Character Design

Images of AppleMan!

In this exercise, we are to create an original character of our own. The images below show the sketches that I have done, the front and side view of my character and last but not least, seven different poses of my character.

Figure 1: Concept Art, Sketches

In Figure 1, it has the different facial expressions of my character and a few different poses of my character. It also shows how I end up with the finalised drawing of my character (Evolution stage).

Figure 2: Front and Side View

In Figure 2, it shows the T-poses of my character (front and side view), and I also came up with a name for it. My character will be called 'AppleMan'. 

Figure 3: Four Additional Poses

In Figure 3, it shows 4 additional poses of AppleMan. 

Figure 4: Three Additional Poses

In Figure 4, it shows 3 additional poses of AppleMan.

AppleMan's Details

Name: 

AppleMan

Tag line:

Please don't eat me! I wanna be your friend!

Brief Introduction:

An AppleMan being is a very rare species. An AppleMan only becomes active only when no predators (anyone that eats apples) are around. It convinces it predators to not eat it by being friendly. An AppleMan believes that if it treats others nicely, it will receive the same treatment. But sometimes it does not go as smoothly as AppleMan thinks...

Story:

AppleMan just wants to make friends! For an apple to become an AppleMan it has to escape from being eaten. The more near death experiences that an AppleMan experience, the better it learns to survive. Only when an Apple has experienced true fear, can it transform into an AppleMan. Hence, the AppleMan's life is  a lonely one, and its life mission is to look for friends... An AppleMan's search will usually end up as a tragic failure.

Driving Force:

An AppleMan's key driving force is to Not Get Eaten! Just like a helpless animal in the wild, an AppleMan has to rack its brain day and night in order to survive. Being in the supermarket for an AppleMan is like being a soft toy in a soft-toy-grabbing machine. 

Behaviour and Appearance:

An AppleMan's behaviour and appearance changes from time to time. If an AppleMan is really close to being eaten, it may even transform and show its true form (Apple with a face, arms and legs)! Some of the tricks that an AppleMan use to avoid getting eaten:

Appearance:

 1) Release a worm through its body to disgust its predators. 

2) For picky predators (old ladies in the supermarket), it has simple tricks to deal with them, for example: displaying dark spots or dents on its surface.

3) Depending on the situation, a desperate AppleMan may even stretch out its arms to punch its predator in order to escape. Hence, if sometimes when you 

Behaviour:

1) The behaviour of an AppleMan, varies from its predator. If the AppleMan encounters a kind-hearted looking predator, it will probably resort to peaceful tactics to survive. For example: befriending the predator.

2) In the night is when an AppleMan is really calm and able to think of ways to survive the next day. This is because in the night, its life is not in danger.

3) In times of trouble, the even the calmest AppleMan get scared. It will protect its life at all cost and will use any method on hand to survive.

Dialogue:

AppleMan: Please don't eat me!

Predator: Huh?!? Who's that?!

AppleMan: It's me! AppleMan! If you don't eat me, I will grant you a wish!

Predator: Yea right... I'm hungry... I just wanna eat...

AppleMan: No wait!!! Let me warn you!! I'm expired! 

Predator: Apples don't expire... I'm eating you...

AppleMan: You are warned~

Predator:...

*Crunch*

*BAM*

Predator: Oww my tooth!! Its not even shaky!? How the hell?!

AppleMan: Another day lived, many more to come~


References:

Figure 5: Annoying Orange

The connected face and body for my character.

Figure 6: Apple Company Logo

The apple shaped body for my character.

Figure 7: Sponge Bob Square Pants

I got the idea of the arms and legs extending out from the face for my character.

Project 2 - Part One

Character

Spencer, the robotic arm thinks to himself: Oh man, I got to do the same work everyday, I am getting sick and tired of my work. I want to try the other work that the other robots are doing for a change. Why am I stacking all these boxes for anyway? Its not like we don't have not enough space! I am so angry right now I just want to smash all these boxes right now! Grrrrr.....

Storyboard

The drawing shown above is the storyboard that I have done.

1.) The first drawing depicts Spencer getting his work done as per normal, but something seems peculiar about his working attitude today. It seems exceptionally slow and reluctant.

2.) The second drawing depicts Spencer getting bored of his work and stopping to think to himself. Spencer is looking at the tower of boxes that he have stacked and thinking to himself if it was really worth his time all this while.

3.) The third drawing depicts Spencer suddenly throwing a tantrum and he vents his anger on his work. Spencer smashes the tower of boxes with anger, causing the boxes to fly in different directions.

4.)The fourth drawing depicts Spencer as if regretting his actions, stopping to look around to check if anyone saw his rebellious act. Spencer seems to be regretting his actions before.

