In this session, we were introduced to the unit and the structure of the upcoming classes. We discussed the idea of designing for a user, and how a project should think about audience, context, and purpose, rather than only focusing on the final visual outcome.
We were also introduced to the two briefs for this unit. The first brief, Expanded Animation / Context and Practice, looks at animation as a system for constructing, simulating, and questioning worlds. It encourages experimentation, research, and testing different tools or workflows. The outcome could be a linear animation, an interactive environment, an installation, or another hybrid form.
The second brief, Fragments of the Real / The Artificial, focuses on photogrammetry as a creative and critical tool. It explores how scanned fragments, textures, sound, and digital environments can be used to create immersive and experimental story worlds. This brief also looks at how distortion, absence, and fragmentation can become part of the storytelling process, rather than being seen as mistakes or limitations.
This week focused on connecting our animation work to professional practice and dialogue acting. We had two main assignments: The Professional Artist Interview and Dialogue Shot – Reference & Rough Blocking. We also looked at acting and subtext, which helped connect the technical side of animation with character intention.
For the Professional Artist Interview, the task was to interview someone working in a role or creative area connected to our future interests. I interviewed Ilja van Eck, an independent web designer and developer. Even though he does not work directly in 3D animation, I still found the interview useful because I am interested in the possibility of freelancing in the future, and he works independently in a creative digital field. The interview also gave me insight into how creative careers can develop outside a traditional path.
One thing that stood out to me was that his studies helped him discover web design and development, but most of his growth came from self-learning, experimenting and sharing work online. He explained that visibility was important for getting clients, especially through platforms like Awwwards. This made me think about how important it is to build a strong portfolio and show my work consistently, especially if I want to work creatively after graduation.
The interview also made the freelance industry feel more realistic. He spoke about challenges such as difficult clients, communication issues, project management and stress. I found his advice about communication and deadlines useful, especially the idea of being honest with clients and not promising unrealistic timelines. Even though my main direction is 3D animation, these ideas still apply to creative work in general.
We also started the Dialogue Shot – Reference & Rough Blocking assignment. For this task, we had to use one of the provided audio clips and create a half-body dialogue shot with the Yu Long rig. The shot had to be no longer than 11 seconds, with only one character showing their face. The focus was on story, reference, camera, acting, facial animation and lip sync, rather than full body mechanics.
The lecture on Acting – Subtext was especially useful for this assignment. We learned that subtext is what the character really means underneath the words they are saying. The material explained that acting is reacting, and that subtext gives a character a richer inner life through subtle body language and performance choices.
This helped me understand that a dialogue shot should not just copy the audio literally. Before animating, I need to think about who the character is, what situation they are in, what they want, and what they are really thinking. The lecture also reminded us that great acting and animation happen when the character’s movement is driven by intention, not just by the spoken line.
For the rough blocking stage, we had to prepare the shot with reference, camera, environment, audio and main key poses. This made me realise how important planning is before animating. Shooting or studying reference helps decide the acting choices, facial expressions, timing and emotional beats before opening Maya and animating the final shot.
The session continued with individual online tutorials. In preparation, we were asked to identify our research area, think about possible questions or problems, write a short statement about the purpose of the study, and find at least five academic publications that could support the research.
A key resource this week focused on quoting, paraphrasing and summarising. This was useful because the draft literature review requires careful use of sources. The resource explains that quoting, paraphrasing and summarising are different ways of using evidence from other writers, but that every quote, paraphrase or summary must be cited to avoid plagiarism. It also explains that direct quotations should be used sparingly at university level, while paraphrasing is usually preferred because it shows understanding of the source.
This is important for my literature review because I need to show that I understand the academic ideas I am using. Instead of filling the review with direct quotes, I should explain the arguments in my own words and connect them clearly to my research question. For example, if I use sources about media framing, propaganda or animated documentary, I need to explain how each source helps me understand the relationship between visual storytelling, war narratives and civilian experience.
We also looked at UAL standards and ethics. This reminded me that research must be conducted responsibly, especially when dealing with sensitive subjects. My topic includes war, suffering and civilian experience, so I need to be careful not to use shocking imagery or emotional language without critical purpose. The research should be respectful, academically grounded and aware of the ethical issues involved in representing real-world conflict.
Another useful resource was the revised proposal structure. It explains that the research proposal should include an introduction, background significance, literature review, research design and methods, suppositions and implications, conclusion, and bibliography. The introduction should explain what the research is about, state the research question and outline how the writing will answer it. This helped me understand how my draft literature review will eventually become part of a larger proposal structure.
The revised proposal structure also explains that the literature review should not simply list sources. It should be selective and should synthesise and evaluate how the research contributes to the discussion. For my project, this means I need to organise my sources into clear themes, such as media language, animated documentary, memory and trauma, and the use of stylised 3D animation to communicate emotional distance.
