Blog 3

I am still in the pre-production stage and I have received feedback for my idea’s and the story treatments, now I believe I have adjusted and am looking at the storyboard and anamatic stage of the assessment. After the first time I had shown the treatment it turned out it wasn’t making enough  sense, for example “why would the imp pick up a fish to slap the busker instead of a stick or the guitar”. So I spent more time on the treatment and worked it out so more details were communicated. The imp I made more stumpy than in its original design also. What really helped as well was Tim’s suggestion for a background plot summary, I had gone off and created a big description of the world the assessment is set in which I feel illustrates a lot about the imp’s character and how I want his attitude to be.

I am putting in some research into storyboards. I found a article by Andy Beane on the 3D production pipelines of Pixar and Dreamworks which defines a storyboard as such “The storyboards for the movie are then made storyboards are like the blueprint for the movie which show the dialogue and action which will be in the movie. Each storyboard artist at Pixar receives script pages or a beat outline of the story, basically a map of the characters and their emotional changes that need to be seen through actions. Using these guide lines the artists assign the sequences draw then out and then pitch their work to director.”3d_production_timelines.jpeg

With my 2D storyboards I drew up a setting which I could put a lot more details into that hopefully illustrated the harbor town feel I was going for before I scanned it into a digital copy. I had gotten to draw and scan the busker and the imp as well, what I proceeded to do was stretch, copy and alter the drawn images over Photoshop when they needed to be changed for a new shot. This felt like a clear storyboard and the expression that needed to be present could be easily made out by the simple design the imps eyes have. You can tell he gets mad and happy by his eye shapes which take up most of his face.
Untitled-1.jpg      Untitled-1.jpg
The 3d one however might display somethings that could be confusing but are actually guides. For example I have left numbers all over the blocks that wont be visible in the footage, they are on the storyboard to guide me though. I can track where the blocks have moved and where they should be by the numbers, if I want to know which block to select on move if I get lost then I can just look back at the storyboard. The characters face in this will be covered by a iron mask however, so all expression will be done in the movement which will only be relevant in the end where he trips off the top.

I am planning to use the work files for the story board development to help make the anamatics later on by the way.

After looking into some videos about Will Simpson, the storyboard artist for HBO’s Game of Thrones and also some Matt Groenings Simpsons storyboard examples. What I get out of these videos that relate back to my work is that the amount of examples for expression and mood is lacking in my mood boards. Also the amount of activity I have detailed does not need to be as much, I should compact it more next time or if I find the time to go back over my storyboards. So next time less activity and more expressions, also Will Simpson gave me a good idea on benefits of putting a bit more artistic passion into the story boarding process so more of the attitude of the overall animation can come through.



Beane, A.B. (2014). 3D Production Pipeline (Pixar vs Dreamworks). Retrieved from

PicPakDog. (2013). Simpsons Storyboard. Retrieved from

Matt Groening. (1989). Simpsons. Produced by 20th Century Fox in USA

GameofThrones. (2015). Game of Thrones: Will Simpson Drawing Storyboards Extended (HBO)

Traparebel. (2011). Catherine – Repunzel Stage 5 – (2050 pts). Retrieved from

Soejima, S.S. (2011). Catherine. Published by Atlus in Japan





Imp- The Imp must display a charismatic silent type kind of jerkiness that also incorporates elitism since he is a top quality minion to a extremely successful warlock.

Busker- This one needs to appear pleasant, optimistic in how he projects joy despite appearing homeless. This contradicts the imp and thus making the imps assault upon him comedy, as the focus character.

The Warlock Balthazard/The Clerk- Both these characters are not entirely visible in the animations but they must still have a presence that can outline enough to make them relevant. The clerk must act as a clerk and the warlock must display a stereotypical villain persona that can relate back to the imp.


2d/The Store- What I have envisioned for this is a Italian coastal vibe with a little bit of Mexico added in. Better for the optimistic and joyful image but not a risk seeing the Imp as something out of place, the mafia or a bandit could walk through this seen for a joyful drink.

