I was doing some tests with one of the principles 'Slow in and out' by moving three balls. The first one just moves at a constant speed, the second one is an attempt at slow in, fast in the middle and slow out. The third one is much slower in the speeds up as it falls then slows down a bit a the end..it's supposed to be anyway! Watch below:
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Disney's Twelve Basic Principles of Animation were introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney Animation.
The animation doesn't have to be realistic but should be believable Squash and Stretch Squash and Stretch is what gives flexibility to objects. There's a lot of squash and stretch happening in real life that you may not notice; in animation this can be exaggerated. For instance, there's a lot of squash and stretch that occur in the face when someone speaks, because the face is a very flexible area. Squash and stretch can be implemented in many different areas of animation, like the eyes during a blink or when someone gets surprised or scared, their face squashes down, and stretches. Squash and stretch is a great principle to utilize to exaggerate animations and add more appeal to a movement. Anticipation Anticipation is used in animation to set the audience up for an action that is about to happen. An easy way to think about this is that if a person needs to move forward, they first must move back. For example, if a character is about to walk forward, they might move back slightly, this not only gets their momentum up, but it also lets the audience know this person is about to move. Helps it be believable. Staging Staging is how you go about setting up your scene, from the placement of the characters to the background and foreground elements and how the camera angle is set up. The purpose of staging is to make the purpose of the animation unmistakably clear to the viewer. This could be ensuring the camera is set up in a way to communicate the characters expression clearly, or setting up two different characters so that both of them are easily viewed from the specific angle. You want to keep focus on the purpose of the shot and what you want to communicate so the audience doesn't become confused. Straight Ahead and Pose to Pose Straight ahead and pose to pose refers to the two different techniques for how you go about animating. With straight ahead it's a very spontaneous and more of a linear approach. You'll create each pose or drawing of the animation one after the other. For example, if you're animating a character jumping in the air you would create the pose where he's standing, the next where he is beginning to kneel down, the next would be him completely crouched, and so on. You're really working through the animation as you're going. With pose to pose it's much more methodical and planned out, with just the most important poses required to properly tell the action. For example, you could approach the exact same action with four poses, the character standing, crouched, in the air, and back on the ground. It allows you to work much simpler, and ensure the posing and timing is correct before adding more detail. Follow Through and Overlapping Action Follow through and overlapping action can be considered two different principles, but they're still closely related. Follow through is the idea that separate parts of the body will continue moving after the character has come to a stop. For example, as a character comes to a stop from a walk, every part of the body won't stop at the exact same time, instead, the arms may continue forward before coming to a settle. This could also be articles of clothing that continue to move as the character comes to a stop. Overlapping action is very similar in that it means different parts of the body will move at different times. For example, if a character raises their arm up to wave, the shoulder will move first, and then the arm, and the elbow and hand may lag behind a few frames. You may have also heard this referred to as "drag" or "lead and follow" You can even see an example of overlapping action in something like a blade of grass, the base moves first, and the rest of the grass follows behind at different rates, giving you that waving motion. In real life, everything moves at different speeds and at different moments in time, and that is why follow through and overlapping action is so important for capturing realistic and fluid movement. Ease in Ease Out As any object or person moves or comes to a stop there needs to be a time for acceleration and deceleration. Without ease in and ease out (or slow in slow out), movements become very unnatural and robotic. For example, as a car starts from a stop, it doesn't just reach full speed in an instant, it first must accelerate and gain speed. As it comes to a stop it doesn't go from sixty to zero in the blink of an eye, if it did, it would be extremely uncomfortable. Instead, it slowly decelerates until it reaches a complete stop. The same must be accomplished in an animation, and the easiest way to accomplish ease in and ease out is to utilize the principle of spacing. As a character stands up from a sitting position the spacing will be closer together at the start, so they ease into the movement, and as they stand up, they will ease out of the movement. Without this acceleration and deceleration of actions everything would be very abrupt and jerky.
Solid Drawing In 2D Animation, solid drawing is about creating an accurate drawing with volume and weight, and thinking about balance, and the anatomy in a pose. With 3D animation, animators are less likely to rely on their drawings, but the idea of solid drawing is just as important. With solid drawing you need to think about how you pose out your 3D character rig, ensuring there is correct balance and weight in the pose, as well as a clear silhouette. You also want to avoid what is called "twinning," which basically means the pose you have created is mirrored across to the other side. For example, the character may have both arms on their hips or both hands in their pockets. This creates a rather boring and unappealing pose. Making sure you implement the principle of solid drawing into your posing will ensure you avoid this issue. Appeal This principle can really come down to adding more appeal in many different areas of your animation, such as appeal in posing. However, the most obvious example is appeal in the character design, you want to have a character that the audience can connect to or relate to. A complicated or confusing character design can lack appeal. You can find areas on the character to push and exaggerate to create a more unique character design that will stick out in the audience's memory. For example, simply exaggerating the jaw of the character or pushing the youthfulness in the eyes can help create more appeal. References
Work in progress for buoys. We have to model the giant buoys that are outside our university using reference images provided to us.
