Course Description: Objectives: Class: Attendance Policy: Class Reading: Instructor: Eric Kunzendorf Office: 119B Phillips Ext: xt7653

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1 FVA 362 Character Modeling and Animation Fall 2009: Tuesdays & Thursdays: 1:30 4:15 pm Phillip Fine Arts Building Room 129 Six hours per week. Prerequisite: FVA 261 or FVA 260. In depth study of character modeling and set-up techniques, with an emphasis on the concepts of skeletons, inverse kinematics, constraints, deformation, and motion controls. Additionally, advanced rendering, surfacing, and compositing are explored. Course Description: Objectives: Class: Attendance Policy: Class Reading: Instructor: Eric Kunzendorf Office: 119B Phillips Ext: xt7653 This course will cover the fundamentals of designing, modeling, texture mapping and articulating characters to be used in an animation environment. Prerequisite: FVA 261 Basic Computer Animation In this class, you will wear four hats in the production pipeline: Character designer, modeler, texture painter and Character Technical Director(TD). 1.) Students will identify the different areas in a character production pipeline so that they may troubleshoot their designs to fit within the production pipeline more efficiently 2.) Students will create rigged and articulated characters that will be ready to animate 3.) Students will animate the characters they create using the highest level of craftsmanship possible. Maya is a very big program capable of creating almost anything that you can dream up however with all that power comes a pretty steep learning curve. I will devote a large portion of the class to hands on time so that you may practice the day s lesson and work on current assignments. However this is hardly enough time to gain a good understanding of all the tools and their functions so I will expect all students to put in a minimum of 4-5 hrs a week on assignments. Rigging is a problem-solving discipline requiring the Rigger/TD to develop/discover new methods on a character-by-character basis. We will cover a lot of material in each class, therefore, missing any one class will be harmful. If you miss a class you will still be expected to find out and learn what was taught in that class. You will also be expected to complete any homework that was assigned during the class you miss. Furthermore, you should find out what you missed from your classmates; the instructor will not teach the class twice! As per the school policy, missing four classes (the equivalent of two full weeks) will result in you receiving an F for the class. If a student leaves early or comes in late they will be given a half absence for the day. More importantly, you will not receive credit for any critiques or reviews we have on that day. There are two main reading sources in this class: Mastering Maya Wiley retail. Amazon has it for less. I lecture/demo with the expectation that you have completed these readings. They will enhance and accelerate your understanding of the material covered in class. I will also be providing some Quicktime movies covering various aspects of character rigging. These will be made available on the server and are designed to supplement but in NO WAY REPLACE the classroom demonstrations. I provide them mostly as a reminder for when you rig your own characters. FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 1

2 Grading: Class Time: I will almost certainly give you other handouts. These handouts are important. Do not lose them; you will need to use them outside of class to complete your assignments. What I will cover in class will be complicated; you will need this reference. Keep in mind, however, that are not substitutes for the information I teach in class. Students will be graded based on the following 4 criteria: 1. Weekly Progress/Attendance 10% 2. Modeling Projects 50% 3. Final Assignment 30% 1.) Weekly Progress Practically every week, I will assign something for you to do for the following week. If you successfully complete the assignment, I will put a + in my book, which means you get full credit for that week. A - means that you did not do the assignment to the best of your ability, so you only get half credit. A ø means you did nothing OR that you came in late that day. But more important than the grade: if you don t bring in what is assigned, you will have nothing to use for that day s work. This is figured on a straight fractional grade: credits completed divided by credits possible equals your grade for this section. 2.) Generic Character Assignments We will use generic characters both as a rigging examples and as animation demos. I will give you the models; you will rig, weight and animate them. 1 grade point for the first generic character rigged and weighted in class. The aesthetics of the deformations as well as the completeness of the controls are the factors used here. 2 grade points for the second generic character rigged and weighted outside of class. Because you are doing it outside class, it will count more. 1 grade point for one of these characters animated. 3.) Final Assignment You will have at least two (more than likely 3) characters (a generic thin character, a generic thick character and the character created by you) that will be due in this class. The Thin Character will be rigged and weighted early in the semester, the Thick character will be customized rigged and weighted later and your character will be finished at the end of the semester. These characters result from the successful application of Weekly Progress and Quality of Work, so if you lack in 1 of these other 2 you will lack on your final. Your final assignment scoring will break down like this: 2 grade points for completing a modeled, rigged and texture mapped character. 1 grade point for creating a compelling process book documenting your creative efforts. 1 grade point for creating a compelling animation with your character. Class will be divided into two sections usually (but not always) delineated by Tuesday and Thursday. The first section of that week is called the Art Side, we will discuss the art of character design. Those of you who are facile draughtsmen will enjoy and excel at this part of the class. If your drawing skills are not as developed, don t worry! I expect you simply to try your best. During the other section, Tech Time, we will learn the technical side of character design and set up. You will soon see that the art and technical FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 2

