3D Digital Literacy Coursework 2 Review and Summary

This post will mark the end of my work on the 2nd coursework component of my 3D Digital Literacy module.

I found this module to be rather interesting for the most part, the designing of my character and the process of getting to a character design I was Happy with as well as deciding what kind of role he could play in the likes of Hotel Transylvania, that aspect was probably the highlight of this component, but this is by far the most difficult coursework component I have done far as I have had no prior experience with the likes of sculpting, rigging and texturing characters as well as considering the topology of a model, I found these aspects hard to grasp but I tried implementing the experience I had received from my previous coursework component as best I could while trying to take on the new methodology of the sculpting tools that Blender contains along with the tools for re topology and multi-res texturing mechanics.

Despite my difficulties with this coursework component, I did find helpful in teaching me the fundamentals of sculpting and creating 3D characters and I do aim to improve my practices with later attempts at modelling as well as continuous practicing and experimenting.

Overall I believe There is quite a bit of room for improvement and I do intend to perform more practices  in blender to better understand how to correctly create character designs and primarily focus on the topology of models as I feel it is the aspect of this coursework I struggled with the most.

This post will now display the stages of my character Reggi’s design process.

 

character rigging and Posing / preparations for Sketch fab

When I completed the Texturing process in substance painter, I baked all the textures and exported them before transferring the files into blender to begin the rigging and posing process. This was by far the most enjoyable aspect of the process because I finally could see my character come to life and I was able to Pose my character. the armature was repetitively simple and I was able to create it and parent it to my character model quite quickly, the posing process was quite easy, I was able to get my character into a pose that is reminiscent of one of Reggi’s initial sketches which I had created during the early development of Reggi’s design process. the only aspect I had difficulty with was the draping sections of Reggi’s Jacket would shrink slightly with certain arm rotations but this was easily fixed with the grab tools in the sculpting options. The results are presented below.

Character texturing In Substance Painter

Once Reggi’s character model was unwrapped and baked, I then textured Reggi in Substance painter. This process was relatively simple by using a set of textures and masks which was a quick process with positive results throughout the only real difficulty I had was with Reggi’s baton which had to have some seams reworked as the texture masks would not line up in some places but after applying seams where they were required and re-baking the Normal maps and AO maps this problem was rectified easily.

Character UV unwrapped and multi-res modifier applied

After the long process of re-topology was completed I then unwrapped Reggi’s model and applied a multi-res modifier to recover the majority of the details before creating a Normal map and an Ambient-Occlusion map for use in substance painter. this aspect of the design process was mostly consisted of trail-and-error of marking seams and baking maps and testing if they worked with substance painter the one difficulty I found was with some of the normals being positioned in the wrong orientation which was fixed with retaliative ease using Blenders Normal-projection overlay and I simply selected the normals that were positioned in the wrong direction and flipped them which immediately rectified this issue.

Character Re-topology Process

Once the sculpting process was complete, I began to retopologise Reggi’s model. This was easily my least favored task of this assignment as it was not only time consuming but also quite tedious. like with the sculpting process, each asset was individually remodeled to reduce difficulties like what I encountered in the sculpting process. looking back on this aspect of my process, I believe that the polygon-count was way too much but i found it was the only way to preserve the newly sculpted features without losing it.

Sculpting my Character

After I had blocked out my character’s design, I began the sculpting process, I found this aspect of the design process to be quite fun as it allowed me to be a bit more creative with my thought process compared to the usual mechanical process of blocking out and modelling a character. The one aspect that I had difficulty with was the remesh of my character. Initially, I had combined all assets together at first but i found that the remesh fused Reggi’s jacket with his legs and so I had to sculpt all of the assets individually in order to rectify this issue.

 

Animation Studio Group 7 Animation production

This post is a recap on the production of my animated group project and act as summary to how I believe it went. Overall I found this project to be quite enjoyable and found it quite helpful at teaching me the basics and requirements of animation production and what to expect from it.

When it comes to the teamwork of my group, communication between members was sufficient and I was easily able to keep up with any changes of context and or direction conducted by other team members, thanks to a fellow team member “Tiernan O Donnell” The entire team was given a sense of direction and each team member was given a synopsis to follow and animate accordingly. overall the direction of character design was well managed by fellow team member “Anna Farmer” along with myself  and we all agreed as a team on what designs would be best suited.