3d/The Puzzle Chamber- This chamber is meant to be both calming, mystical, dreamy, magical. Imagine the imp enters either Disney’s chamber of the genie lamp or enters through Merlin’s door in Kingdom Hearts 1 by Disney and Square Enix. The same flare carried by Aladdin and Sora is present just in a comically villainous character.  Yet again the comedy will be present whilst contradicting this by having the character trip to his death, which is common in Disney comedy, like whenever Stitch shows up in a galactic council room.

After going over the use of elements and principles surrounding paintings, whilst thinking back on media psychological techniques we learnt about in our design unit and some study into Nintendo character design I have built some profile into how this is gonna go down. Starting with the central character, the imp. I went and found a good colour scheme might work with the narcissism of purple, the aggression of red and some deviousness of green. What I landed on in the end was white. He is the top imp for a top master so he displays something unique in this colour, it is a connotation for zealotry to add to his biblical demonic mythos that can be clustered over with the other colours in small ways such as the eyes.

Next up is the busker, for this gentleman it becomes easier because he and the environment should be unanimous. With the actions of busker and whatever happens to him may now result in an extended meaning towards the environment. It is a optimistic environment, an almost cheerful one and so by extension the imps rudeness is actually against optimism itself. Or positivist and festivity.

As for the two environments. One will contain a lot of browns, pale yellows, greys and so it may appear more like a Mexican or Italian coastal area. The other, which will be the chamber, contains a lot of blue. Like Merlin’s and  Genies Chamber, this image will have the loneliness of of blue in darker hues everywhere but the sword and the imps positions which will need to be in lighter hues of blue to control our focus.


Anderson, S.A. (2015). Week 4 Blog. Retrieved from

TvTropes. (n.d). Good Colors, Evil Colors. Retrieved

Empower-Yourself-With-Color-Psychology. (2009). Meaning of Colors in Colors Psychology. Retrieved

Empower-Yourself-With-Color-Psychology. (2009). The Color Green.





The first class had a recap on the 3dsMax programme by doing a speed model session. This session required us to respond to the words Punk, Western and Vacuum Cleaner. A great opportunity for the research and practice behind creating aesthetic imagining, conveniently the response I had was a good asset to my idea for the class assignment. The initial ideas that I chose to keep in mind immediately was scope but under suspected pressure of time I decided there was room for a broad range of ideas. So create something that would be visually appealing by using simple shapes and save room for plenty of texturing.

The first word I focused on was Punk. Punk can help as a topic because it is so easy to avoid having to apply it to a shape but rather as a genre that is expressed with symbols and fashion. So I do not need to worry about this word until the textures and it is easy enough a topic that the textures had effortlessly invaded my mind, so I looked onto the now smaller list for the next best option. The right word I felt in hindsight is Western, because this very much requires the word to be express by the object, Vacuum is the function.

The word Western obviously translates to guns, guns hold common place in story telling than just about any object I could think of at the time and its it glorification in film and video games made it more energy incurring for the task. As Well as enjoyable, which made the whole thing a lot easier and confident in the assignment. So I used simple cylinders to create the simple shapes of a pump action shotgun, which consisted mostly of cylinders.

So next up I apply the function and turn the gun into a vacuum so firstly I recognise the exit of the barrel as the barrel of a vacuum, the area of control for pulling the trigger and reloading as the control panel for its vacuum properties. Their had to also be an area of storage, this could either be on two things I thought to myself at the time. The back and the top pointing backwards kinda like the shape of a Needler from the Microsoft game titled Halo, although further back from the exposed barrel. The Needler type design would very much not suit it as it denies simplicity relating to the saying that less is more. Like with basic shapes and stylized characters Nintendo uses such as the characters in Mario and Pokemon. This went especially for a western design with a simple build and a very decoratable stock. So the stock of the shotgun vacuum became a canister.

So it ended up looking having two cogs on the sides with a simple cartoon style plate that reads Suck it and Blow it, which sticks to the punkest fashion. The western was fashioned through a old wood texture on the central area and pump of the vacuum, the part that would go under the arm includes the cannister which was given an old rusty texture with the words “God Save The Queen” on it in white letters referencing the band Sex Pistols. I had also applied a big obvious simplistic looking on and off switch, if present I would assume the chances are now higher with the obvious shape now may cause a recurring memory of the shotgun vacuum when out of site. A common advertising technique. I had then smacked a big white graffiti like Anarchy symbol on the pump, in photoshop I stretched it diagonally and applied to the uvmap angled all to generate a solid feel of genuine graffiti.

