Art of: There's no need to be scared at Night

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Art of:

Joey Ku

08/05/2013


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About MeI am a second year student currently studying for m

CG Arts and Animation at the University for the CreaRochester, Kent (UCA).I love art, creating characters and watching moviesanimations from the works of Tex Avery, Hayao MiyaWalt Disney being my main influences. I came into tto continue my love for art and be able to create afrom 2D to 3D. From this, I found my self working on animation from pre-production like character desigstoryboarding to production like animating 3D modrigging which has enabled me to bring my visions toI hope you enjoy The Making Of, which is my first CGfocusing on character modelling, computer generaand rigging adapted from the works of young child


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The ProjectTheres no need to be scared at Night is a 15 week University project titlAdaptation which students were challenged to choose a previously exisand reconfigure them using 3D software to suit the requirements of differeand cultural contexts. The project enables students to show their best skillsnew area with a view for improvement.

For this project, I chose character modelling and rigging as one of the keyId like to improve on besides character design. To make things more chaalso chose to make not one, but five monster characters all with furs preseturnarounds as a new area for me to learn more about. The majority of my

spent on perfecting the furs and making them look more realistic.

Enjoy


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The beginningMy main intentions for this project is to make monster characters

be in a scenario similar for a campaign in a children's channel tothey do not need to be afraid of the dark.

To create a monster, I turned to ask the monster experts: kids. Cha better insight to their visual world where things to them makes screated a task for children which they draw their own monsters thide in their house or bedrooms at night and later, I would use thdrawings as a base to create five monsters consisting different bifrom the childrens work. The task was successful with the help frotutors, friends, girls scouts and Warren Wood Primary School whicnumber of monster drawings were nearly up to a hundred!! It wawonderful experience seeing childrens different imitations of mo


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Influence Maps Since my monsters

are to be shown tokids that they do notneed to fear of thedark, Ive looked atsome cartoons thatare child friendly.This mostly consist ofbright colours, softshapes and circleswhich arecommonly used forcute characters.


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Children's Drawing


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Designing process

Using the monster drawings from the children, Iveup several ideas for the monsters-to-be. This consisusing Adobe Photoshop and mix and a match laythe drawings to come up with some ideas. The thuwere all drawn using Microsoft Paints crayon tool

recreate the childs drawing look.


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Refining the Final Fi

Choosing and refining the finwas mainly based on feedbawhich monsters appear to befriendly like and are unique t

Ch i th t l


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Choosing the style

Ive also experimented with the monsters looks using Microsoft Paint and Photoshop.Microsoft Paints crayon brush just to recreate the child-like drawing style to the charaphotoshop, it was used as a clean drawing of the character. As a

final result both methods are combined. The reason for this was to retain the child-likebut with photoshop to highlight the details.


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The Final Five Monst


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Character Turnaroun


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F i l E i


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Facial Expressions

Facial Expressions


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Facial Expressions


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Facial Expressions


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Character Interactio

Scare c

Why the rush?

M d lli


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Modelling

Modelling each monster was quite a challenge since each character is deach other. The first stage was to block the head, body and arms starting simple shape like a cube or sphere, and later tidy the model by adding oredges or points of the model based on the 2D image references (Orthogwould then be fused together into a single model, ready for the next stag

Whilst modelling, an important rule of thumb to be able to create a chara

good fur is all based on the modelling, or topology, therefore the tidier thethe better it will be for the fur to look.

M d lli D


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Modelling DonugDonug was my first character to model judging by his body beingof basic spheres. A cube was used to model the head and armssphere was used to model the eyes, belly and legs. Making the h

tricky due to the placement of his eyes and also bearing in mind muzzle stick out a little.


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Modelling Beeba and A

Beeba and Afays character was more comfortable to work with aattempting to model the other characters beforehand since their consists mainly spheres. I also had to bear in mind of where the joinpossibly placed in preparations for rigging.


