Character Design Research

After the first character design session I researched other interpretations of cartoon sharks as well as UPA characters to better understand how they look and what my character could look like.

The main take away of this early research is how little the character design for the shark is in the grand scheme of achieving the look of a UPA animation. The important parts are Colour ,Layout and the economy of space in the scene. Focusing on achieving dramatic almost surrealist images with the characters being a focal point of these minimalist designs.

After speaking with Justin we have decided that understanding the layout of the scene is more important then the design of the character themselves. The main reason being the designs are build to be economical and will develop more as I gain a better understanding of what I need them to be doing in my scene.

Comments

Major Editing

Major Editing The process of editing the clips together was simple, as the timing wasn't overly important for comedic or dramatic purposes. The editing was a chance to push the found footage aesthetic while organising them in some sort of order, overall the visual and audios where finalised and set up ready to be presented.

Major Creature 9 Reflection

Major Creature 9 Reflection Reflection: Working on Creature 9 was the fastest and easiest creature to make. After many attempts of trial an improvement, I have ended with a pipeline for the creation that doesn't run into any problems. Even so this creature was the easiest as I didn't need to add extra details to me normal maps through Zbrush because of the distance and setting of seeing this creature. After 4 successful creature rigs I am know confident in my ability to create characters and creatures for 3D. This is a subject I was unsure about for a long time and as such approached with apprehension and respect to the difficulty. I Think this was a good thing in the end as my research of detailed approach to the process made me gaining confidence a slow and steady process ending with confidence in my ability.

Tool Kit 2: Physical Sky

Tool Kit 2: Physical Sky In this tutorial I learnt about the physical sky in Arnold and how it can be used to easily mimic time of day when rendering exterior shots for animations. Using a variation of elevation, Turbidity, intensity and Azimuth you can create the different angles of sky light you would see in real life. Other settings that can be used to push a stylistic approach include sun tint, sky tint and sun size. These can be used to create strange effects that are stylised and aren't meant to look photo real. Day1. Mid Day. Morning/Evening. Foggy Day. Stylised Lighting.

Torran Rodgers, BA (Hons) Computer Animation Arts, UCA Rochester

Search This Blog