Nina Denning

Blog of a practitioner

Posted on 24 June, 2016  in MDU115

One piece of work that has always inspired me is Tangled. I completely adore the story of Rapunzel, and Disney’s remake was brilliant. Something about Tangled really stuck with me after seeing the film on the big screen, i loved the story, the music was brilliant, the characters were well thought out and the art style was gorgeous. One artist made a serious contribution to the art in tangled, Dan Cooper. Dan Cooper worked on Tangled as the co-art director, this meant he had the challenging role of directing the creative vision, but he did more than that. Cooper was in charge of the key lighting throughout many scenes of the film, maintaining the tone and mood of the frame to fit within its context. One of the challenges for Cooper wouldve been Rapunzels hair, it glows therefore it creates its own form of light. These started out as paintings over a GC render. Here’s a link to Dan Coopers blog: http://dancoopersblogsplotch.blogspot.com.au

Key lighting from Tangled by (Cooper, D. 2012).

Source retrieved from: http://dancoopersblogsplotch.blogspot.com.au/2012/06/tangled-lighting-keys.html

Cooper explains a simple frame is passed from the animators to the director to the leads in lighting, then back to him to give the lighting key a shot. Cooper gives a lot of credit to other artists for his final key. Dan Cooper really displays the importance of lighting in any given sequence through his art which can be shown through these comparisons. 

Key lighting from Tangled by (Cooper, D. 2012).

The picture on the right has much more depth, mood and tone than its previous counterpart. I feel that the reason why lighting was so important in Disney’s Tangled, is because the movie had so much light to give! From the brightly coloured landscapes, the floating lanterns to Rapunzel herself…. “And at last i see the light!!!” 

Source retrieved from: https://a.dilcdn.com/bl/wp-content/uploads/sites/25/2016/02/Rapunzel-pushes-a-lantern-in-Tangled.gif

Tangled to me is an animated masterpiece and i feel Dan Cooper played a huge part in making it so beautiful, creative and inspiring.

References:  Çooper, D. (2016). Dan Cooper’s blog splotch. Dancoopersblogsplotch.blogspot.com.au. Retrieved 28 June 2016, from http://dancoopersblogsplotch.blogspot.com.au

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Highlight in the history of 3D graphics

Posted on 24 June, 2016  in MDU115

Animation is an ever changing and evolving process, from the first animated cartoon Fantasmagorie in 1908, to the latest 3D animated feature films such as Zootopia and all the milestones in-between this time-span. Picking just one highlight is so difficult, but for me it has to be between the first animated feature film to be hand drawn, Snow White and the seven Dwarfs, and the first fully computer animated film, Toy Story. Why not both?

Snow White, the first full length animated feature that runs for a total of 83 minutes, released with colour and sound, created using a remarkable 1.5 million cells (“history of animation”, 2016). Snow white was a big risk for Disney, it cost a total of $1.7 million to bring to the big screen which was substantially significant for its time (Simon, B. 2016). Disney made use of a multi-plane camera to “create an illusion of depth”.  It took 4 years for this masterpiece to come to life, it was one of the first cartoons to display human characters, because of this, live actors were used to help perfect the cells and make human movements more realistic, how clever (Simon, 2016). After three weeks of being available, Snow White sold 17 million copies (“Snow White and the Seven Dwarfs (1937)”, 2016). Snow White was a significant highlight in the history of 3D graphics as it portrays the capability of story telling through drawing and art, its collaboration with the use of sound and colour made it an innovative step forward in the film and animation industry, breaking the boundaries of animated movies for years to come.

Cover for Snow White and the Seven Dwarfs.

Image sourced from: http://www.filmsite.org/snow.html

Walt Disney with Shirley Temple and his oscar for Snow White and the Seven Dwarfs.

Image retrieved from: https://www.oscars.org/oscars/ceremonies/1939

Toy story was the first feature film to be completely 3D animated, yes there were extensive use of drawings, sculptures and photographs going into the concept and ideas department, but the final cut you see on screen was done entirely on computers. This was such an innovative success by the team at Pixar, it sparked the need for Finding Nemo and the Incredibles. 1993 was the beginning of the Toy Story journey, it all seems so fantastic on screen its hard to believe that it almost got denied an audience, after a year of production a rough cut was shown to Disney and it was ordered a shut down, Pixar saw its potential and fought to keep it going (“Pixar”, 2016), lucky they did! Toy Story led animation companies such as Disney and Pixar into a new era of modern storytelling and computer graphics, creating mind-blowing realism through the use of this new technology. Though Toy Story took a huge leap of faith delving into this part of film-making so early, it became a huge success eventually grossing more than $192 million at the domestic box office and $358 million worldwide proving it a revolutionary success (Bishop, B. 2015) Toy Story was also able to strengthen the relationship between Disney and Pixar, allowing more room for remarkable movies well into the future.

