothing and hair.

6. Easing-in and Easing-out

 This is about the number of frames in a character’s action. Drawing more frames at the beginning will give the impression of a slower force, the middle will have less to create a quicker flow, then increasing the number of frames toward the end will slow the action down. This is to add to realism to motion and gesture.

7. Arc

All action in life work in an arc (much like a pendulum), the force of the motion will increase or decrease the arc. Limbs like arms, legs and heads are never in a straight line motion, always with a circular movement.

8. Secondary Actions

These are actions that support the main action, ether in process or at the end sequence. Often these are bachground elements, movements or emotions.

9. Timing

 The act of adjusting timing in a scene or motion gives the impression that the physics are working, there for increasing or decreasing the timing can the speed of an action.

10. Exaggeration

Over acting on certain movements/ expressions can help draw attention to a point, however this must be used sparingly as it can make everything squishy and unbelievable.

11. Solid Drawing

 Although made in a 2D form, objects and characters should have a feeling of weight and an 3D presence. Almost like they can be in the real world, not just drawn on a plane.

12. Appeal

 Not all characters/environments have to be stunning or beautiful, appeal is about making a character interesting and captivating in their own way.

What's If Metropolis? Influence Maps Extended

As my model is going to be internal, I decided to look further in to whats of the main models finer details would look like. I want to keep to wooded styles with some eastern influenced, but as the home belongs to a trader, there would be some more fancier items. As it's quite a cluttered place, looking at stacks of paper, crates and inkwells will give more personally rather then just random ideas. 

Maya Chicken Coop Lesson 1

  Moving into modelling sets in maya, todays lesson was about starting the creation of a Chicken Coop. Mainly with square polygons, this involved the use of vertex's manipulation, removing faces, mirroring, extracting individual panels for the wood and using the multi-cut/ edge-loop tool.


 Below are screen shots of today progress:

Placing the Orthograpthic images onto a seperate layer

Making fraction on the square polygon

Deleting what isn't needed

Creating the correct shape for the coop face

Using a lattice for angle modelling

Mirroing to create a whole side of the coop

Creating panels with the Edge-loop and Extracting individual panels

Creating the entrance with the Multi-cut tool

Extuded and Reversed

Bevelled, added sections and fractions

Added roof plane, increased sections

Added bevelled roof middle part with 5 sections 

one coop leg

Leg supports, rotated

Finished piece so far. 

Diomira Trevelogue and Product Designer Research

As a new part of the course, we are asked to write a travelogue about the city we have created from Calvino's descriptions. Having never written one before, its was quite a challenge. Writing is not my strongest point. So, I decided to base it like I was writing a letter (Like Calvino) or as a diary entry. Also, as we have taken on the role of Director in this project, it was wise to do some research.

What If Metropolis? Travelogue

Diomira

  Diomira is settled deep to the east, easily taking three days travel from my previous destination.  The best way to reach here is by car, it would be much too uncomfortable for a horse, and by foot would mean adding many more days to the travel timing. Surround by dense tropical flora, there are rainforests reach as far as the eye can see and the continuous chattering of continents wildlife. However, Diomira occupies one of the very rare clearances, with farmlands and swamps in its vicinity. There is plenty of rainfall here, and an abundance of rivulets cutting their way thought the forestry. The constant humidity leaves the soils surrounding the city rich, perfect for the growth of exotic herbs and produce. However, moving back more towards the woodlands, it much boggier. The streams and rain leave many sodden areas and small swamps, which are utilised as rice beds and fishing wells. It’s best not to be outside at mid-day, in the grips of summer the temperature reaches so high it can be considered dangerous. Only those who are climatized are seen to be working the fields and marshes during the day. Proceeding along the lead lined road towards the metropolis, the path had changed from cobbles some way back in the rainforest.

