Figure 1 : The textures were imported into Maya after they were transferred from the Adobe Substance Painter escape pod file, which comprised many portions.
A decision came about to maintain the escape pod in the purple effect since it gave the pod uniqueness and made it stick out against the planet and surroundings.
Storyboard
The animation for Escape Pod will focus on the real Escape Pod travelling around the galaxy until it gets close to the planet. The pod realises it is a living entity and attempts to flee, but collides with the planet’s surface. As it collides, the planet swallows the separated portions, demonstrating the pod’s unwavering faith in its objective, which is to escape the galaxy’s living inhabitants and living planets.
Figure 2 : Escape Rod storytelling exploring the fateful faith of the pod as it gets eaten by the planet.
Lighting of the Escape Pod will be focused onto the pod so it could show the main focus of the animation and using Sky Dope for the background whick turned out successful. All of the cameras and lights will be focused on the Escape Pod and it’s movement.
This 3D animation exercise lets learners to observe how animation is created and how each element, such as lighting, is vital during the production process.
Lighting artists employ light to enhance a scene’s ambience, tone, depth, and emotion. They input various light effects based on parameters in a frame or scenario, such as weather or time of day. They indicate where the light sources are supposed to be in a scene (ScreenSkills, n.d.).
Escape Pod Animation
Figure 3 : Escape Pod 3D Animation (Quizshed, 19 January 2022).
Figure 1: Starting UV unwrapping stage.Figure 2: Starting to unwrap each section of the pod.Figure 3 : UV map of each unwraped section of the pod.Figure 4 : Escape space pod with UV unwrapping map which is readdy to be exported to Adobe Substance Painter.
An UV unwrapping procedure was required to be done shortly after finished moderating. Why is UV unwrapping crucial? When using Adobe Substance Painter, UV unwrapping enables more precise texture and colour filling. The first step in unwrapping is switching the mode from General to UV, which will alter the workspace for the necessary operation. Each section is separately released from orthographic and perspective projections, such as top, right, left, and bottom, while utilising the Face mode. To accurately depict each side of the projection, the UV graph was used to plan and move each projection. It was exported as an FBK file and opened in Adobe Substance Painter after the pod had been successfully unwrapped.
Adobe Substance Painter
Figure 5 : An opened escape pod file in the Adobe Substance Painter which has the pod and the UV map with all of the elements.Figure 6 : Painted with metal polish and ready to be rendered.
The workspace had two areas when the file was opened: one for the model and one for the UV. Because I experimented with several textures and brushes during the colouring process and made a small error when applying the UV, the textures produced intriguing and realistic results. To accomplish smooth painting of the surface, the decision was made to colour in the UV. which wasn’t successful because the brush was only drawing lines. So, a small adjustment was made to the brush parameters. After varying, the brush created a bright metallic surface with intriguing rust that may have the appearance of veins. The textures were successfully sent back to Maya after the painter process, and rendering got going.
Rendering
Figure 7 : Side view of pod which shows the rust effect.Figure 8 : Back view of the pod while adapting lightning to the scene.Figure 9 : Front view of the pod on the ground surface.Figure 10 : A zoomed in version of rendered pod which gives realism.
Figure 1 : Examining many space pod examples and determining what constitutes a space pod (Art Station, n.d.)
A decision was taken to design an escape space pod with enough intricacy after looking online at many space escape pods. So the experimentation started as soon as the Maya was opened. I was experimenting with various shapes and ways of thinking.
Figure 2 : Using polymer shapes like spheres and cylinders in Maya, which allow for greater construction accuracy and make replicating the pod easier, I was able to build an escape pod while experimenting with various shapes.Figure 3 : An orthographic projection illustrating the pod from several angles.Figure 4 : The window and top ring were created in order to give the pod more shapes and details.Figure 5 : An orthographic projection of the pod from different perspectives demonstrates how the forms are properly enlineated with one another. Additionally, this gave the top of the pod and other parts a perfect smoothness.
After finishing the pod’s final touches, I switched to the vertex face mode and looked for any faulty components that shouldn’t have been included in the design. Instead of unifying the shapes, they were clustered together since unifying would have made the detail disappear. The model was therefore prepared for UV unwrapping as soon as the inspection procedure was complete.
A 3D model’s surface is flattened into a UV map, which is used to quickly wrap textures around it. UV unwrapping is the procedure used to create a UV map. (Thomas Denham, Concept Art Empire, n.d.)
The polygonal mesh must then be “unwrapped” into a UV map after being produced. You should now add textures to the mesh in order to give it life and give it a more realistic appearance. (Thomas Denham, Concept Art Empire, n.d.)
Figure 1 : Acceptance is a component of mindfulness, which means that we pay attention to our thoughts and feelings without passing judgement on them. For example, we refrain from thinking that there is a “right” or “wrong” way to think or feel at any given time. By engaging in mindfulness exercises, we train our minds to focus on the present moment rather than the past or the future. (Greater Good Magazine, n.d.)