John Lassetter with Toys, Buzz and Woody – Associated Press (1999)

Source retrieved from: http://www.tampabay.com/features/movies/disney-pixar-has-250-toys-and-games-ready-for-the-debut-of-toy-story-3-in/1073512

References:

1. history of animation. (2016). History-of-animation.webflow.io. Retrieved 28 June 2016, from http://history-of-animation.webflow.io
2.  Simon, B. (2016). The One That Started It All… The Making Of Snow White – Animated Views. Animatedviews.com. Retrieved 28 June 2016, from http://animatedviews.com/2002/the-one-that-started-it-all-the-making-of-snow-white/

3. Snow White and the Seven Dwarfs (1937). (2016). Filmsite.org. Retrieved 28 June 2016, from http://www.filmsite.org/snow.html

    

4.  Pixar. (2016). Pixar.com. Retrieved 28 June 2016, from http://www.pixar.com/features_films/TOY-STORY
5.  

   Bishop, B. (2015). Toy Story, 20 years later: how Pixar made its first blockbuster. The Verge. Retrieved 28 June 2016, from http://www.theverge.com/2015/3/17/8229891/sxsw-2015-toy-story-pixar-making-of-20th-anniversary

    

6. The 11th Academy Awards | 1939. (2016). Oscars.org | Academy of Motion Picture Arts and Sciences. Retrieved 28 June 2016, from https://www.oscars.org/oscars/ceremonies/1939

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9. Compositing

Posted on 22 June, 2016  in MDU115

Compositing is where the special effects team takes most of the action, this is where the visual effects such as explosions take place, along with final touch-ups and editing. For live action movies, this can be where the live footage is blended with computer generated footage to create a scene. (Chang, A). An example of an animated movie that contains a heap of special effects is The Good Dinosaur. Pixar needed double the amount of special effects to create this insane scenery. 

Image retrieved form: https://techcrunch.com/2015/10/09/pixar-studios-doubles-effects-in-upcoming-film-the-good-dinosaur/

Water plays a big part in this movie, which was a challenge to Pixar’s animators, they featured more than 125 shots of the water, the river scene alone takes up more storage in special effects than the entirety of special effects in Cars 2, (Zakrzewski, C. 2015) this would’ve taken a loooooong time to render.

References:

1. Zakrzewski, C. (2016). Pixar Studios Doubles Effects In Upcoming Film ‘The Good Dinosaur’. TechCrunch. Retrieved 28 June 2016, from https://techcrunch.com/2015/10/09/pixar-studios-doubles-effects-in-upcoming-film-the-good-dinosaur/
2.  Chang, A. (2016). The Process of 3D Animation | Media-Freaks.com. Media-freaks.com. Retrieved 26 June 2016, from http://media-freaks.com/the-process-of-3d-animation/

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8. Rendering

Posted on 22 June, 2016  in MDU115

Rendering refers to the process of generating an image from three-dimensional data stored within a computer (Birn, J. 2002.). It’s usually one of the final processes involved in producing a scene, taking everything from lighting, movement, model, and effects and turning it into a readable, operational file. The rendering takes the 3D file and creates a picture of each pixel within that scene which requires extensive calculation, it allows for countless controls over the scene such as the simulation of motion-blur, refraction of light, atmosphere and colour. (Birn, J. 2002). Rendering is notorious for taking a long time, utilizing hundreds of high speed computers for months of even years when it comes entire animated movies. This is a “render farm” that Pixar uses to store the rendering computers that working 24/7.

