vanoblog

Author: Quanyu Li

Categories
Design for Animation, Narrative Structures & Film Language

WEEK 2 & 3

Defining the Research Question Through Existing Visual Tropes

After identifying architecture as a key interest, I began mapping recurring visual tropes in dystopian animation and games. Cyberpunk cities, monumental concrete buildings, and dense vertical urban spaces appeared repeatedly across different media.

At this stage, my question shifted from what architecture looks like to what it does. Why are certain architectural styles—especially Brutalism and cyberpunk urbanism—so frequently used to represent future societies? What assumptions about power, technology, and humanity are embedded in these visual choices?

This reflection helped refine my research question toward architecture as metaphor, rather than style.

Literature Review: Architecture as Narrative Space

To ground my observations theoretically, I began reviewing academic texts on spatial storytelling. Jenkins’ concept of “narrative architecture” was particularly influential, as it frames built environments as cultural constructions that guide interpretation rather than merely host action.

Nitsche’s discussion of game spaces further supported this approach by emphasizing space as an integrated system of narrative, visual, and experiential information. These readings confirmed that my intuitive response to architecture had an established theoretical foundation.

This stage of research allowed me to shift from visual intuition to academic framing.

Categories
Design for Animation, Narrative Structures & Film Language

WEEK 1 Inspiration

Initial Motivation: Why Architecture Became My Research Focus

This research began with a practical and intuitive question: why do certain animated and game worlds feel ideologically heavy even before any narrative is explained? In many dystopian animations and games, I noticed that architecture alone often communicates power, control, and social hierarchy.

Rather than focusing on character or plot, I became increasingly interested in how environments—particularly large-scale urban architecture—shape the emotional and political tone of a fictional world. This observation led me to frame architecture not as background decoration, but as a narrative structure that actively produces meaning.

This blog marks the starting point of my research inquiry: how architectural design functions as a storytelling and ideological device in animated and virtual worlds.

What’s more, I am quite interested in architecture.

Brutalist architecture

St. Joseph Hospital in Tacoma, Washington, in 1974

Categories
3D Computer Animation Fundamentals UE5

WEEK 11 & 12

I focused on cinematic sequencing and animation. Camera rails and cinematic cameras were set up, and multiple object animations were keyed to enhance environmental storytelling.

The main sequence was designed to simulate a player-like exploration, beginning from a telephone booth and moving outward into the steampunk city, gradually revealing environmental details and atmosphere.

Different lighting setups were used to distinguish narrative spaces:
• The main steampunk city features a sunset lighting scenario, conveying a sense of grandeur and romanticism.
• The cult environment is set at night with rain, using green ambient lighting contrasted with red backlighting behind doors, while candles provide warm highlights to enhance visual tension.

During the final stage, I addressed rendering crashes and quality limitations by switching to cinematic-level rendering. Output settings were optimised for high quality and anti-aliasing, exporting the sequence as high-quality image frames, which were later composited into an animation in Blender.

I also imported a previously created angel model to increase the dramatic impact of the cult scene. And add the object animation in the level sequence.

Final Outcome

Categories
3D Computer Animation Fundamentals UE5

WEEK 7 – 10

I focused on building a steampunk environment in Unreal Engine, starting with a whitebox layout to establish spatial structure and scale.

One of the main challenges was constructing the street layout, as the map was based on brick street modular assets that required manual assembly. This process was time-consuming but allowed precise control over the environment’s layout.
I imported Ultra Dynamic Sky to create an adaptive sky system and integrated multiple steampunk architectural OBJ assets to populate the scene.

For materials, I applied Unreal Engine smart material assets to all whitebox meshes. I modified the master material by adjusting and adding nodes, then created and fine-tuned several material instances. UV scaling was adjusted to ensure consistency across the environment, resulting in a cohesive steampunk visual style.

Two camera angles were set up at this stage. However, the limited map size caused the skyline boundaries to become visible in camera shots. To resolve this, I adjusted height fog, expanded the playable area, and placed architectural structures in the distance to block the horizon line, ensuring the environment appeared continuous and immersive.

In addition, I constructed a cult-themed secondary environment, establishing its spatial layout and setting up two initial camera shots.

Material

For materials, I applied Unreal Engine smart material assets to all whitebox meshes. I modified the master material by adjusting and adding nodes, then created and fine-tuned several material instances. UV scaling was adjusted to ensure consistency across the environment, resulting in a cohesive steampunk visual style.

