publications, creative work, courses taught

Emil Polyak

https://vimeo.com/54291478

Emil Polyak

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mailto:[email protected]

Emil Polyak

Puppe t d e s i g n

This project is entirely based on an existing physical glovepuppet. Monkey King (Sun Wukong), is the main characterin the classical Chinese epic novel Journey to the West writ-ten by Wu Cheng'en. The puppet is used in the famous tra-ditional Taiwanese puppetry called Budaisi. The elements ofthe design with their limitations perfectly translate into thethree dimensional virtual stage. The key difference between an animated character and areal-time puppet is the way how they become alive. Anima-tion is a background process and the animator “educates”the character through various stages from the design to therigging. An animated character will accept all input and sub-mit to the willpower of the creative spirit of the animator. Thephysical puppet on the other hand develops an organic unitywith the puppeteer who grants humanity to it using his orher hands. While the puppet completely depends on thehuman body, it’s crafted identity only participates in a per-formance creating dual existence with the puppeteer and un-like in animation the puppet will educate the human.While designing a virtual puppet we need to keep in mindthat the anatomical limitations are very important. Althoughwe have the power to transform seemingly lifeless materialsinto virtual biological machines in 3D, we must be very care-ful not to break the mystery of the puppet that is only an ob-ject waiting for it’s metamorphosis.

INTERACTIVE GLOVE PUPPET PART 1-1

4Copryright by Emil Polyak 2012

SamplePART 1.1.1 INTERACTIVE GLOVE PUPPET

5 Copryright by Emil Polyak 2012

Impo r t a n t d e s i g n e l emen t s

- TextureIt is closely related to the material the puppet was made of.The feel of the pattern in fabric, the lines in wood but eventhings like scratches in plastic feel familiar to us and tell us ifthe object is gigantic or miniature.

- FormIn the case of a glove puppet the form surrounds the humanhand similary how the clay wraps the wire armature in asculpture. The highest level of details should be developedaround the head and chest area where the puppeteer’shand is most active.

- ShapeAt the end of the day the virtual puppet even on a 3D stage- is projected on a flat screen. The powerful and readable sil-houette is a key element.

SamplePART 1.3 INTERACTIVE GLOVE PUPPET


Mode l i n g t h e h ead

The modeling of the head in this case is done by focusing onindividual elements and breaking them down into compo-nents that are merged at the end of the process. The mainelements are: face, skull and the neck. The ears are nevervisible therefore we skip them.

- FaceThe face has three components which are the mouth, thenose and the eye socket. Using the CV curve tool we traceone side of the mouth starting from the inner line of the lipsand creating as many splines as necessary while progres-sively following the form towards the nose, cheeks and chin.This process needs to be done simultaneously in front andside views using a side by side layout in Maya.Once the splines are ready we rebuild them all to equal num-ber of spans.Exactly same approach is used for the eye socket. The noseneeds to be traced with 4 simple splines starting from thebridge of the nose on one side of the face.Finally using the loft tool we build polygon geometry betweenthe splines. The nose contains four splines surrounding aform therefore we use the boundary tool instead of loft.The nostril is extruded from a single face.

SampleINTERACTIVE GLOVE PUPPET PART 1.2


During the combining and merging process we use the soft-selection tool to move around parts that need subtle adjust-ments. There is a tricky part at the bridge of the nose wherethe spin-edge tool can perfectly rearrange the edge-flow toa desired direction.

- NeckThe neck is a simple cylinder primitive with the correctamount of divisions to match the face. Using the soft-selec-tion tool we adjust the vertices snap and merge them to thechin.

- SkullTo create the skull we can use a little trick by creating acube, deleting it’s bottom face and applying a smooth too in-crease the divisions. After this we can use the sculpt de-former to stretch the geometry on a sphere. With this methodwe not only create quads but the distribution of the faces isalso very even and uniform from the start.

