Yuting Yan’s Blog

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Collaborative Unit

Week 7 Collaborative Unit

This week I sorted out and exported the details of the texture. There are a lot of textures. I linked the material in Maya’s scene model and tested using many material attributes. The effect rendered in substance painter differs from that rendered in Arnold. To keep the background in a nice color and create a sense of space,  the background map is made into a board, which can maximize the background pattern.

I’ve tried using a sky sphere for the background before, but this makes the background mapping very severely deformed, and I don’t think this is a suitable method, so I just set the background as a backdrop and adjust the background to each shot.

The 2D students’ drawing skills were also very applicable to painting textures. They were equally involved in painting the model textures, including carpets, floors, and floating picture frames, all of which were worked on by the 2D animation students, who used PS to paint, and I showed them the range of patterns that should be painted to make the textures look better.

In this rendering test, I found many material problems. Some materials have too apparent reflections. The lighting color needs to be adjusted, then the model could be better for this material. I also made the model affected by the blue color of the background texture. It creates a color-blending effect, but the final result wasn’t excellent, so I used a gradient method to make a fake color-blending effect.

This is the substance export setting, which has a bearing on the speed of the subsequent rendering:

This is all the textures after export:

I used a material editor plugin to help me link the textures in one click, which was very convenient and saved a lot of time.:

This is the background plate with the texture applied:

Here are the materials after finishing, the texture of each material will be adjusted according to the shot:

Rendering test:

The paint splatter pattern in the scene is found on both the carpet and the floor, but this pattern is not suitable for painting on the Substance painter. I gave the basecolor texture to the 2D animation students and asked them to help add the pattern.:

Background:

There are also many paintings in the scene, which were painted by 2D students using very famous canvases as a basis and look very interesting:

This is a test rendering of the scene after all the mapping has been added and refined:

This is a rendering test of the whole scene, adding a background and attempting to blend the painted wall, but the reflections its not really good:

Mixing effect:

After adjusting the materials for the whole scene, our group decided that the background colour was affecting the ambient light causing the whole scene to look greenish in tone and everyone thought that blue tones would look better, so I tried different shades and lighting.:

This is the final result and all of us are very happy with the result.:

This week I have similarly composed some animations drawn by 2D students:

Categories
Collaborative Unit

Week 6 Collaborative Unit

I created the basic files this week and textured the model with my classmate. First, I selected the models that needed mapping in Maya, unfolded the UV of the models, and created new materials for these models, respectively. I grouped different models, selected and exported the models that needed the texture, and then entered the substance painter to make the mapping.

We used adobe substance 3D painter to create the texture. I was responsible for compositing the whole scene, so I modified the mapping created by the group members and finally exported it from the software.

I did not encounter any difficulties making materials, and I decide to not show these repeated steps. The only problem is that I am not proficient in using the substance painter. I want to disarrange materials and put them on models that are inconsistent with reality, such as superimposing plastic materials on an apple. I tried a lot of different combinations, and the result was different depending on the model itself. I chose the most appropriate one.

In the meantime, the 2D students had already drawn a number of drafts of the animation, which I again composited in after effect and tested the effect on:

This is the UV of the model:

This is the material of the model：

This is the texture I made in substance 3D painter：

Categories
4.1 project 1 Advanced and Experimental 3D computer Animation Techniques

Week 6 Advanced and Experimental 3D Computer Animation Techniques Project 1

* This week I have not had a lot of time to work on this assignment as I have had a lot of technical projects and have spent a lot of time on the 3D animation task in the collaboration unit, so I have not had a lot of time to work on this assignment. There is a limited amount of material to update.

Previs class note:

In this week’s work, I have changed the details of the storyboard and corrected the things that my teacher wanted me to change last week—a few ideas to try.


This week my teacher gave me more detailed feedback:

  1. In the shots where the characters are startled, there is no need for particularly exaggerated shaking
  2. A shot could be added to show the character running from outside the house into the house
  3. Shorten the duration of the transitions
  4. The character’s final expression of surprise could be added in the style of a 2D comic

Here is the revised storyboard. I have numbered each shot, removed some of the less valuable shots, and and corrected the animation errors pointed out by the teacher last week.

This is a modified version of 3Dprevis, which is clearer and easier to understand, but doesn’t convey much in terms of some of the action, so more detail may need to be added.
The teacher’s guidance was also beneficial and made me realize many things, such as that every movement in animation can convey a message, and this knowledge gave me some more insight into animation.
There is also no need to follow very realistic dynamics when it comes to animation effects, as natural dynamics are often less appealing.

