Petri Swallow: Revamped

The Bird Is Back

For the last time, however.

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Remember Petri? That yellow bird that gave me so much grief last semester? Well, I revived him! (Mostly by popular demand of my peers, however.) I wanted to make something out of him to prove that I had not spent an entire semester working in vain. (Which it really did feel like I kind of did, in a way.) 

So, I buckled down and made my quasi-rigged bird move for the audience of expectant friends and parents. And, looking at it now, it wasn't as bad as anticipated. Surely not as good I wanted, but ok.

Here it is:

Now, I know it's short and the rigging is not smooth and he never does get his drink, but I think this particular animation is a testament to this past year of animation and my growth in dealing with some particularly horrid issues and incomprehensibly frustrating challenges along the way!

JCCC Technology Challenge

Two Hours of Work, 

Four Seconds of Animation

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Hey there! 

It's been a while, I know. And it's been a while since I participated in the event I'm going to talk about, but now is better than never, isn't it? Anyway, let's get right down to it!

A few months back, I had the chance to participate in the Johnson County Community College Technology Challenge as an animator! I was admittedly quite nervous about it, since I had never participated before, and had no clue as to the criteria of the competition. I was very scared that I was going to be out of my league going, but I went nevertheless.

And oh am I glad that I did.

Until that point, I had been relatively unaware that JCCC had an animation program, let alone a rather good one. Kansas, sadly, is not a typical place you'd expect to find good areas to study in that field (But then again, here I am learning this in high school). But despite that assumption I found myself in a beautifully equipped classroom with PCs (I love them, but I hadn't learned to animate on them), tablets, and a second mac monitor. It felt like home, and the teachers that worked there were nice and very helpful, to boot.

The challenge? It was far easier than my fears of character rigging, animating a rock concert, or even having to collaboratively work on it with the people I arrived with, none of whom I knew particularly well. What was it? A logo. 

The JCCC Logo, to be precise. Our job was relatively straightforward: create and animate the JCCC Logo in Maya and create a brief animation displaying it.

This is the logo

We had two hours, and I managed to squeak out four seconds of relatively solid animation from that! (Boy, does modeling suck up time) Here are those precious four seconds:

I placed second overall for the animation category! I feel that if I had been a little less finicky with the text, and had been able to make it more straight, I could have maybe pushed into first place. But, alas, I did not. But at least I lost to a fellow e-Comm classmate!

Let's Look At:

Drawing Practice

Animation-Centered Exercices

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Yesterday I was browsing some articles on Animationarena.com, and I came across something I felt the need to share with you all!

Click on the image to visit the article

In Annie Gray's Article, she covered a multitude of exercises that will train the artist to draw with animation, emotion, and dynamics in mind. Gray emphasizes the importance of seeing the details that you don't see normally. Animators need to be able to draw the small details of objects that the human mind disregards in favor of pattern and shape recognition. For example: the human face is a very detailed, complex object. It has wrinkles, creases, flyaway hairs, eyelashes, and all sorts of traits. However, people don't need all this information to understand what they see is a face.

:)

See, you can register that as a smiling face, can't you? It doesn't have eyelashes, a chin, or even a nose. But our mind knows it to be a face anyway. It's this same effect that gray defines as an issue. if you don't take the time to notice all the details, you won't be able to draw them.

I highly recommend taking a look at this article and trying out its exercises if this is a field you want to go in.

But back to my review!

I've seen some of the exercises they recommend before, and tried out one of them myself today: cafe drawing. Sitting in a classroom I observed my fellow classmates as they tested, and picked out certain people to quickly sketch before they shifted poses. Here are some of the sketches:

It was a lot harder than I expected to get a sketch down before the person moved (And to not look like I'm staring)

But just from doing that much I realized the benefits to doing as the article suggests. If you don't practice these skills of detail and movement-oriented art, you won't get good at them.

Gray clearly has a lot of experience refining and developing these kinds of skills, and the article is very well written (even if it is challenging to follow the exercises). I'm sure that I will be using these in the future, will you?