This week focused more on the realities of working in the animation and creative industry after graduation. We had a lecture about future careers, salaries within the industry, and some of the difficulties that come with working in animation and 3D.
One of the main topics discussed was how unstable the industry can sometimes be. We talked about freelance work, short contracts, competition and how difficult it can be to find consistent work, especially at the beginning of a career. The lecture also covered the differences between studio jobs, freelance work and internships, as well as the importance of building a strong portfolio and networking with other creatives.
We also spoke about money and salaries in different creative roles. It was interesting to hear how pay can vary a lot depending on the country, the studio, the role and the level of experience. The lecture made me realise that working in animation is not only about creativity, but also about understanding the professional side of the industry and preparing for its challenges.
At the same time, the session was still motivating because it showed that there are many possible paths within 3D animation and related industries. Even though the industry can be difficult, the lecture encouraged us to continue developing personal projects, improving technical skills and finding a style or direction that makes our work stand out.
The aim of the session was to prepare for the draft literature review and to make sure each research topic was becoming more focused and achievable.
We were asked to identify our research area, any possible questions or problems we might investigate, and a short statement explaining the purpose and intentions of the study. We were also asked to find at least five relevant academic publications that could support the research. This helped me understand that I need to move from a general idea into a clearer academic direction.
A key resource from this week was the guideline document for the draft literature review. It explains that the assignment is due on Friday 17th April 2026 and that it is an important step towards building the proposal for next semester. The task is to test the research topic by developing a research question, a short outline of the research objective, a draft literature review and a bibliography of books or journals reviewed and cited.
For my own FMP thesis, my current area of interest is how stylised 3D animation can represent the contrast between media narratives of war and the lived experience of civilians affected by conflict. At this stage, I need to make sure this question is not too broad. I can begin by focusing on how animation uses visual storytelling, metaphor, atmosphere and character perspective to communicate emotional distance or civilian experience.
A possible short purpose statement for my research could be: This study investigates how stylised 3D animation can represent the contrast between mediated narratives of war and the lived experience of civilians. It aims to explore how visual storytelling, animated documentary, memory and media framing can inform the development of an FMP animation that communicates emotional distance and civilian perspective.
The guidelines also reminded us that the draft literature review must follow an academic approach. This includes using Harvard referencing, avoiding plagiarism through careful quotation and paraphrasing, using recognised academic sources, and formatting the work in 12 point Times New Roman or Arial with 1.5 or 2.0 line spacing.
Another important point was that the literature review should not include unreliable sources such as personal blogs, film reviews or YouTube references unless they are being used for a very specific reason. Instead, the research should be grounded in peer-reviewed books, journals and scholarly articles. This is important for my topic because I am dealing with serious subjects such as war, propaganda, media framing and civilian suffering, so the academic foundation needs to be credible and balanced.
This week we presented Project 1, which was a formative assessment linked to our Final Major Project. The aim of this task was to choose one core element from our possible FMP direction and test it through research, references and a small visual outcome. For my Project 1, I focused on the idea of the gap between political and media language and the reality of war. My aim was to explore the contrast between how war is presented through politics and media, and how it is actually experienced by people living through it.
In my presentation, I explained that I am interested in how official language can make war feel distant, controlled or simplified, while the real experience of war is physical, emotional and destructive. I wanted to start testing this contrast visually, rather than only describing it as a research idea. This helped me think about how my FMP could use 3D animation to show two different realities at the same time: the public version of war and the lived reality behind it.
For inspiration, I looked at a project about the Brussels government crisis, because it showed how political events can be turned into a creative visual project. I also looked at an award-winning animation that inspired me to think about politics, media and war through animation. These references helped me understand that political subjects can become visual and emotional, not just informational.
I also researched visual style references. One important reference was The Spark of Life, because of its dark cinematic atmosphere, ruined environments and emotional war imagery. I used this to support the mood I want my project to have: serious, heavy and cinematic. The ruined environment represents the physical reality of war, while the billboard and media imagery represent official communication and the way events are publicly framed.
For my visual test, I created an image with a ruined urban environment, a large billboard and media text saying “No casualties reported.” I wanted the billboard to feel cold and official, while the damaged environment underneath suggests that the reality is much more severe. This contrast helped me start exploring how 3D space, scale and media screens could visually communicate the distance between what is said and what is experienced.
Presenting the work was useful because it made me organise my FMP idea more clearly. I realised that the strongest part of the concept is the contrast between language and reality, and that the visual style can help communicate this without needing too much explanation. It also showed me that my next steps should be to develop more tests with screens, ruined environments, lighting and possibly a character perspective, so the idea becomes more emotional and less like only a concept image.
Listening to other people’s presentations was also helpful. It showed me how different students approached the brief in different ways. Some focused more on style or visual development, while others tested character, animation or story ideas. Seeing these different approaches made me realise that the FMP can start from many places, and that testing one focused element is a good way to avoid feeling overwhelmed.
