List of Figures

• Figure 1.1: Stills from “Drive” (Moore, 2001).
• Figure 1.2: Default Whippet 3D animation.
• Figure 1.3: Detail of page from my sketchbook.
• Figure 1.4: Sketchbook page showing some of the sketches I made of Ginger in the park.
• Figure 1.5: Drawing of a horse by Frederick Frank. Reprinted from “The Zen of Seeing” (Franck, 1973, pp. 56–57); Copyright 1973 by Frederick Frank.
• Figure 1.6: This diagram is comprised of stills from Default Whippet and illustrates some of the steps involved in a standard 3D character animation workflow.
• Figure 1.7: The final Default Whippet model. Note that an internet connection is needed to access the 3D data associated with this Figure. Click on the arrow to load the model and then use the mouse to view it from any angle. .
• Figure 1.8: The image above left shows composite photographic images of Ginger laid out as a model sheet. On the right is a viewport snapshot showing how these images were used as a guide to model Default Whippet.
• Figure 1.9: Sample of the many internet images and movies which I referred to when creating Default Whippet.
• Figure 1.10: Screenshot from Default Whippet 3D animation showing skinning error.
• Figure 1.11: Screenshot from Default Whippet 3D animation showing digitally painted texture map. .
• Figure 1.12: Francis Bacon “Three Studies of Lucian Freud” (detail). Oil on canvas.
• Figure 1.13: Illustration indicating how software modulates digital data to create a screen representation. This illlustration uses images from xsens.com and orionstarmedia.com.
• Figure 1.14: This illustration shows the same (Default Whippet)3D mesh rendered in four different ways; with Blinn shader, Toon shader and a Paint Effects charcoal linework.
• Figure 1.15: Images showing how to choose a birch tree from a number of presets and how to tweak parameters. These image from online tutorial “Designing and Animating a Birch Tree in Maya using Paint Effects” (Kumar, 2013) Copyright 2016 Envato Pty Ltd.
• Figure 1.16: Screenshots showing how to create ocean waves using Maya's Ocean Shader and how to create smoke using Maya's Fuid Effects.
• Figure 1.17: Screenshots from Default Whippet.
• Figure 1.18: Images of Sutherland’s students measuring the coordinates of a VW car, and renders of the resulting car mesh. Image sourced from computerhistory.org.
• Figure 1.19: A car advertisement which uses a computer generated car (Southern, 2012).
• Figure 1.20: This illustration shows a 3D render (i.e. a computer generated image) of an IKEA chair, a more complex 3D scene, and an IKEA 3D artist at work. Images sourced from cgsociety.org.
• Figure 2.1: Catmull’s plaster cast of his own hand; a wireframe render of his digital model; and a smooth shaded render of the same model. Images sourced from Catmull’s 2014 book (Catmull, 2014, pp. 14, 15) and from maacindia.com.
• Figure 2.2: Detail of Newell’s Utah Teapot sketch (computerhistory.org, n.d.); wireframe model of Newell’s Utah teapot created by University of Utah researchers (computerhistory.org, n.d.); and a render of Newell’s teapot.
• Figure 2.3: Visual illustration of the Phong equation. (Wikipedia.org, n.d.-a).
• Figure 2.4: Illustration showing the way that that a Phong reflection model can be used to shade the surface of a 3D mesh. This image combines screenshots from Turbosquid (“TurboSquid,” n.d.) with a screenshot from Maya’s user interface (UI).
• Figure 2.5: O’Reilley’s Shitmaker tool.
• Figure 2.6: Still from Please Say Something, by David O’Reilly (2009).
• Figure 2.7: Still from Between Bears by Eran Hilleli (Hilleli, 2010).
• Figure 2.8: Detail of still from Pivot (Kevin Megens, Floris Vos, Arno de Grijs, 2009); Detail of still from Dropp by Hajime Nagatsuka (Nagatsuka, 2011); llustration by Mordi Levi; Detail of screenshot from Catdammit! by Polish game designers Fir & Flams (2014).