Now complete I chose to take feedback for this model from a select audience that I knew it suited, which I had gotten in touch with on Facebook. Knowing that this audience would find the gun pleasing to them out of interest for the genres Western and Punk, however with its simplistic shape and circumstance of viewership comedy was the best option I felt. So within the showcase I surprised them by making fun of their disliking for the television series My Little Pony. What I did was send pictures from one side of the shotgun vacuum and made arc shots around it until it revealed a image of a punk pony that I then started sending close ups off.

The exercise made me a lot more confident in the work flow and use of the programme, I found it to be entertaining and consistent on the day. The feedback received very much concerned the results of the aesthetic practice, they did not respond well to the pony I am afraid and it deeply brought down the viewer’s enjoyment from the shotgun vacuum. Despite this decline from my expected results I was still comfortable with the design and that their was some recognisable comedy in the pony idea, the practice was positive to the lesson concerning aesthetic image and I do believe the words were expressed effectively. Already have I thought of it in relation to my assignment and have gotten the ball rolling.

210ANI_WK5_Taylor Read

In the latest class session I learnt that I could have dodged a whole lot of work if I had only learnt about making faces, all done by creating the vertexes and when they link up it creates a face. Originally what I had done is create a rectangular plane with a high poly count and shape it into body parts or faces. Which again was made easier when I learnt that backspace could delete the vertexes and leave the face, both lessons of face making and backspace deleting vertexes were taught to me by Ayden. It is great to have him on the team, he had taught these things quickly.

These lessons were applied by assigning an image to a plane and just going off what Ayden taught me by building the characters shape over the top of the image on the plane. What I need to keep in mind for the creation of the evil fairy is sharpness, she needs to look intimidating and bad ass. Maybe I should just keep a big mood board of Tim Burton art next to me for this, I can very much see some of that early in the film footage of Jack Skeleton as the Pumpkin King  from The Nightmare Before Christmas.

References :

RPGCLASSICS. (2006). Characters. Retrieved from

Wikia. (n.d.). Pumpkin King – The Nightmare Before Christmas. Retrieved from

The Nightmare Before Christmas [Motion picture]. (1993). Disney.

210ANI_WK4_Taylor Read

Currently I am working on creating characters in 3DS MAX, first off I looked at creating the fairy which later I traded as a task with Carly so I could work on the villain. Reason being that I showed a greater suitability to creating sharp features which did not really suit the fairies intended design, instead of looking gentle it had become “badass” as Jonathan the lecturer had commented.

What I had done to create this character began with high poly count planes that I clipped at and stretched into circles. Each of the circles would help me to build the head, torso and the limbs. The skirt and wings began as rectangular planes. The skirt had a simple bit of fashioning to it by shrinking down strands of the skirt as copies to apply booleans onto and made asymmetrical to make it a bit active.

The wings I tried giving a good pattern like a nice butterfly wing, only I ended up with lightning shapes and sharp triangular content. Which extremely differs from the gentle nature of this character. So I am getting started on the villain and seeing if I can make her look badass instead.
I am going to go about a similar process as the fairy, I will try and invest in making the villain as maneuverable as it takes to get her like the animatic. Which very much requires multiple versions to best suit the scenes.

Blog 2 – Charlie


This is young Charlies hero, he is future Charlie. Or atleast who Charlie wishes to become when he is older. Future Charlie is a charming colourful fellow that succeeded in the writing of comics, a thing of glory in the eyes of comic loving young Charlie. Here are all the things that we can guess makes future Charlie his younger selves hero…


Charlie can appreciate the colourful whiles of the arts with his tea and one sugar, because not only does he like the sweet things but he also watches his cholesterol


Charlie was not always raw with confidence and switched on like a well organised lightbulb, he started off with only one side of brain motivating him and the other just a academic tickets lost in the mail. So he embraces a method of learning called “Tangential Learning”, the education through a context of enjoyment. He would listen and learn to reggae up onto bebop, surfing to soccer, Akira Toriyama to Woody Allen, meatballs to bagels, blonde woo-hoo’s until finally the red headed jazzed up bar scholars. Until young Charlie enjoyed his whole life with the utmost swing on culture, art and romance.