Tutorial Time

Managing Maya

Forging Feet Fast

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Today I am going to impart some of my acquired Maya knowledge with you all! While making my bird petri I found a quick and easy way to make 3D, simple feet that could be adapted for use in birds, reptiles, frogs, or anything in particular!

First off, make the leg. Or the cylinder, if you just want to practice the foot process.

Selecting the bottom faces, extrude the bottom down to the height you want your foot to be. Take the faces you want to be your toes (I removed ended in the middle of the faces to make larger toes) and extrude them all at once. You'll want to make sure 'Keep Faces Together' is deactivated and the you include as many subdivisions as you feel you need. I suggest 6 or more for longer toes.

When you have extended the toes, use the scale tool to shorten the end faces of the toes together BEFORE you exit out of the extrude tool. If you can use the tool to lower the toes to be flat with the ground, great!

However, Maya doesn't always play nice.

If you find that moving up and down sends your toes going in different directions, then here is my quick fix to help you out:

First, select the vertices of the bottom of each toe (together), but not the vertices connecting the toes to the leg (as shown at right).

Going into a side view that works best for you, use the scale tool (Scale Y) to compress all the vertices into a straight line.

After you do that, you can use the move tool and pull them all down to be level with the flat of the foot (or whatever you want them to be level with, if you are going for something different).

As you can see below, it is easy to eyeball it if you zoom in close.

Now, if you go into smooth preview (by selecting the mesh and hitting the "3" key), you can see what you have made! In some animals, there is a toe in the back. To make this toes you just repeat the previous process with the face directly in the back of the front toes. I did this with my foot, as you can see on the right.

Now, the bottom of your foot may still be circular, rectangular, or whatever shape you used. This can be an easy fix!

Taking the opposing vertices along the bottom, just use the scale tool to draw them in together. (In some cases, using soft select in this part will help render a better result in merging into the ankle).

Finally, just tweak the widths of the toes at the beginning, middle and end until you have the kind of toes you are looking for! I only tapered the ends of my toes for this example, but there is so much more you can do!

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Thank you so much for taking the time to read or try this tutorial. Being my first attempt at making one, commentary is appreciated! Let me know what I could do better, or what I'm already doing well!

May The Feet Be With You

Petri Swallow: Large Project Turned Learning Experience

So what happens when you underestimate a project?

You learn. Fast.

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Say hello to Pertri: a small bird with a big problem. We'll get to that problem later. For now, allow me to introduce you officially to the project I have been working on for the past semester. Now, what I expected Petri to become was is far removed from what he ended up being (not to mention that they went though several gender changes and arguments before I finally gave in to calling Petri a 'he' like everyone else did). Here is an overview of what I had expected at the start of the semester:

It started from a simple sketch, a small bird with a broom cleaning alligator's teeth like a dentist-janitor combo. I, having designed the bird to be more or less simple and round, chose Petri to be the star of my first semester animation project.

Little did I know how much work that would turn out to be.

The story went as so: 

Petri flies into work one day to attend to a large clint with a larger problem: there's one tooth that just won't get clean.

Petri tries and tries to clean it, using all sorts of unorthodox methods, but no matter what he does, nothing helps. In the end, in frustration, he ends up accidentally breaking the tooth, bringing about his untimely demise at the hands, er-mouth, of the gator.

I had a storyboard, but the pencil marks were to light and smudged to scan and show you.

So, to the real problem:

Oh wait, not that problem.

This problem:

(You can tell it's the real problem because I made it larger)

This is what happens when you don't construct your rig quite right

The name of this problem? Rigging. For those of you who don't know or are unfamiliar with rigging: rigging is the placement of bones in an animated character to make animation easier and to define character movement. In essence, constructing their skeleton, as you can see above. 

Now you may be thinking: "But Greta, that looks like a fine and dandy skillet rig you've got going there, what's the problem?" But my friend, I must tell you this is the finished, refined rig of the bird. While it doesn't look much different from the initial setup, it is far better at what is was built to do that version 1.0. 

To get to this stage of superior rigging, I went through modeling, rigging, assigning bones to joints, beginning animation, and then undoing all my work until I was back at square two: rigging. Because of this, I have no true finished "animation", but the amount I have learned from the project makes all the struggle and turmoil and headaches worth it. For example: The prop and scenery work shown below from what I had anticipated to be part of the final work.

