Term3 Sessions with Serra WEEK 13

2.1 Advanced and Experimental 3D Computer Animation Techniques, Session with Serra, Uncategorised

Drafting and Design Development

This week, most of my work focused on building the rough draft and establishing the main direction for the design. I experimented with several approaches, including both bulky and slender body types. However, I found that the bulkier design resulted in the muscle layer occupying too much space, which made it harder to maintain visual clarity and recognizability.

In the end, I chose EVA Unit 08 as the primary reference for my design. Based on that, I constructed the basic body structure and adjusted the overall posture. With this foundation in place, I’m now ready to move on to the next stage of the design process.

Although they may look somewhat similar at first glance, the underlying design approach is completely different. I believe that in the final piece, you’ll be able to see a distinct style emerge from this process.

At the same time, I began creating initial sketches for the robot’s muscle bundles and outer armor, which will go through several iterations in the coming stages.

I tried many different muscle forms and eventually realized that the human muscle structure is the most suitable.

The outer shell draft was still built based on the large body structure, and at this point, the direction of the final result is starting to become clear.

Reflection

This week’s learning deepened my understanding of blocking out shapes, human anatomy, and basic geometric construction.

Term3 Sessions with Serra WEEK 12

2.1 Advanced and Experimental 3D Computer Animation Techniques, Session with Serra

Design Concept and Visual Language

I’m a big fan of Evangelion, and I find its EVA unit designs particularly inspiring. Although they are essentially biological armor, the design cleverly combines the elegance of the human form with the bold, heavy aesthetics of industrial machinery. I see this as a compelling starting point for my own exploration.

I also took notice of one of the early design approaches used by hard surface designer Vitaly Bulgarov, which features a very distinctive visual style. His design methodology is clear and systematic — building up details step by step to reveal rich mechanical layering. Studying this style will be very beneficial for improving my own modeling practice.

A experimental direction

This design (as shown below) reflects one of VB’s signature approaches — a clear, mechanical-like logic that builds from the inside out: starting with the internal structure, then the muscle layer, and finally the outer shell. It balances smooth, streamlined shapes with rich layers of detail, much like real-world mechanical design.

Reflection

After several days of research, I feel I’ve gained a basic understanding of robot design. It can be divided into two main parts: the overall shape and the internal details.

  • The shape should remain clean and simple, avoiding too many small lines that could break the visual flow.
  • The internal details, more is not always better — a good balance is to follow a seven&three distribution, focusing the detail in a specific area to maintain visual harmony across the whole design.

Term3 Sessions with Serra WEEK 11

2.1 Advanced and Experimental 3D Computer Animation Techniques, Session with Serra

In my final major project, I want to create a story about a robot reclaiming its memories. Therefore, in this project, I aim to practice more hard surface modeling and focus on robot design.

Research

After doing some initial research, I began by exploring a few different styles of robots — such as the three distinct designs from Love, Death & Robots, or the more organic, bio-inspired approach seen in Evangelion.

At the same time, the structural composition of the robot is also an important consideration — whether to go with a seamless, streamlined outer shell or a more layered and mechanically exposed design. These are aspects that require further research and experimentation.

Plan B

At the same time, I’ve also started considering a Plan B. Last year, my project Losing was already an experimental short film, so I’m thinking about extending that story further based on the original setting. This could give me a new direction to explore while building on what I’ve already created.

If my original plan runs into problems, I might consider using Plan B as an alternative.

My initial plan is to continue focusing on the topic of health, using metaphorical storytelling to remind the audience to pay attention to their own well-being.

Seminar 06 Screen Senses

Design for Animation, Narrative Structures & Film Language

Avant-Garde and Sensory Exploration

Avant-garde art emphasizes experimentation, not only in technique but in exploring the unconscious and uncharted territories of perception. Modernist abstraction and the avant-garde sought to synthesize sensory experiences and reflect the impact of emerging media like photography, cinema, and radio.

Synaesthesia and Isomorphism

Synaesthesia involves cross-sensory experiences, such as associating colors with sounds. somorphism explores structural similarities across different sensory modalities, leading to complementary aesthetic experiences.