  Coming up to Diomira, there are no stone walls. Instead are the tall railings of silver and lead, detailed with the intricate motifs of the city’s emblem and monarchy. The top railings are spiked with oil, so to stop anyone climbing over. Although, these reach such heights, I doubt they could be so easily ascended.  The guards people inspect every traveller and vehicle when entering, standing tall in the silver and bronzes of the sentry attire. Adorned with hats decorated with city’s crest and lapels of the goddess’s colour, seeming proud in serving their home and sovereign. Upon the rolling gates of the city sits a great bronze Lion-dog, its eyes piercing and sharp. A messenger of safety from their Goddess, as violence here is strongly forbidden.

  Inside the walls, large silver domes line the streets of lead leading the stunning crystal theatre. You can hear the constant chatter of the brightly colour birds as they fly overhead, enjoying the reflective warmth. The streets move away from the theatre in long boulevards, each holding a market at the end. As for the Dome houses, they are all different in shapes and sizes, many consist of more than one rotunda. These, I can only assume are the homes of growing families. Some are even on platforms, with rickety ladders ascending to the grey pavements. The panels of the silver domes seem to not only reflect the light, but absorb the heat, this being used to power the city.  At closer inspective, fine intricate details are seen in the house’s doors and windows, these symbols seem represent the trade and family line of the people living here. Tall, black streetlights with cage like lanterns flow thought the avenues, leading the way to the markets. signposts along the pavements tell of what type of market is at the end of each street.

  It’s much too quiet in the city during the day, the only thing around is the numerous bronze statues of the worshiped deities. However, the markets are in full swing, but seemingly only for trade with outside merchants. Hundreds of stalls work in a spiral pattern, so no trader is overlooked when spectators peruse. Travellers far and wide have brought their wears, bartering and dealing for what the stall merchant has to offer. There are 6 markets here in total, this one is for materials and clothing. Others consist of medicine and apothecary, food/alcohol, books and miscellaneous, and finery specialities.

  A hill the east side of the city sits a glass tower, its twisted form reflecting many colours from the sun and reaching high into the sky. Seeming watching over Diomira is the mother of all, sculpted from bronze and gold. In one hand she holds a wreath of wheat to represent a bountiful harvest, the other a spear for protection. Sleeping at the top is the famous golden cockerel, resting on in it nest. somewhat difficult to gain a proper view of it and being much too early for it to crow.

  There are very few Domes here that act as hotels for travellers. The hotel of choice for me is “The Squawking Parrot”, this name is quite humorous considering the contest cawing of the local wildlife. Inside is decorated with rich red wood, the delicate detailing of gold/bronze are a contrast to the silver walls of the dome. The lobby to the left of the reception is full of plush cushions, some nearly large enough to sink completely. Towards the rear window is a low set alter with a small golden statue of the goddess, it seems all of Diomira’s resistant’s have these and surround them with coins as offerings. A friendly place with good hosting family, they are quite happy to help with anything.

Luckily, I had come a few days before the moon will reach its fullest, for it seems there will be a festival that night. Normally, outsiders would be removed from the city for these celebrations, only those invited by resident may join. My few days here meant I had gotten to know the host and his family well and had asked me to stay to see these celebrations for myself.  However, even though I had been invited, they warned that stay inside during the day. The bustle of the cities preparations and rituals are scarce. An outsider seen amongst them during this time would represent as a bad omen, bringing a decrease in yield and profits.

  At 2100, when all was complete, I could join my new friends in the celebrations. They had let me borrow one of their traditional grabs and footwear. Rich in the colour green and intricately embossed, this was for representing Kual, the god of prosperity. It seems tonight is a celebration in his name, my new friends telling me that it changes each full moon. Outside, the streets were buzzing with life, many of Diomira’s residents are nocturnal. The streetlights are glow with many colours, people greeting each other with kindly, including myself even though I’m an outsider. Heading to the city centre, the theatre is radiant with music, could and light. The melody is upbeat and easy to dance to, the words being sung in the native language, which I do not speak. Surrounding the theatre are long red oak wooden tables, laden with food and drink, the air rich with aromatic scents. Soon enough the golden cockerel crows at 2200, everyone taking their seat and listening to the prays given by the great Apostle though the crystal tunnels of the theatre. In the distance, the glass tower light up to illuminate the mother goddess throughout the prays. With thanks given, everyone dines among the light of coloured candle lamps, telling stories and jokes, discussing their latest deals happily. As the night goes on, the tables disappear and the music continuous, the drinks flow freely and Diomira’s citizens dance together as one family.