When considering possible topics for the box, the idea of mindfulness first came to me because it was a significant issue that affected the great majority of people. Anxiety and depression are conditions that some people experience. Therefore, when people open the box, they will discover a tool that will help them with their internal struggles and improve their mood.
Figure 2 : The logo was manually put to each side after attempts to extract the UV from Adobe Substance Stager and add it to the UV were unsuccessful.Figure 3 : Attempting to use the Adobe Substance objects already produced while building a fantastic box.
Rendering
Figure 4 : Applying the brand on the container and the aluminium bottle is a good idea because it keeps the drinks warm better than, say, cans.Figure 5 : An orthographic perspective projection is used to demonstrate how the box will appear in reality.Figure 6 : Top-down perspective orthographic projection illustrating prospective objects.Figure 7 : Frontal perspective orthographic projection illustrating potential objects and a logo.Figure 8 : An orthographic perspective projection looking back at the box’s back side.Figure 9 : Perspective orthographic side projection illustrating how the logo will appear on the box.Figure 10 : The box’s handle would be ideal for carrying around with you, and the rendering depicts how the box may appear in real life.
Figure 11 : A little animation displaying the box’s contents and visual style.
The word infographic, often known as a “information graphic,” is a visual representation of information intended to make the material quickly and easily understandable. Infographics are used to quickly convey a message, make complex data presentations more understandable, identify links and trends in data, and track changes in variables (Katie Terrell Hanna, WhatIs.com, n.d.)
Storyboard
Figure 2 : Inforgraphic animation of potential night club animation.
This inforgraphic animation will explore the dull grey day of the person siting in the bus stop and looking for the upcoming bus but something colourful comes out of the phone. As it comes out, it gets into the advertisement which gets colourful and multiple buttons appears. That person press the button and appears into the night club. Whole night club is colorful and people are having fun, so the person started dancing and enjoying life which makes the person colorful.
Figure 1 : Cosmic Cradle Metamorphosis Animation exploring the movement of space (Andrewkn, Pixabay, 28 January 2022) (Pixabay, 31 August 2022.) (Jonny Hughes, howstuffworks, n.d.).
It is also necessary to incorporate Edward Tufte’s laws into this task. So, who exactly is Edwarde Tufte? Edward R. Tufte is a retired political scientist, statistician, and computer scientist. His study focuses on statistical evidence and scientific visualisation (Shruthi Sampathkumar, Medium, 6 February 2018).
Effective web design can be achieved by following the broad information design principles proposed by Edward Tufte. In his article and books, he explains how to design web pages effectively using micro/macro design, layering and separation, small multiples, colour and information, and the integration of text and graphics (Shruthi Sampathkumar, Medium, 6 February 2018 ).
Tufte’s Comparison of Small Multiples
Figure 1 : A little multiples demonstration using different painting mediums of the same glass that will apply to future planets (Tufte, Edward R, 1990 ).
The small multiple is a data visualisation that consists of a grid of several charts. This makes it simple to compare the complete set of data. This law will be great because the Newton’s Cradle will include seven coloured balls. As a result, they will all be made of the same metal but in different colours.
Tufte’s Use of Colour
Figure 2 : According to Tufte’s law, “Use Colours to Help Users Understand Data or to Add a Layer of Information,” each colour not only helps to divide the data but also aids in memory retention because people tend to associate colours with specific memories (Chrisanthy Rebecca Surya, Medium, 21 March 2019), (Tufte, Edward R, 1990).Figure 3 : This map depicts ocean and land using various tones of blue and brown (Tufte, Edward R, 1990).
Colour is important for my animation because the setting is known for its blue, purple, and white hues. As the white light from the sun strikes the prism, it produces seven different colours, which is why the planets themselves will be in a prism colour also known as a rainbow colour to relate back to the space.
Tufte’s Micro-Macrocosm
In his works, Tufte discusses several micro- and macro-data instances. Micro readings come in a format that has the most granular details imaginable (Shruthi Sampathkumar, Medium, 6 February 2018 ). The planets in this space animation will serve as the microcosm and macrocosm because each one will have its unique story and small surface breaks. Additional cracks will also appear due to planetary movement.
Tufte’s Layering and Separation
Layering is the process of visually arranging or stratifying data to build a proper link between different forms of information, according to Tufte’s definition in his article “Layering and Separation.” By emphasising more significant elements and downplaying less important content, layering serves to establish a visual hierarchy (Shruthi Sampathkumar, Medium, 6 February 2018 ). A layering component in animation would be found between the planets and the background.
Figure 1 : On camera, astronaut Ronald E. Evans is seen engaging in extravehicular activities during the trans-Earth journey of the Apollo 17 spacecraft (Emily Carney, NSS, 26 September 2021).