This session continued to focus on potential research topics, strategies and resources. This session also worked as a revision of the topics covered so far, including research questions, literature reviews, academic structure and how to prepare for the draft literature review assignment.
A key part of the session was revisiting the draft literature review assignment. The assignment asks us to develop a research question or problem, write a short research objective, produce a draft literature review and include a bibliography of academic sources. This is intended to test the potential of the FMP thesis topic and create a foundation for the later thesis proposal.
We also looked again at how to structure a literature review. A literature review should not just describe sources one by one. It should organise research around key topics or concepts, compare authors’ positions, and explain how the sources support the wider argument. The resource also reminded us to be selective, synthesise and evaluate the literature, and use topic sentences to guide the reader through the discussion.
The session also introduced writing introductions. An introduction should explain what the research is about, why it matters, and how the study will approach the topic. The resource explains that an introduction should provide topic and context, focus and scope, relevance, aims and objectives. This helped me understand that the introduction is like a roadmap for the thesis. It should prepare the reader for the argument and make the research direction clear from the beginning.
For my own FMP thesis, this means I need to introduce the topic carefully without making the subject too wide. My current research question is: How can stylised 3D animation represent the contrast between media narratives of war and the lived experience of civilians affected by conflict?
This question gives me a clear direction, but I still need to refine the scope. I should explain why this topic matters, what kind of animation examples I might analyse, and how the research connects to my practical FMP work.
Another useful point from the session was the importance of integrating research properly. The resource on integrating research reminds us that research should not be added randomly into writing, but should support the argument and help develop the discussion. This is important because I need to use academic sources to build my argument, rather than only relying on my personal opinion or visual ideas.
Week 7 helped me understand how all the previous sessions connect together. Defining the research question, building the literature review, integrating sources and writing the introduction are all part of the same process. My next step is to continue collecting academic sources and begin shaping my draft literature review around clear themes that support both my thesis and my practical FMP animation.
This week focused on improving and finishing the animation work from the previous weeks. The main tasks were the the Facial Poses Animation– Second Pass, and the final Heavy Object & Change of Mind Polish assignment.
We started by looking at facial animation demos. These helped show how facial movement should feel connected and natural, rather than just moving separate controls one by one. It was useful to see examples of how small movements in the eyes, brows, mouth, head and chest can work together to create a more believable performance. This connected back to the previous eye animation lesson, where we learned that blinks, eye darts and brow movement should support the character’s thought process.
For the Facial Poses Anim – Second Pass assignment, we had to address the feedback from the previous facial animation task and do another pass. This stage was about improving the timing and making the transition between the poses feel smoother. Instead of only focusing on the final facial expressions, I had to think more about how the face moves from one emotion to another. I tried to consider which part of the face moves first, where a blink could help, and how the eyes and brows guide the emotion.
This made me realise that facial animation is very detailed. Even if the movement is small, the timing can completely change how the expression reads. If the eyes move too late or the blink feels random, the emotion can become unclear. Doing a second pass helped me understand that animation is not finished after the first version; feedback is part of the process, and each pass should make the acting more readable.
I also recorded a video reference to better understand the facial poses. By filming myself, I could see more clearly how my face moves during the emotion and which small details are important, such as the eyes, eyebrows, mouth, and the timing of the blinks.
The reference video also helped me understand how the emotion builds up, so I can apply this more clearly later during the animation polish stage.
We also worked on the final Heavy Object & Change of Mind – Polish assignment. The goal was to address feedback and finish the shot. At this stage, the focus was no longer on creating the main poses, but on refining the animation so that the movement felt more controlled and believable. I had to look at the shot more carefully, check the timing, smooth out the motion and make sure the weight of the object was still clear.
The polish stage was important because it showed me how much difference small changes can make. A heavy object needs the body to react properly, with the hips, chest, arms and hands supporting the weight. The change of mind also needs to be clear, so the audience can understand the moment where the character stops, thinks, and decides to act differently. This means the acting and body mechanics both have to support the same idea.
For the Heavy Object assignment, I had a lot of problems with the constrain part. I kept getting stuck because the object and the character were not working together the way I wanted. This made the process quite frustrating, because I had to keep going back and fixing things before I could continue with the actual animation.
Because of these issues, I decided to adjust my scene slightly so that it would still show the idea of a heavy object clearly, but in a way that was more manageable for me. I focused on making the body movement, weight and timing readable, instead of overcomplicating the scene too much. Even though I struggled during the process, I learned more about how important planning and constraints are when a character interacts with an object.
The session focused on defining the research question and developing a viable premise for the thesis. This was an important session because it helped me understand that a research question needs to be focused, achievable and supported by research. A strong question should not be too broad or too vague, because the thesis needs to investigate one clear issue in enough depth.