• Figure 2.9: Detail of still from Matatoro (Mauro Carraro Jérémy Pasquet, 2010), a 3D animation with a hand-made aesthetic.
• Figure 2.10: Still from The Third and the Seventh by Alex Roman (2009).
• Figure 2.11: a) “Making of a Bruce Lee 3D portrait”, Youtube video by Alexander Beim.; Published Dec 18, 2012 ; 478,976 views; b) “Tywin Lannister Sculpt Timelapse”, Youtube video by by Adam Fisher. ; Published Aug 28, 2013 ; 295,195 views.; c) “Character Modeling Demo Reel”, Youtube video by Patrick Kilcher.; Published Feb 3, 2014. 70,625 views.
• Figure 2.12: Two screenshots from The Third & The Seventh – Compositing Breakdown by Alex Roman (Roman, 2010); Followed by an image showing Roman’s book, From Bits to Lens (sourced from evermotion.org).
• Figure 2.13: Screenshot showing the ZBrush interface.
• Figure 2.14: Details from some of Menkman’s portraits which illustrate her publication “A Vernacular of File Formats” (Menkman, 2010a).
• Figure 2.15: "Study for Head of George Dyer" by Francis Bacon, 1967. Oil on canvas.
• Figure 3.1: Photograph showing my hand holding Ginger in position while taking “relaxed pose” photographs.
• Figure 3.2: Stills from an online video which supplements the paper "Simulating Knitted Cloth at Yarn Level" (Kaldor, James, & Marschner, 2008).
• Figure 3.3: Still from an online video describing how Disney created snow simulations for the movie Frozen (Buck & Lee, 2013).
• Figure 3.4: Three of Monet's many haystack paintings. “Stacks of Wheat (End of Day, Autumn)”, 1890-91, oil on canvas; “Haystacks, midday”, 1890, oil on canvas; “Wheatstacks, Snow Effect, Morning”, 1891, oil on canvas.
• Figure 3.5: Maya Paint Effects’ tree. Image from online tutorial “Designing and Animating a Birch Tree in Maya using Paint Effects” (Kumar, 2013). Copyright 2016 Envato Pty Ltd.
• Figure 3.6: Diagram showing how, in OOP, a class can inherit attributes from another class. Image sourced from The Nature of Code (Shiffman, 2012).
• Figure 3.7: “The Card Players” by Paul Cezanne, 1894–1895. Oil on canvas.
• Figure 3.8: An advertising image for Pixar showing characters from Toy Story (Lasseter, 1995). Image sourced from http://www.disneypictures.net/r-buzz-lightyear-202-buzz-lightyear-woody-3888.htm.
• Figure 3.9: Illustration of “depth of field” from the book 3D Animation Essentials by Andy Beane ( 2012, p. 125). Copyright “After Hours Animation”.
• Figure 4.1: Still from The Deep (a 5 minute animation completed in 2009) and an architectural rendering of a bathroom (completed in 2010). These are examples of previous works which approach photorealism.
• Figure 4.2: Still from Plant to Plant (a 5 minute animation completed in 2008) and development still from Saltram (an animated TVC completed in 2004). These are examples of previous works which approach a hand made aesthetic.
• Figure 4.3: Screenshot of ZBrush being used to texture Default Whippet.
• Figure 4.4: Cow Reduce animation.
• Figure 4.5: a) Three viewport snapshots showing steps taken to create Wobbling Primitives. b) Wobbling Primitives 3D animation.
• Figure 4.6: A composite image showing stills from Hand.
• Figure 4.7: Blinding Tree animation.
• Figure 4.8: a) Viewport snapshot showing how I carefully positioned joints for Default Whippet; b and c) Viewport snapshots showing how I animated Default Whippet using keyframes.
• Figure 4.9: Viewport snapshot from Spline Whippet.