5.) The fifth drawing depicts Spencer stricken with guilt, as he stacks the boxes back again.

Self-Critique


I plan to implement the 'Timing' principle into my animation when Spencer smashes the tower of boxes and the boxes will fly in the air and land as if gravity is acting on the boxes. This will help make my animation more realistic and believable. The 'Follow through and overlapping action' principle will also be implemented into my animation. As Spencer lifts up the boxes, it will not be an easy task due to the heavy weight of the boxes. Hence, as Spencer lifts the boxes his body may arc a little and the initial lifting of the box will be a little slower as the box lifts off the ground, to show that Spencer is not used to the heavy weight of the boxes.

Week 13 Lab 1 and 2

Exercise 2

Selected Skeleton > Joint Tool and created the the joint and bones of the skeleton as shown in the diagram above.

Parented the pins of the robot arm to the joints. The new hierarchy is shown in the diagram above.

Selected Skeleton > IK Handle Tool and connected the bottom skeleton joint to the top skeleton joint as shown in the diagram above.

The diagram above shows the new hierarchy after the IK handle was created.

Selected Create > Locator Tool to control the robot arm. Moved the locator to the top left of the robot arm.

After freezing transformation of the locator, I gave an annotation to the locator for reference. Select Modify > Freeze Transformations to freeze transformation. Select Create > Annotation to give an annotation to the object.

Selected Constrain > Point tool, and now the IK handle is constrained to my control object which is the locator. 

The rigging is complete and the robot arm is now ready for animation!

I found this Maya tutorial simple and easy to understand. From this exercise I learnt the importance and the convenience of freezing transformations of control objects. Most importantly, I finally learnt how to rig an object to give me a simpler time when animating and also a more realistic animation.

Exercise 4

1)  Apart from their different sizes, it is obvious from Luxo Jr. that the big lamp is “older” and that the small lamp is “younger”.

How is this communicated by the animation? Give at least THREE examples.

Do NOT say because the small lamp is playing with a ball, or that its name is Luxo Jr. – you should be looking at the animation, how the lamps move and emote (emote means to express emotions).

The small lamp looks younger as it seems more playful and full of energy. The playfulness of the small lamp is shown as it moves around in small and quick hops, stopping for a few seconds to rest before continue moving. The small lamp often exits the screen too to chase after the ball, while the big lamp stays at the same spot most of the time, as if it is tired and lazy to move due to old age. At one point the big lamp stops to look at the flattened ball and shakes its head in disappointment, thinking to itself that the small lamp is naive and childish. I feel that that part was animated extremely well as I could feel what the big lamp was thinking as if it had a mind of its own.

2)  Give an example from Luxo Jr of how timing is used for comic effect. Explain how the timing decisions contribute to the humour.

At some parts of the animation, everything stops moving or slows down, giving the audience enough time to interpret and digest what is going on. For example, when the small lamp jumps on the ball and flattens it, as the ball flattens everything seems to happen in slow motion. This is to give enough time for the audience to comprehend what is happening and also give them time for a quick laugh.

3)   When you create a joint chain, these form a hierarchy, with the first joint at the top and the last joint at the bottom. Explain why this is necessary for the joints to work properly.

The order of the joints in the hierarchy is extremely important when rigging an object. If the joints are not properly  parented to one another, when u are moving the object during animation, the animator may not get the results that he/she is looking for.

Week 12 Lab 1 and 2

1)  Do you need to be able to draw well to create good 2D animation? Explain your view.


I personally do not feel that to create good 2D animation, one needs to be able to draw well. Although I must admit that to be able to draw well will definitely be an advantage in my 2D animation, as it will allow me to be able to draw out my concept (storyboard) and give me a better overview on my entire animation. In my opinion, to create good 2D animations, being able to draw well is not the most important factor, the most important factor will be being able to keep in mind the animation principles and implementing them into your own animations. Not only that, but you must also be able to ensure your animation to play smoothly. Only with these skills, will you be a good 2D animator.

2) Do you need to be able to draw well to create good 3D animation? Explain your view.

Once again, I feel that being able to draw well does not play a major role in being able to create good 3D animation. I supposed creating 3D animation is going to be more difficult than creating 2D animations, because there is another perspective/view that the animator will have to put into consideration in order for his/her animations to be realistic and play smoothly. Hence, I feel that being able to draw well will help the animator create good 3D animations to only a certain extent. This skill in drawing well will only aid the animator in a clearer visualization of his overall animation.

3) What do you think would separate a piece of poor animation from a piece of good animation? In other words, how would you go about deciding if a piece of animation is good or bad?