Charlie is a fresh breath of clean banter, he is a solid evening of laughs and charm

Charlie knows people. He has a vast amount of friends that helped him to get to where he is because Charlie is way too heavy on the fun side of an already unbalanced coin. Luckily for Charlie he has wit, charm and a great mind for socializing.


So Charlie attends all the social gatherings he can until he meets the friends that will in a week tell him a team is looking for a shader for their graphic novel project, he meets them and they decide he is not what they want. Only however that they like Charlie and will in the future introduce him to multiple opportunities to use his talents for creative media, this same process will repeat as Charlie would practice what he loves and find a spot.


Other time hardships would come Charlies way and opportunity. No matter the extent, Charlie still had a strong network to keep him informed, guided and in consideration for the variety of occurrences that people in his network will come across with others in their own networks.


Charlie is set.


Charlie knows how to make a ripple in the river

Charlie needs to get recognised and graphic novels in his city are not getting a lot of love right now, so he looks to the music scene which fortunately for him his drinking beer and for Charlie a beer tastes best in his Swedish garden home in Sweden. So Charlie introduces himself to a talented artist before a show and says “kyss mig”, then apologizes. So he makes friends with the guy and makes sure he is able to contact him before his live performance, he records his music on his phone and sends it to a friend back home. His friend connects Charlie to an advertising firm or something of that nature that have an interest in Charlie’s new friend, Charlie tells his new friend and they travel back to the firm to do some recordings. The visible content belongs to Charlie, with Charlie’s vast interest in music as a listener he is aware of the quality of his new friends music, thus helping him make a loud step into advertising, thus advertising himself.


Charlie does not like copyright, Charlie suggests a reference list that readers can use to learn things Charlie would like.


Floyd, D.F. (2008). Video Games and Learning. Retrieved from


Admin. (2015). Digital painting project: Kingsman portrait. Retrieved from


Lockmag. (n.d.). Hippy Background. Retrieved from


Tipsy Bartender. (2012). How to make a gin martini. Retrieved from


Blog 1 – Networking

Industry Overview Blogs

Taylor Charles Read- Animation


Beginning these blogs on industry overview is the topic of networking, making friends and how building on these will help further one’s career.





gerund or present participle: networking

  1. 1.
  2. connect as or operate with a network.
  3. “compared with the railways the canals were less effectively networked”
  4. 2.
  5. interact with others to exchange information and develop professional or social contacts.
  6. “the skills of networking, bargaining, and negotiation”


Through out a career certain opportunities are missed and taken, the chances of these opportunities presenting themselves is increased by the knowledge of where or when they will appear. The knowledge being obtained overtime in elements separate from the jobs at hand can hurt the success in a project, the outcome of the retrieval of information is not always predictable and can take time off you for seeking it out. What you are seeking may also be unclear or full of details that can counter you efforts. Which is why it would be worth knowing people in the hubs of the information you require that can access this information easily during their own career, this can have you and this person progress at a project and bring useful information to each other easily.


An example of this would be if reporter and a police detective had met in a bar, had a conversation and saw a means to both achieving a goal through each other. The reporter wants a story and the detective wants to bring in a criminal, the detective can provide information that can allow the reporter to better investigate the criminal. The reporter in return can provide information for the detective, so the reporter gets more to report on and the detective comes closer to catching the criminal. From that point on they both know they have a flow of information to help them later on and to maintain the strength of this ability they can do things like positive reports on the officer or build trust with a news station.


Another example of how networking can help a person in their career would be if a person had to understand content not relating to their discipline. Say that a civil servant had to promote an interest of the general populace of the city he wants to be elected in, this interest being conservation of landmarks. To win this election through promotion of these landmarks, he has to learn about them to better argue against opposition. So first he has to get connected with someone who recognises what the landmarks are, someone who can tell him why the landmarks need to be there, a environmental scientist to provide information on all sorts of aspects and then people relating to all these people to make sure he is informed and recognised for being informed on the matter. To get all this done he would have to network.


