Category: Advanced and Experimental 3D computer Animation Techniques 1

In this week’s lesson we get to choose one thing that we wanted to explore and swap next week.

Projection Mapping

Today, we learned how to link an application with a projector to enable projection mapping. One key feature we explored was the masking tool, which allows users to draw and define the shapes or surfaces they plan to project onto. Once the shapes are mapped, we can import our animations into the software and align them accordingly.

Additionally, we were introduced to a tool similar to a sequencer in MadMapper. This feature enables users to organise and control the playback of animations in a sequence, allowing for smooth transitions and dynamic presentation control.

I found this tool to be extremely useful and see strong potential for incorporating it into future work. I had considered using projection mapping before, but I had never taken the time to learn the process. To my surprise, it was more accessible than I expected. Given its creative possibilities and ease of use, I will definitely consider using it, possibly for my Final Year Project exhibition.

This session was a valuable introduction to a technique that combines technical skill with creative presentation. It has opened up new possibilities for how I can enhance my future visual projects.

Experimental Project Progress Update

I am currently in the testing phase of my project, experimenting with different armature techniques and aesthetic styles. I am also exploring whether the model might work better without an armature at all.

At first, I tried sculpting my character using only clay, without any internal support. However, the clay could not hold its shape. It would not stay together and kept falling apart.

This led me to research how to build effective armatures to give the model structure and stability.

This process of trial and error is helping me understand not only the technical needs of the materials but also how the inner structure can affect the overall look. I am looking forward to improving both the form and the style as I continue.

Although it sticks well to the body, the shape looks strange.

This is the simplest armature tutorial video I could find and try, but it does not seem to work well. I had trouble adding clay onto the armature because the clay kept breaking when I tried to push it in.

I tried another technique by poking the wire into the clay and attaching them together, but it did not work well either. When I moved the rig, it easily fell apart. I will need to fix this issue using other methods.

For the aesthetic, I want to keep everything simple. I plan to draw the background, characters, and props using white lines so that the focus stays on the balloon dog. I will do more testing to see how well this style works.

Progress on my experimental project

Building upon previous feedback and research, I have developed a new narrative element to integrate into my 3D animation. Specifically, I plan to include an imaginative sequence from the perspective of the balloon dog, envisioning what might happen moments before it is nearly struck by a car. This addition allows me to incorporate a distinct visual style—potentially through stop-motion or an alternative technique—to represent the dog’s internal thoughts or fears. Not only does this enhance the emotional resonance of the scene, but it also aligns with my broader exploration of using mixed media to signify shifts in perception or reality within the narrative.

In addition, I have considered incorporating stop-motion animation into the credits for both the stop-motion and 3D portions of the project. This decision was inspired by the traditional practice often seen in cinema, where distinct stylistic choices are made to enhance the overall viewing experience. I believe this could add a unique and playful touch to the final presentation.

However, I must ensure that the transition between the 3D animation and stop-motion is seamless. To achieve this, I plan to match key elements, such as items or colors, across both mediums, maintaining a cohesive aesthetic. It is essential that I confirm these design choices early in the process to avoid unnecessary revisions, which could lead to inconsistencies in the final result. Additionally, I intend to vary the camera angles—avoiding repetitive shots in the same direction—to keep the sequence visually engaging and dynamic.

Currently, I am in the process of preparing the stop-motion animation, and I aim to begin filming as soon as possible, as the project timeline is quickly approaching its end.

Progress on Body Mechanics Animation

Today, we did not learn any new material but continued refining our existing work.

For my part, I focused on improving my project. However, I encountered several challenges. At one point, I became unsure of what I had already completed, what still needed to be done, or even the purpose behind some of the changes. I was making revisions based solely on my tutor’s instructions, without a clear understanding of the overall direction. As a result, I began to feel lost and uncertain about how to proceed with the polishing process.