3 Students with Disabilities: Required Materials: Recommended Websites: sides blend together to allow you to create sophisticated characters. I warn you at the outset: character creation is very different from animation, but learning to do it properly will allow you, as animators, to be independent in pursuing your individual vision. It is technical and will require your utmost concentration. Come rested and refreshed on Tuesdays and Thursdays! It is the responsibility of the student to notify the instructor at the first class session of any disability which will make it difficult for the student to participate fully in all class activities outlined in syllabus. General and Drawing Supplies - 2 Notebook or binder to keep all handouts (especially this one!). - Sketch pad - Graph Paper-Engineer s Computational Pad is the best! - Brush pens, pencils, Sharpies and Ball Point Pens to draw with. - Glossy inkjet photo paper or Watercolor Paper - Headphones or Earbuds - Wacom Bamboo Tablet (NOT the fun). One Method of External Storage in order of preference - External Bus Powered USB Drive GB - Spindle of CD-Rs There are many websites available these to help improve your skills as a CG artist these are some of the better ones that I ve found out there (great resource for CG artists) (latest news in the CG industry) (latest news in the CG industry) (Examples of character models and designs) (great tutorials about all facets of using Maya. Many dead links cgchar.toonstruck.com/forum/index.php (Great source of info about Character Animation) Javier Solensona s site. Deals primarily with rigging Conceptual Artwork sites site contains one of the great all-time macquette building tutorials forums.sijun.com FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 3

4 Class Calendar This schedule represents the best guess of the instructor. The instructor reserves the right to adjust this schedule, add or subtract assignments, change due dates and adjust content of any and all work to be produced by the students depending on assessment of those students before and during the course of the class. Class Lesson Description Week 1 Week 2 Objective: Students will identify the phases of character design as well as gain a rudimentary knowledge of Maya. 8/25 Introduction Art Side Discuss the purpose and relevance of this class. Discuss syllabus. The Character Design Pipeline. Handout Outline of Process. Look at examples of character designs from CGTalk, Spiraloid and Concept Design Forum. What is possible and what is not. Developing the Character. The Character Brief. Law of Related Shapes. Throwdown sheets. Silhouette drawing. Process Books: KEEP EVERYTHING!! Introduction to Maya interface. Overview of tools we will discuss on Thursday. Reading/Watching for Tuesday 9/3: abautorig documentation. Homework for Tuesday 9/4: Create at least 3 good Throwdown Sheets size: 11 x 14 minimum. Use one or more of the techniques discussed in class. 8/27 It s a kind of MAGIC! TechTime! Rigging basics. Abstraction of animation controls. Using abautorig.mel. Create proxy skeleton. Importance of proper joint places. Reading/Watching: 00_RiggingIntro.mov through 03_ReplaceWires.mov. Homework for Thursday 9/3: A rig for example character. All controls created and wires replaced. Successful completion of this evolution will constitute the FASTEST any group of students I have taught have produced a rigged character. Objective: Students formulate a clear direction on their character design and create a rig for the generic character. 9/1 Action Sketching Art Side Review Throwdowns. Refining the thumbnails. Scanning sketches and refining in Photoshop. Action Sketching. What will your character do? How will the arms, back and legs move? What facial expressions will your character have? Capture this in drawings. Pose Drawings. Centerline. Curved Action Lines. Work on drawings in class, time permitting. Homework for Tuesday 9/8: Create at least two 8.5 x 11 Action Drawings. FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 4

5 9/3 Weighting I TechTime! Adding advanced options to the rig. Creating sets for deformers and for controls. Create a full body blendshape. Skinning the model. Painting weights. What makes for a well-weighted rig. Creating the Weighting Dance using FreakOut.mel. Reading/Watching: Aaron Holley s skinning movies. Homework for 9/10: Progress on weighting character model. Week 3 Week 4 Objective: Students will apply anatomical information to the design of their characters and will have created a fully functional rig and deformed character to animate. 9/8 Structure and Attitude Art Side Anatomy. Structure below the surface and how it relates to the final model. Using reference for bone and muscle structure. Why this is important to 3D modeling and rigging professionals. Sources of animal and biped anatomy. The Attitude drawing. Once you are familiar with how the internal structure works, combine all of what you know in an Attitude drawing that will form a central part of your Presentation Drawing. 9/10 Weighting II TechTime! Homework: for Tuesday 9/15: One 8.5 x 11 Attitude drawing. Implementing A.H. s weighting strategies Homework for 9/17: Fully weighted Generic Character. Objective: Students will create a schematic drawing and will identify its place in the modeling process. We will learn to customize the model using Maya s modeling tools and Mudbox. 9/15 Its All About Presentation Art Side Assignment: The Presentation Drawing. Scanning the Image and applying color in Photoshop. Structure drawing: adding anatomy/bone/muscle detail to the action and attitude drawing. 9/17 Customizing the Thick Model. Homework for next week 9/22: Front, Side and top view of your character. Assignment # 1 due in ONE week (Week 5): Create a Presentation Drawing NO SMALLER than 13 x 19. TechTime! Second character rigging assignment reviewing what you have learned about using abautorig.. Customizing the Thick model using Maya s modeling tools and symmetry. Move into Mudbox, time permitting. Reading: Chapter 3 of Mastering Maya 2009 Homework 9/24: Base mesh for Thick model. FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 5