  The next day, Diomira is so still. The markets are not open, the gates are closed, and you can only here the chatter of the many bird residing on the dome’s roofs. However, the streets are clean, you wouldn’t even know there had even been a celebration the night before. The day after is a day of rest, no business is allowed in this holy time. I have chosen to leave now, as my next destination is very far. but for all that have not been here, I would recommend seeing Diomira to truly grasp its utopian elegance.

Product Designer Research

Kathy Altieri - Product Des... by Kimberley Davis on Scribd

What If Metropolis? Thumbnails 1

 
Starting on the thumbnails of what needs 3D modeling, I have kept them as basic lines and colour. Thin enables a quicker turn around in designs, and enough detail to work on later. So far I have done the stacks of papers, tables, and the crates/bags. I just need to do the cabenet and light next, then move onto the orthograpthic designs of the hero props.

The proportions and perspective is far from perfect, but for thumbnails it about grabbing ideas.

Crates and Bags

Paper, Books and Inkwells

Table Designs

What If Metropolis Brief - Maps

  Following the completion of the “Invisible Cities” project, we now move into “What If Metropolis” (part 2 of Environment Toolkit). Changing our roles form concept artists to production designers, we must dig deeper into the work we have created so far.

  Choosing one of our concept art pieces, we will go through the operation of making it into a 16:9 3D scene. We can choose ether the exterior or interior shot. This will include further thumbnails and sketches of more intricate details of our city/ interior scene, production artist research, creating a travelogue, and referring to/ or expanding influence maps. Leading to a Green Light Review, gaining advice and critic on our work.

  In our scene, we need to think about the front, middle and foreground. As for our point of focus, making items/buildings into Hero Props and producing Orthographic maps. Planning matte paintings for backgrounds/foregrounds, the transferring models into photoshop for texturing. Eventually producing a completed piece, animated Gif and a “Art of” document will explain our journey.

  As for myself, I have chosen the interior shot. I felt this would make a good challenge and help in expanding my skills, also it was the painting I most like. Its quite a busy scene, I must think carefully about what needs detail and what areas will be matte paintings. Below are 3 coloured maps, the green one is the one I believe will be the Hero Props. The blue one is the areas that will be the Matte Paintings, and the yellow is pieces that will need to be 3D modelled and textured. Its unusual to use colours, but I feel they will give me more of a visual guide on the areas I need to consider. Also, these maps are not final, they are open to change.

Original Interior Shot

Green Map - Hero Props

Blue Map - Possible Matte Paintings

Yelloe Map - All Pieces That Need Modelling

Alien Film Review

Space Oddities

Alien (1979)

By Kimberley Davis

   A behemoth in the world of horror and sci-fi, the production of “Alien” was to bring about a new gritty, dystopian persona to the genre. Following the civil right movement of the 60’s and early 70’s, the appeal of an Eden-like future had taken an more expressive turn. No longer was there thoughts about bright, utopian cities where streets were clean and lit, a place where harmony was conceded by all. Instead, sci-fi narratives concentrated on the slow, dirty development of technology, and the troubling aspects that come with it.