The most valuable skill I gained from this is the proper, or at least more efficient, way to rig a character in Maya. IK rigging is a kind of rigging shortcut that takes where you want a certain joint to be, and moves all subsequent joints in a way that will get it there. It takes longer to set up, but makes the actual animating a whole world easier.

So, in summary, will I be putting forth more effort to get something done right next semester?

Yup. I want to be able to get something completed this time.

Will I grossly underestimate the scope of a project?

I hope not. I need to take careful consideration of what difficulties the next project will have.

Will I be using IK rigging the first time?

Oh yes. It's a very handy tool and I hope to perfect my work on it.

Will you all be seeing more of me and my work next year?

You bet! I want to be more active on this blog, so I may also post some non-animation art ventures to keep this place a tad more lively!

Remember, if you have anything to say leave it in the comments! I like to get feedback and hear what you all think!

Acting in Animation

Acting? What does that have to do with Animation?

More than you'd expect, it seems

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Today I took a look at Doron A. Meir's article on acting and animation. While the title intrigued me, the content did more so. In his article, Meir covers what it really means to bring a character to life in animation. He doesn't just mean the story or even the design, but the movement of a character in itself, whether you were the one directing the story or just working off a given script, Meir stresses the importance of acting.

Meir claims that modern animations have come to lack the higher quality of acting in their animation as seen in older works. He sees the characters as well modeled, but poorly developed and poorly acted. He sees the character move, but he can no longer feel them working as an individual character. Meir's definition of acting requires that the animator can think, feel, react, and retain the consistency of the character in a way that makes the audience believe that the character is a real, living, breathing (where applicable), thinking individual: a practice that is much harder than you may think.

While Meir may have a good point, they provide little to no evidence to support their claims on neither the loss of acting nor any way to bring it back to the spotlight. Meir gives us no clear examples of a poorly acted and well-acted character in any more detail than a name. This, unfortunately, detracts from their interesting argument a little, giving us no more than some textbook terms on how to feel, react, and set the mood.

Despite the detraction from his validity, Meir does bring up an interesting point, whether or not this is becoming less prevalent: how to do more than make a character move. What Meir misses in the things he sees are the extra thoughts and effort to truly develop a character. Sometimes I can see what he means by it, too. I need to be sure to, with my own characters, bring to life their personalities and make them empathize-able on-screen to the viewers.

See the article yourself at:

http://www.animationarena.com/acting-and-animation.html

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Let's Take A Look

Big Buck Bunny:

Professional Project Review

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Today I'm going to talk about something I didn't make: a wonderfully made short film by the folks who developed the software Blender. Big Buck Bunny (2008) was made to showcase the capacity their free product could create with.

Big Buck Bunny tells the story of a large, gentle bunny that is endlessly tormented by squirrels. One day he decides to rebel and strike back against the squirrels with crafty traps. The short film is well put together, with a 3D modeled environment and characters that are accented with the excellent lighting. While most of the camera shots are close, the people at Blender still manage to establish a deceptively calm, pretty meow setting to contrast the actions of the squirrels. The short film sets up many similar contrasts such as:

-The bunny is oddly large and relatively masculine, but still acts dainty at the beginning

-The squirrels appear small and cute at the beginning, but slowly are revealed to be menaces

-The setting is serene and there are beautiful butterflies, but they are crushed by squirrels

If I were to take something away from this piece to apply to my own work, it would be creative use of camera angles and lighting. Since there is no dialogue, they communicated the story through gestures, faces, and angles. I am quite a ways away from that level of camera angle usage. One thing I saw that I can do, however, is the lighting. While I by no means can accomplish the lighting they have, I can identify possible ways they accomplished theirs. 

The only thing I could bring myself to critique is the grass texture, which at times seemed off, but even that wasn't detrimental to the film as a whole.

If I were given the task of improving it, I would probably look into developing the squirrels motives a teeny bit, but that'd be it. 

All in all, This short film is a funny, well-timed work that is definitely worth giving a watch if you like humorous story lines and comedic characters.