Discovery Channel - Test adjustments

After my After Effects files some how corrupting, I had to start over with my shatter effect tests. However this time I seemed to be doing something wrong because once the bird shattered, it left behind this outline of the shape which was really annoying me. It looked like this and I could NOT get it to go away:

I started off by lowering the 'extrusion' option and the lines did lose their visibility dramatically, but it was still there and still apparent. With a little help from my teacher, he showed me a really simple and effective way of how to overcome this issue and get rid of the lines altogether. They were there, because the image I wanted to shatter, even though it was a .png, the parts that made up the bird were bigger than the black and white image I used as the shape to orientate the shatter.

In Photoshop, I reopened my original file of the duck and selected all that was visible in the image. Then I went to Select>Modify>Contract, and typed in '2 pixels'. This then made my selection of my duck, 2 pixels smaller, which meant when I inverted the selection, and deleted the contents, I would be left with parts of the duck that would be smaller or the same size as the Black and White image of the duck, and there would be no left over lines... and it worked!

                                    

Discovery Channel: Animating Test in After Effects

                     

After creating the first design for my Discovery Channel Ident, I wanted to test it out in After Effects, since I really enjoyed the workshop, and being able to get a hang of the programme and it's possibilities. 

The first thing I went ahead and did, was import my .psd file in After Effects, with all my layers, thinking that I would easily be able to just simply change the position of each one and make a really interesting animation. HOWEVER, I realised once I imported this file, was that I had over 400 layers, that I would have to move individually time and time again, therefore there would be NO way I could attempt to get it done in time without losing my mind.

My teacher ended up introducing me to the shattering effect, which I thought at first was cheating but I ended up altering it and doing many adjustments in the future, instead of just adding an effect. I was beyond excited to hear about this however, especially since it took so long in the first place to MAKE this piece, and then the thought of animating it individually was enough to make me want to change my whole concept.

I made a black and white version of my bird, and then imported that and a .png of my original image into After effects. I hid the black and white layer, and used that as a custom setting when choosing which way I wanted to shatter my image. I think that the result looks really effective, and I would like to have a go at reversing it, and somehow find a way to change it into all the other images I had in mind! 

                                         

                                         

E4 Filter TESTS

After deciding that I want to use this medium for my E4 Ident, I wanted to play around with filters to see how strong I wanted the colour to be. I knew I didn't want to leave it be as I feel like the aesthetic doesn't really suit the brand of E4.

I could easily change the levels and the contrast to make the animation brighter and more pleasing to the eye, but there is literally NO colour therefore I really wasn't happy with it.

This was the first edit I did to the frame. I did a purple overlay as well as going in and adding shadow and depth to the plasticine balls. I think this is one of my favourite outcomes, because it is purple enough to recognise as the brand of E4, but also not as in your face as some of the other experiments I did.

This is the next one which I experimented with making the scene more vibrant, but I think that it might be a little too vibrant and in your face, though I know E4 has a tendency to go crazy with their colour schemes so it is more of a personal issue.

And then lastly I experimented even further with shadow as opposed to just the overall look. The ball on the left I added further depth and shadow to and I left the ball on the right to see if I could tell a difference. And I could, but I quite like the plasticine without THAT much shadowing. Plus since I am working in 24 frames per second, it would probably become a bit of an issue to go in and add shadow to each ball in every frame. I want to manage my time well, so I give attention to both ident briefs, but also work hard on each.

E4 - Stop Motion Experimenting

After having done a quick storyboard, I was worried about the aesthetic of how the animation was going to look. I know usually, claymation is known for it's rustic look, but since I was working with white plasticine alone, I wasn't sure if it would work.

Firstly, I had to think about the SETUP. I've never done anything like this before, so I had no idea what kind of background I could go for. In college we had to print our designs on massive sheets of laminated cardboard and since they were quite bendy, I thought they would be great at mimicking those backdrops you get at professional photoshoots! Especially since I was going to be doing everything in miniature. 

Mid scene in my test I decided that I didn't really like how the animation was looking. It was very grey and dull, which is not what E4 is all about and therefore I felt like I wouldn't' be doing the company justice. I didn't have a problem with how the plasticine was being animated, but just the visual of it.

