RSA
Indivisual Project
Students participated in a 12-week individual project, researching RSA briefs tailored to their specific interests.
​Introduction
The Royal Society for the Encouragement of Arts (RSA) is an international platform established to facilitate the fulfilment of human curiosity and creative potential.
The Student Design Award, established by RSA in 1924 and marking its centenary this year, is designed to empower students to address design briefs centred around important social and environmental issues by drawing from their inspirations.
What Is The Chosen Brief?
Brief 5: “How we might create sustainable, nature-based solutions that use trees to protect the environment and strengthen communities.”
Why Did I Choose This Brief?
Firstly, I derive enjoyment from observing artworks that depict nature, and I have selected this brief because the concept of incorporating trees aligns with my keen interest in crafting 3D environments. Secondly, due to ongoing urbanisation, the absence of green spaces has resulted in unmet physical and psychological needs for individuals, becoming a global societal issue. For instance, Reddy and Chandrashekar's meta-analysis highlights a higher prevalence rate of mental and behavioural disorders in urban areas, reaching 80.6%, compared to 48.9% in rural sectors.
Maslow’s Hierarchy of Needs
Maslow's Hierarchy of Needs, a psychological theory developed by Abraham Maslow, assumes a hierarchical structure for human needs. According to his theory, the hierarchy comprises five levels, and basic needs must be fulfilled before higher-level needs take precedence (McLeod, 2023). Examples of physical needs include necessities like food, water, sleep, shelter, warmth, exercise, safety, and security. In contrast, psychological needs encompass a sense of belonging, involving connections with family, friends, and community. These needs command attention due to their critical importance in people's lives. For instance, within the framework of Sustainable Development Goal 11 (SDG 11), Target 7 endeavours to achieve universal access to safe, inclusive, accessible, green, and public spaces by 2030.
Nevertheless, due to the dense urban population, individuals often lack suitable places for exercise or leisurely walks. Furthermore, with the rise in nuclear family structures, there is an increased prevalence of loneliness, leading to reduced participation in social communities.
What Is The Idea?
To address these social issues, I proposed the idea of creating an animation that visualises a futuristic urban development plan, focusing on the selected brief 5, “How we might create sustainable, nature-based solutions that use trees to protect the environment and strengthen communities.” Nature-based Solutions are defined as protecting, managing, and restoring ecosystems for effective and adaptive solutions that benefit society and nature by IUCN.
The concept, inspired by the given brief, involved creating an urban planning proposal for a town with shops operating inside a giant tree trunk. Originally, the idea was to depict people living in a tree hollow as both their house and underground shelter (image on the left side). However, during research, it became apparent that this approach was impractical and environmentally damaging due to the need for drilling holes in the tree. Consequently, the concept was modified to showcase a cafe that embraces the natural forms of a tree.
What Inspired Me?
In naming the futuristic urban town, I appropriated the term 'World Tree,' also designating the cafe as 'Yggdrasil.' The World Tree, known as 'Yggdrasil,' holds significance in Norse mythology as an immense and sacred tree positioned at the centre of the world, symbolising the order and harmony of the cosmos. This name was selected based on the idea of a community supported by trees, encompassing a single city.
How Does My Plan Address The Brief?
Through the primary research conducted in a case study alongside this project, people have expressed experiencing stress relief through interactions with nature. In the primary research, it was disclosed that 40 participants (93.1%) recognised a notable improvement in positive emotions through interaction with nature, whereas 3 participants (6.9%) reported only a slight elevation in their feelings (image below). Additionally, subsequent secondary research has revealed a clear correlation between people’s well-being and the natural environment. This suggests that creating a town resembling a nature reserve could offer a comfortable and relaxing place for individuals to casually visit, reducing stress and enhancing overall well-being. Also, by attracting people to the town, it aims to foster communication, thereby enhancing community strength.
Furthermore, the establishment of greenery in the form of tree plantations surrounding the café can foster wildlife habitats. Simultaneously, this initiative aids in the purification of water and air, thereby facilitating the restoration of the natural environment. Additionally, the promotion of locally produced items within the market sphere not only stimulates regional consumption but also plays a pivotal role in mitigating carbon dioxide emissions associated with transportation.
Production Process
Why do I choose to make animation?
I chose animation because of its capacity to effectively communicate information in a shorter duration compared to live-action videos or games, and it leaves a more enduring impression than static images. Additionally, this project aimed to enhance skills in 3D sculpting, modelling, UV mapping, and texturing, and I endeavoured to utilise 3D applications such as Blender and Substance Painter. Also, Unreal Engine was chosen for this project to deepen my understanding, as I had only limited exposure in my first year.
Storyboard & Reference
I initiated the production process by developing a storyboard for the animation, drawing six panels to gain a comprehensive understanding of the animation's flow. This semester, I focused on creating the scene for Panel Five.
Panel 1: A squirrel eating an acorn
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Panel 2: The camera zooms in on the squirrel, capturing its ears reacting to the sounds of nature. Then, the squirrel gradually turns to the left
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Panel 3: A squirrel darting towards the end of the path, with the camera following its movement
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Panel 4: The squirrel peers into a small hole in the forest. The camera moves along with the squirrel's gaze.
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Panel 5: From the squirrel's perspective, the camera gradually moves upward from the base of the tree
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A person crosses
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Panel 6: The camera capture the entire town
Afterwards, I created concept art using Microsoft Bing Image Creator. By modifying the prompt, a variety of concept arts were generated. (All images below were created using Microsoft Bing Image Creator). The initial ten images illustrate a cafe nestled within a living giant tree. Additionally, the eight subsequent images depict the concept for the entire town.