If there was any aspects I could improve on how I handle the production it would be how I timed the animation. Initially, I intended for my segment of animation to be 8 seconds long but I found it immensely difficult to create my segment based on the synopsis I was given within the targeted time frame as a result of this difficulty, my animation has exceeded nearly double the initial target time, but as a result, this project has taught me how to perform a considerably large animation production independently within a tight deadline as well as showing me the utter importance of communication in the animation industry in order to make a project work.

Overall this whole production was a great experience in producing 2d animation and I intend to use what I have learned from this production to progress further and help me with future animation projects and allow me to perform the requirements of an animation production Competently.

Group 7 Scene 2 Storyboard   Group 7 Scene 2 Script

 

Animation Studio Module Reflection

This post will mark the end of my coursework for the first component of the Animation Studio module. This post will remark what I thought went well in this module and where I think I need to make improvements. As a collective experience I found this module to be very enjoyable and in-depth about some of the essentials regarding animation and the theory behind some of the aspects of animation that could easily be overlooked.

 

  • What worked well? & Why?

I found the transfer from using Photoshop to Krita relatively simple and I have benefited greatly from the tools the software provides which Photoshop didn’t have. These advantages I have found with Krita makes me want to use it over Photoshop for not just animation but also general 2d art from this point onward.

 

  • What did not work well & Why?

My use of time management was too extreme to the point that it messed with the quality of my finalized work, This was to such an extent that I felt it was necessary to redo some of my pieces to be up to my standards which wasted more time and effort than if I had done it with more time before-hand.

 

  • What did I learn about creative team work?

I learned that communication is key to a successful production and without it, it does not just cause confusion but also results in wasted time and work for all team members. Regular communication means that all team members are aware of the changes that are occurring in the production and allows for all team members to make the necessary changes and alterations to their current work to meet a consistent standard across the entire team.

 

  • If I were to start the module again what wold I do differently and why?

I would try to use much more referencing when developing designs for animations. My practices before the course used little to no referencing as it was my belief that it was plagiarism to some degree and so, I barley used it most of the time, I would pay for these practices dearly due to having to redo some works because they didn’t meet my standards. Due to this, I plan to reference regularly when developing assets I’m not familiar with.

 

  • What do I need to do more/less of to improve my animation practice?

I need to take more consideration for timing in my animated production as I personally believe that my animatic was too fast in pace to easily convey what was going on, in later practices I plan to use proper timing sheets in my productions to prevent this issue from occurring again

 

  • What might I change? and How?

I am planning on changing my habit of diving into a project head first without any prior preparation to give my ideas structure as well as try not to go for the first idea I think of so that I can come up with stories and narratives that have more depth and with multiple ideas it will allow for the final story idea to be far more fleshed out.

 

  • What should I keep? and Why?

I should keep my consistent input of making sure every weekly homework is completed before the lecture for it, to ensure it does not create a back log of work which may interfere with my working momentum and develop this into a habit.

 

  • Final Conclusion

overall I found this part of the module relatively enjoyable and has given me a lot of insight into the does and don’ts of animation preparation and production and has taught me to be aware of some aspects that may be easily overlooked like colour and composition theory and how to use them when telling stories and communicating my ideas.

Finalized Character design Turnarounds

With the Animatic completed for my Group project, I decided to create a set of Character Turnarounds for the main character “Emmcee” and the dragon to use as a reference. The previous week, my group and I held a debate on what character designs did the entire group like and we narrowed down to the two final designs where my design for the dragon was chosen and Emmcee’s final design was designed by Anna Farmer. these two turnarounds show off the character’s final designs and how they will be portrayed from this point on wards, these will be my main source of referencing for the character’s angles and colour direction for them.

Ref: Original final character design                  Ref: The first example finalized design for the  ,Created by Anna Farmer.                              Dragon.

Week 10 Secondary action/ Line art and colour

Week 10’s exercise was taking the exercise from Week 9 and adding colour and line art. This process as quite simple for the most part but it was rather time consuming and could be confusing keeping on track with multiple layers which I plan to resolve by naming each layer individual which is a practice and habit I’m yet to implement which I believe will be essential for professional production.