Therefore I quickly took some of my shots into Photoshop, adjusted the levels and then did a purple overlay, to reflect E4's infamous colour scheme. I quite like the look of this, definitely a lot more than the initial outlook. It also gives me a lot more control, if I want to add more shadow in specific scenes I can. And when I morph the ball into the E4 logo at the end, I can use Photoshop to create the detail instead of on the plasticine itself.

I feel like this has made me more confident with the animation, but I am still worried how it will look, so more tests are definitely going to be needed.

Applied - Maya Turntable

Next we made a turntable choosing the 'Animate>Turntable' option in Maya. This was extremely simple and took less that 5 minutes, and this is my outcome:

I actually prefer the one with the guides on, however, I really like how steady the camera is and how simple and effective it ended up.

Discovery Channel Ident - References

For my Discovery Channel ident I wanted some real life animal references in order to make the animals for my animation. I decided to take some pictures at a petting zoo, and go from there.

I'm not the biggest fan of paying to go and see animals in captivity, so going to a local petting zoo was much more appealing to me. However I was less inclined to be within reach of more 'exotic' animals, and instead could only really get references for peacocks, llamas, rabbits and ducks. Though I am lucky to have references at all, I thought it would be a good start to start making the shapes of my animals from these pictures that I took!

These four, were my favourites! 

Visual Language: Evaluation

After completing the Visual Language brief, I feel like I have learnt a lot about experimenting and allowing mistakes to happen in order to overcome them. In the beginning I thought that this brief was way out of my depth, I like drawing but I have never really done anything art-wise that is professionally taught other than graphic design, so I was really worried about this module in general. Though now that I have completed it, I can say that it was one of the best so far! One that I have thoroughly enjoyed.

I think because I didn't really know what to make of the brief in the beginning, I set no expectations for myself until later on in the module, after I was getting positive feedback. And I think this was one of the best things I could have done. I pushed myself after I knew I could potentially do the tasks.

I really enjoyed the 'Set, Series, Sequence' brief in particular, because it reminded me of when you find synonyms for words, but this time we were trying to find visuals related to other visuals, and the extent of these connotations were the reason for which I chose a boring object and tried to expand on it. I also found then going on to chose one image and draw it in different materials to be very enjoyable and provided me with more confidence to use these materials further in the future.

The 'Environmental Storytelling' brief was quite a challenge for me as I have never drawn in public, and also never had to draw so many perceptions of one environment at a time. I chose places that I had aspired to go to and one that I love so I think this increased my motivation to put my all into this brief. I am very happy with the outcomes, though I wish I did some more detail to the backgrounds of my sky high buildings.

I surprisingly loved the 'Turnaround' brief, as this was another challenge that I didn't think I was able to achieve, but did! I am very proud of the way it came out and I am also now aware of why the format of my animations are of importance.

However my downfall of this module has to be the 'Life Drawing' brief, as I really didn't enjoy this half as much as the others. I felt like 10 seconds was in no way enough to draw a pose and therefore put myself under a lot of pressure and I think my drawings are mediocre. I would however, like to continue practicing life drawing because I do need to improve on it, and I think it would be greatly beneficial to me in the future.

Overall other than the last brief, I really enjoyed the module as a whole and it was a nice break away from having to plan, research, etc. Even though there was a lot of work involved I think I managed my time efficiently enough to do the best outcome I could. 

Visual Language: Flow, Form and Force - Strike A Pose

And finally for the last part of the brief we were to draw our friends standing or lying down for 20-30 minutes which to me meant more time to experiment and think about what I wanted to do!!!

Since I was really happy with the red pencil drawing from the Push and Pull task, I decided to use it again and found it just as effective. I asked my friend to crouch up because I wanted to have all four, sitting, lying, standing and crouching poses in my study task. This didn't take ma a half an hour, but I am very happy with it and I feel like I am improving throughout this module.

However in saying that I am not a fan of this piece. I spent ages drawing out the sketch and I was really apprehensive about using charcoal AGAIN, because it went bad twice previously, however I managed to make it looks presentable, though it isn't something i'd immediately choose to go for again. It is alright in the sense you can tell what he's doing, but it isn't the best piece of work.

I then asked my friend to sit on a chair but make it more interesting and this is what I drew. I used acrylic paint for this just to try it out and I am not sure how I feel about it. It's okay, but maybe I could have used watercolour to make it look less harsh on the page for such a general, everyday pose.