• Figure 4.10: The pencil sketch which I referred to when modelling Library Man (Figure [libraryMan |fignum]below).
• Figure 4.11: Library Man animation.
• Figure 4.12: a) Detail from project diary showing working sketches for Spline Whippet and similar experiments; b) Viewport snapshot showing my attempt to animate Default Whippet using maths functions; c) Sine Whippet animation.
• Figure 4.13: Demonstration video showing my Auto Expression UI in use.
• Figure 4.14: The pencil sketch which inspired Woman with a Bag; Playblast and the Woman with a Bag animation.
• Figure 4.15: Demonstration video showing my Auto Keyframe UI in use.
• Figure 4.16: Playblast (i.e. series of viewport snapshots) of Peds Prance animation.
• Figure 4.17: Flocking Whippet animation with 500 whippets.
• Figure 4.18: The same Flocking Whippet animation rendered through another camera.
• Figure 4.19: Force First playblast (showing particle movement without geometry attached) and rendered animation.
• Figure 4.20: Viewport image showing the Modelling as Animation custom UI.
• Figure 4.21: Diagram showing a Modelling as Animation workflow.
• Figure 4.22: Conference Figure animation.
• Figure 4.23: MasA Whippet animation.
• Figure 4.24: Sketchbook page showing some sketches of Ginger.
• Figure 4.25: a) Phone Figure sketch; b) Phone Figure animation.
• Figure 4.26: Building Phone Figure animation.
• Figure 4.27: Photo showing the tools I used when Working from Life.
• Figure 4.28: Demonstration video showing Plein air Still Life tools in use.
• Figure 4.29: Diagram indicating several features of the Plein air Still Life Production Tools.
• Figure 4.30: Diagram indicating features of the Plein air Still Life Post-production Tools.
• Figure 4.31: Plant animation.
• Figure 4.32: Stills from Plant with glitched form on the left.
• Figure 4.33: Castlemaine animation excerpt.
• Figure 4.34: Playblast of Falls Creek animation.
• Figure 4.35: Boots Animation.
• Figure 4.36: Chair animation.
• Figure 4.37: Shoes animation.
• Figure 4.38: Viewport snapshot showing the many cameras created when using my Auto Camera script.
• Figure 4.39: Still from Shoes animation rendered from a different point of view.
• Figure 4.40: Books animation.
• Figure 4.41: Viewport snapshot taken while working on Shadow Whippet, discussed below.
• Figure 4.42: Shadow Play demonstration video.
• Figure 4.43: Shadow Whippet1 animation.
• Figure 4.44: Shadow Whippet2 animation.
• Figure 4.45: Photograph showing my setup and location when making Green Jumper and still from Green Jumper animation..
• Figure 4.46: Cup animation.
• Figure 4.47: Specular Whippet animation.
• Figure 4.48: A compilation of Whippet in the Sun animations.
• Figure 4.49: Whippet in the Sun stills.
• Figure 4.50: Shelves animation.
• Figure 4.51: Cafe Figures animation.
• Figure 4.52: Cafe Figures Colour Test animation.
• Figure 4.53: Cafe Figures MoBlur animation.
• Figure 4.54: Stills from Cafe Figures animation showing some of the glitched figures that appealed to me.
• Figure 4.55: Stills from Books animation (described above).
• Figure 4.56: Video demonstrating Plein air Still life version 2.
• Figure 4.57: Night Scene animation excerpt.
• Figure 4.58: Night Building animation.
• Figure 4.59: Whippet in Bed animation.
• Figure 4.60: Coloured Whippet animation.
• Figure 5.1: Screenshot illustrating how a user might “sculpt” in Zbrush.
• Figure 5.2: Viewport snapshot indicating how to create a polygon mesh by writing code instead of moving icons in the viewport. Activities such as this helped me to appreciate that a 3D mesh exists as a dataset.
• Figure 6.1: A Pixar character from.
• Figure 6.2: Still from Whippet in the Sun.

• Bibliography
• Appendix A