Mechanical arm class note:

For this week, I added a few minor details and a curve to the shoulder as a controller.
The small detail is the generation and control of the wires, and it didn’t work at first when I followed the teacher’s video. I asked the teacher many times and finally figured out how to make it, but because I disliked the design, the wires didn’t appear on my final arm.

My robotic arm looks like this so far, and it still needs some changes. I have added a shoulder controller to it.

This is the inside of the arm. I added a layer to the arm shell, so the parts don’t touch the surface.

This is the structure of the shoulder part. I studied the structure of the human body carefully, it should be a spherical link joint, but as a robotic arm, this design might have a more mechanical feel {?

We also learned about making wires with extrude, using a curve to make a wire’s basic length and shape, and adding a circle to make the wire. I had a lot of trouble making this wire, and it was impossible to control it well with the cluster.

In the end, although I made it, I was not too fond of the design and didn’t add it to the structure of the arm.

Categories
4.1 project 1 Advanced and Experimental 3D computer Animation Techniques

Week 5 Advanced and Experimental 3D Computer Animation Techniques Project 1

Previs class note:

Last week my teacher said my story was quite good, so I took the time to make both the 2D and 3D storyboards. It was only when I made it that I felt some resistance and that there were many shortcomings because my model doesn’t have the face controller, so I didn’t think I could express much in the 3D animatic.

In the 3D version of the animation, my teacher gave me two suggestions for changes.

  1. Merge shot 13 – shot14, to make it more coherent
  2. In the second half of the story, my teacher told me an important piece of camera language that it is better to keep the characters on the same side of the camera so that the audience can understand them more easily.
    It makes sense, so that I will revise it in this direction next week.

This part happens to the main character in the working scene, but I don’t think this animation needs this part, so I didn’t make it:

This part happens to the main character in the working scene, but I don’t think this animation needs this part, so I didn’t make it:

This is the 3Dshot I’ve made so far, I used to create a new file for each shot:




Im combine the 3D animation together in the after effect:

This is the Final effect of the 3D animatic：

Mechanical arm class note:

This week we continued to make the large arm part of the robot arm. The teacher had made the basic structure before the lesson, so I tried to make some of my own by copying the teacher’s structure, adding some restraining joints at the elbows, and adding my design of the arm shell. I liked the sharp shapes, and the appearance of the design gave a sense of the arm’s scope, which is for fighting.

This is the internal structure of the arm, which consists of a few specific geometric parts. The elbow part rotates in only one axial direction because there is a limit to the angle and direction that the human elbow can rotate.

The shell of the arm is also a very simple shape, and I will use a lot of self-luminous materials to make the final result of the arm look better.

After the shell was made, I grouped each part and added curves for the elbows and shoulders as controllers.

This is the final result:

Categories
Collaborative Unit

Week 5 Collaborative Unit

This week we have a presentation, the purpose of which is to introduce the basic information of our work and the progress so far. We have made a 43-page PowerPoint presentation, and the progress so far is that the 3D part has been roughly done, only to give the model materials.

I’ve recapped our animation ideas：Funny themes: Twist And Shout（sekko to kaeru）

Basic concept：


Initially, we made this animation to realize the theme of virtual and real worlds, belonging, and virtual communities.
For us Chinese art students, we agree that a studio is a place where we accumulate experience, maybe it is where nightmares can originate, and it might be where a sense of belonging can come from, so we also believe that criticism of art is a very personal and subjective act, which is why we chose the virtual space, which is closer to the environment on the internet.


Our theme is the virtual and real worlds, with the drawing room as the primary setting. We highlight the ‘fantasy’ element by comparing the actual drawing room with the virtual one. We have three main 3D characters and a 2D element throughout the animation to represent the current situation we want to show.


The story follows a real-life studio where the students’ drawings are uploaded to the virtual studio without permission and critiqued at will by the virtual community. Here the act of ‘scanning and uploading’ shows the message that any object in the virtual community can evaluate the painting and represent all human groups, which is why we have chosen three sculptures instead of human figures. objects of criticism representing people of other countries, ages, races, religions, and colors. The animation shows the three prominent sculptures having different opinions about the painting, which emphasizes the subjective nature of the act of ‘criticism.’It is a nightmare for all of us to be criticized from such personal behavior, so we have simulated this scenario through a virtual community and used 2D characters – three tiny frogs – to represent people who are criticized, who may go unnoticed, who may be disgusted, who may be noticed and listened to, and the three different frogs also represent the personality of the authors of arts. By doing this animation, we can show our embrace of the pain and the wish to overcome it with a sense of humor.