Then Lastly I drew my friend standing, (a reaction to the title "Strike a Pose") but did that extremely quick and then instead of doing shading and etching like I have done many times in this brief, I decided to try and emphasise the happiness and cheerfulness in the pose by using bright colours surrounding it. The image looks better in person however I am happy with how it looks, though I am not sure it would be considered life drawing...

Overall this brief has been such a challenge for me because I have never done anything like it, and I found it SO difficult. However I am glad that I have done it and I feel like I have achieved so much, making me more confident in using different materials and trying new things! Even if they go wrong.

Visual Language: Flow, Form and Force - Push and Pull

The third task then, was to draw four sets of images that illustrate the principles of 'Pushing' and 'Pulling'. These images were to be draw in 5-10 minutes, which I think was alright for me to achieve, since it was a lot more than 10 seconds, the same time it takes me to think about what I want to draw.

I first drew the pushing principle, which is someone pushing a chair. I do like the outcome of this and I think it does look similar to the set of poses I have done in the previous tasks, but with more detail and shading! I drew this in ref fine liner pen after sketching it in red pencil, and then used that red pencil to add more depth. I have used this technique in the previous 'Environmental Storytelling' brief and got good feedback so I wanted to try it again.

I then drew another pushing image. I got my friend to do a push up which was not the best idea because they had to keep taking breaks and therefore changing positions, however I think you can tell what I have drawn. I used etching to shade for this image because it is quite quick and has a good outcome. I am happy with this piece.

I then started with the pulling part of the task. This was such an awkward scenario for me to draw and it took me several tries to get the initial sketch right, that I had to quickly use fine liner instead of water colour as the outline, and instead I used watercolour around it, so add some dimension. This piece is alright, but if I had more time I think I could have done it a lot better.

Lastly I drew another pulling scenario and I really like this. I chose to use pencil crayon for the whole thing because I felt like I was lacking a lot of colour in this study task, so it seemed unthinkable. This didn't really take me so long, perhaps because I had done the other 3 so wasn't as nervous, but I was able to do it successfully in the time fame given.

This task was a lot more fun than the set poses for me, as I had some more time and I could think about where I wanted my drawing to go rather than just drawing what I see.

Visual Language: The Little Mermaid

                       

The final animation(s) I looked at as research for my Visual Language brief was the 'Little Mermaid' series. Though I know for the most part of the three films she does NOT have legs which is a vital part of the human form, the way the animators have made her move is something worth being looked at.

Firstly, since she is underwater, it is vital that her movements portray this to the audience as we can't actually SEE the water, only what is in it. By this I mean, the other than her fins, we can't decipher she is underwater, as there are factors such as she is talking and breathing. If it wasn't for her movements, we wouldn't have known any better. 

Each character moves with grace, which is a nice surprise considering that there is a certain strength that you have to use when swimming, and it is quite hard to look graceful unless you are a professional swimmer. And it is illustrated all in the arm movements. Other than legs, arms are one of the best ways to portray someone's pose. Legs are a good way to emphasise the weight someone is pressing, but arms are the best way to portray the action of someone. As done well in the little mermaid.

I think this would be really good to consider when drawing my walk cycles. Since people generally walk similar, I think exaggerating the arms would be worth trying out, and seeing if it works. I think arms can dictate when someone is graceful or not, for example shoulders slumped, or shoulders straightened, and I would like to try and replicate than in my life drawings.

Visual Language: Nike Football

         

I found that this animated advert for the 'Nike Football' app, was another great animation that could easily influence my work. Because for once, this animation illustrates realistic characters that are recognisable, but are also exaggerated. Each football player has a different body type, though quite similar, some of them have skinny legs, and other very broad shoulders, a good variation of the human form.

This animation made me realise that I will be drawing people of different shapes and sizes, and this is something I need to keep in mind. I have never really done life drawing before, therefore this brief is daunting for me, let alone having to try and represent different people in different mediums. 

In terms of the videos contents, I just really love how the characters walk, it is one step up from most of the animated videos I have seen. The pauses, the hesitation, they are all so realistic, and I really love them. If I paused the video at any time, i'm sure I would see an interesting pose that I could try and get someone to copy, especially since it is so physically sports related.

Overall I can't really do this animation justice, because it is one where you have to personally visualise it to see what I mean. The movements within are not something I could describe to an extent where you could visualise it in your head, and I would really like to focus drawing different body types and shapes, as I think it is done so successfully in this animation.