You can see my failed attempt at the black one- the shape wasn't right and it needed to be more round at the bottom. The shapes of these still need changed slightly and extra parts need added like pieces underneath the buoys and bolts on the outside of them. This is what I have so far though, as well as a random attempt of a life raft on a piece of rope. I will probably attempt the buoy with the dome on top of it, as the shape looks completely off compared to reference. 3D Environment Artist: Wiktor Öhman Environment created in Unreal Engine 4 and textured using Quixel Suite. Wiktor Öhman has worked at two game studios- Star Vault, where he worked as an environment artist on the MMORPG Mortal Online, and at Ubisoft Massive, where he worked as a Junior 3D Artist on the Multiplayer section of Far Cry 3. Currently he is working at Quixel as an Art Lead. I was immediately captivated by the amount of detail and realistic textures in his work, everything is just so beautifully laid out. His entire portfolio is extremely impressive and he even provides work-in-progress images or videos to show how he goes about creating objects or environments. (Wiktor Öhman Portfolio)
I found an article where Wiktor Öhman talks more about the game and the VR experience. He talks a lot about how he wants players to feel immersed in the world around them and 'hopes to deliver a strong sensory experience' to the player. He also talks about 'pushing the graphical frontier in VR gaming'- how a player can actually interact with the 3D environment they are in which gives access to the players senses and really makes them feel emotions. Article: Quixel’s Lead Artist on the intensity of Homebound It's actually very interesting the possibilities VR offers not only for gamers but 3D artists and how they can create environments for people to actually explore and experience.
Even though he mainly uses Quixel tools I did however manage to find a piece of work he modelled in Maya, which is just as equally impressive! 3D Character Artist: Steve Jubinville Steve Jubinville has worked on games such as Fallout New Vegas (2010), FarCry 4 (2014), Assassin's Creed Brotherhood, Elder Scrolls Online (2012) and many more. He's also worked on a lot of movies like Warcraft (2016) and Jurassic World (2015). The list of work he has done is fairly impressive! All the work he has done can be seen here. Portfolio can be seen here Steve Jubinville CG Artist
Warcraft (2016) He modelled several versions of orcs, built the Draienei, male and female and Guldan Costume and also modelled the Griffon Working on Jurassic World (2015) was one of the best experiences for him. Falling in love with the 1993, Jurassic Park movie to then be promoted to work on the sequel was an incredible feeling for him- he got to work with Geoff Campbell, Creature Model Supervisor for the show. The work he did on the dinosaurs for Jurrasic Park was similar to the work he did for the intro of Transformers 4 (2014). He modelled creatures like, the Indominus Rex (he created the hybrid design), the T-Rex, the Apatosaurus, the Baby Apatosaurus, the Pteranodon and also helped make the Raptor base mesh. Additionally he built almost all the dinosaur muscle system for the simulation and almost all shape library and PSD shape. He also helped the environment team with the Aviary build! Images from http://www.stevejubinville.com/ and CG Feedback Cars (2006) Carlos worked at Pixar Animation Studios from 2002 until 2012 and currently works at Paramount Pictures since 2013. In the past he worked with companies such as Will Vinton Studios (now Laika), Click3X, Wildbrain and ILM/Lucasfilms. Formally working as an animator at ILM for big budget flicks like Jurassic Park III and Men in Black II, Carlos went on to work on the likes of Finding Nemo, The Incredibles, Cars, Wall-E and Toy Story 3. He did the visual effects for The Incredibles and Cars- Carlos actually received an Annie Award nomination in 2007 for Best Character Animation for his work on the film Cars. When looking at his early work you can see how his research and methods got him to where he is today. he did tests to learn more about cartoon animation, learn about character and acting. He also practised a lot of rigging, modelling and texturing in his free time. The Incredibles (2004) Planning The Incredibles He describes his method of working to be more Planning rather than Technical. He aims to have fun with whatever stage he is working on regardless of deadlines and things going on. Some good advice he gives is to explore the creative options and possibilities of a scene or sequence you are working on. He finds it important to be conscious of how the character will look like to an audience through the camera composition wise- to help him get a better understanding of what he is trying to achieve he will look at clips from other movies as reference. The use of shapes/lines through the posing of characters helps him make characters look more dynamic and stronger.
Considering he is also an animation mentor I found all of his tips and tutorials to be extremely helpful (You can read them here: Tips and Tricks) A lot of research and thought goes into his work, which is a good mind set to have. I also looked at a few of the other Artists he links on his site, from that I got a better understanding of where his influences come from. He wants his work to be expressive while also keeping an open mind to all options and outside opinions. |
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