Image sourced from: http://www.slashfilm.com/cool-stuff-a-look-at-pixar-and-lucasfilms-renderfarms/

References:

1. Birn, J. (2016). What is 3D Rendering?. 3drender.com. Retrieved 28 June 2016, from http://www.3drender.com/glossary/3drendering.htm
2.  Sciretta, P. (2010). Cool Stuff: A Look at Pixar and LucasFilm’s Renderfarms – /Film. Slashfilm. Retrieved 28 June 2016, from http://www.slashfilm.com/cool-stuff-a-look-at-pixar-and-lucasfilms-renderfarms/

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7. Lighting

Posted on 22 June, 2016  in MDU115

One of the first special effects that get applied to a model or scene is lighting. Lighting is the key when it comes to how you want your character to come across, the same character can be seen in a completely different way depending on how they are lit (Simonds, B. 2010).

Image sourced from: https://bensimonds.com/2010/06/03/lighting-tips-from-the-masters/

This image displays the affect different lighting can have on a character, the light shinning from above gives a “noble” look while the light from underneath gives a “menacing” view while the light from behind just displays an intriguing silhouette. (Simonds, B. 2010)

There are many different types of lighting that can be applied, a basic three point lighting setup has the key light which is meant to capture the most attention, there is the backlight which gives the character more definition and the fill light used to lighten up the tone of the surrounding area.

Basic three point lighting setup.

Image sourced from: https://bensimonds.com/2010/06/03/lighting-tips-from-the-masters/

Lighting is not only an important feature to add to the character but its also used to capture the feeling and tone of the environment, whether it is morning, midday, afternoon or night can be portrayed through the correct placing of lighting. The texture of the surface being lit also needs to be taken into account, for example metallic surfaces would bounce back the light, reflecting it.

References:

1.  Simonds, B. (2010). Lighting tips from the Masters. BenSimonds.com. Retrieved 17 June 2016, from https://bensimonds.com/2010/06/03/lighting-tips-from-the-masters/

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6. Animation

Posted on 22 June, 2016  in MDU115

This is my favourite part, the animation, where all the beautiful characters come to life in spectacular, well thought out movement. Animators are able to pose the character thanks to the rigging, in various positions, these poses are often exaggerated to better display the intent of the motion. Many many frames go into each movement, but an animator can often start with a key frame, go to the centre frame then finish with the end frame if it’s a short movement, this helps save time, though often the animator will play it back and if there is any mix up in the movement, they will add more frames (“Pose to Pose Animation”, 2016). The software is designed to add all the inbetween frames through ‘tweening’, meaning all the tiny frames inbetween the key frames. The more frames are inbetween, the more consistent and lifelike the movement will be. This key by key sequence is used to give the audience an illusion of movement (“Pose to Pose Animation”, 2016).

“Given three keyframe shapes (shown in tan), our method smoothly interpolates the intermediate shapes (shown in blue), providing a useful tool for animators to rapidly create keyframe animation sequences.” – (IEEE. 2011)

Sourced retrieved from: http://ieeexplore.ieee.org

 Even though computers are a huge help to animators in creating a sequence, and speeds up the process, theres still a lot of work and thought put into each movement, the animator must consider timing, gravity and the previous, following actions to give a believable movement.  (J. “Timing and Spacing in Animation”, 2014)

Animated gif from the movie Tangled.

References:

1. Pose to Pose Animation. (2016). Minyos.its.rmit.edu.au. Retrieved 28 June 2016, from http://minyos.its.rmit.edu.au/aim/a_notes/anim_pose.html
2. Multiresolution Mean Shift Clustering Algorithm for Shape Interpolation. (2016). Ieeexplore.ieee.org. Retrieved 28 June 2016, from http://ieeexplore.ieee.org/ieee_pilot/articles/05/ttg2009050853/figures.html
3. Timing and Spacing in Animation. (2014). Computer Graphics & Digital Art Community for Artist: Job, Tutorial, Art, Concept Art, Portfolio. Retrieved 28 June 2016, from http://www.cgmeetup.net/home/timing-and-spacing-in-animation/

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5. Rigging

Posted on 22 June, 2016  in MDU115

So now that the exterior of the model is completed, it looks all well and good, but just like people, models cannot move without a skeleton to help it move accurately, for example our heads cant do a 360’ turn, the model needs to know what it can and cant do, this is called rigging. Rigging applies points on the character that work like joints. (Masters, M. 2014). This allows the animators to freely move the character about without surpassing the physical boundaries inforced by the rigging, every rig is unique so is its corresponding controls (“The Process of 3D Animation | Media-Freaks.com”, 2016). Here is an excellent rigging animation reel by Itsakitteh on youtube.

Rigging doesn’t just apply to hard boned creatures, it can also be achieved on creatures such as a fish.