 Originally written by Dan O'Bannon and Ronald Shuset, Alien’s plot revolves around a carnivorous extra-terrestrial being gaining access to the cargo spaceship, The Nostromo. Being woken early on their return to earth after mining, the ships crew (consisting of 7 people, 5 men, 2 women and 1 unknown AI) respond to a near-by distress beckon. Upon bodging the landing on the planet and discovering the remains of an alien ship, they quickly realise it is completely devoid of life. This should have been a warning sign. Instead, they delved further into exploration, causing one crew member (Kane) to become impregnated by a face hugger. Following returning to their ship, the unknown being breaks free from Kane’s chest, ensuring chaos and bloody carnage in its wake. In the development of this story, we discover that the AI (Ash) has ulterior motives in capturing the beast, in hope of bringing it back to earth for study and weaponization. The crew’s lives are considered expendable. Our alien entity picks off its victims one by one, leaving only our female lead (Ripley) to face this living embodiment of terror alone. Having escaped the ship and blowing up the Nostromo with the supposed life form on board (and not before saving the cat), she soon realises she is not alone. Succeeding in using the escape hatch to sweep the alien away into space, she then seems to calmly enter hyper sleep and returns onward to earth.

The plotline is simple, but its simplicity is what makes it so effective. The thought of an innocent mission being complicated by an ulterior motive can be seen in many previous films, one to compare to is the likes of the original King Kong (1933, also a monster movie). It’s not so much the story scenario that made "Alien" so successful, but its mix of antagonist, environment and most of all, a strong female lead. "Alien" is more about suspense than full on slashing and gore. It manipulates the constricted environment of the ship by bringing an ominous atmosphere, making the audience scared about what is around each corner, never truly showing the xenograft.

“If the film has something new to offer, then, it is certainly not its theme, which echoes affectionately with misquotes from a clutch of fantasy classics, most noticeably from The Thing and Creature from the Black Lagoon and most unavoidably from Star Wars and Dark Star”

 BFI, March 2019.

The opening scene involves the entire crew eating food together, leaving us guessing who our lead character is. Being part of a cargo crew, Ripley (acted by Sigourney Weaver) is an “out of the mould character”. She’s intelligent and headstrong, holding a ruggedness whilst maintaining her femininity. When meeting our Alien, she doesn’t fall apart and weep uncontrollably (unlike some previously watched films). In the midst of danger, she is able to calculate quickly and ensure her survival, unlike her male counterparts. Sigourney plays this role marvellous; performance influences female lead roles in future features, moving away from the swooning starlet that needs a man to save them.

“One of the reasons she works so well in the role is that she comes across as smart; the 1979 "Alien" is a much more cerebral movie than its sequels, with the characters (and the audience) genuinely engaged in curiosity about this weirdest of lifeforms.”

Roger Eburt -October 2003

The other characters, although holding their importance, seem to disappear behind Sigourney’s role. They give the typical mercenary attitude of “only money matters”, however they are not Gun-ho. They prefer the easy way, and when our captain must face his adversary to save his crew, he isn’t pumped or rearing for battle. So, this gives quite a selfish perspective.  Our other lady is quite the opposite to Ripley, she is often seen moaning and complaining, crying in a bad situation.  When looking at Ash, we would not know he was an AI. He comes across cold, calculated but curious. Often becoming perturbed when approached by Ripley, almost out of fear for the real plan being revealed. A forgotten character is “Mother”, she is the all-powerful being that holds over the crew’s lives and has this god life persona when she is called for. 

“You have a captain [Skerritt], he knows what he's doing, but he's not like a starship captain in 'Star Trek.' He's not this brave hero standing down the enemy. When he makes a decision, when he knows he has to go into the air ducts with the flamethrower, he's not happy about that decision,"

Scott Snowden -April 2019

  

The Alien antagonist is an embodiment of metamorphosis and evolution. Starting almost like a parasite, it quickly grows from a gastropod (slug-like appearance), to a reptilian humanoid hunter. Ridley employing Giger gave our predator the terrifying nightmarish aspect required, also influencing the design of the sets. obsessed with the idea of a nuclear cold war, many of Giger’s works topiced what would come afterwards, harbouring the possibility of insemination between machine and humans. In the designing of the crashed alien ship, Phallic and vaginal symbolism can be seen throughout, even some referencing to rape. At the start of this feature, even the helmets hold a gag like appearance in representation to BDSM. In terms the alien itself, having a long piercing tongue and phalloid cranium, its body is constantly covered in drool and a thick mucus (almost like bodily fluids). The original suit was made from rubber and was over 2 meters tall. Being extremely hot to wear on set, its multiple accessories made it impossible to sit.