Visual Language: The Sims 4

           

Though the sims is not really life drawing material, I do think the concepts of life drawing had to be majorly considered as a primary factor in the games. Especially sims 4. The more up to date the sims games get, then the more realistic they have to become, to meet the demands of the consumer. Inspiration had to come from, real life people, drawings, concepts, etc. in order to get a great result.

With the new game comes, different types of 'walk cycles'. This is a new feature added to the game which is known by all that the creators have put a lot of effort into. This feature also allows the player to draw a line between whether they want their sims to look realistic or not, as some of the walk cycles are by far the furthest from reality. Either way, after coming across an article by someone who went to a sims 4 Masterclass, they claimed that the animators really payed a lot of attention to this aspect of the game to get it as versatile and realistic as possible.

The way the sims are made, is through MAYA. Something which really surprised me! Animators will record themselves doing the actions that you see in the sims, as a reference, and will be discussed further and even tweaked a little, before eventually being made in Maya. The animations then will be transferred into another software, but initially they are made this way. 

Each of the walk cycles are equally fluid and have character. They help add personality to you 'sim' to make them more interesting for the player. In terms of my life drawing, I would like to try and adapt this character to my drawings, and play around with them. I could do this by asking my models to do more exaggerated poses, as well as realistic ones to see which ones look more effective on paper.

Visual Language: Thought Of You

           

My first take on doing some research for the human form in animation context, was 'Thought Of You' by Ryan Woodward. I was shown this animation in class, as someone had recommended it and I instantly was mesmerised by the effortlessness and fluidity of the movements. Though I am aware that these movements are not the best depiction of a human being, as they are far too elegant and perfect for the average person, I do think that they would be well worth the time examining them.

What is truly mesmerising about this animation, is the movement. The artist has not payed much attention to detail, more so form. This is something that I would like to consider and reflect upon when I start to expand on my own life drawing. I usually like to spend mass amounts of time making something look real, so I think that this brief in particular will be hard for me. But after seeing this animation, I think it would be exciting to experiment drawing minimalistically. 

I noticed for the duration of the animation, that the artist usually has one hard, defined line on the model, to illustrate multiple aspects. Sometimes it emphasises the weight of the model, and others it will be to make the shape of the model more prominent. I think this aspect is subtle but highly effective, and since the line changes on parts of the models body, then the viewers attention is subconsciously diverted to those areas. 

Likewise, the contrast of colours also claims the viewers attention. I really admire the white on brown paper, and I think it would be even more effective to have white on black paper, something I have never really thought about before, but I would like to experiment with. It makes the model look less harsh, but because it is white it also brings this unusual aspect along with it, which is a nice change.

Overall I think I will be highly influenced by this animation, because it is so fluid and exciting to look at, through its simplicity and distinction from other pieces.

Colour Theory Part 2 - Colour and Contrast

Part two of our colour theory lecture involved acknowledging the seven colour contrasts. Acknowledging this means that you can start to view your work differently, see how colours can be affected by those around them eventually improve your work. Colour is contextual, and though one colour may look nice on a neutral background, put another colour beside it and the whole of its aesthetic changes. 

The first three colour contrasts are tone, hue and saturation. These were simple enough to differentiate. The contrast of tone is in relation to light and dark values. Tones that are closer together have a low contrast and tones that are far apart have a bigger contrast. Simple enough. The contrast in hue then, refers to, the greater the distance between hues on the colour wheel, the greater the contrast. For example, blue and red put together are of greater contrast that red and orange. Thus saturation is the juxtaposition between pure colours and 'dull' colours. And the contrast of saturation was in relation to the intensity of a colour.

Then colour started to get more complex. Next was the contrast of extension, also known as the contrast of proportion. This is in relation to when someone starts to describe a colour as 'heavy' or 'light'. For example, violet is often considered to look 'heavy' as opposed to yellow which is often referred to as being 'light'. This is a psychological response to colour and the examples used in the lecture were really enlightening! After looking back at this, I feel like I often gravitate towards colours that appear 'light' rather than 'heavy', but I don't really know why.

Contrast of temperature is exactly like it sounds. Though there is no physical change in temperature, people often refer to colours as to being 'warm' or 'cool'. Temperature can be affected by putting colours together. For example having a true red colour next to a cooler toned, almost magenta colour, almost makes the true red look orange. Thus it would be considered 'warmer' looking.