Last week, our group finished making the furniture in the virtual scene because it was made in C4D. After importing it into Maya, I found some modifications to the model, so I combined the scene and the model and finished the model of the whole virtual scene.


I started to animate the scene with the model according to the storyboard. At the moment, we are doing the most straightforward animation, some details will be added in the future, so I also made the 3D animatic so that the 2D animation students can start drawing drafts.

The giant puppet hand model in the scene is an adaptation of a commercial model. We have modified this model so that it can be controlled by the finger joints and turned into a flexible hand.

This week I finished all the 3D animations. I animated the virtual worlds and used AE to make a 3D storyboard with some of the 2D drafts I had already done.

The animation we have now is only for the 2D students as a reference, as we finally chose to add 2D animation on top of 3D animation, so the 3D part is by now a large part of the way.

Here is the PowerPoint for our presentation, which gives an overview of the current process of our group:

Categories
Collaborative Unit

Week 4 Collaborative Unit

This week yeri and I finished drawing the storyboard, she did the subplot for the real scene, and I did the story for the virtual scene. I marked the animation parts in different colors for 3D (blue), 2D (pink), and AE (green), and after the actual planning details, we cut down the existing plan considering the time and workload.

I wanted the storytelling throughout the animation to make the audience think it was a funny scene that looked more in line with the fantasy. Although it was a funny scene, it mocked the act of criticism, a contrast I think was also highlighted by the fact that the frogs as the primary 2D characters were like innocent students facing reality, each with their characteristics, but in the end, none of them were heeded by the plaster, which also highlighted the fact that the critics didn’t care about the people they were criticizing.

First Edition：

In the second version, we removed a character and several shots to make the animation more streamlined：

After modification：

I was sick this week, so not much work could be done, I built two models with the help of An, making UV texture, and rigging, making the blend shape：

David

Plaster Head of a Woman：

EYE：

Categories
4.1 project 1 Advanced and Experimental 3D computer Animation Techniques

Week 4 Advanced and Experimental 3D Computer Animation Techniques Project 1

Previs class note:

This week I built the basic model for this 3D animated storyboard. I created the rough house, the base, and the branches used the orb as a leaf, made a relatively simple model, and animated the simple and cozy expression I wanted to convey in the storyboard. There were six shots in total.
Our teacher gave me the opinion that the story needed to be longer, he thought there was no story in these 30 seconds, so it wasn’t an excellent 3D storyboard. He also suggested that I could add a complex background to my character, like being an essential person in some organization or having a heavy responsibility.
Such a background is not quite what I expected from the character in the first place. However, it is possible the postman setting makes my character destined to have a strong body and mighty wings, so I think the character has high attack attributes as well but doesn’t fit into a complex background, as her tribe is the peaceful one.

So I changed my story, but I didn’t have that much time to draw it into a storyboard, and it was a long story, so if the teacher weren’t happy with what I had drawn again, it would be wasted time, so I decided to show my teacher my story outline first and then draw the 2D storyboard.

This is the storyboard I show to our tutor:

This is the story that I thought:

In the morning, Swallow comes out of the house and finds a package on her letter-receiving lift. She approaches to see the recipient is herself. It is a parcel, she
opens the package, there is a letter inside, it is a love letter.
• She was shy and puzzled, it was the first time she had ever received a love letter, and it was not signed, which made her wonder.
• There were many other gifts in the parcel. She picked up one gift, which reminded her of a friend, but she thought it should not be, she picked up another gift,
which reminded her of another friend, but it should not be this one.
• She was puzzled but had to go to work, so she put the item back in the box, put the package on her desk, and went out to work.
• She came home in the evening, and the box was still on her desk, and she looked at it a little troubled because she still couldn't think of who this was from.
• She had just sat in front of the table when she heard a knock at the door. She went to the door and found a friend of hers of the same sex at the door, who
blushed and asked her to confirm if she had received a gift box.
• She looked at her friend with surprise. Yanzi didn't expect a love letter and a gift from a same-sex friend. Her mind was in turmoil. Then she pointed to the box
on the table and was full of thoughts about whether to accept this friend's confession.
• Then Yanzi's friend sheepishly told her that she had sent it to the wrong address and that the box was supposed to be for someone else who wanted to take the
gift home.
• With a dumbfounded look, Swallow watched as her friend took the box, happily said goodbye to her, and left her house.