Rigging a fish – triple joint solution (Bergeron, R, M. 2013)

References:

1. The Process of 3D Animation | Media-Freaks.com. (2016). Media-freaks.com. Retrieved 26 June 2016, from http://media-freaks.com/the-process-of-3d-animation/
2. Masters, M. (2014). Key 3D Rigging Terminology to Get You Moving. Digital-Tutors Blog. Retrieved 28 June 2016, from http://blog.digitaltutors.com/key-rigging-terms-get-moving/
3. Bergeron, R. (2013). Rigging a Fish – Triple Joint Solution. Ray McCarthy Bergeron. Retrieved 28 June 2016, from http://www.spunkyddog.com/2013/01/24/rigging-a-fish-tripple-joint-solution/

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4. Texturing and Shaders

Posted on 22 June, 2016  in MDU115

The texturing process is used to transform plain, stiff models into lifelike characters and substances. It helps increase the level of detail so models require less polygons and become more practical and functional. There are many great software packages that allow for easy texturing using photos, but more complex models may require unique textures that can be created in programs such as photoshop, (“The Process of 3D Animation | Media-Freaks.com”, 2016), where the desired texture may be painted and then transferred to the models surface. This can allow any model to become more lifelike, giving qualities of materials such as metal, fur, concrete, stone, bark, glass or even skin.

Shaders help define the surface of the model, telling it how it should react when light is shinned upon it, it basically chooses the material of the surface, so the texture seems more realistic (Masters, M. 2014). Shading help create shadow and depth in texture, allowing it to become more realistic and believable, tricking the mind into thinking it’s a real 3D object.

Textured Clank by youtube tutorial (2randomperson)

Source retrieved from: https://www.youtube.com/watch?v=XSet13UXRqM

References:

1. The Process of 3D Animation | Media-Freaks.com. (2016). Media-freaks.com. Retrieved 26 June 2016, from http://media-freaks.com/the-process-of-3d-animation/
2. Masters, M. (2014). 3D Texturing Terminology | Learning to 3D Texture. Digital-Tutors Blog. Retrieved 28 June 2016, from http://blog.digitaltutors.com/cover-bases-common-3d-texturing-terminology/

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3. UV Mapping

Posted on 22 June, 2016  in MDU115

UV Mapping is the next stage in the production pipeline process, it’s the process that allows the model to be texturized. The ‘U’ and ‘V’ in UV refer to the x and y axis on the flat surface (Bobobobo. 2010), allowing the 3D model to be “unwrapped” from a 3D shape to a 2D net. For a model to acquire texture, it must be cut into individual surfaces that can be singularly worked upon, and then can be stitched back together to avoid overlapping of textures.

Captain Quark UV Mapping by (Nelva, G. 2016)

Source retrieved from: http://www.dualshockers.com/2016/02/19/ogle-the-beautiful-models-of-ps4-exclusive-ratchet-movie-vs-game-character-compared/

Captain Quark was cut into 19 different chunks to create a UV map, there were 25 different materials, 70 different textures, around 50,000 polygons to great this 4GB character worth of files. (Neva, G. 2016).

References:

1. ‘uv-mapping’ tag. (2010). Gamedev.stackexchange.com. Retrieved 20 June 2016, from http://gamedev.stackexchange.com/tags/uv-mapping/info
2. Nelva, G. (2016). Ogle the Beautiful Models of PS4 Exclusive Ratchet & Clank; Movie vs Game Character Compared | DualShockers. Dualshockers.com. Retrieved 25 June 2016, from http://www.dualshockers.com/2016/02/19/ogle-the-beautiful-models-of-ps4-exclusive-ratchet-movie-vs-game-character-compared/

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2. 3D Modelling

Posted on 22 June, 2016  in MDU115

The second stage in the production pipeline is 3D Modelling, this is where all the ideas and design concepts are created, from 2D images to 3D models. They are made using programs such as Maya and 3Ds Max to form the basic 3D shapes such as cubes and spheres (Willett, N. 2010). These basic shapes are then manipulated to become more complex and shapely, forming new edges and creating new faces, individually called polygons. Models are made up of a series of points called vertices which work as a mesh once connected (Boudon, G.2013). Modellers work not only in creating organic forms such as characters, but also hard-surface models such as weapons, buildings and vehicles to anything miscellaneous in-between (Gulati, P. 2010). Its important to have simple designs that give a lot of information. Modelling is where all the assets in the production pipeline will be created (Boudon, G.2013).

