Tag Archives: Harvard citations

Research

Comic Research

Tips on Beginning:

  • Make it for the right reasons – you want to
  • Read a lot of comics
  • Carry a notebook in case you have any ideas
  • Set an update schedule and stick to it
  • Start it right now – don’t keep putting it off

Planning:

  • Create a compelling concept
  • Create your characters e.g. backstories and personalities
  • Keep your style & schedule doable
  • Get feedback
  • Plan out your schedule so you get into a habit
  • Have a buffer- in case your sick or fall behind so that you can still update regularly
  • Promote your comic as much as you can and engage with the community

Additional Notes:

  • Share your comic on the hosting sites forum
  • Promote it as much as possible with social media
  • Engage as much as possible with other content creators e.g. on Tapastic interact with other webcomic artists – Fleen is also geared towards networking the web comic creators as is Webcomic Alliance
  • Make sure your text is legible
  • Make sure you actually enjoy the process
  • Consider future printing possibilities so save 300dpi and consider colours so converting RGB to CYMK
  • Choose the name carefully
  • Strive to keep improving your art

Some free hosting site for comics, that we hadn’t known about, mentioned are www.smackjeeves.com. Need to look into them more. A free resource is  Making Comics for helping get your started.

Biggest Mistakes:

  • Expecting too much too soon
  • Business before comic e.g. Merchandising before really establishing a loyal fanbase
  • Overworking/Unsustainable schedule

Recommended Reading

Making Comics and Understanding Comics by Scott McCloud

Light for Visual Artists by Richard Yot

Framed Ink by Marcos Mateu-Mestre

Critical Theory Today by Lois Tyson

The Webcomics Handbook by Brad Gulgar

Logo Research

We found Logo pond to be our favourite site for inspiration as the logos were all fairly minimalistic. We didn’t really like the isometric logos that we looked at but it did push in the direction of incorporating geometric shapes into the design.

Logo Design Tips:

  • 2 pictures wrapped in one (like the Boat logo, one way it’s just a letter another its a picture)
  • Colour is important but it should still work greyscale
  • Avoid repeating the same design style over and over, for example, circular badge divided into segments. Try and make it ageless rather than following a trend.
  • Make it unique/ instantly recognisable
  • Try use custom font
  • Keep it simple stupid!
  • Think about proportion and symmetry
  • Maybe incorporate negative space (see Fedex Arrow)
  • Is it passive e.g. Apple logo or active e.g. Twitter Logo
  • Have a meaning to the design

Danny likes the idea of a jumping wolf design with geometry incorporated into it, which I quite like the thought of doing so I said I would.

Danny got in touch with some comic book related people, I can’t remember the different names so we wrote up a list of questions to ask them, which are in my notebook.

To Do List:

NAT: Costing + research examples + logo
DAN: Concept sketches + write out story +try to do a page
BOTH: Names

Harvard Citations:

bigred22. (2012). Cork & Cow. Available: https://logopond.com/bigred22/showcase/detail/177215. Last accessed 11th Apr 2017.

Carvarel, J. (2009). 20 TIPS for Webcomic Beginners!. Available: https://heylookcomics.wordpress.com/2009/07/03/20-tips-for-webcomic-beginners/. Last accessed 11th Apr 2017.

Corres, S. (2014). 30 Examples Of Marvelous Wolf Logo Designs.Available: http://naldzgraphics.net/inspirations/wolf-logo-designs/. Last accessed 11th Apr 2017.

Davies, L. (2014). The Biggest Mistakes People Make When They Start A Webcomic. Available: http://io9.gizmodo.com/the-biggest-mistakes-people-make-when-they-start-a-webc-1614779817. Last accessed 11th Apr 2017.

Davies, L. (2015). Want To Start A Webcomic? Here’s The Best Advice Around. Available: http://io9.gizmodo.com/want-to-start-a-webcomic-heres-the-best-advice-around-1687769556. Last accessed 11th Apr 2017.

designtrends. (2017). Unique and Inspiring Isometric Logo Designs.Available: https://www.designtrends.com/graphic-web/logo-designs/isometric-logo-designs.html. Last accessed 11th Apr 2017.