A personal lesson in networking was last year at a cocktail party. This web starts with a friend I had in highschool that became a model, this girl invited me one night to a whine down cocktail party to celebrate the end of miss universe. When I got there it was full of all sorts of people that use the models to promote the companies they represent, as explained by one of the promoters. Whilst there I talked to multiple models hoping to build friendships that could lead to more invites to events, I met an independant producer of creative media projects, I also met a man who said that said he could introduce me to someone at omni games, a personal trainer for some the girls and they all offered to keep me connected if I attended a gathering on the weekend. A extended relationship with these people was feasible through giving them surfing lessons, which they appeared to be interested in. The amount of contacts that can be gained in a bar is well worth practicing.


These relationships can be maintained and organized in social media. I use Facebook to keep in touch with these new friends.



Travis, H.A.T. (2014). How to host your own networking event. Retrieved from


Google. (n.d.). Definition of Networking. Retrieved from

210ANI_WK1_Taylor Read

Team Grimoire Week 1 Research

For the conception of the animation we are developing, we threw around some ideas that would help make a potential 3D and 2D combined project done in a sinister style expressing “Things are not always what they seem” or the core being a discomforting out of place horror. So I went off to get some research on how other artists have gone about creating similar animations.

An idea we discussed was using a silhouette like artstyle for a fantasy fiction narrative and I immediately thought of The Deathly Hallows animation as the first place to find something useful. So to an extreme convenience the fxguide website had an interview with sequence supervisor Dale Newton about how The Deathly Hallows animation was developed. Requiring in this interview is details of attempts to back off from an appearance of simplicity, which is great because we can take some of these ideas from interview to help our project. Like putting paper like layers over the top of the animation to create effects, such as placing dirt textures onto a layer and over the screen.

Abundant information in this interview also shown familiar circumstance as our own project, that being the developers of The Deathly Hallows took note from another silhouette style artist as detailed by Newton. The inspiration they had taken was derived from the works of Lotte Reiniger, a German artist who had gotten inspiration from Chinese Silhouette puppetry. Here are the links for the interview and some information on Reiniger.

I had also looked into a 2D and 3D mixed style that HBO’s Game of Thrones special feature had telling the lore and history of the shows fictional world. The idea being using animatic like method of still images either being replaced by another still image to create narrative or by moving the images around, a simple way to communicate what the animation should look like. What the artists for the Game of Thrones Lore and Histories had done was display 2D pictures with more definition than an animatic would and have the 2D images sit in a 3D programme and pan the camera around over the 2D images. These videos were created by the Game of Thrones storyboard artist, William Simpson.

For ease with details onto dark images I researched some comic art where the characters would be built on black and have the details done by putting in white edges on the faces to create expression. The comics I looked into for this was Frank Miller’s Sin City , Batman, a manga called Berserk, Which was written and illustrated by Kentaro Miura.

Continuing on, it had come to my realisation that I had forgotten one of the best examples for silhouette art that just so happened to have a similar environment in a fantasy genre along with atmospheric  change. Ralph Bakshi’s animated version of John Tolkien’s Lord of the Rings, a film that had multiple examples of the style. One being that they had actors filmed with little light and a red background to create silhouettes, the footage could also be placed around the screen as layers. The film would also have a cloth texture with exaggerated lines over the top, like what they had done previously in the Deathly Hallows animation. Then when they cut to a mythical hafling being dragged under water the art changed up so the silhouette was completely cartoon. What was excellent about stumbling onto this was being able to look into the film history of Ralph Bakshi.


Miller, F.M. (1991). Sin City. Information Recieved from

Miura, K.M. (1989). Berserk. Retrieved from

Game of Thrones Wiki. (n.d.). William Simpson. Retrieved from

Failes, I.F. (2010). Framestore:Deathly Hallows Animation. Retrieved from

JCHAN. (2013). Lotte Reiniger’s Silhouette Animation. Retrieved from