Typology Photos

So below are the photographs that Conánn took of me for the head model, i’ll admit I asked him a bit later than I should of, originally I was using photos that Caitlin had taken of me but my mouth wasn’t open enough in them and my beard was even longer in them so I thought new photos would of been more helpful. But the photos Caitlin did take were pretty cool so thank you to Caitlin.

 

After I had gotten the photos of Conánn I went over and edited them, adding a facial typology map and line to show where features are placed on the head. These two methods will be extremely helpful when it comes to modelling the head.

 

By a happy accident when I was on photoshop adding the typology mapping over my face I ended up making these little graphic pieces. Although they don’t have overly much to o with the head model I thought there were nice little experiments that came from the project. When looking at the graphics afterwards I noticed that the images layered over each other did show how the side and front profiles match up, this ended up being a good help with my research.

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Head Model Lecture

When 3d modelling, always have images to reference and research topology of similar objects. Try to use both the front and side profile images to work from.

As you research you should keep a folder of images that are useful references from other artists, their 3d head models.

Patch Modelling

Patch modelling involves building a model in pieces using the create polygon tool. Building the mouth, nose, ears then bringing them all together.

Box Modelling

Starting a model from a cube or another basic geometric shape. This is used as a starting block with details added by extrusions, adding edges or edge loops.

Re-Typology

Sometimes it’s more beneficial to trace over your model and re-do the topology. There are various tools & methods to perform this. In maya the method involves making an object ‘live’ and then using the quad draw tool under the modeling tool kit.

Digital Sculpting

The modern workflow is to usually start an organic character by sculpting digital in software such as zbrush & mudbox. This allows the artist greater flexibility in design by moving the topology process after the.

 

 

Back after Easter

So a brief outline on what feedback we got on Malum, originally the animation was meant to go from the apple, an organic object to the final shift. A mechanical device. But after giving our presentation Conánn suggested the idea of reversing the flow of shifts. so rather than nature turning in man made, more like man made being hidden in nature.Idea of scale and space.

With that idea in mind we changed the order of the story and took out the stages of shifting. We then replaced that idea with the device being inside the apple and then then idea of do we really know where things come from and how they’re made?

Hidden in plain sight…

A link to the presentation as well.

MALUM

Model References

So when it came to modelling and texturing the gears and then texturing the tree, I felt some research was needed to help me designing them. Below is then some artists that I liked and felt was a good reference to have for the animation.

https://www.artstation.com/artwork/QEKRZ

 

https://www.artstation.com/artwork/n2EB6

https://www.artstation.com/artwork/xq8kO

 

https://www.artstation.com/artwork/wZ8yY

 

https://www.artstation.com/artwork/l9JRe

All of the models and concepts above were the apple and it’s possible shifts. The mechanical shifts and then the abstract ones. These were great to reference while designing those aspects of the project. Modelling was less scary having looked into it more.

 

These artists then below were references for me to look into when the tree was being designed. Even though Eoin was the one who modelled it, everyone was able to pass on their research and help steer it towards a final outcome. The one that is my favourite is the collection of rings.

These are all made from all organic materials, such as wood and beeswax. I really liked how the wood flows into the wax. The idea of a gradual change from one material to another relates back to the shifting idea. The coloured wax also reminded me of crystals or coloured glass. This can be tied in with the apple core material.

Striking Handmade Wooden Rings by Secret Wood

Beautiful & Unique Handcrafted Wooden Tables by Greg Klassen

Visual Storyteller and Illustrator Brian Edward Miller

The Crooked Forest by Kilian Schönberger

Black and White Woodland Photography by Teemu Oksanen

 

Narration Form

First lecture back after Easter with Yuanyuan (5.4.16)

  • Narrative

What is Narrative? How do you understand it?

We can consider a narrative to be a chain of events linked by cause and effect and occurring in time and space.

Typically, a narrative begins with one situation; a series of changes occurs according to a pattern of a chain of events.

A random string of events is hard to understand as a narrative.

Actions: “A man has a fight wit his boss. He tosses and turns at night unable to sleep. In the morning, he is still so angry that he smashes the mirror while shaving. Then his telephone rings; his boss called to apologise.” This is then an example of what a narrative should be, all the actions are tied together and this makes a story.

  • Narration

Story and Plot

The story consists of (1) all the narrative events that are explicitly presented on-screen, plus (2) all the events that are implicit or that we infer to have happened but are not explicitly presented.

The plot consists of the specific actions and events that the filmmakers select and the order, in which they arrange those events so as to effectively convey the narrative to the viewer. Plot also includes those things that we see and hear on the screen that come from the outside the world of the story, such as score music (words not originating form the world of the story), titles and credits (words superimposed over the images on-screen), and voice-over comments from a third person voice over narrator.

The same story can be presented in different ways – rendered as different plots.

From the filmmaker’s perspective, the story exists as a precondition for the plot and the film maker what story is being told before going through the difficult job of selecting events to show on screen and determining the order in which they will be presented.

For the viewers, the story is an abstraction. A construct that we piece together as the elements of the plot unfold before us on-screen, and our impressions about the story often shift and adjust throughout the movie as more of the plot is revealed.

Narrative

  • Time
  1. Temporal Order – How are events sequenced?

Unlike story order, which necessarily flows chronologically (as does life), plot order can be manipulated so that the events are presented in non chronological sequences that emphasise importance or meaning or that establish expectations in audience.

  • 1-2-3-4     2-1-3-4- (Flashback).

3-1-2-4- (Flashback).

1-2-4-3- (Flashforward).

2. Temporal Order – How long do events take?

Duration is the length of time.

Story duration, the amount of time that the implied story takes to occur.

Story Duration vs. Plot Duration

Imagine a hypothetical movie that follows the lives of two people over the course of 4 hours.

 

 

Lighting Tests

These are then images of my attempts at lighting the gears that were modelled in Maya. After I had modelled some of the gears I began to experiment with lights and shadows. This was so see how each of the shadows from the gears looked. As we want a visual element to the project shadows are a cool way to create positive and negative space on the screen. This could a different way of animating as well.