Complimentary contrast is juxtaposing complimentary colours on a colour wheel. So green and red, are perceptual opposites, as well as yellow and purple.

Which leads to the last contrast of simultaneous contrasts. This is when colours try and pull their complimentary coloured partner out of the other colours next to them. For example if yellow and green were next to each other. The yellow would try and pull the blue out of the green and the green is trying to push the red out of the yellow, making it look almost orange. In this sense, it is hard to think of being able to control colour.

Visual Language: Flow Form and Force - Squash and Stretch

The next task for this brief was to do another set of poses that were in relation to 'Squash and Stretch'. Other than standing up and sitting back down, I found it quite hard to think of what other scenarios I could try and get people to manipulate. I think I came up with a good few though.

This first set, I asked my friend to do some yoga poses, though i'm not sure this would actually be part of an actual professional yoga class. This was a lot harder than I anticipated because the poses were more complex in the sense that they are not everyday poses and therefor I had to think about what i was drawing, more carefully. I also had the problem of drawing my friend smaller again which is a reoccurring issue for me! 

Quite a while into the brief I asked a different friend to do some ACTUAL yoga poses for me, and I think these are more like it. I focussed on the stretch in this set of poses as opposed to trying to get both squash and stretch in at the same time. I am most proud of this set out of the whole brief. It took me the longest to do, I probably did a little but more than 10 seconds for each pose because I wanted to have a little but of detail in there, instead of doing my poses so sketchy. 

Next I thought of having a squash and stretch scenario of someone going from standing to sitting on a chair, since it was my first initial idea and also just because I wanted to try it out. I did it with pencil this time, and I am NOT a fan. I really did not like the outcome to this, since I was actually timing myself 10 seconds, my set looks very untidy and I am quite unhappy with it. Because of this, this was my only set I did in pencil, though at least I tried it out.

Finally I thought I would get my friend to do some start jumps but not actual ones, just to try and manipulate it, and I think you can definitely get the jist looking at my set. I initially tried this out in charcoal and it just went awful, so I went ahead and quickly did it in pen and i'm not really a fan of this one either. 

Overall there were a few trial and errors in this second task, some went well and others did not, but I feel like I am learning a lot especially since i'm not using to drawing in such a short time and with a live model! 

Visual Language: Flow, Form and Force - Rhythm

For the last Visual Language brief, we were to focus heavily on life drawings, under set tasks. The first one was to do four 12-18 sets of poses that reflect a person moving through a space. I had a really hard time with this brief, because for one i've never done life drawing before and secondly, I have never had to draw the same person twice! I did a bunch of these beforehand and wasn't happy with them, so it took me a while to do some that looked alright in the end.

To start off with, this set of poses, is supposed to illustrate someone spinning/twirling. Because these poses had to be held, a real spin couldn't take place, as they had to be stationary, so i'm not sure if you could tell a spin is happening unless I told you. However this was really hard for me to do. I drew lines at the top and bottom of the model, because I didn't want them to get too much bigger/smaller through out and used a red pencil and red fin liner to draw them. I am happy with this result, however I wish I got the chance to draw some hair as well.

The next one I liked was a walk cycle, which I did in a black caligraphic pen and then inverted the colours on Photoshop because when I scanned it in it looked SO much better this way. I wish I got the opportunity to use chalk but after attempting charcoal and failing badly, I experimented with other techniques instead. I know my drawings in this cycle get bigger and smaller but I just found that difficult to judge when drawing, but I tried to be as consistent as possible.

Next I did an exaggerated walk cycle in different coloured felt tips, and this time you can DEFINITELY tell that my drawings get bigger! I did not mean for this to happen, and at the time I didn't think anything of it but looking back I wish I had drawn the guidelines I had done previously in order for my drawings to be consistent. I do like the actions of the poses though, because they were easy to capture.

Then lastly is my least favourite out of this task, however I still think you can tell somebody is walking. I again, used fine liner and pencil as I found this was most comfortable for me to try and draw someone in ten seconds, however I found that the clothing I had to draw for this cycle was really hard! And I couldn't get the jeans right.

Overall this task has mad me realise just how little 10 seconds is, yet if you keep trying and trying you will eventually get some that you like! At least that what happened for me.

Advanced After Effects 1

Our next workshop involved becoming more advanced in After Effects, which I thought would be extremely helpful because this is a programme that I had never used prior to university. However, I LOVED this session. I felt like I experimented quite a bit with the tasks given and just overall I feel like I could definitely use After Effects for future projects other than just rendering and exporting image sequences! 