Spyro models by Xeratdragons and RubberRabbit2

Sourced from: (http://tf3dm.com/3d-model/spyro-and-cynder-57247.html),(https://www.youtube.com/watch?v=1iyB3HbRujY)

Clank model (Jones, C. 2010)

Source retrieved from: http://www.insomniacgames.com/community/showthread.php?43577-Ratchet-and-Clank-Fan-Make-your-own-Clank!

References:

1. Gulati, P. (2010). Step-by-Step : How to Make an Animated Movie. 3D & Motion Graphics Envato Tuts+. Retrieved 27 June 2016, from http://cgi.tutsplus.com/articles/step-by-step-how-to-make-an-animated-movie–cg-3257
2. Boudon, G. (2013). How Does a 3D Production Pipeline Work. Digital-Tutors Blog. Retrieved 18 June 2016, from http://blog.digitaltutors.com/understanding-a-3d-production-pipeline-learning-the-basics/
3. http://www.insomniacgames.com/ratchet-clank-10-years-of-concept-art/

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1. Pre-production

Posted on 22 June, 2016  in MDU115

Pre-production is the first stage in the 3D production pipeline, which doesn’t make it any less important than the following stages, in fact it is often the most important. Pre-production is often the ‘backbone’ of 3D projects, it covers concept art, story boarding and many, many discussions with the team of the project. To have a production, there must be a main idea, the centrepiece of the project that needs to be explored through pre-production. Concept art is one way in which ideas can be explored. During the beginning of the very first ratchet and clank game, there were 40 people in the studio “focused on bringing (the) idea to life” (Fiorito, J. 2010). Dave Guertin, an insomniac character artist brought around some early concepts for ratchet and clank, while ideas are tossed around between artists and producers, the characters evolve until they are agreeable upon, its interesting to see how the characters progress from the original sketch.

Original concept for Ratchet by Dave Guertin (Guertin, D. 2000 – character artist).

Source retrieved from: http://d3cw3dd2w32x2b.cloudfront.net/wp-content/uploads/2012/04/ratchet_1.jpg

Ratchet’s character progression by Dave Guertin (Guertin, D. 2000 – character artist).

Source retrieved from: http://d3cw3dd2w32x2b.cloudfront.net/wp-content/uploads/2012/04/Ratchet_progression_sketch.jpg

Meanwhile there were environment artists working on creating a world the characters would fit into which is an important relationship between character and surroundings. Pre-production is where the movie or game will bring about a set of visual rules that must be followed to give the project consistence, and flow. In ratchet and clank they have a sci-fi, retro style (Fiorito, J. 2012) portrayed throughout the entire series which gives the name identity.

Early sketches by Chad Dezern and John Fiorito.

Source retrieved from: http://www.insomniacgames.com/ratchet-clank-10-years-of-concept-art/

Concept art isn’t the only faction of pre-production that needs to be discussed, story-boarding is another important feature. A storyboard is a bunch of ordered sketches and drawings showing the key frames and events in a comic-like fashion (Gulati, P. 2010), they help to develop a smooth sequence of events throughout the timeline. It gives a perception of timing and camera angles (Willett, N. 2010) that creates a momentum in which the audience or player follow. The storyboard is where the ideas have all been laid out to fill in the gaps, creating the final story that can then be referred back to throughout production as a visual reminder of the original plan and intention (Gulati, P. 2010). After the storyboard has been finalised and approved, layouts, model sheets and animatics can be created. Animatics can be used in animation to give an improved perception of the timing of the scene, and the accuracy of the motions.

References:

1. Gulati, P. (2010). Step-by-Step : How to Make an Animated Movie. 3D & Motion Graphics Envato Tuts+. Retrieved 27 June 2016, from http://cgi.tutsplus.com/articles/step-by-step-how-to-make-an-animated-movie–cg-3257
2. Fiorito, J. (2012). Ratchet & Clank: 10 Years of Concept Art – Insomniac Games. Insomniac Games. Retrieved 21 June 2016, from http://www.insomniacgames.com/ratchet-clank-10-years-of-concept-art/
3. Willett, N., Lee, I., & Castaneda, O. (2016). Animation Production Pipeline – Nora Willett. Physbam.stanford.edu. Retrieved 18 June 2016, from http://physbam.stanford.edu/cs448x/old/Animation_Production_Pipeline_(2d)_Nora_Willett.html

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What brought me here?