In my opinion, the subject/topic of the piece of animation is not important to me if I am judging if the animation is good or bad. I will see if the content of the animation, if it plays smoothly and if the animation principles are implemented at the necessary parts of the animation. The amount of animation principles does not matter either. It does not mean the more animation principles implemented into the animation, means the piece of animation is good. This is because, sometimes some parts of the animation does not even require animation principles and if the principles are added in at the wrong parts of the animations it will cause the animation to not be able to play smoothly and hence disrupt the quality of the animation. Overall, I can say that the timing of the implementation of the animation principles must be right in order for the animation to be a good one.

4) In 2D animation, you need to be very aware of timing at a frame by frame level, using timing charts and other techniques - but for 3D animation, this is handled using the graph editor, which is more concerned with manipulating rates of change over time. Does this affect how you approach your animation work? Explain.

Personally, I have not tried 2D animation before, and hence I am not very familiar with the techniques and terminologies used. However, I can guess that it will be somewhat similar except that in 3D animation a third attribute will be introduced, for example the translate Z attribute. Therefore, I suppose that it does affect how I approach my animation work to a certain extent.

5) Give a brief critique of Maya as an animation tool. Don't just say Maya makes animation difficult, or easy, or that you need to learn a lot of stuff to use Maya - explain what Maya does well and not so well in terms of creating animation.

I feel that Maya is a very useful animation tool, as this software is equipped with so many tools with its own specific use. Unlike programming, there is no one definite solution to modeling or animating in Maya, this is because there are simply so many tools to choose from. This is what I feel that Maya has done exceptionally well. However, on the other hand, due to this variety of tools at the user's disposal, it will also mean that the user will have to take a long time to learn the purpose and how to use each and every single tool to be able to speak the Maya language fluently.

Week 11 Lab 2

Squash and Stretch Exercise

Created a polygon sphere and grouped it twice, to form the 'translate' group and the 'rotate' group.

Renamed the two groups, switched to the 'Animation  and used the Create Deformer tool > Nonlinear > Squash. I also parented the Translate group to the squash deformer. 

Locked the all the attributes of the Translate class, except for the translate attributes.

Locked the all the attributes of the Rotate class, except for the rotate attributes.

Locked all the attributes of the polygon sphere.

Locked all the attributes of the squash deformer, except for the rotate attributes.

Locked all the attributes of the squash deformer, except for the factor attribute. Although these locking of attributes may seem simple or irrelevant, these steps are actually very crucial if you want to achieve an accurate and realistic animation.

Created a polygon plane and renamed as 'Ground', as it represents the ground that the ball is going to bounce on.

Changed the settings of the time to PAL (25 fps).

Changed the playback speed of the time slider to Real-time (25 fps).

Followed strictly to the table shown above and changed the translate attributes of the translate group of each of the key frames shown above.

The end result looks like this.

After changing the texture and the colour of the ball, I also changed the rotate attributes of the rotate group and the factor attributes of the squash deformer. I also edited the translate Y of the graph editor to give timing to the bounce of the ball.

Here is the end result of the Squash and Stretch Exercise:

In this exercise, I learnt the importance of creating multiple groups and the locking of attributes to achieve a more accurate and realistic animation. I also learnt to implement the 'Squash and Stretch' principle into my animation with the help of the squash deformer. 

Week 11 Lab 1

Exercise 1

Aligned the ball on the plane and pressed the shortcut 'S' to set a key frame at frame 0.

Aligned the ball on the other side of the plane and pressed the shortcut 'S' to set another key frame at frame 72.

Aligned the ball to be sitting right on top of the fence and pressed the shortcut 'S' to set another key frame at frame 33.

Aligned the ball on the plane at a different position and pressed the shortcut 'S' to set another key frame at frame 50.

Aligned the ball to be slightly of the ground and pressed the shortcut 'S' to set another key frame at frame 60.

Accessed the 'Graph Editor' and viewing the translate Y tangent of the ball.

Did a few minor tweaks here and there to make the ball travel in a more realistic manner.

This tutorial was very straightforward and simple to understand, however I did learn a few things on the topic of animation in maya. For example, I finally understood what the graph editor was for and I also learnt how to  delete static channels to allow maya to process faster. I also found the 'Playblast' tool to be very useful in uploading my animations online.

Here is the result for Exercise 1:

Exercise 2

Aligned the ball to be sitting right at the top and pressed the shortcut 'S' to set a key frame at frame 1.

Aligned the ball to be sitting right at the bottom and pressed the shortcut 'S' to set a key frame at frame 12.

Aligned the ball to be sitting at the top again, but a bit lower this time and pressed the shortcut 'S' to set a key frame at frame 16.