Johnson, J. (2013). 10 Tips for Designing Logos That Don’t Suck.Available: https://designshack.net/articles/inspiration/10-tips-for-designing-logos-that-dont-suck/. Last accessed 11th Apr 2017.

Mundhenke, R. (2013). My Top Ten Tips for Starting a Webcomic.Available: http://webcomicdojo.com/post/28055048872/my-top-ten-tips-for-starting-a-webcomic. Last accessed 11th July 2017.

Pojo. (2016). Webcomic Tips. Available: http://www.webtoons.com/en/challenge/not-good/how-to-start-a-webcomic-tips/viewer?title_no=23913&episode_no=14. Last accessed 11th Apr 2017.

Quinn, M. (2011). Advice on Starting a Webcomic. Available: http://goknights.tumblr.com/post/15854328722/advice-on-starting-a-webcomic. Last accessed 11th Apr 2017.

studywebteam. (2008). 50 Tools & Resources to Start a Webcomic.Available: http://www.studyweb.com/50-tools-and-resources-to-help-you-start-a-webcomic/. Last accessed 11th July 2017.

wikiHow. (2017). How to Make a Webcomic. Available: http://www.wikihow.com/Make-a-Webcomic. Last accessed 11th Apr 2017.

Website

Link to my website: http://nataliehcoleuni.wix.com/mysite

Notes:

  • Logical order
  • Minimal text – show it rather than spell it out
  • Contact form
  • CV to download
  • Showreel should be on it – first thing you see
  • Should be clean and not cluttered
  • Should clearly state the area you specialise in
  • Have a bit about you and your background
  • Social media links

Citation:

Caballer, S. (2015). 3D Character Modeller & TD|Rigger. Available: http://www.sergicaballer.com. Last accessed 10th May 2016.

Graham, A. (2016). VFX artist & 3D Generalist. Available: http://www.ashley-graham.com. Last accessed 10th May 2016.

Kelly, K. (2016). Character Artist, Texture Artist, 3D Modeller. Available: http://www.kriskelly3d.com/index.html. Last accessed 11th May 2016.

Romero, J. (2016). 3D Modeller. Available: http://www.justiromero.com. Last accessed 11th May 2016.

Plane

Inspiration

Screen Shot 2016-01-02 at 19.10.25

I then took this image and redesigned it so that it would have a more organic shape and so it would fit the world that we had created, alongside the vehicles that Andrew had made. (See sketchbook for design).

Process:

Screen Shot 2016-01-02 at 19.11.27Screen Shot 2016-01-02 at 19.12.50Screen Shot 2016-01-02 at 19.14.40Screen Shot 2016-01-02 at 19.58.16Screen Shot 2016-01-02 at 20.03.40Screen Shot 2016-01-02 at 20.03.49Screen Shot 2016-01-02 at 20.04.02Screen Shot 2016-01-02 at 20.05.43Screen Shot 2016-01-02 at 21.24.42Screen Shot 2016-01-02 at 21.24.56Screen Shot 2016-01-02 at 21.25.18Screen Shot 2016-01-02 at 21.40.06Screen Shot 2016-01-02 at 21.44.24Screen Shot 2016-01-02 at 22.52.45Screen Shot 2016-01-03 at 17.17.39Screen Shot 2016-01-03 at 17.39.35

Andrew had modelled a machine gun (you can see it in the wireframe image) which he sent to me. I then scaled it down and attached them to the wings of the plane.

Harvard Citations:

Virtual Aircraft Museum . (2008). Northrop XFT 1934. Available: http://www.aviastar.org/air/usa/northrop_xft.php. Last accessed 7th Jan 2016.

Fortifications

As I said in a previous post, we decided to have four separate sections to our city, and in the centre would be our castle, giving us the opportunity to model different types of buildings and vehicles.

In this post I am focussing on the Military base.

What we need in the base to have;

  • Defensive structure
  • A training ground
  • Armoury
  • Military vehicles
  • Possible launch pad for aircraft?

I researched fortifications so that I could come up with a design that would in fact be suitable for it’s purpose.

The main points I found useful for the design are;

  • Ensure the attackers would have no where to hide, making them exposed for attacks
  • If the opposing troops are exposed they will also end up widespread and vulnerable
  • Have somewhere to drop projectiles to kill some of the enemies

I decided to use the “Polygonal Fortification” structure described in the book cited below.