Extrude

Spin Edge

Mirrored and merged face

Cube

Cylinder

Sample

PART 1.4 INTERACTIVE GLOVE PUPPET


Simple breakdown of a triangle into quads

After smoothing andextruding the edge

Mode l i n g pa r t s , p r ops

The puppet is a real-time character, it needs to perform in theMaya’s Viewport 2.0 smoothly with an acceptable framerate. The mesh needs to be at optimal level which meansthat round forms give the impression of smooth curvaturefrom a camera distance we plan to use. All models are donewithout triangular or n-sided (more than 4 sided) faces.Planning the texturing and UVs in this phase is essential toavoid modeling parts that can simply exist as textures.Without trying to cover modeling of each and every part ofthe puppet the following subjects are discussed:

- General tips for modeling- Models that receive transparency maps- Modeling from Illustrator curves- Using nCloth for modeling

- General tips for modelingModeling can be approached by many ways and there arewell established workflows in the 3D industry. Everyone canchoose a favorite direction that leads to a desired result. Al-though there are no rules of “doing it”, the finished productmust meet the given criteria. In this case we model only from quads which means thateven a triangular shaped object like the flags behind the pup-pet’s head will be broken down into four sided elements(faces). This process many times feels like a puzzle game,and it is a great way for beginners to practice developingedge flows and topology. The quad method is sometimeschallenging but it gives completely predictable result whensmoothed and it is easier to UV map these geometries. Thesecond criteria in this case is a uniform and even distributionof faces avoiding long rectangulars.The example of the shirt uses curves which were cut at theintersections and then rebuilt for using the boundary tool.

Modeled with n-Cloth

Curves definingfour sided areas.

After combiningand mergingthe pieces,extrude the neckand sculpt.



- Models that receive transparency mapsMaya 2013 supports “depth peeling” in viewport 2.0. Thisfeature enables the use of transparency maps in realtimewithout display problems such as flickering when objectsmove. Transparency maps are used to “fake” details aroundthe edge of the model that would need substantial amountof faces.

Extruding the border edge is a quick way to createnew geometry that flows around the original centrepiece.

Elements are slightly offseted and given a feeling ofdimension by lifting the centre edge loop by a verysmall amount.

The elements with the transparency maps ap-plied.

SamplePART 3.1 INTERACTIVE GLOVE PUPPET


D e s i g n i n g a u sab l e p r o t o t ype

The purpose of a working prototype is to test concepts andsolutions. There is minimal amount of work dedicated to safeconnections, intuitive use and none to aesthetics or comfort.The goal of the working prototype is to “prove”, no timeshould be wasted on anything else.

When the working prototype is optimized, the hardware ishidden from the user and protected from accidental discon-nections and damage. We consider the prototype usablewhen others than the creator are able to test.

Working prototype

Usable prototype



Common materials used for a working prototypes are duct-tape, velcro ties and straps, plastic cable ties, rainbow-color-coded cable.

The working prototype needs enclosures, standard cableswith connectors for basic modularity to be able to pull every-thing apart.

- EnclosuresThe biggest challenge with choosing boxes is finding the rightsize. We don’t want to make anything too big but we stillneed to fit in lots of connector sockets and cables.There are aluminum and plastic boxes available butwe need to keep in mind that for example a mag-netometer sensor will not function correctly in ametal box (Faraday cage).

- CablesFor the internal connections avoid using single strand wirebecause it breaks very easily. The best choice is copperwire.

The connection from the gloves use serial cables also calledDB-09 (RS422). These cables have 9 wires inside themwhich is perfect for this project.

The flex sensors inside the gloves connect using the sametypes of cables that are internally used in the enclosures butthese are shrink-wrapped and protected with additional plas-tic pipes from a craft store. The connectors on these cablesare mono audio jacks of 3.5 mm size.

Sample

http://vimeo.com/emilp/newsman

http://vimeo.com/emilp/newsman

http://vimeo.com/21131143

http://vimeo.com/21131143

Wave in Motioninteractive installation (mechatronics)

Animates a wave segment inspired by multiplied sine waves of the ocean. The interconnected mesh has a loose network, creating a textile that “floats’.It represents human-nature-interaction.

The audience can interact using the black rocks. By removing any of them the balance is interrupted and the wave becomes active. The process was based on research and virtual prototyping of waves and ripples.

Emil Polyak - Creative work II

http://www.polyzaar.com/cw2.html

Commercial Demo Reel (video)

Emil Polyak - Creative work III

https://vimeo.com/36151047

Client: SortedProducer: YukfooDirector: Alan DicksonCharacter Technical Director: Emil Polyak

Client: SkySportProducer: BrandSpankDirector: Steve ThomsonAnimation, modelling, texture, lighting, vfx, compositing: Emil Polyak

Client: NZ LotteryProducer: YukfooDirector: Alan DicksonCharacter Technical Director: Emil Polyak

Client: NZ FireServiceProducer: YukfooDirector: Alan DicksonAnimation, modelling, lighting, vfx, compositing: Emil Polyak

Client: Sea World Whale WatchProducer: BrandSpankDirector: Steve ThomsonTechnical Director: Emil Polyak

Client: ArklesProducer: BrandSpankDirector: Steve ThomsonTechnical Director: Emil Polyak

Client: SubaruProducer: YukfooDirector: Alan DicksonModelling, lighting: Emil Polyak

Client: Mat BlamiresLighting, compositing: Emil Polyak

Client: Paramount PicturesProducer: DsireDirector: Dickon SireAnimation: Emil Polyak

Client: La LunaModelling, texturing: Emil Polyak

Frogleone and the FlyPersonal Project.