Aligned the ball to be sitting right at the bottom once again and pressed the shortcut 'S' to set a key frame at frame 22.

Aligned the ball to be sitting at the top again, but a bit lower this time and pressed the shortcut 'S' to set a key frame at frame 27.

Aligned the ball to be sitting right at the bottom once again and pressed the shortcut 'S' to set a key frame at frame 33.

Aligned the ball to be sitting at the top again, but a bit lower this time and pressed the shortcut 'S' to set a key frame at frame 36.

Aligned the ball to be sitting right at the bottom once again and pressed the shortcut 'S' to set a key frame at frame 40.

Opened the 'Graph Editor', and selected translate Y.

Used the 'Linear Tool' on the three curves at the bottom. This is to animate the ball to have a sharp drop when it is coming downwards.

Use the 'Break Tangents Tool' on the three curves at the bottom, this is to allow more detailed/specific adjustments to the curves.

Here is the end result of the graph, this is to allow the ball to travel in a more realistic manner.

Here is the result for Exercise 2:

For this exercise, I learnt the importance of the 'Timing Principle' in my animation. When the Timing Principle is considered, it causes the animation to look more realistic, as there seems to be a gravity factor implemented into the animation. Overall, this exercise was pretty simple and easy to understand and I encountered no difficulties in completing this exercise.

Week 10 Lab 1

In this video, it is about a girl jumping from a squatting position. The 'Anticipation' principle can be seen as she bends her knees more to get ready for the jump.

This is a similar video to the video above, except in this video the girl is jumping with a bag around her shoulder. The 'Follow through and overlapping action' principle can be seen in this video as when she lands, the bag follows her body's momentum and swings around wildly.

In this third video, it is about a girl running towards the camera. The 'Follow through and overlapping action' principle can be observed in this video too, as she comes to a sudden stop, her long hair sweeps towards the camera due to the momentum.

This is a similar video to the running video above, except in this video the girl is carrying a bag which cannot be seen very clearly as her left hand is blocking the bag from sight. However, if you watch closely, the 'Slow in and slow out' principle can be observed as she slowly accelerates from her run and slowly decelerates at the end to come to a complete stop. 

This video is special, it is about a boy displaying a few of his award-winning robot dance moves. The 'Appeal' principle can obviously be seen in this video, just look at his charisma!

This video is a very basically about a ball bouncing on the spot and slowly coming to a halt. Although we learnt in the lab sessions that the 'Squash and stretch' principle should be able to be seen in a bouncing ball, however in this video the clearest principle that I can spot is the 'Secondary action' principle. The ball is bouncing and rotating at the same time hence, the 'Secondary' principle is observed.

In this video, it is about a ball being passed around between two boys. The 'Arc' principle can easily be spotted as the ball travels in the line of an arc.

This video is very similar to the one directly above it, except in this video there are fakes implemented into the passes. The 'Anticipation' principle can be seen as when the fakes are applied the boy gets ready to catch the ball.

In this video, the passes between the two boys are made by bouncing the ball once on the ground before the other party catches the ball. The 'Timing' principle can be observed in this video and the ball is travelling towards the ground it is accelerating but as it is travelling upwards towards the boy it decelerates due to the laws of physics.

This video is about a girl shouting out vulgarities (censored) before punching the poor boy in thee face. The 'Exaggeration' principle can be seen very clearly in this video as the boy flies through the air and falls to the ground after getting hit by the weak and harmless punch of the girl. 

In this final video, it is about a boy trying to stealthily steal a bottle of white pepper on the floor. However, he still got filmed despite his stealthy efforts. The 'Staging' principle is extremely obvious in this video as the camera films the bottle of pepper first, leaving the audience to want to find out what is going to happen next.

Exercise 3

Squash and stretch

At the beginning of the video, when the man is sitting on the white ball and bouncing up and down, the 'squash and stretch' principle can be seen applied to the ball.

Timing

At the beginning of the video, when the man is sitting on the white ball and bouncing up and down, the 'timing' principle can be seen. When the ball is travelling upwards it decelerates and as the ball is nearer to the ground it accelerates.

Staging

At the beginning of the video, the 'staging' principle can be seen very clearly as the camera shoots the drumsticks that the man is holding and slowly pans down to shoot the big white ball directly below the drumsticks. This is to direct the attention of the audience to the white balls and to inform to the audience that the balls are going to create sound.

Anticipation

At the beginning of the video, when no sound is heard and the man just stares and smiles at the camera. This causes the audience to anticipate what is going to happen next.

Secondary action

At the middle part of the video, secondary action can be seen as the man blinks while waving the white ball in the air.

Arcs

The throwing of the balls seems to be travelling in the line shaped like an arc.