The morning started off with a quick recap which I definitely needed, and then we opened up a pre made project composition and got started with the tasks. Our main goal was to make an animation of a boat in the sea, but also learn how to loop. Looping is when something is repeated so that you don't have to keep going back to the start to see it. It sounds easy enough, but you have to put a code into After Effects to actually make it work.

                            

Once we had out waves looped, we added in a boat. We went through changing the boats composition so that the steam wouldn't be restricted to the small frame size, the steam would actually carry on into the distance. I then went in and made my boat move up and down so that it kind of went in time with the water, in order to make it look more natural

                        

Since I felt like I was ahead I went and experimented with the programme further myself before the first half of the session ended. I duplicated my wave file so that there would be some more dimension to the sea and also change the colour of it so that it would appear more interesting, which I think I achieved. This is my outcome:

                                           

Once we had our boats and waves moving, we learnt how to mask. We made an adjustment layer and then changed it's form so that it would appear as a spotlight. I found this to also be a simple to do but hard to make it look nice. I have heard of masking in Photoshop, but I didn't know you could use it in this programme. This is my example of how I used it:

                                          

Then the second half of the session was learning about camera angles and lighting! This for me, was where the session got extremely complex. We made a new composition and simply added in a few solids of different colours. then we went ahead and added a camera to the composition. From this, we were able to change its position, angle, etc... and though I found this incredibly hard to get used to, I think over time it would be such a good tool to use! 

The button shown above is what allows a later to be 3D. Without it, you cannot use the 3D space in After Effects. As far as the lighting bit of the session goes, it took me a really long time to perfect it. For one, adding lighting completely diminishes any colour that you could have possibly had in you composition, unless you get the right angle. And for me this took ages. I could only get one part of the screen to have colour, but after an hour or so, I got it to work. I also enabled the depth of field option, so that the composition would look even MORE 3D. This is my attempt at using After Effects' 3D space:

Model Making Workshop 5

This was out last workshop! And even though it was only the course of 4 days, I feel like I learnt a tremendous amount, especially since I know nothing about ceramics. This session involved making a foam model or two as a result of all the previous sessions.

We started off by reopening our moulds and applying a layer of wax to them. This was to ensure than the foam would not stick to the plaster of paris because the foam solution is extremely sticky! The first foam model I did, ended up sticking to pieces of the plaster because my layer of wax was too thin, so the second time I did it, I did two thin layers instead of one extremely generous one.

We then had to make the foam. The mixture had two parts to it, which had to be measured in the ratio 2:1. So for my model, I used the amounts 30:15, which once I got the total on the scales to 45, I had to mix extremely quickly before the mixture starting activating.

Unfortunately I made too much of the mixture, and it ended up erupting out of the plaster of paris mould extremely fast! Though this was a lot better than making less of the mixture, I noted than the second time around I had to deduce my measurements.

I ended up carefully cutting the excess foam off and then slowly opening my mould and out came my little model! Though I wouldn't say it looks much like Morrissey at all, in fairness I tried really hard and ended up with something passable! From this workshop I have learnt so much from all the problems I came across and all the mistakes I made, but I really enjoyed it and it has been something I never thought I would have a chance to take part in!

Model Making - Other Models

When we were making our Models in the 3D workshop induction, we were told to look at other models that exist, perhaps to compare, but also to just investigate for ourselves. The one that I thought of immediately was 'Coraline', as the armatures we saw in class, were of extreme similarity. However I wanted to see what other films used them and to what extreme.

'Frankenweenie' and 'Chicken Run' were two of many that stood out to me. Probably because I made a model that was a human and these are animal characters. It was fascinating to see the detail into every place in the body that gives them the character that everyone loves. Just by looking at them you can tell that they have personality. I also was overwhelmed by the complications of them. From the joints to the fingers, every part of the armature moves... an amazing result, but perhaps requires a lot of mathematics and consideration.

It was also interesting to see some DIY armatures and models, which were far better than the one I made. This one I found reminds me of Audrey Hepburn from the film 'Funny Face', as the outfit and proportions are very similar and easily distinguishable. I also would not have thought this model had a wire armature underneath, but I find it interesting that it does, and I am amazed at the variation and personality in all the models ever produced out there.