We looked at the characteristics of a good research question. A research question should be focused, researchable, feasible, specific and complex enough to develop across a paper or thesis. It should address one main issue, be answerable through primary or secondary sources, and fit within the time and limits of the project.
This helped me think about my own FMP thesis topic. At this stage, a possible research question could be: How can stylised 3D animation represent the contrast between media narratives of war and the lived experience of civilians affected by conflict?
This question feels more focused because it connects directly to animation, visual storytelling and my practical FMP work. It also gives me space to research media framing, propaganda, animated documentary, trauma, memory and civilian experience.
The session also explained that a topic should be narrowed down through preliminary research. This means reading a small number of relevant academic sources first, identifying key debates, and then deciding which specific issue or angle has the strongest potential. For my project, I need to avoid trying to cover the whole subject of war, media and animation. Instead, I should focus on a smaller area, such as how animation can visualise emotional distance, mediated suffering or the gap between public narratives and private experience.
We also looked at academic writing support, including cohesion in writing and how to communicate opinion academically. The cohesion resource showed that each paragraph should have a clear purpose and should connect logically to the next one. It also explained how signposting helps guide the reader through the argument. This is useful for my thesis because I will need to organise my ideas clearly and make sure the reader understands how each section connects to the research question.
The resource on opinion in academic writing was also useful because my topic is emotional and politically sensitive. It reminded me that my own view can be part of the research, but it needs to be supported by context, academic sources and critical reflection. The slides explain that academic writing should use other voices to support an argument, show how views have developed, and present opinion as informed by academic research rather than personal reaction.
My next step is to keep testing my question against the sources I find, making sure it is focused, researchable and connected to my FMP animation. I also need to continue developing a clear academic writing style, where my argument is supported by research and structured in a way that is easy to follow.
This week focused on improving facial animation, especially the eyes, and continuing the final stages of the Heavy Object & Change of Mind assignment. The main facial animation material was about eye animation, including blinks, eye darts and eyebrow movement. This helped me understand that the eyes are one of the most important parts of facial acting, because they show thoughts, attention and emotion before the rest of the body reacts.
One useful point from the session was that we should not blink just for the sake of blinking. Blinks should usually happen for a reason, such as a change of thought, a change in eye direction, a major attitude change, head movement or staring. This made me realise that even a small blink can affect how the audience reads the character’s emotion. If the blink is placed randomly, it can make the animation feel less intentional.
We also learned about eye darts and how they can show that a character is thinking or gathering information. The eyes should feel like they are locking onto something, rather than floating around without purpose. I found this helpful because eye movement can make a character feel more alive, even if the body is not moving much. The lecture also explained that eyelids should react to the eye movement, which makes the face feel more connected and natural.
Another part of the lesson focused on eyebrows. We looked at how eyebrow movement can support the eyes and change the meaning of a facial expression. For example, brows can move up or down depending on the type of question, thought or emotional reaction. I found this important because the eyes and brows should not be animated separately; they need to work together as part of the same expression.
For the Facial Pose – Connecting Poses assignment, we had to take three facial poses and connect them together after addressing feedback from the previous assignment. This was more challenging than just making still poses, because I had to think about what part of the face moves first and what follows after. I also had to consider whether a blink or eye dart would help the transition feel more natural. The assignment reminded me to look at reference frame by frame, use a mirror and think about timing, slow in and slow out.
We also continued the Heavy Object & Change of Mind assignment, moving into the Spline + Polish stage. At this point, the focus was on finishing the shot, addressing feedback and checking the animation frame by frame. We had to make sure there were enough keys so the animation did not feel floaty, smooth the curves in the Graph Editor and check motion trails on important parts like the nose, hands, hips and props.
This stage felt more technical, but also very important. In blocking, the main acting and poses are created, but in spline and polish the movement needs to become smoother and more believable. I understood that polishing is not just making the animation look cleaner, but also checking if the weight, timing and spacing still support the acting idea.
I still had a lot of problems with the constraint part of the assignment, and this made me feel quite stuck during the week. I was struggling to make the object connect properly to the character’s hand, and because of that the animation did not work the way I wanted it to. The object was not following the hand correctly, so I kept having to go back and check what I had done wrong.
Marianna helped me with this and explained the constraint setup more clearly. She showed me that I first had to position the hand and key it properly. After that, I had to select the main hand controller together with the object, then go to Animation > Constrain > Parent. This helped me understand how the object could be connected to the hand during the movement.
She also explained the difference between the object being connected and not connected by using Blend Parent. When Blend Parent is set to 1, the object is connected to the hand. When it is set to 0, the object is not connected anymore. This was useful because I understood better how to switch between holding the object and letting go of it. Even though I still found it confusing, this explanation helped me move forward and made the constraint process a bit clearer.