The teacher thought the story was fun and relaxing, so we decided to continue developing the idea.

Mechanical arm class note:

This week I followed my teacher to make the internal structure of the arm and the controller. I spent a lot of energy on the internal structure part, which was challenging.
I tried to change my teacher’s design as there were some areas where I wanted it to be more flexible. I tried four different structures in the palm of my hand and finally chose one that can be worked well on the palm.
In the meantime, I found that I had a problem with the axes resetting after freezing all the models so that fingers were not bending in the exact direction when I turned them, and I decided not to freeze the axes of rotation.
I was not very good at tying the controllers. I am good at modeling but not at making controllers, so after making them once, I realized that I did not freeze the axes of all the models and that models with controllers tied to them could not be frozen, so I had to make the controllers again…
This is the first time I have made a finger controller. I wanted to maximize the flexibility of my fingers when I made it, so I spent a lot of time setting the maximum amount of finger flexion I could do, and I am very happy with the result. I also added a palm flexion controller.

This is my model grouping, I used to change the name of the model at the end because it was less confusing and I often took a previously made model and changed it into some other parts.

I made the first version of the internal structure, but I think this is really ugly…..

So I made four more versions：

So I made four more versions and finally chose this one：

I added a gear to the palm part of the hand so that the palm can be bent in a specific curve because, in reality, the human hand is turned a little when the palm is clenched in a fist.

The models of the ring and pinky fingers are then placed in a group with the gears so that they can be carried along by the gears

I added some materials to the model, which is what it looks like in the render. I didn’t like the color scheme, so I changed it again

This is the final effect of the wrist controller. It looks particularly flexible and exciting when it moves. I tied the XYZ axes of the controller to different models and let them take care of the rotation in their respective directions, and the result looked brilliant.

This seemingly retractable spring mechanism has a simple model, parent constraints, point constraints, aim constrain, and two locators. This effect could be created by placing the locator on both sides of the mechanism and combining different constraints. It was fascinating, just like the Achilles tendon muscle, so I put two on the top of the wrist to limit the range of motion of some wrists.

This is the final effect:

It is also very troublesome to make fingers. First, we need to create attributes of five fingers and palms on the control curve of fingers. Next, we use the Driven key tool to bind the controller of fingers. And when you’re done with all of that, you have to see if there’s any penetration of the models when the palms are clenched.

key with finger straight, controller is 1

key in finger flexion, controller is 10

The Final effect of the finger movement:

Categories
4.1 project 1 Advanced and Experimental 3D computer Animation Techniques

Week 3 Advanced and Experimental 3D Computer Animation Techniques Project 1

Previs class note:

In this week’s worldview build, I’ve added more details:

While refining the worldview, I had many ideas, but once the story worked out, I realized it didn’t fit the character. Within the time limit, I chose to make a straightforward short story that showed the character’s comfortable life and her excellent living conditions; for this purpose. My storyboard was simple and primarily for atmosphere

The concept:

I intend to create a world of monsters, of which the Harpies are one race.

Harpies are the fastest flying monsters in the world. Their arms and legs are birds, the rest are humans, they are also the closest race to humans, and they are full of curiosity. Harpies were not aggressive, so most of them took up the job of delivering letters or goods; they are the courier of the world.

Harpies lived in the top of the world, around by cliffs. They would build houses on pine branches or stone bumps from cliffs.

Because they live on the peak of the cold, they wear robes to protect the torso (refer to American Indian dress)

They also lived with the eagles, who could not fly as fast as Harpy but had better eyesight.

Background Settings:

Medieval fantasy setting

Targeted species: Harpies

Harpies are separated into three main factions, divine, neutral and invasive.

Character settings:

  • The Swallow

Neutral faction, tribal clothing, lives on treetop communities with other neutral harpies. Works as a mailman/ delivery man for a living. Easy to get along, good at reading the room, nice to people.

  • The Shoebill

Chaotic faction, easily irritable, menacing/unfriendly on the outside, but has a good heart and morale. Values friendship and trust. Lives in a secluded valley, where chaotic harpies created their own way of life by pillaging other settlements or other bad deeds.

  • The Crane

Divine faction, sacred, lives alone far away from civilization almost like a hermit. Due to lack of human interaction, is bad at socializing, despite her always perfectly held composure.