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Modelling OffieModelling Offie was a little more trickier due to the number of limwell as the idea of having no neck. The character had to be sep

different parts before joining them back together to form as one

Modelling De Dak


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Modelling De-Dak

Building De-Dak was a lot more different to model comparing to characters, his arms are more like his legs when moving, similar toarms. De-Dak was modelled in a T pose for future rigging and swell as to be more precise when working with fur.


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The Five Models

UV Process


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UV ProcessUVs were used to help control where the furs and the textures wfacing. To UV the characters, the model had to be split into differand UV them separately before reattaching them back together


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Applying FurApplying the fur on the models is a tricky task t

handle as good UVs are required to get goodThere are two methods for applying fur:

Painting on Photoshop a scale from black toblack meaning zero or 360 degrees in polar

direction and white meaning 1 or zero in podirection.

Painting fur attributes directly on Maya.

The fu o e


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The fur processThe process used to achieve the furs on all monsters starts fromthe furs from the presets. It was intentional for the monsters to different fur texture from each other:

Donug: 100% Polar Bear fur

Beeba: 50% Duckling and 50% Polar Bear

Afay: 100% Duckling fur

Offie: 50% Mouse (body), 25% Bear and 25

De-Dak: 50% Mouse & 50% Squirrel furs

Do u fu (1/2)


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Donugs fur (1/2)Donug was the first and one of the earliest characters to have fur applied on. Before the othermodelled or have fur, Donug went through had some fur tests to see which seemed suitable fomore importantly, to retain the crayon-like texture that has been kept through most of its desig

In order to do so, a tip colour and base colour was made using the UVs to colour the fur roo

Donug UV map

Painting fur directly on Maya

Fur te

Donugs Fur (2/2)


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Donug s Fur (2/2)ForDonugs fur to

appear smoothly

and evenly, abaldness map

and length mapwas drawn out in

Photoshop andconnected to

the Maya

settings. As fordirections for the

fur, this was

painted directlyon Mayatherefore as a

result, Maya

creates its own

version of thepainted map.

Baldness Map Length Map

Tip colour Map Base colour Map


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B b F


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Beebas Fur

Much like Donug, Beebas fur was slightly more complex to dosimple structure with the fur facing in one direction. The proceagain for Beeba minus the length as it was set throughout theonly problem that surfaced when painting the furs was trying the edges of the UVs so that they would appear seamless.

Tip colour MapBase colour Map Polar Map B


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Afays Fur


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Afay s FurPuAmbasemapoth

IvpfoMPleb

Length Map Baldness Map Polar Map

(Left) Base colourMap

(Right) Tip colourMap


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Offi F


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Offies Furs

Offies furs have a more interesting take as Offie is the only character toseparate furs applied separately to the character. The first part of the fuapplied to the head and rest of the body individually, whereas anotherapplied to the horns and mouth on its own. This was quite a different takspotlights were used to create fur highlights/shadows each one for eac

Polar Map BaldnesLength Map

Horns and MouthLength Map


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Horns and Mouth

Baldness Map

Length Map

Base ColourMap


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v

De- Daks Fur


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De Dak s FurCompleting De-Daks fur seems to be a bit more easier to do because ofproportional body parts and the seamlines didnt appear as complicateto the other characters. Maya painting fur attributes was mainly used forfurs and photoshop again for the baldness and length maps.

L

BaldnessMap

Polar Map

Base andTip Colour

Maps


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Designing a set


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Designing a setbackground

It was best to give an environment for the characters to be in when doing turnaround. Keeping to the theme of crayon and children, the main inthis style is based on Elmos world where the rooms and props are childand looks child friendly. I have recreated a version of this based on theIve drawn a while back during the modelling stages.


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Rendered Stills


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Posters Concept Ar


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Posters Concept Ar


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CD and Front Cove


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CD and Front Cove


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Character turnarounds by Joey Ku in conjunction with

Special Thanks to:

The children for helping out with the monster drawingsPhil Gomm

Alan PostingsLoreta Jarvis

Meg BisineerWarrenwood Primary School

Andriana LaskariSammy Butler

Charlotte BuchanAnd all coursemates for their feedback

Art of: There's no need to be scared at Night

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