To address this, I decided to attend class and speak with a classmate to gain advice and feedback. I believed that hearing another perspective could help clarify my thoughts before presenting the work to my tutor for further feedback. This experience reminded me of the importance of seeking guidance and reflecting critically when facing creative obstacles.

Lately, it feels like things are not working very well. I have been trying to fix the issues step by step, but in doing so, I have ended up adding more frames that capture incorrect poses. Each attempt to correct one problem seems to uncover another—such as misplaced foot positions or awkward timing. Still, I continue to work through it, focusing on each flaw as it appears, hoping that persistence will eventually lead to clarity.

I tried to further polish my parts, including adding the bending of the back after the character and the overshooting hand movement at the end. However, it still does not seem to be working very well. I will continue refining it based on the feedback and hope it will improve soon.

Spline again!!

Throughout the first term, we explored spline multiple times as part of our foundational animation training. Now, returning to this stage again, I find myself approaching it with a more informed perspective—particularly in relation to industry-standard workflows.

Prior to taking this course, I had a misconception about how spline was used in professional animation. I had assumed that much of the animation process was carried out entirely in spline mode. However, as I’ve progressed and gained a clearer understanding of the production pipeline, I’ve come to realize that this is not the case.

In professional practice, the majority of the animation work—especially the planning of key poses, breakdowns, and moving holds—is actually completed during the blocking stage. Spline, contrary to what I initially believed, functions primarily as a final polish phase. It is where the animator smooths out transitions, refines timing, and adds subtle details to bring the performance to life.

This shift in understanding has significantly changed how I approach my own animation workflow. I now place greater emphasis on making my blocking as strong and detailed as possible, ensuring that the intent and rhythm of the performance are already well-established before entering spline. This not only streamlines the process but also allows the spline stage to focus more effectively on refinement rather than major structural changes.

Progress on Body Mechanics animation

This is my weekly progress update.

I attempted to implement the feedback provided by my tutor; however, I encountered several challenges that made the process frustrating. One significant issue arose when I switched the animation mode from blocking to spline: the left hand of the character began rotating continuously without stopping. In an attempt to resolve this, I added keyframes to stabilize the motion. While this provided some improvement, it still did not produce an ideal result. Additionally, I experienced problems with the sword’s material, which was intended to be transparent but did not render as such.

Overall, I am not satisfied with the current spline version. I underestimated the amount of time and work required, assuming it would only involve implementing the suggested changes. In reality, the process was more demanding and required reworking poses to ensure visual clarity—for instance, preventing body parts from overlapping in ways that obscure the character’s silhouette (as seen in the reference image below).

One particular moment that stood out as problematic was the section where the character steps back after successfully pulling the sword. This part feels awkward, although I am currently unable to identify the exact issue. I plan to consult with my professor for further feedback and suggestions on how to improve it.

That said, there was one aspect of the animation I found quite successful: the final overshoot of the character’s hands. I was pleasantly surprised by how smooth it appeared. Initially, I expected to spend significant time polishing that section, but the use of IK (Inverse Kinematics) for the hands contributed to a more natural and fluid motion.

By keyframing the hand controllers directly, the arm movement followed intuitively, eliminating the need for detailed frame-by-frame adjustments. This is a valuable technique I will consider applying in future projects.

My tutor highlighted key areas for improvement, specifically spacing and posing. He also recommended modifying the ending to have the character fall to the ground, which could help simplify some of the current issues. Nonetheless, I am inclined to continue refining my original idea. I see this as an opportunity to challenge myself, improve my understanding of body mechanics, and build confidence in tackling similar tasks in future animation work.

What is NDisplay?

nDisplay is a technology used to render and project video content onto screens with non-standard or irregular geometries. A prominent example of its application is in 3D anamorphic displays.

These types of screens are increasingly prevalent in densely populated urban areas. I have often found them visually striking and have long been interested in understanding the underlying physics. Observing the displays from different angles appears to produce varying visual effects, which has further sparked my curiosity about the principles that govern their operation.