6 Week 5 Week 6 Objective: Students will begin the process of building the digital maquette in Mudbox and begin to use the cylinder method to sculpt their characters. 9/22 Schematics Art Side Scanning and placing character schematic drawing. Customizing models in Mudbox. Mudbox Tools and Methodology. Importing. Layers. Subdividing. Placing schematic (Front, Side and Top views into Mudbox). 9/24 Customizing Thick Model/Begin Character Modeling Critique: Assignment #1: Presentation Drawing. TechTime! Check Maya customizations. Work on customizing in Mudbox. Begin cylinder technique of character modeling in Maya. Read Joan of Arc tutorial- Sculpting the body. For next Thursday 10/15: Your character body finished Students will critique their Presentation Drawings. They will compare and contrast the two different means of using Mudbox to create characters. 9/29 The Digital Maquette Art Side Sculpting from scratch in Mudbox. View Video: The Digital Maquette by Zac Petrock. Begin Maquette assignment. 10/1 Creating Base Meshes in Maya pt. 1 TechTime! Work on Character Base Meshes. Week 7 Week 8 Objectives: Students will finish modeling the body of their 3D characters and make significant progress on their digital maquettes. 10/6 Roughing in the Body Art Side Working from base meshes in Mudbox. Review of hi res sculpting in production. Retopologizing. Mudbox toolset. Layers. 10/8 Base Mesh Modeling TechTime! Finish cylinder style body for character. Begin Head Modeling Objectives: Students will finish modeling the head of their 3D characters and make significant progress on their maquettes. 10/13 Adding details to the maquette. Art Side Adding detail to the maquette. Pattern stamping. Scratching patterns into the sculpture. Knocking back unwanted detail. Work on maquettes. Work on 3D model, time permitting. Review midterm progress. DUE IN TWO WEEKS 10/30: Finished, textured digital maquettes. 10/15 Head Modeling TechTime! Work on the head of the base mesh. Homework for Thursday 10/25: Weighting Dance should be completed and deformations should be finished for 2 nd character FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 6

7 Week 9 Week 10 Week 11 Week 12 Week 13 Objectives: Students will exhibit a high degree of craftsmanship in their finished maquettes and begin to texture map their 3D models. 10/20 Baking and Painting Maquettes Art Side Baking maps from digital Maquettes. Displacement vs normal mapping. DUE IN NEXT WEEK 10/30: Finished, textured maquettes. 10/22 UV Mapping: TechTime! Attach head to body. Begin UV mapping. Link to texture painting in Mudbox. Objectives: Students will paint texture maps on their individual characters while learning to create UVs on their characters. 10/27 Painting Texture Maps Art Side Critique of Maquettes. Texture Map painting strategies in Mudbox. Adjusting them in Photoshop. Watch internet videos of projection painting in Mudbox. Assign final assignment: DVD with Turntable animations and walks. 10/29 UV Mapping part two. TechTime! Finish body UV mapping. Begin rigging of your character. Finish it by next Thursday. Objectives: Students will customize their characters in Mudbox and begin weighting their characters for animations. 11/3 Customizing Character in Mudbox Art Side Exporting Body geo mesh as Obj. Importing model to Mudbox. Adding details and texture maps in Mudbox. 11/5 Work Day TechTime! Skinning and Weighting your character. Review for final four weeks. Work on individual characters. Objectives: Students will create walk cycles with their two best characters as well as work on face rigs. 11/10 Walk Cycles with Characters. Creating walk cycles with characters you have rigged. Rendering animation review. 11/12 Individual Rigging Issues Art Side Animation Work Day. For Tuesday 11/20: Walk cyclereview facial rigging. Individual Rigging Issues on a character by character basis. Work on Rigs and animation as needed. Objectives: Students will place lights in their scenes and test render using Maya Software and Mental Ray Renderers 11/17 Lighting for animation Art Side Three point lighting. Key Light. Fill Light. Back Light. Kicker lights. Test rendering. Rendering using Maya software. Rendering Using Mental Ray. Continue working on Final Animation exercises. You should be ready to render your final animations when you get back from Thanksgiving. 11/19 Rendering Art Side Setting up your final renders. Setting Render presets. Rendering. Editing Renders in Final Cut. Burning to DVDs. GarageBand. FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 7

8 Week 14 Week 15 Objectives: Students will finish animating and begin their final renders. Students will edit their work in Final Cut. 11/24 Workshop TechTime! Work on Rendering issues. Work on animations if necessary. Final Assignment Due NEXT WEEK! 11/26 THANKSGIVING Get ready for final push! Objectives: Students will hand in final animations, source files and process books on their characters. 12/1 Animation Editing Students will work on editing their final animations and burn them to DVD. 12/3 Work on Final DVD Work day Finals 12/7 12/11 Final Critque Critique Final Projects Exact date To Be Announced. Turn in final DVD containing all work. Document your work. FVA 362 Character Modeling and Animation Fall 2009 E. Kunzendorf 8