In the set designs, there is two complete opposites aboard the Nostromo. The main ship is chucky, dirty and dingy. It holds inadequate machinery, controls with far too many buttons for functionality and areas that are almost neglected. Although based in the future, it portrays that its old for its time. Giving an oppressed aura and that the crew and its cargo are not really care for. However, the sleep pods and medical bay are completely different to the rest of the ship. They are bathed in white surroundings, giving the clinical empathises that may have once been revered for the future, the same “Mother’s” control room.  The film is constantly noisy, the white noise droning of the spaceship makes the environment so much more believable. When the noise stops, its builds on the suspense like a film track would.

Having watched Alien many times, I still find it as frightening as when I first saw it. It oozes sexualism, build ups up suspense without showing copious amount of un-need gore, and it’s a master in bringing a claustrophobic atmosphere. Moving forward in the civil rights act in the 60’s, “Alien” switches the viewpoint sexual abuse and rape. The face hugger forces insemination on a male character, his body becoming a host to a horrific monster that will carry on this cycle. This growing into fear and hatred to ones-self, playing on the psychological aspect.

Bibliography

- British Film Institute. (2019). Our original 1979 review of Alien: “a spectacularly British xenophobia” | Sight & Sound. [online] Available at: https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/alien-original-1979-archive-review-spectacularly-british-xenophobia [Accessed 5 Nov. 2019].

- Ebert, R. (2003). Alien movie review & film summary (1979) | Roger Ebert. [online] Rogerebert.com. Available at: https://www.rogerebert.com/reviews/great-movie-alien-1979 [Accessed 5 Nov. 2019].

- Snowden, S. (2019). The Allure of 'Alien': 40 Years Later, It's Still One of the Best Sci-Fi Movies Ever Made. [online] Space.com. Available at: https://www.space.com/alien-movie-40th-anniversary.html [Accessed 5 Nov. 

2019].

Image Bibliography

- Professional Moron. (2018). Alien: Still One of the Scariest Scares in Scary Horror History. [online] Available at: https://professionalmoron.com/2018/05/23/alien-still-one-of-the-scariest-psychological-things-ever/ [Accessed 5 Nov. 2019].

- HeroCollector. (n.d.). Hero Collector. [online] Available at: https://www.herocollector.com/en-us/Article/making-the-alien [Accessed 5 Nov. 2019].

Life Drawing Session 3

 Heading into my third life drawing session, we moved though a series of 5 to 15 minute clothed poses. The later parts was mainly focused on expressing emotions. I felt a little bit hit an miss on this session, not being quick enough to capture alot of details. The proportions are quick off and I wasn't really keen on the outcomes. 

Reclined Position

Standing Stance

Standing Stance 2

Standing Stance 3 - Sketch book

Faces 1 - Sketchbook

Faces 2 - Sketchbook

Faces 3 - Sketchbook 

Cell Shading Experiment

    Although not to do with environment, I tried a little experimentation with cell shading. This was scanned in to Photoshop from my sketch book, painted with Kyle's carton Ink Brush, planned lighting, applied multiply and overlay layers  with warm and cool tones, and finally added a rim light.  I wasn't sure how to make a background that would compliment it, trying something not so saturated so the will monster standd out more. Inspiration came from Shihab Aldeen and brush work line styles of painting, I wanted to keep it simple but detailed.

Completed Cell shading Experiment

Block Colours

Line Work

Original Paper Sketch

Process GIF