This was decided to create some storyboards while considering how to merge the Metamorphisis, Alexander Calder, and Science. However, a mindmap of what science specifically entails before creating a storyboard. Consequently, planets and rockets are a part of science, particularly planetarium. The plaques flown on Pioneers 10 and 11 and, of course, the Voyager Golden Record are two instances of how the human element was conveyed even in robotic spaceflight throughout the 1970s. Each artefact was intended to express the human condition to potential extraterrestrial life, if said extraterrestrial came upon each spacecraft (Emily Carney, NSS, 26 September 2021).
Furthermore, it is impossible to ignore the connection that both scientists and engineers as well as technicians felt when the great planetary research missions of the 1970s succeeded. The era’s NASA and JPL films depict the control rooms’ almost amazement when, for example, the Viking landers touched down and actually sent back the first sharp photographs of Mars (Emily Carney, NSS, 26 September 2021).
Initial Storyboard
Figure 2 : Rough animation storyboard that provides a quick visual representation of the work.
A decision was taken to storyboard and clarify ideas following mind mapping. As a result, the animation opens with a planet in the background of space. So camera is crucial in transitions because a second planet then appears after a minor camera movement. Both of the planets begin to clash like gas particles as soon as they arrive. Three planets form after a collision, but the colours used in the storyboard won’t be utilised in the final animation because the three planets will be different from those shown in it. Several planets have so collided, and the collision is zoomed in on by the camera. After the collision, the strings become visible as the camera pans out. As planets are actually a Newton’s Cradle on a workplace as the camera continues to zoom out.
Group Storyboard
Figure 3 : Storyboard interpretation was made following a group discussion.
An area was actually a wallpapered rear wall that moved like an Alexander Calter mobile. However, since the storyboard was unfinished and lacked a beginning and a conclusion, doing a group brainstorming was helpful. The group storyboard that Abbie, Adam, and Sidney presented is shown in the photo below. After the group project, additional factors were taken into consideration, such as having various planets turn in a line that will resemble a cradle and an asteroid that is travelling in the direction of the planet. After an asteroid strikes the planet, all the planets collide once more. Three planets are then moved by the rockets, which causes them to rise after colliding and then fall. This connects to the Alexander Calder mobile as well.
Figure 4 : The final choice was to call the piece Cosmic Cradle after more examination of the important terms that would be included in the title.
Development of the idea for the entire animation would involve space and a 3D rocket in a similar style, by thinking back to space exploration from the 1970s.
Figure 5 : During the in-depth conversation, a group storyboard was created.
Figure 1 : Analysing the metamorphosis and illustrating the transformation from a caterpillar to a buterfly. This illustration will help people understand what animation is supposed to be (Mart, shutterstock, n.d.)
Animals change drastically and quickly after birth through a process called metamorphosis. Changes in an organism’s complete body plan, such as the number of legs, method of feeding, or mode of breathing, may be the outcome of metamorphosis (BD Editors, Biology Dictionary, n.d.).
However, in terms of design, metamorphosis may be associated with a change in habitat or even in mode of life, even if this may also occur independently of any initial morphological or environmental alterations. Cities are a fantastic example because they are always changing (Architecture Ducation, n.d.).
Alexander Calder
Figure 2 : Kinetic refers to something that involves motion. Movement has been included into art since the early 20th century. This was done in part to explore the potential of movement, in part to explain the concept of time, in part to reflect on the significance of technology and machines in today’s environment, and in part to investigate the nature of vision (Tate, n.d. KINETIC ART).
After careful thought, the decision was made to adapt Alexander Calder’s work to create a moving planetary or atomic animation. As a result, having planetery in a mobile format would be considered. Alexander Calder is credited with creating the mobile, a form of kinetic art that relied on careful balancing to achieve equilibrium and suspension in the air, as well as wire sculptures. At first, Calder utilised motors to move his pieces, but he quickly stopped using them and switched to just using air currents (Tate, n.d. WHO IS ALEXANDER CALDER?).
Looking at Alexander Calder’s work made me realise that the motion was similar to that of Newton’s Cradle.
Newton’s Cradle
Figure 2 : The Newton’s cradle, with its swinging, clicking balls, isn’t just a regular desk item, despite the appearance of its straightforward design. In actuality, it is a beautiful illustration of some of the most fundamental physics and mechanical laws (Chris Schulz, howstuffworks, n.d.)
The item serves as an excellent example of how friction, momentum conservation, and energy conservation all function together in physics. These collisions that are inelastic and elastic, and kinetic and potential energy (Chris Schulz, howstuffworks, n.d.)
In order to create anything analogous to Alexander Calder’s mobile, the idea for the prospective animation would therefore be to include metomorphism and the Newton’s cradle itself or even its motion.
BD Editors, Biology Dictionary, n.d. Metamorphosis Definition [Online] (Updated in 4 October, 2019) Available at : https://biologydictionary.net/metamorphosis/ {Accessed in 10 May 2023]