How to make NDisplay?

“Such visual effects can be efficiently rendered in Unreal Engine using nDisplay through a relatively straightforward process. The first step involves initiating a project configured for nDisplay support.

Next, the target display surface—intended to project the video content—is imported into Unreal Engine.

Subsequently, the video content is mapped onto the imported display geometry to ensure accurate alignment and visual coherence.

That essentially completes the process.

One particularly interesting aspect is that the animated content is typically positioned behind the screen geometry. This configuration is essential for maintaining correct perspective and reflective behavior, which contributes to the illusion of depth and realism.

Additionally, I was surprised to learn that the content displayed across multiple screens must be rendered separately, rather than being treated as a single continuous display. I had initially assumed it functioned as one unified surface.

Furthermore, the 3D visual effect is only perceptually effective from specific viewing angles and positions. Outside of these optimal vantage points, the illusion can break down, resulting in distortions or visuals that appear incongruent with the intended perspective.

Progress on my experimental project

This week, I have been refining my concept in response to constructive feedback from both my primary tutor and a specialist in stop-motion animation.

Initially, my intention was to create a stop-motion animation trailer to promote a larger 3D animation project on platforms such as Instagram and other social media. Consequently, I opted for a portrait-oriented frame to align with the visual standards and user behavior typical of these digital platforms.

Upon further reflection, I came to realize that producing a stop-motion trailer for a 3D animation could potentially create confusion for the audience, as the two mediums convey different visual expectations and stylistic cues. This realization prompted a significant shift in my approach: rather than using stop-motion as a standalone promotional tool, I decided to integrate it within the 3D animation itself as a narrative device. This method enables the stop-motion sequences to serve a functional purpose within the story, enhancing the narrative by representing specific moments such as a character’s imagination, memories, or visions of the future.

This technique has been employed effectively in various films and animations to signify shifts in perspective or reality. For example, in Enchanted, the transition from traditional 2D animation to live-action cinematography underscores the protagonist’s movement from a fantastical realm into the real world, providing a clear visual distinction between the two settings.

A particularly compelling example of this technique can be observed in Black Myth: Wukong. In this game, each time the protagonist, Wukong, defeats an enemy, the narrative shifts to reveal the backstory of that character. These flashbacks are presented in a variety of visual styles, including 2D animation and stop-motion. Rather than feeling disjointed or inconsistent, these transitions enrich the storytelling by offering a distinct aesthetic for each character’s history, thereby enhancing the emotional depth and narrative complexity. Moreover, this approach showcases the artistic versatility of the studio, highlighting its ability to work across multiple animation styles. This not only sustains viewer interest but also reinforces the creative identity of the production, making the overall experience more dynamic and engaging.

This multi-style approach to storytelling is something I am seriously considering incorporating into my own project. It offers an opportunity not only to enrich the narrative but also to demonstrate a broader range of technical and creative skills.

In addition to conceptual development, I also visited the stop-motion studio this week to familiarize myself with the available equipment. This hands-on exploration gave me a clearer understanding of the practical resources at my disposal and will inform how I plan and execute the stop-motion segments of my animation.

Following my tutor’s recommendation, I explored a practical setup for capturing stop-motion animation, which involves positioning the camera overhead, placing the character centrally within the frame, and situating the background elements—or a green screen—beneath. I found this method to be both efficient and intuitive. Compared to using a tripod or rig to suspend the character, which would require time-consuming post-production work to digitally remove the support structures, this approach offers a cleaner and more streamlined workflow during both production and editing stages.

What have we learnt?

In today’s class, we explored more advanced aspects of blocking than I initially anticipated. At first, I understood blocking as simply setting up the key poses in Maya. However, after the session, I realized that blocking involves much more than that. In fact, blocking can incorporate significant movement, similar to spline, and the more detailed our blocking is, the fewer challenges we will face later on. Since blocking is the foundational stage of animation, investing time in it reduces the work required during the spline phase, where we can focus on refining knee pops and performing cleanup tasks.