Among these concept arts, the designs of a cafe that particularly caught my attention were
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Benches and chairs designed for customer relaxation at the cafe
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Balcony on a branch
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Market-styled showcase and stand
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Prominent and sizable sign
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Vibrant and lively portrayal of the trees
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Tent on a market stall
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Stone-paved pathways
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Calm and soothing colour palette
Modelling
blocking out
In the initial stages of crafting the 3D model for the cafe, I began with blocking out to conceptualise the entire space. Drawing inspiration from the favoured elements within the concept art, I roughly coordinated their general positions. Subsequently, I endeavoured to generate a diverse array of 3D assets. All models were created using Blender.
Stand 1
Firstly, I initiated the creation process with a stand. Given my limited experience with UV unwrapping and it being my inaugural use of Substance Painter for personal projects, I began with a straightforward asset.
After creating the model and completing the UV unwrapping for a stand (as shown in the images above), I imported it into Substance Painter and tried to figure out how to use Substance Painter. As for the materials, I utilised Smart material which is a pre-set of textures. As seams are visible and need to be concealed during this process, I recognised the importance of carefully placing them. Furthermore, I gained insights into the significance of consideration of texture direction when putting seams as awkward texture direction can potentially elicit a sense of discomfort in the audience.
Trees
Subsequently, I created the model of the giant tree. Based on the approximate size determined during the blocking-out stage, I crafted a more detailed prototype of the model. Using this as a foundation, I segmented the main tree of the cafe into individual trunks, performed sculpting, and executed the bake operation on the original model. However, as the low-poly model appeared overly simplistic, and the baking process did not proceed smoothly, I opted to re-topologise the high-poly model.
By adjusting the voxel size to a level where the shape of the high-poly model did not significantly deform, conducting re-meshing iteratively, and applying the Quad Remesh modifier, I completed the retopology. Subsequently, I utilised Substance Painter to perform a bake from the high-poly model to the low-poly model. This process was used for other trunk models.
After importing the models into Substance Painter, I selected a Smart Material and undertook the challenge of adjusting various values. Additionally, I employed filters and alpha techniques to represent moss.
Sign
In this production of a sign, I especially paid attention to texturing. Initially, upon completing the modelling phase, I encountered transparency issues with certain parts upon importing the model into Substance Painter, despite their normal appearance in Blender. This was due to the faces of the model being oriented in reverse, which occurred for some reason when extending the meshes. However, this experience enabled me to acquire techniques for correcting face orientation by checking the 'face orientation' box in the viewport selecting 'mesh,' and then choosing 'flip' under 'normal.'
In Substance Painter, I experimented with incorporating different 'generators' and 'filters' onto a base texture to convey the weathered appearance of the wood. Additionally, after setting a bright colour as the base colour, I added a black mask and used the alpha brush to depict scratches and paint on the sign. For the café emblem, I crafted the logo prototype using Microsoft Bing Image Creator, referencing various images. As a consequence, I particularly utilised the image below as inspiration for the shape of the sign and the primary logo.
Subsequently, I used Procreate to draw details, saving them as transparent images. After that, I designated these images as 'texture' and applied them as 'decals.' Additionally, I rendered the 'CAFE' text by employing grayscale settings for the font.
Stand 2
To evaluate the depth of my enhanced proficiency in Substance Painter in comparison to the initial wooden stand, I generated a second stand. During the creation of the initial stand, I compartmentalised its components due to uncertainty regarding how to assign different textures. However, through the creation of various assets, I acquired the skill of UV unwrapping multiple components and baking them into a texture. Also, for a more precise bake, I raised the boxes above the stand. Furthermore, I endeavoured to create patterns by configuring settings for 'grayscale' and 'alpha,' presenting new challenges.
Tent
Another aspect on which I placed particular emphasis is the tent. Although I employed cloth simulation and imported it into Substance Painter, the modelling from a plane caused it to appear transparent when viewed from the back, akin to the issue encountered with the sign. Consequently, I revisited the modelling stage, applied the solidify modifier, and re-performed UV unwrapping before proceeding with texturing. Additionally, by utilising the stitches brush, I created the appearance of sewing together two different patterned fabrics.
Unreal Engine
After constructing the environment following the previous year's 'world-building guidelines, I imported all the assets I generated and borrowed assets from Quixel Bridge, including food items, chairs, barrels, plants, and stools.
Based on the feedback received during the final presentation, I adjusted the values and colours of the lights to seamlessly integrate with the environment and proceeded to the rendering animation process. As this was my first time rendering animation using Unreal Engine, it took some time to grasp the rendering process. Simultaneously, I discerned a semblance with Blender, particularly in the application of keyframes.
Final Outcome
Reflection
Until I started this individual project, I had little experience with UV unwrapping and Substance Painter. However, through the process of creating these assets, I was able to review what I had learned in class. Additionally, by repeatedly engaging in these activities, I gained a comprehensive understanding of the workflow involved in texturing. On the other hand, based on the feedback received during the initial presentation, it became apparent that rendering would consume a significant amount of time, and I had not adequately addressed the aspect of time management.
While I managed to render the scene for Panel Five, the outcome did not align with my expectations, and my goal of deepening my understanding of Unreal Engine through this project remains unfulfilled. The knowledge acquired regarding rendering in Unreal Engine, specifically concerning the contents of the Sequencer, was found to be insufficient. Consequently, I am motivated to continue learning and delve further into these aspects.