Storyboard：

In terms of story, I take into account the time, I think it is not easy to tell a complete animation in 90 seconds, so I tend to make showcase animations that show the environment where the characters live, the character’s personalities, and the character’s comfortable life, so my storyboard is concise.

Mechanical arm class note:

This week we finished the basic model below the small arm, starting from the palm to the forearm. Basic modeling was relatively easy for me. Still, I did a lot of testing on the linking of some parts because the ultimate goal of modeling is to make the model movable. It took a lot of time for each model. It was torture… But I was happy when the model was finished and ready to move!
In terms of small structure, we learned a structure that looks like a yo-yo, which means that the string can be wrapped around a cylinder. This mechanism can be used for ropes, screws, and wires. In this case, we also used nodes to make an increaser, which means that the output and input variables are controlled to make the animation look more logical. I rarely use nodes for modeling or animation because I am not good at them, But it made me realize the importance of nodal learning.

First, the palms are made. These are very simple processes.

It is worth noting that I have separated the ring finger and pinky finger sections from the palm so that the palm can be bend, and I have only used extruded surfaces to ensure that the whole palm looks linked.

Once the palm is finished, place each finger in the right place.

Then add a primary bone for the Forearm.

As someone really bad at mechanical modeling, I had trouble imagining how this structure would move…

Anyway, I made a circular shaft that can rotate up and down with the whole hand and reviewed a function that turns on the center point of the part.

A part that can be rotated in the y-axis

Another function that I reviewed when making this part was the crease tool.
Although I think the result of this function is similar to chamfering (I ended up using chamfering because I wasn’t used to it)

Finally, I made a part that rotates in the z-axis, which I used as a wrist

This is also a disc for the wrist, with ten circular holes made in the disc and a suitable screw model to make it look more complex

This is also a disc for the wrist, with ten circular holes made in the disc and a suitable screw model to make it look more complex

This is the screw made using special reproduction

Finally, the small arm housing was modeled using a cylinder

This is how the yoyo was made!

First, add the bend controller to a cylinder and bend the cylinder

Create a new cylinder. Adjust the size of the controller just enough to curl around the cylinder

Group the cylinder with the controller, and this time move the group, and you’ll see the string bent around the cylinder!

But when you roll it, it doesn’t move far enough and looks unnatural

It’s time to add the increase!

Open the node screen, select the group and the controller, and use the connection editor to link them.

In the node interface, create a node for the increaser, link the group with the controller to input value, and the model transform to out value.

Enter the appropriate values in the editor window for the increaser.

Tilt the controller slightly

Finally, you have a suitable yoyo!

This is the final effect:

Categories
Collaborative Unit

Week 3 Collaborative Unit

This week, we confirmed the theme and ideas and started designing two scenes. As the leader, I hope everyone’s thoughts can be incorporated into our theme, so everyone has to draw some drafts to provide ideas.

My main job is to keep track of everyone’s work, assign work, summarise it, plan the general timing and flow, and then summarise each stage at the end.

I also use 3d models to assist with perspective while designing. But we don’t have anyone in our group who is particularly good at design, so we were a bit overwhelmed when it came to drawing fantasy scenes, as none of us had a very realistic idea of the word fantasy, so we sketched a lot this week and gathered everyone’s thoughts to come up with a more satisfactory scene.


I’m still getting to know the group this week, the MA animation students all draw adorable animations, but they each have their strengths and things they could improve at drawing. I’ve recognized this accurately and given them the right jobs to do.


I also thought about our production process this week, and it isn’t feasible to have 2D in charge of the backgrounds for the whole virtual scene because of time constraints. The conclusion was that 3D would do the two scenes, and 2D would draw the character animations in the scenes, so the 3D scenes and animations would have to be done as early as possible.

Fantasy Scene Design:

Draft (idea1)

(by kiki)

(by Bingxue Xiang)

(by me)

3D model testing:

(by Tingyi Huang)

But when we were ready to do it, we felt that the design wasn’t right and the result wasn’t as good as we thought it would be.