Key Concepts in Blocking

Basic Blocking:

• Establishing key poses, timing, spacing, and initial motion.

Blocking +:

• Expanding on the original blocking by adding more frames, refining the initial movement.

DO NOT HIT SPLINE:

• It is essential not to automatically convert to spline during this stage. The focus is on solidifying the animation’s structure.

Moving Holds:

• Moving holds are critical to prevent the animation from appearing static or “floating.”
• These are moments when a character is holding a position while still subtly moving.
• For example, before the head turns to the right, the body, head, or hand might slightly tilt to the left.

Overshooting:

• After a movement, there may be residual movement that follows through.
• For example, after a head turns to the right, the body, head, or hand might continue to move slightly to the right, creating an overshoot effect.

Copy-Pairs:

• Sometimes, you may want to hold a specific frame without any in-betweening. To achieve this, you can copy and paste the frame to maintain the pose or position for a desired duration.

Additional Tips:

• To adjust the timing of a moving hold, you can use the middle mouse drag to shift its placement.

By understanding these advanced principles, I can now approach the blocking phase with greater depth and attention to detail, ultimately streamlining the later stages of the animation process.

Breakdown:
Breakdowns are the in-between poses that help define the motion between key poses. For example:

• Waving: Shows the movement of the arm as it waves.
• Bending: The poses between straight and fully bent positions.
• Leg Walking: The in-between frames showing the movement of the legs as they walk.

Arcs:
Arcs are the curved paths followed by moving objects or body parts. They are crucial for making movement feel natural and fluid. Even if there are some mistakes in the animation, arcs help improve its overall quality.

In short, breakdowns define the in-between poses, and arcs ensure smooth, natural motion. Both are key for creating believable animation.

Body Mechanics Progress

This week, I revisited and re-shot the reference footage for my sword-pulling animation, focusing on enhancing both the emotional expression and the physicality of the character’s performance. In particular, I worked on exaggerating the celebratory moment when the character successfully pulls the sword from the stone—emphasizing the joyful “Yay!” to make the moment more expressive and readable. I also aimed to increase the sense of physical effort during the pulling motion by incorporating more stretch into the body and adding several follow-through steps after the sword is released.

During the reference shoot, I paid close attention to body mechanics, particularly the weight shift required to convincingly portray the character’s struggle. Initially, I attempted to simulate resistance by embedding a stick into a heavy object, mimicking the sword-in-stone scenario. Unfortunately, I was unable to find a prop with enough resistance, which made the performance feel less grounded. As a workaround, I asked a friend to hold the stick tightly, allowing me to better simulate the character’s physical effort.

Even with this adjustment, I felt that my acting lacked dynamism. This prompted me to be more expressive during the animation blocking stage, pushing poses and timing beyond what was captured in the reference. I also made a conscious effort to add more curvature to the character’s poses. I’ve come to realize that I need to think more about how the character’s form changes dynamically during movement—incorporating curves throughout the body to avoid stiffness and to create more appealing, fluid motion. In particular, I am beginning to understand that different body parts should move with offset timing, similar to how different parts of a bouncing ball move in a chain reaction, emphasizing follow-through and overlapping action.

After shooting the reference, I sketched thumbnail drawings to explore key poses and refine the composition. I focused on using more curved lines to accentuate movement and silhouette clarity.

For the blocking phase, I experimented with using locators—a technique I had not previously utilized. Although there was an initial learning curve, I found it extremely helpful, especially in sequences where the character travels through space. Locators allowed me to plan the overall timing and trajectory of the character by animating the main control first, and then transferring that motion to the individual body part controls. This helped establish a strong foundation for the animation early on.

In this pass, I also decided to add more keyframes during blocking, aiming for a version that was closer to the spline stage. This approach allowed me to reduce the amount of refinement needed later and gave the animation a more finished appearance early on. I am relatively pleased with the results; the animation feels more polished than my previous work during my undergraduate studies. However, I do acknowledge that the improved result may also be partly due to the higher-quality rig I am currently using.