It was low to the ground and had a ditch dug the whole way around so that for enemy troops to gain access they only had one real root of entering through the gate house.

I also aim to incorporate the tower structures into the design, whilst they were often isolated bases and therefore vulnerable, incorporated into the Polygonal Fortification, it should surely strengthen the design.

The tower has three levels. The bottom level is where the weapons are stored- with a shellproof roof, the middle level is the lodging for the troops, and the top level is the parapet. The first two levels are actually underground, so they are easily protected from most attacks. I intend to place the towers at each corner to remove the structural weakness that corners have on a building.

The base will be built on the outlying platform, applying the advice about having the structure isolated and making the enemy need to expose themselves in order to attack, removing the element of surprise. Also, as the structure is going to be built on a platform, there is no need for a ditch to be built around the parameter.

In my sketchbook are the possible designs for the military base.

Citations (Book):

Douglas, H. (1859). Observations of the General Application of M. Carnot’s Principles of the Defence to New Fortresses. In:  Observations on Modern Systems of Fortification. London: W. Clowes and Sons. p50-53.

Douglas, H. (1859). Observations of the General Application of M. Carnot’s Principles of the Defence to New Fortresses. In:  General Plan of a Polygonal Fort. London: W. Clowes and Sons. p128.

Douglas, H. (1859). Observations of the General Application of M. Carnot’s Principles of the Defence to New Fortresses. In:  Plan of the Fortifications of Rastadt. London: W. Clowes and Sons. p149.

Reading

The books shown below are the main sources of information that I will be utilising for my essay.

I read Constructing Masculinity, and found it really interesting but none of the information was really applicable to my essay.

Citations:

Berger, M., Wallis, B., Watson, S. and Weems, C. (1995). Constructing masculinity. New York: Routledge.

Foote, P. and Wilson, D. (1970). The Viking achievement. New York: Praeger.

Spicer, A. (2001). Typical men. London: I.B. Tauris Publishers.

Jump

Steps:

  1. Looked at the reference images in The Animator’s Survival Kit.

  2. Picked which rig to use.
  3. Pose the rig in the main poses (blocking)
    https://youtu.be/5f81BoVMtuc

  4. Added in between poses
  5. In spline mode
    https://youtu.be/6D53etFnl_I

  6. Key the arm positions
    https://youtu.be/6U_UmCOSisw

  7. Outcome:https://youtu.be/3K2WODwjxXM 
  8. Clean up the graph editor, removing any unnecessary keys.
  9. After clean up and then slight tweaking.
  10. Outcome: https://youtu.be/1gG-kGz3tJo

NOTE: Towards the end of the jump it looks a little bit like the rig slides to a stop, but looking in the side view it is actually off the ground, just the perspective makes it a little hard to see, this is why I added the boxes to show him landing.

Citations:

Williams, R. (2001). Walks. The Animator’s Survival Kit. London: Faber and Faber. p102-173.

Standard Walk Cycle

I had already done a walk cycle with the Fred rig during the summer, (see post here). Although, the character was older so he had more of a shuffling gait.

This time I decided to use a more youthful looking character, and within two hours managed to create a fairly good walk cycle. Sometimes when his feet lift there’s a bit of a jerk but I’m not entirely sure why.

I started from the feet up, then went back over the rig several times to tweak it. The main sources of frustration were the feet, and I’ve finally got them into a place where I’m satisfied with them.

Next I’m going to try and get him walk up stairs, and then I will try using the zombie rig using some reference footage taken of my brother.

Stages I went through to accomplish this walk cycle:

  1. Translate z on the right foot
    https://youtu.be/6KKeCczJkZ0
  2. Do opposite direction on left foot
    https://youtu.be/VicWKK4YAYQ
  3. Lift the feet
    https://youtu.be/Bc0qZyrxcbs
  4. Rotate toes so they faced outward
    https://youtu.be/q2dRJK-Z7E4
  5. Try and control the heel, so the feet go heel to toe
  6. Rotate x on foot to raise it and lower it at an angle
  7. Rotate the pelvis to swivel and raise/fall as legs move
    https://youtu.be/EtyZ9omBu8E
  8. Rotate the torso
    https://youtu.be/x2pQZ18Fuu8
  9. Lower the arms
    https://youtu.be/PMoYSrCk9Kw
  10. Move the elbows
    Front view: https://youtu.be/wuPet7X3yiY
    Side view: https://youtu.be/oVSkDn1wICs
  11. Animate arms in the opposite direction to legs (left arm forward, left leg back)
    https://youtu.be/F2SU03K7scI
  12. Rotate the torso in the opposite direction to hips (had them going the same initially)
  13. Animate the head to follow torso
  14. Tweak torso rotation to follow shoulders
    https://youtu.be/EszSyzByRyw
  15. Curl digits on the hands into fists
    https://youtu.be/wtu3V952Tmc
  16. Tweak hips to rotate in the opposite direction to shoulders
  17. Add body rising and falling with stride
    https://youtu.be/lC2PtKZwo-4
  18. Tweak feet movement again
    Front view: https://youtu.be/LlFwRZB6JeA
    Side view (red fixed, before fixing): https://youtu.be/cYLGWkj7Lgk
    Side view (both fixed): https://youtu.be/9z_sLCBD4jE

Blooper: https://youtu.be/ZBzDSylC3mI

Final walk:

Perspective view: https://youtu.be/e8Mnm96Boto

Perspective and Side view: https://www.youtube.com/watch?v=gjmcAUl8MB8&feature=youtu.be

Research Citated:

Williams, R. (2001). Walks. The Animator’s Survival Kit. London: Faber and Faber. p102-173.

Colour Scheme

We finally decided on blue and green to be the colours of our objects as they are the main colours of the Alzheimer’s Society’ logo.

The face and some structures will be black to add to the ominous atmosphere.

The textures that we will mainly be using are glass solid and blinn for the background.

We chose these textures because I modelled a marble following a Mike Hermes tutorial (cited at the bottom) and we were impressed with the high quality finish that it had.

Marble attempts:

We believed that the polished aesthetic would look far more professional in our animation and really raise the standard of it overall.

Having seen a few rendered shots of our scenes, I believe that we have fulfilled one of our objectives of creating a visually compelling animation.

Citation:

Hermes, M. (2014). Maya 2014 tutorial : How to model and texture a marble. Available: https://www.youtube.com/watch?v=hkxe-nmzm6E. Last accessed 20th Oct 2015.

Experimental Animation Research

I had to read a few books for Design Discourse 2 on commercial and experimental animation. I found them rather helpful in informing me further about abstract animation.

I have notes written in my folder on the various sections.

Citations:

Faber, L and Walters, H (2004). Animation Unlimited: Innovative Short Films Since 1940. London: Laurence King Publishing. p10-189.

Le Grice, M. (2001). The History We Need [1979]. In:  Experimental Cinema In The Digital Age. London: British Film Institute. p29-38.

Le Grice, M. (2001). The Implication of Digital Systems for Experimental Film Theory [1994]. In:  Experimental Cinema In The Digital Age. London: British Film Institute. p234-242.

Le Grice, M. (2001). A Non-Linear Tradition- Experimental Film and Digital Cinema [1997]. In:  Experimental Cinema In The Digital Age. London: British Film Institute. p289-296.

Le Grice, M. (2001). Digital Cinema and Experimental Film – Continuities and Discontinuities [1999]. In:  Experimental Cinema In The Digital Age. London: British Film Institute. p310-320.

Rees, A. L.. (1999). Art and the avant-garde: summary 1909-20. In:  A History of Experimental Film and Video. London: British Film Institute. p19-20.

Rees, A. L.. (1999). The Cubists. In:  A History of Experimental Film and Video. London: British Film Institute. p21-24.

Rees, A. L.. (1999). Futurists. In:  A History of Experimental Film and Video. London: British Film Institute. p26-27.

Rees, A. L.. (1999). Abstract film. In:  A History of Experimental Film and Video. London: British Film Institute. p28.

Rees, A. L.. (1999). The absolute film. In:  A History of Experimental Film and Video. London: British Film Institute. p37-39.

Rees, A. L.. (1999). Dada and surrealist film. In:  A History of Experimental Film and Video. London: British Film Institute. p41-44.

Wells, P. (1998). Notes Towards A Theory of Animation. In: Understanding Animation. Oxon: Routledge. p35-62.