Lifting a box animation:

https://youtu.be/-Zbe6Vvmu5g

https://youtu.be/ODyLgIdnclw

Download maya file here:
https://drive.google.com/open?id=1jKVyns3e4mN5rXXqfQH8_0LfkCvlLDBk

Rigging workshop

Rigging playblast

Donwload rigging here:

https://drive.google.com/open?id=1HlTZg-Im5TniQGeOPbduAO5LBEFk1zZo

Re-topology

 Re-topology of a Zbrush character using Maya:

Download the Maya file here:
https://drive.google.com/open?id=1iyu_Nj3WvnWJfFxp9vhpDzZ_eLdUlQyu

Low Poly key:

Zbrush Workshop

"Mannerist Catholic Skater"

Link to the mesh: https://drive.google.com/open?id=1tNG93IsMuQUxBFh4hS3revImoXZrSJKs

 This task involved pairing up with a classmate to learn how to use Zbrush and use it to model a couple of characters belonging to the same universe or that would somehow work together.

Approaching the task my partner and I encountered all sort of problems right off the bat. We could have rushed the model but instead, we decided to spend one day on researching and concepting the couple, playing with silhouettes that would work both alone and together. we played with the notion of thin and small and hourglass shaped bodies that would clip onto each other. We initially referenced out the concept to Harley Quinn and the Joker from the Batman series and Rakan and Xayah from League of Legends.


Problem was that the next day as we are about to model our concept art files were corrupted so we could have recreated them or started with what we had established the day earlier.

Since the guidelines were fairly clear and we were short on time we regrettably started the work without it.
I began my model from basic shapes and slowly built it up into more detailed forms, with the exception fo the face, as I used a real set of photographs as reference to make my first character.

(this is the first character)

Copying a realistic face when still learning how to use basic tools on zbrush was much harder than I expected and in fact, slowed me down a lot. Meanwhile, my partner Louis continued making his "Insane bishop" and added elements from assassins creed and zed from league of legends.Two super popular games featuring reenactment clothing. On the same day he finished his model I lost the USB stick containing mine; therefore I had no choice but to start over and this time entering zbrush with a slightly clearer idea on how to use it. I tried not to overcomplicate myself and focus on easy to read shapes and looking at the pictures above I can tell the final mesh could use a bit more detail, but I did what I could in the time I had. Anyway, you may notice the word catholic wasn't part of my design task, but since we had lost the concept art, I tried to add certain elements to my character that would link my character to my partner's somehow. The costume itself is based on artistic skater's that perform in the Olympics and the uniform used in strictly Catholic schools for girls only.
the girl also has a white cross on her chest that wraps around her waistline, as a belt. so its a design element with a real function, this is a pattern that I wish had the time to incorporate on the back of the cloves and maybe even shoulders.

Since I kept the skater's body very fit and curvy I tried to avoid all sort of sexualisation. This meant that even tho the dress is short and closes with a mini skirt the girl is wearing black tights that were "extracted" off of her legs so that they would conserve all the detail; and there are no low neck cuts on the shirt  or opened jackets for that matter like in the original modeling which you can see below:
(On the brightside, all the clothes are on a different layer and the main mesh is anatomically as accurate as I could get it to be for the time I had and therefore always be ahead on future works).

Life Drawing Week 1-4

Animating a specific walk cycle

Animating the walking cycle in a rig like the one I used in this exercise isn't really hard just time-consuming and as this task taught me, crashes can and will occur.

Also loading the animation in different computers I encountered problems such as keyframes off-setting and would not fix in place even after enabling "snap", some frames would snap to the correct frame and some wouldn't. Therefore, making this animation I had to make and remake my walking cycles, I speak of plural because I used this as an opportunity to experiment with the different expressions. Bellow, I also posted the walking cycle with the rigging showing, this way we can see the hip movements, from side to side, and its multiple vertical and horizontal rotations.

This walking cycle runs on 24 frames, some walking cycles, like a drunk walking cycle could and preferably should run on 48+ frames as we want to have space to randomise some of the steps for effect and realism. 

Walking Cycle

This week we talked about the walking cycle and the different elements that make each cycle different from one another. How a simple slant in the hips or a more extreme sinking of the knees can indicate a sad feeling or even a state of drunkenness or something else.

following the example sheet provide to us, we made the basic animation and familiarised ourselves more with Maya, and its animation features and controls.
After animating the character I used the F-curves to smooth out the animation and organically slant the hips from side to side as the foot landed to show weight shifting Y axis but also to set a base line for the animation I'd do after.
Since the second part of the task involved editing this first basic animation to make one with emotion or something else, but ideally make it very distinct and add realism or stylisation.

After asking my peers for feedback I decide to animate a drunken character, this way it would be up to the viewer to interpret the feel of the animation but also because a drunk person has a very peculiar way of walking as all senses are slowed and the way they shift their weight and step down is very unusual, as they seem to be tilting their legs forwards and inwards at every step instead of straight forward, almost like a toddler learning how to walk, which i think is somewhat appropriate for my first walking animation in 3D.

Cube with emotions - Sacrifice

                                                            

The task involved us making a basic cube and showing a set of emotions and through storytelling other basic props.

Experimenting with Cinema4D

Task: Animate "Clinging cups" 

3D JUMPING CUBE

Task: Using Cinema-4D, animate a jumping cube.
Use the basic principles of animation to give the cube as much realism as possible.
Texture the mesh and Light up the scene and render the whole into a video and/or GIF.


I approached this 3D animation quite similarly to the way I did with the 2D bouncing ball task, where I planned the animation through and then refined it as I went.

I first animated the cube  going up and back down.



and added squash and stretch to it so I could squash it down as a if it was preparing to jump and then squeezed it horizontally and elongate it as it went up to show it was moving fast and the bottom of its body had a small delay to indicate weight.

              








Then, as it reached the top I made it so the bottom of the cube would squish towards the top making the cube look fatter on the sides, this is a simple trick to show the cube has reached its maximum altitude and it has now reached gravity 0 for a small period of time. I then added a frame where the cube would come back to it's original form only to repeat the animation in reverse to show the cube falling.

Finally, I animated the cube squashing and stretching, sort of like a breathing animation to show the cube was releasing the bit of force it still had from the impact, also showing that it is fairly  flexible almost as if made of jelly; added the basic texture and lighted with a basic white light and used the timeline curve editor to adjust the time of each action before rendering the whole in 30 fps.

Click to Enlarge

THE BOUNCING BALL IN 2D

THE BOUNCING BALL IN 2D


 Task : Using Photoshop CC, create an animated bouncing ball withing the some of the basic principles of animation, previously discussed in
class. Also give the ball a touch of personality.

As we can see by the pictures around, I decided to start by drawing the line of action with a light blue, on which I would later be able to draw on; I did so by drawing a series of arcs getting smaller as they reached the far right end of my canvas.
This way the ball follows an organic flow throughout the animation and progressively decelerates and bounces less. To show deceleration I also sketched the frames of the ball on top of the line of action and added several more towards the end of the animation, this way once again the ball only makes subtle movements.

Furthermore, I made 1 more layer in which I drew a face reacting to the different stages of the animation for example how it squints when hitting the floor and squashes with force.
Lastly, I retraced each frame of the ball in a new layer  and set Photoshop to display each frame with 0.1 second delay, to slow down my animation as I made the whole animation last 24 frames. Bellow is the GIF file of the final result.

Click to Enlarge