In summary, this week’s work provided a valuable opportunity to reflect on both technical and performance-related aspects of character animation. Key takeaways include the importance of pushing acting choices, creating curvature in poses, and treating different body parts with staggered timing to enhance fluidity. Going forward, I will continue polishing this animation, with particular attention to refining movement arcs and emphasizing believable, expressive motion.

What is blocking?

1. Terminology from Film and TV

• Blocking is a term borrowed from film and television, though it is also essential in animation. It refers to the initial setup of key poses and the foundation of the animation’s movement.
• In animation, blocking can be seen as the “skeleton” of the animation, where the core poses and movement arcs are defined.

2. Blocking in Animation

• When translating an idea from reference to animation, blocking serves as the foundation for conveying the action. However, reference and final animation should not be identical. The animation should be adjusted to suit the intended style, mood, or emphasis.
  • Example: A character’s head might be tilted more towards the audience than in the reference, or they may not be as upright as the reference suggests. These small adjustments help to create a more dynamic, personalized animation.
• Be mindful of contrast in shapes between the different poses to ensure visual interest and clarity in movement.

3. Tips for Effective Blocking

• Efficiency is key in the blocking phase. It’s essential to get the idea out quickly without over-detailing, focusing on the major poses and timing first.
  • Copy-paste can be a helpful technique to speed up the process when creating repetitive actions or movements.
• Don’t neglect hand and finger movements—it’s crucial to also fix the hands, fingers, and wrists, not just the palms or the basic position of the arms.
• While it’s tempting to rely heavily on the timing of your reference material, avoid being too dependent on it. The reference should guide the action but should not define the final product too rigidly.
• Tools like Anamonolok can be helpful for visualizing the timing and ensuring that the poses transition smoothly.
• When working with FK/IK (Forward Kinematics/Inverse Kinematics), remember to switch between them as needed to get the most fluid motion.
• While working in stepped mode, always check your animation in spline mode to ensure smooth transitions and adjust poses where necessary.

4. Mental Tip

Embrace Imperfection

• Perfection is often unattainable in the early stages of any animation. It’s essential to focus on completing the work first and refining it later. As the saying goes, “It’s better to have something finished than something perfect that’s never completed.”
• Progress is achieved through iteration, and continual improvement is a natural part of the creative process.

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Synchronization of Movement

Coordinating movement across the body is crucial for achieving fluid and realistic animation. Small adjustments to each part of the body help to create harmony and maintain proper weight distribution.

In animation, all body parts should move and be keyed simultaneously to maintain consistent, believable motion. For instance:

When animating the arm, the movement of the shoulder must also be taken into account, as it will naturally be affected by the arm’s motion.

Progress on my shot

After revisiting my earlier concepts, I came up with a completely new idea for my animation, though it still involves a sword. The concept centers around the act of pulling a sword from its sheath, a gesture commonly seen in many films, particularly those involving royalty or epic battles.

To make the animation more unique and engaging, I decided to add a slapstick element at the end: the sword breaks as it is drawn from the sheath. This unexpected twist adds humor and surprise to the scene, providing both a visual and narrative contrast.

I find this new idea to be more compelling and manageable compared to the previous concepts. It offers a good balance between complexity and feasibility, and I have already filmed several references to guide the animation process.

How to capture motion with your phone?

In this course, we explored the process of recording video within Unreal Engine environments using mobile devices. This functionality can also be extended to support motion capture applications.

The workflow involves several key steps:(1) enabling the necessary motion capture plugins, (2) establishing a Live Link connection, (3) configuring remote sessions, (4) utilizing the Take Recorder in multi-user mode, (5) setting up the virtual camera, and (6) installing the Unreal VCam application on a mobile device.

