Texturing: With UV mapping complete, the next stage of the pipeline was to texture the model in Substance 3D Painter. Already having a clear vision from the development stage of the project of the colouration and textures I needed to use to both make my creature emotive and relay its backstory, I quicky realised thatContinue reading Character Creation: Navigating the Industry Pipeline – Texturing
UV Mapping: The basic process of preparing a model for texturing in Substance 3D Painter had been taught in first year, which involved marking the natural edges and seams and unwrapping the model, before then combining the mapped pieces into an ordered UV map and baking these as a ‘normal’ map. However, given the detailContinue reading Character Creation: Navigating the Industry Pipeline – UV Mapping
Source: Eun, C. 2023 (cganimator.com blog) Retopology: The next stage in the pipeline was retopology; a process which creates more optimal geometry, and a clean, quad-based mesh. However, as some detail may be lost when retopologising the model, additional sculpting is often subsequently required to add this in again. Understanding that, as it notContinue reading Character Creation: Navigating the Industry Pipeline – Retopology
An important part of this assignment was to also gain a more in-depth understanding of the industry pipeline and the workflow involved in 3D character creation, as shown in the diagram below. Therefore, with the concept design stage now completed, the next stage was to begin modelling and sculpting. Source: Serra, 2017 ModellingContinue reading Character Creation: Navigating the Industry Pipeline – Modelling/Sculpting
Having now grasped the fundamentals of biped movement, the aim of this, our second Animation Strategies assignment, was to gain a better understanding of body mechanics and performance, and guided by tutorials and workshops exercises, to create two final animations reflecting our learning in these areas: one depicting a heavy object being lifted fromContinue reading Animation Strategies: Body Mechanics and Performance – Assignment Brief
REGULAR WALK CYCLE Side View: Front View: Perspective View: WALK WITH PERSONALITY Side View: Front View: Perspective View: REGULAR RUN CYCLE Side View: Front View: Perspective View: RUN AND JUMP Side View: Front View: Perspective View:
While the majority of my tutor feedback is included in the relevant posts, I felt it important to also reflect here on some of the recurring issues I’d encountered during this first assessment task. My biggest takeaway was, unless purposely doing ‘stretchy’ animation, to not overextend or overstretch the limbs as this makes theContinue reading Animation Strategies: Animation Walks and Runs: Feedback Reflection
A change of state, such a run into a jump is an excellent way for an animator to test their understanding of the principles of weight, timing, arcs, and lines of action. Weight: As creating a convincing sense of weight would add realism to my run and jump cycle, I wanted to make myContinue reading Animation Strategies: Animation Walk and Runs – Run and Jump
While admittedly walk and run cycles do have some similarities, there are also some fundamental differences, and indeed challenges to be considered. Speed: With typically fewer frames in a run cycle than a walk (there are usually 12-16 frames per cycle for a run compared to 24 frames per cycle for a walk) ,Continue reading Animation Strategies: Animation Walk and Runs – Regular Run Cycle
For as long as stories have been told, fantastical creatures and monsters have captivated the imagination; their form serving as allegories of human conditions, inexplicable events, unseen horrors, and the supernatural (Ries et al., 2017), and while each creation is brought to life by skill and artistry, a solid understanding of the theoretical andContinue reading Character Creation: Implementing Design Theory Principles