Then, when we were at a bit of a loss, our multinational collaborator brought us a sketch that caught my eye.

so we make idea2

（by KIKI）

We also used 3D assistance to create this scene

（by Tingyi Huang）

In the detail elements, I blend the group’s idea：

（by Yiyu Wang）

My draft after integrating the idea:

Next, kiki tries to match the colors to the scene:

(by kiki)

3d model testing:

(Tingyi Huang)

Final 2D scenography:

At the same time, everyone had their own sketches of characters they wanted to draw:

(by kiki)

(by Fangyuan Shao)

(by Bingxue Xiang)

(by me)

(by Jieyi An)

We also have realistic scene design and scene modelling, but this is not the part I am responsible for, so I’ll just put some pictures in a condensed form(The original version is too much of a process)

(by Jieyi An)

(by Yiyu Wang)

Categories
Collaborative Unit

Week 2 Collaborative Unit

This week we sorted out the basic plot and decided on the characters. As we were leaning towards making an animation that showed the scenes and the community, we thought we couldn’t have significant characters but needed a clue to tie the whole plot together to make the entire animation interesting。

Here’s what we got this week. We got the group together and decided to work with the MA animation students to create an animation that mixed 3D and 2D to reflect the fantasy element better.

Title: Twist and Shout

Team Members:
Yuting Yan
y.yan0320223@arts.ac.uk
Tingyi Huang
t.huang0420192@arts.ac.uk
Yiyu Wang
y.wang03202218@22016035c.uk
Jieyi An
j.an0320221@arts.ac.uk
Bingxue Xiang
b.xiang0320221@arts.ac.uk
Fangyuan Shao
f.shao0320221@arts.ac.uk

Description of idea:
The general wish of this animation is to blend in the idea of a metaverse (virtual space and identity) and a sense of belonging. Being judged by the same standards is a nightmare that everyone shares. By doing this animation, we can show our embrace of the pain and the wish to overcome it with a sense of humor.

After some discussion and plotting, we are gradually designing what the two different scenes will look like

Approximate plot.

Half-minute realistic scenes (3D).

Two scenes: approx. 8-16 seconds showing yeri’s studio scene We Need to have a mapping of the painting that was scanned on

Shot 3: Scanning (approx. 3 paintings) (2d animation)

Format or rewind

Shot 4: Switching angles to get a closer view of the painting being scanned

Shot 5: the painting goes from 3D to 2D (as it is being scanned)

Shot 6: pulling away to show a 2D scene

Shots 7-8: cut shot showing a 2D virtual drawing room (with the action of plaster discussion)

Shot 9: cut shot (panorama) plaster already discussing blablabla

Shot 10: Cut to screen showing new scanned drawing (with cue sound effect, switch of three)

Shot 11: Cut to tabletop slowly drawing closer, suddenly an apple falls from the sky and squeezes into the paint, the paint squeezes out the frog (grass green), and the frog scatters (background music with occasional cue sound effects)

Shot 12: Cut to David (pencil is drawing a scarf for David). A frog jumps into the picture, steps on other colors, changes color, then moves over and pokes the plaster. David looks down and then up at the screen. Bubbles emerge as circles of symbols. The frog moves over and takes a step. David looks down at the frog again and repeats the action until the little frog pounces on it and fills the pencil-drawn scarf.

Shot 13: The camera cuts to a simultaneous shot of Venus (while having white brushes to cover off the paint that got on her face) and her eyes. The frog hops between the two plasters, first to the eyes, eyes staring at the frog before looking up to continue scoring. Venus looks down in surprise after scoring, attention is drawn away, and the frog turns his head to stare at Venus.

Shot 14: Frog jumps onto Venus’ lap going up Venus’ skirt, footprints all the way up; brush erases footprints. Frog and Venus look at each other for a moment and jump out of the shot.

Shot 15: The frog walks into the frame with a ballet, scratching his head in front of the lyre girl, who is playing with her phone, not looking up and scoring indiscriminately (the brush is applying blush, the cream paint is applying lipstick), sees the frog scratching his head and expresses his disgust.

Ending 1: A slap on the wrist, paint spilled on the lens, END.

Plaster as Minimalism Stylised

Dynamics of the five senses

The animation during this period is about a minute and a half, there are 3-4 plaster casts, only one full or half body, the rest are human heads, choose a common studio plaster head, like David Poseidon. During this time there will also be small 2D animations interacting with the 3D head, imagine for example a 3D plaster head with pencil marks drawn on by a human and then a 2D eraser floating over to help erase it

Current plaster candidates: David, Lady of the Lyre, Venus, Eyes

  • We also played a little game during class today, and I think the connotation was to show how to work together. The game is interesting in that the results reveal the differences in thinking and preferences of each person, and the final combination is not necessarily a logical creature. Still, this strange combination adds a lot of interest to the game. However, the game still shows that the problem is the lack of knowledge of the group members, which leads to some off-topic conclusions, so I think this game also reveals the importance of knowing each other in group work to make the most of the strengths of the group to produce something better.