Client: ArnottsProducer: YukfooDirector: Alan DicksonTechnical director: Emil Polyak

Client: Tainui StevensProducer: BrandSpankDirector: Steve ThomsonModelling, lighting, texture, set design: Emil Polyak

Client: Maori TelevisionProducer: BrandSpankDirector: Steve ThomsonModelling, lighting, texture, animation: Emil Polyak

Client: BubbleDomeDirector: Rebecca MerleModelling, texture, lighting, design: Emil Polyak

Client: Tahiti LotteryProducer: YukfooDirector: Alan DicksonModelling, lighting, texture, animation: Emil Polyak

Client: Positive Thinker ProductionsDirector: Mitchell WadeModelling, texture: Emil Polyak

Course DescriptionsNew York University, Tisch School of the Arts Asia

prof Emil Polyak

2D/3D Character Production (4 CREDITS)The course focuses on developing an animated character with personality. Students will exploreseveral examples of living creatures and discover how to recreate believable motions and emo-tions. In addition to creating 3D and 2D characters using rigs, dynamics and muscle simulations,students will also build physical models.The course covers also the modeling of a high resolutioncharacter using ZBrush, texturing and rigging for facial and motion capture.

Compositing (4 CREDITS)The course focuses on developing an animated character with personality. Students will exploreseveral examples of living creatures and discover how to recreate believable motions and emo-tions. In addition to creating 3D and 2D characters using rigs, dynamics and muscle simulations,students will also build physical models.The course covers also the modeling of a high resolutioncharacter using ZBrush, texturing and rigging for facial and motion capture.

Interactive Art (4 CREDITS)The course focuses on developing an animated character with personality. Students will exploreseveral examples of living creatures and discover how to recreate believable motions and emo-tions. In addition to creating 3D and 2D characters using rigs, dynamics and muscle simulations,students will also build physical models.The course covers also the modeling of a high resolutioncharacter using ZBrush, texturing and rigging for facial and motion capture.

Introduction to 3D (4 CREDITS)Students are introduced to 3D production tools used for computer graphics and 3D animationusing Maya. The class addresses the evolution of software and tools in the context of productionpipelines for a digital animation studio. Topics include basics of 3D modeling techniques, tex-turing, rigging, and character animation.The main goal is to develop a thinking process whiletransiting from the real world to the 2D space on paper and back to 3D inside the software.This process involves the identifying and analyzing of the aspects that impact on the materials,light, textures, physical objects, atmosphere, motion and bio-mechanics. When employing thesoftware, production techniques are used to ensure efficiency with a pipeline.

Digital Fabrication Studio (2 CREDITS)This class explores advanced topics in digital fabrication. The topics include kinetic sculptures,installations using mechatronics, robotics and creating dynamic physical spaces for projectionsand interactivity. Digital and animation tools will be used to design projects that move beyondclosed systems. Students interested in working with materials such as wood, metals, plasticsand paper are welcome. Students taking the Interactive 3D class and the Digital FabricationStudio will have the opportunity to take their interactive projects to the next level.

Games of Yesterday (2 CREDITS)This course is a study of ancient board-games of different cultures through the times of thehuman history. Focusing on the element of play, chance and instinct, students will learn theglobal concepts of interaction through games. Games such as mancala, go, backgammon, senet,mah jongg and others are played in this class.Students will be introduced to games as an art-form that uses mechanics, interaction and design. They will learn how this unique synergy ofcomponents can actively communicate through “play”. We will investigate the origin of board-games, the spirit of the era, the aesthetic impact and potential transformations in the modernworld for example for games on phones applications.

Visual Effects (2 CREDITS)The course shows how to create digital visual effects for animation and film. The course surveysexamples from the history of production of visual and special effects. Students learn how to pro-duce realistic 2D and 3D digital effects and how to seamlessly integrate these elements intofootage. An emphasis on realism and learning how to see in order to create a suspension ofdisbelief for the viewer will be stressed.

Emil Polyak

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