Posted on 4 June, 2016  in CIU110

I believe everyone involved in the creative arts aspires to inspire, because they were once also inspired, inspired to create. For me and many other creators, my inspiration comes from a spoonful of animated movies, sprinkle of video games, handful of short films, earful of music, a stack of books and a gallery of diverse artworks, both traditional and digital. Lets focus on my favourite, animated movies, actually, lets focus on the most fantastic one… Peter Pan. So what makes Peter Pan so special? For some people its the “when i was a child” moments, for others is its dark context and skeptic fan theories. For me, i find that its constant recreation proof of being an iconic marvel. It started off as a play, continued to be a novel by J.M Barrie, a fantastic read, and moved on to having its own animated film, to be turned into live action and so on with it’s many spin-offs.

What about this ‘childrens movie’ inspires me, an 18 year old girl, to the level where i wished i had a hand in creating it? Yes, it has beautiful fun-loving art and captivating story, but it also carries a strong relationship between the voice actors, animators, history as a novel and well, Disney. I cant pinpoint my most favoured aspect as all of its characteristics compliment each other. I will however elaborate on some of the highlights.

Breaking boundaries
In the film industry has always been seen as a leap of faith, in the 1930’s-40’s Peter Pan had been played by only female actresses as this was the norm for young male characters. Disney broke this tradition, and although it was an animated character, Peter was not only depicted as a boy but he had a make voice actor (Bobby Driscoll), just as the novel intended.

Realism

To bring Peter Pan to life, Disney used live models as references for the animators, a film that no one but the animators saw. This technique really helped the animators increase the accuracy of the film down to small detail.

                                                                                Milt Kahl

The character Peter was assigned to Milt Kahl. Everyone loves Milt Kahl. He designed an amazing Peter, he admitted that he’s greatest difficulty was getting the character to “float”, but i think everyone can agree he did so wonderfully.

Novel to Film

I’ve read J.M Barrie’s Peter Pan and Wendy many times, and the Disney remake, in my opinion does it  justice. Although it does lighten the tone (because its a children’s movie) it really sticks to the story, which is an honourable thing to do.

Its relatable
Its so important for a character to be relatable, when watching Peter Pan everyone can relate to his want to never grow old and be youthful and joyous forever, however I’m sure the audience finds themselves swinging to Wendy’s character who is for reason and family, or Mrs and Mr Darling who are full of regret.

I dont know what it is but Peter Pan has stolen some of my childhood and locked it away in a draw somewhere, and that inspires me to create something that will have that effect on someone else, if its possible. Here’s my favourite personal copy Peter Pan, it sparkles like pixie dust!

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The fantastic, immortal Disney.

Posted on 2 June, 2016  in CIU110

“All our dreams can come true, if we have the courage to pursue them.”, a wise man once said. Walt Disney may seem like a ‘mainstream’, ‘over-rated’, classic role-model for an amateur animator, but his work, like his legacy remain timeless. So why has his existence manifested itself into symbol of joy and imagination carried out long after his death?  Re-created again, and again, through all mediums (art, story, film) disneyfication transforms stories to appeal to a modern audience and fit in with changing social contexts. This leaves Disneys mark on the world an on-going legend of storytelling and communication at its best. My passion for cartoons and animation comes from my interest in the power of visual communication. For visual communication to be successful, strong (relatable) characters are necessary. Relatable characters enhance human personality traits through the art style to express certain feelings, an animators goal is to ‘show’ not ‘tell’. When Disney created the famous Mickey Mouse, he incorporated “human personalities, in the body of a cartoon animal”. To further the ‘realism’,  Disney’s revolutionary use of sound and voice was very important to Mickeys, and Walt Disney’s success. 

                               Walt Disney using his own voice to anthropomorphise Mickey Mouse. 

(https://www.youtube.com/watch?v=r7C9DJmRjBE) Watch.Mojo.com

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Welcome :)

Posted on 2 June, 2016  in CIU110, Uncategorized

Hi! My name is Nina and i just so happen to be a beginner, aspiring animator! Ive created this blog to not only share my inspirations, views and ideas; but also my progress, work and goals for future endeavours. So please, take the time to peruse this blog, my inspiration may also be yours.

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