After i modelled the scene in blender, I use Rizom UV to fix the UV part.

Categories
3D Computer Animation Fundamentals Maya

WEEK 9 – 11

Studied in-between animation between poses. The blocking and turning it into a real animation.

The work process of blocking involves, firstly, recording a reference, then posing and timing: key poses, breakdowns. After that, make sure the weight is correct. The next step is offset body parts should not all move at the same time. The last one is Inbetween. Adjust the parts that are done by the computer.

A weapon-throw attempt highlighted the need for more precise controller binding, so focus shifted to an empty-hand martial arts performance.

I draw a plan. Reference material was used, but exaggerating motion and avoiding straight-line posture created a more dynamic and expressive animation.

Categories
3D Computer Animation Fundamentals Maya

WEEK 7 & 8 Weight & Walking animation

Worked on walking cycles, including weight shifting and looping motion. Step lengths were initially inconsistent, causing foot placement drift. Used a fixed object to control step length and looped walk curves with constant offsets, enabling consistent forward movement.

Categories
3D Computer Animation Fundamentals Maya

WEEK 5 & 6 Pose

Learned about IK, FK controllers and their distinctions; the two should not be moved simultaneously. Practiced blocking before full animation. Explored the golden pose, emphasizing dynamic body shapes such as the “C-shape” and adjustments to the character’s center of gravity for balance and visual appeal.

https://syncsketch.com/sketch/7a4lxl4GZupX

https://syncsketch.com/sketch/bLDcr3w8A9R8

https://syncsketch.com/sketch/ibwbX1nMdqw3

Hand pose

Hands reflect what the character is feeling, help define their personality, and express emotion. Use grouping, the leading finger, and the inner connectivity method to do the hand pose.

https://syncsketch.com/sketch/SsRTkO7VQkHW

Categories
3D Computer Animation Fundamentals Maya

WEEK 3 & 4 Ball with tail & Juice box acting animation

This week, I worked on a bouncing ball with a tail, focusing on the principle of anticipation. I learned that anticipation functions as a mechanical build-up of force, allowing motion to appear more dynamic and physically believable. Since all movement is created by internal or external forces, anticipation helps store and release energy effectively before the main action.

I applied the idea that animation is structured around anticipation, action, and reaction, and used this understanding to improve energy flow and motion continuity. By applying anticipation before directional changes, the animation follows basic physical laws of motion and results in more natural conservation of energy.

I learned that character actions are driven by goals, and acting is reacting. Based on this, I created a simple juice box acting animation focused on clear intention and response. Including the planning, blocking and animation.

Categories
3D Computer Animation Fundamentals Maya

WEEK 2 Pendulum animation & Key pose

This week, I studied basic ball bounce animation principles, focusing on motion, timing, and physical behaviour. I practiced using Maya’s Reference Editor, motion trails for visualising movement, and the Graph Editor to refine animation curves.

I created a short animation of a ball falling, bouncing, and rotating. During the process, I fixed an issue with incorrect rotation direction and adjusted the motion using visualised trajectories and curve editing to improve accuracy and clarity.

I also improved my animation planning by refining my drawing-based timeline, which helped structure the animation more effectively before working in Maya.

In addition, I created a falling juice box animation. I recorded reference videos of juice boxes with different weights being dropped and used these references to study and replicate variations in falling speed and physical behaviour.

Animate two juice cartons falling:
One empty carton
One full carton

I studied the principles of timing and spacing in animation, including linear spacing and slow-in/slow-out, and applied them to adjust the motion rhythm and enhance the clarity and realism of the animation.

I record a reference.

Categories
3D Computer Animation Fundamentals Maya

WEEK 1 Bouncing ball animation

Planing

This week, I studied basic ball bounce animation principles, focusing on motion, timing, and physical behaviour. I practised using Maya’s Reference Editor, motion trails for visualising movement, and the Graph Editor to refine animation curves.

I created a short animation of a ball falling, bouncing, and rotating. During the process, I fixed an issue with incorrect rotation direction and adjusted the motion using visualised trajectories and curve editing to improve accuracy and clarity.

I also improved my animation planning by refining my drawing-based timeline, which helped structure the animation more effectively before working in Maya.