During the practical sessions, we encountered several technical challenges related to network connectivity between the mobile devices and the host computer. These issues suggest that there are certain limitations inherent to this method, particularly in institutional or shared network environments.

To further evaluate the feasibility and performance of this approach, I intend to conduct additional testing using my personal device and home network.

Progress on my experimental project

By this week, I have developed greater clarity and confidence in my chosen direction. I have long been interested in exploring stop-motion animation, and this project presents an ideal opportunity to engage with the medium. Stop-motion allows me to deepen my understanding of animation through a more traditional, hands-on approach. Additionally, it offers a welcome break from prolonged screen time, which helps reduce eye strain.

To support this endeavor, I reached out to the Stop Motion Department at LCC. They kindly provided me with an induction, including access to materials, facilities, and relevant resources, as well as information on lectures and workshops available for further learning. This support has proven invaluable, enabling me to begin experimenting with different materials, developing concepts, and making full use of the resources provided.

I visited the LCC Arts Shop to purchase non-drying clay suitable for stop-motion modeling.

I immediately began sculpting my character with it.

While the clay was relatively easy to shape, I encountered difficulty attaching the body parts securely, as the material’s non-drying nature made it challenging to achieve stable connections. This presented a potential issue for animation, as unstable joints could hinder smooth movement.

To address this, I incorporated an internal armature, similar to a rig in Maya, to provide structure and maintain the integrity of the model during animation. This solution allows for more controlled and consistent manipulation of the character throughout the animation process.

Today’s Lesson

Key Planning Considerations:

• Shot planning should be detailed and purposeful.
  • When viewing the animation, the audience should immediately understand the action and intent.
  • Example: A character throwing a snowball might first show excitement, then fear or surprise upon being hit.

Movement Dynamics:

• Ensure the action has a clear arc from point A to point B.
• Introduce obstacles or complications to create tension or surprise.
  • Makes the animation more engaging and less predictable.
  • Example: A character attempts to jump into a pool but slips and falls instead.

Character & Story Elements:

• Include contrast in personality traits to add depth.
  • Example: A character who is capable of violence but gently cares for a flower.
• Employ exaggeration to enhance the clarity and appeal of pantomime.
• Blinking will not be included at this stage.

Technical Notes:

The camera will be locked in place for now (subject to change later depending on scene requirements).

Reference Selection

• While some references are useful for body mechanics alone, choose those that also convey character personality.
  • Personality is crucial for engaging and believable animation.
  • Avoid relying solely on motion-focused references lacking emotional intent or context.

Workflow Checklist

1. Planning

• Begin with conceptualizing the animation.
  • Mentally visualize the sequence.
  • Voice record yourself performing the scene to help establish timing and tone.
  • Import audio into Maya and block out keyframes based on this initial timing.
• Utilize Anamotolong timing tools to assist with early planning.
• Journaling: Maintain a record of your daily work.
  • Note key decisions and approaches.
  • This helps preserve consistency and avoid unintended changes to core elements.

2. Blocking

• Start with clear, strong poses.
• Ensure all body parts are keyed together during blocking to maintain control and consistency.
• Optional:
  • Use stepped mode for clean pose-to-pose visibility.
  • Alternatively, stay in spline mode and use the “.” and “,” keys to toggle between poses.

3. Animation

• Work section by section.
  • Aim for 1 second of spline animation per day.
  • Prioritize clarity and refinement within each segment.
• Watch playblasts, not just Maya’s viewport, to better evaluate motion, weight, and timing.
• Emphasize the movement of:
  • Head
  • Hands
  • Waist
  • These areas are most critical for expressive animation.
• Lower body movement is less essential in many cases but should still be addressed as needed for balance and realism.

Progress on my shot

This week, we were tasked with completing the planning phase for a body mechanics animation shot. During the brainstorming process, I developed several initial ideas. However, I quickly realized that the timing of these concepts far exceeded both the project limitations and my original expectations. This prompted me to reconsider the scope of my ideas and explore more concise alternatives.