Visual Music and Animation

Pioneers like Oskar Fischinger, Len Lye, and Norman McLaren integrated dynamic visual languages and choreographed graphics with music. Animation music ranges from tightly synchronized soundtracks to more freeform applications, exploring sound-image relationships.

Sound and Image Interactions

Concepts like diegetic/nondiegetic and synchronous/nonsynchronous sound shape the narrative and sensory experience of media. Acousmatic sound (sound without visible sources) and its implications for media theory are discussed, with references to Michel Chion’s analysis of sound and its contextual dynamics.

Media Evolution and Theoretical Context

Marshall McLuhan’s tetrad of media effects examines how technologies reshape culture by enhancing, obsolescing, retrieving, or reversing elements of prior media. Debates focus on the sensory dominance of oral versus visual cultures and the role of sound in temporal and spatial perception.

Economic and Technological Influences

The early sound era in cartoons highlighted challenges like rudimentary sound mixing and synchronization, influencing artistic decisions and technological evolution.

Seminar 05: Representation​

Design for Animation, Narrative Structures & Film Language

Disney’s Influence

Disney has been the biggest name in animation for years. Its movies set the standard for what people expect from animated films. While Disney has made amazing stories, it often focused on American and European ideas, leaving little room for other voices and styles to shine.

The Problem with Stereotypes

In the early days of animation, many characters from different cultures were shown in unfair or overly simple ways. These stereotypes made people laugh but hurt how some groups were seen. These images stuck around for a long time, shaping opinions in negative ways.

A Shift Toward Change

As time went on, more people began asking for better representation in movies. Studios started making an effort, with films like Moana and The Princess and the Frog featuring characters from diverse cultures. These were steps forward, but there’s still room for improvement.

Behind the Scenes: Who Tells the Stories?

Having diverse characters on screen is important, but so is having diverse creators behind the scenes. For a long time, most animated films were made by white men, which affected the stories being told. Slowly, more people from different backgrounds are getting the chance to lead, bringing fresh perspectives to the industry.

New Stories, New Voices

Recently, some animated projects have focused on intersectionality—showing how race, gender, sexuality, and disability overlap. Movies like A is for Autism explore disability in new ways, while shows like The Boondocks take a deeper look at African-American culture. These stories show how animation can tell more complex and real-life experiences.

Going Beyond Token Characters

True representation means more than just adding one minority character to a story. It’s about creating real, relatable characters with depth. For example, LGBTQ+ characters are starting to appear in animation, but there’s still work to make their roles feel natural and meaningful.

The Road Ahead

Representation in animation has come a long way, but there’s more to do. Telling stories from different perspectives makes movies and shows more interesting and real. We should support diverse stories and push the industry to keep growing because when everyone’s story is told, we all benefit.

Week 2 The Elements of Art

Design for Animation, Narrative Structures & Film Language

1. Line

Think of a line as a moving dot. It’s one of the most basic yet powerful tools in an artist’s kit. Lines can define shapes, guide your eyes, or even create a sense of movement. Whether it’s a clean, straight edge or a messy, jagged stroke, lines set the stage for everything else in a piece

2. Shape and Form

Shapes are flat—just length and width. Forms, on the other hand, add depth, making them three-dimensional. A circle becomes a sphere, a square becomes a cube, all thanks to light and shadow. By mastering the balance between shape and form, artists can make their work pop off the page.

3. Texture

Texture is all about how things feel—or at least how they look like they’d feel. Think of rough bark, soft clouds, or glossy metal. Even in a painting, where you can’t physically touch anything, texture can create a powerful sensory experience.

4. Value

Value deals with how light or dark something is, and it’s key to creating contrast and depth. Without value, everything would look flat and dull. Highlights, midtones, and shadows work together to create the illusion of light and space.

5. Color

Color isn’t just about making things look pretty; it’s about setting the mood. Red feels intense, blue feels calm, and combinations can tell entire stories. Understanding things like complementary colors or how to create tints and shades can help you make the most of your palette.

6. Space

Space is what gives a piece breathing room—or makes it feel crowded. It’s the area around and between objects, and when used well, it creates depth. Techniques like perspective and overlapping can make a flat canvas feel like a window into another world.