Research Journal
Updated: Apr 20, 2023
Throughout this module, I wanted to expand my knowledge on Rigging and Organic Modelling. Through understanding how different artists and technicalists view rigging and organic modelling, I would be able to be able to interpret whereby I would like to explore these sections.
To begin, I searched for a simple demonstration to rigging by using simple polygons volumes. I found the below video by Academic Phoenix Plus which explained how to achieve a basic form of animation, using a sphere to make a tail-like motion with joints, blending, etc.
The tutorial, however, was only for one object and not a large number of moving pieces such a person, so I delved more into that.
Body Rigging
I have always been drawn to more stylised and cartoon-like animation, so I knew I wanted to rig characters who would be able to accomplish that style of movement. I found a video by James Crossley which delved into doing exactly that, whereby I found more information on IK Handles and knee twists. I also found out about the Set Driven Key which helps to connect multiple joint translations and or rotations to a single NURB curve.
I dived deeper and interestingly found a quadruped animation rig video by Raph Crimson. I decided to study if a bit further into it, as the creature is mechanical so it may be different to an animal quadruped in terms of how it can move or built to move. The video delved into the importance of having controls which were easily accessible and clearly differentiated to the animator. Due to the pipeline, the rigger may most likely be in communication with the Animation Supervisor on what is needed for the characters in order for them to move to the style required, however may not be in touch with every single animator. So through this process, I must recognise how to make controls intuitive and clear.
The previous videos were vital to have me understand some of the principles of rigging. Although, I began to explore a bit more into rigging which were unconventional and dive further into how other objects could be rigged. I delved further and found another video from Academic Phoenix Plus who showcased how to rig a Gingerbread Cookie. This exploration made me really excited and possibly want to delve further into understanding objects to be rigged like humans: a level beyond the average human anatomy.
Now that I found information on the different types of assets to rig, I wanted to explore further ways of doing rigging from a technical standpoint. The Maya Learning Channel shows a way called "Quick Rigging," which causes rigs to have the bare functional rigging capacity. It isn't as detailed as some of the rigging work we are currently achieving, but it is good to know how to do this.
After discussing "Quick Rig" command in Maya with my tutor, they brought up "Advanced Skeleton" which I was quite intrigued by. From what I have gathered, it is a detailed version of a "Quick Rig" which allows for easy and unlimited uses, controls and body configurations. One video which explained it well was Animator Artist Life who has a playlist on the Advanced Skeleton method.
Facial Rigging
Although we wouldn't be professionally taught facial rigging, I wanted to delve a bit more into it to understand foundational applications and how facial rigging is achieved.
KINOMENTOR made a video on 3D facial rigging in Maya using the advanced skeleton which I found fairly interesting. Although important, I couldn't help but feel detached and drawn away from this realistic animation style.
So afterwards, I found a video on rigging stylised eyes. The example tutorial showcased by Think Teky of using a Mario head, whereby he begins by studying the components of the face, and then applying his knowledge. I think its very educational on how to apply rigging knowledge when not faced with a conventional character to rig,
One motion of facial rigging I was really intrigued by is the pre-school show "Bubble Guppies" (2011–) where the character's body animation is 3D and the facial animation is 2D on the characters' face.
Below is an example of the "Bubble Guppies" facial animation:
So I delved a bit further into animating 2D objects in Maya, whereby James Crossley explored creating a 2D model using Polygon Primitive Planes in the video below. The model contains facial and body rigging which I find incredibly fascinating on how to translate both into either. This is a direction I feel I want to explore alongside "Bubble Guppies" 2D facial animation on a 3D character.
Object Rigging
I assumed my work on researching rigging was mostly complete, until I came across this video. It really made me realise rigging is not just limited to assets which could be perceived as human-like, but rather on inanimate objects. The below video by M K (@MariannaKondratuk) shows rigging can help with a variety of objects such as books and more. She uses skeleton joints to make the spine of the book as it flips through the story amongst the pages.
This made me question what else rigging could be used for; and in the effort to expand my knowledge, I found a tutorial on how to have characters holding objects and rigging those objects to make cleaner animation (such as fighting with a weapon to exaggerate and cause blur).
Even further depths into rigging showcased more into rigging a variety of non-organic objects. The below example (also by MH Tutorials) showed how to rig a bottle for exaggerated movement. This did not require blocking or blending since it wasn't as complicated as human anatomy, which may allow for more leeway in quickly rigging objects in the pipeline.
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