Additionally, I was interested in continuing with a concept from my previous work—specifically, the balloon story used in last semester’s previs assignment. I saw this as an opportunity to begin developing the opening sequence of my Final Major Project (FMP) and begin refining it early.

However, upon further review, I recognized that the beginning of that scene lacks the physical complexity typically required in a body mechanics shot. It involves minimal weight shifts, limited upper and lower body dynamics, and few expressive movements of the hands or feet. As a result, while the idea holds narrative value, it may not be the most appropriate choice for fulfilling the technical goals of this week’s body mechanics exercise.

Reflection on First Idea – Fencing Animation

The initial concept I developed involved a fencing sequence. In this story, a fencer repeatedly attempts to strike a dummy but fails, even after trying various techniques, including a spin. Eventually, in a humorous twist, the fencer surrenders by handing the sword to the dummy, playing on the idea of slapstick comedy.

However, upon further consideration, I realized that the story was quite long and complex. Beyond the body mechanics required for the character’s movements, conveying the full narrative would likely demand a significant amount of time and effort to execute effectively. The extended duration, combined with the intricacy of the movements, would pose considerable challenges both in terms of animation and meeting the project’s time constraints.

As a result, I decided to abandon this idea in favor of a more manageable approach that better fits the project’s requirements.

Reflection on Balloon Story Concept – Previs Continuation

This idea essentially represents the beginning of my balloon story from last term’s previs project. I expanded the narrative by adding more detail, such as the boy poking the balloon at the end, in an attempt to enrich the scene. However, upon further evaluation, I determined that this idea also wasn’t suitable for the current body mechanics shot assignment.

The movements involved were limited to slight rotations of the upper body and minimal hand and head motions. While the concept had potential for emotional expression, it lacked the necessary physical complexity, particularly in terms of body mechanics. There was little to no significant weight shift or dynamic movement in the body, which is essential for the assignment.

As a result, I recognized that I needed to develop an idea that would incorporate more substantial body mechanics, such as weight shifts, turning movements, and more dynamic use of the hands, feet, and torso.

Lesson Summary

We have now entered a new term, with a focus on the concept of experience—both in terms of exploring it and experimenting with how it can be created and understood. In today’s session, we began by examining a series of definitions that distinguish between various roles and forms of engagement, which are crucial when designing experiences across different mediums.

The term user was particularly emphasized and was contrasted with other related terms:

• Audience – someone who watches
• Customer – someone who buys
• User – someone who actively engages or does
• Character – someone who performs
• Player – someone who plays
• Avatar – someone or something that replaces the self in a virtual or narrative space

This breakdown highlighted how the notion of a user is often at the center when we speak about creating interactive or immersive experiences. It was humorously noted that the only individuals who refer to customers as users are drug dealers—underscoring the importance of using terminology precisely, especially in fields like design, technology, and media.

We were also introduced to the work of artist and world-builder Ian Cheng, particularly his speculative science fiction project Life After BOB. This animated film and the subsequent installation, which was exhibited in Berlin, offer a compelling example of how narrative, technology, and audience experience can be integrated. Cheng is known for his expertise in constructing complex digital worlds and interactive systems, and his interviews were recommended as valuable resources for further insight into innovative experience design.

This lesson not only introduced foundational terminology but also encouraged us to think critically about how different kinds of users engage with experiences, systems, and narratives—an essential perspective for any creative or research-driven practice in experience design.

Ideation

After the introduction to experience design, I began generating ideas for my experimental project:

1. Extension of my FMP
   Develop the balloon dog further by making it interactive, allowing for greater audience engagement and memorability.

2. Experiments on my FMP
Test whether plain 3D animation is sufficient or if additional elements—such as interactivity or immersion—are necessary.

3. My Areas of Interest

• Stop-motion

• Interactive Installation

Regardless of the direction, I must define a clear target audience and consistently design the experience around their needs and expectations.