1. Discuss why you think the unit exercise only had you create two bones for the model’s hand rather than five? 2. How would rigging (and animation) be more difficult if you didn’t include guide bones, pole targets, and other rigging elements not directly part of the "skeleton" of the mesh? 3. Describe the ways your model originally looked "off" in either the deformation/skinning or in the actual animation/keyframing process. Also, explain specific ways that you fixed these deficiencies. 4. Imagine you were creating a robot instead of a human character. What design changes might you make to the model in terms of rigging and skinning to make the character more "robotic?" 5. How would you tackle the challenge of animating a "boneless" model such as, for example, a traditional RPG slime monster — or, alternatively, something like a snake or a detailed tail animation?

1. Discuss why you think the unit exercise only caused you to create two bones for the model's hand instead of five.

R = why the prosthesis can be adapted according to the needs of each of the users.

2. How would the rigging (and animation) be more difficult if it did not include guide bones, pole targets, and other rigging elements that are not directly part of the mesh "skeleton"?

R = the bones of the fingers that are still present help us create the measurements of the missing fingers since in this way we create a more harmonic and sesthetic hand, and when these fingers are not present it is more difficult to create in the animation since it can be noticed a little deformed since the requests cannot be correct and the fingers can be seen in very different sizes from one to the other.

3. Describe the ways your model originally looked "off" in warp / skinning or in the animation / keyframe process

A = I would not know how to answer that because I do not have any key program to carry out the prosthesis but I can guide you a little bit about a prosthesis program which you can see in an animation program

The digital model of the affected hand was obtained using modeling techniques in Blender, Rhinoceros and Mesh to model conversion software in Solid Edge. As a result, a 3D digital model of the affected hand was obtained on which the mechanisms of the prosthesis to be implemented can be worked on and adjusted.

After developing the model of the prosthesis volume, measurements were taken and adjusted to the plaster model that was previously obtained. Figure 13 shows how the prosthesis model was fitted to the plaster hand model. Subsequently, with the measurements obtained from this model, the prosthesis mechanisms are designed for the three missing digits in the user's hand.

4. Imagine that you are creating a robot instead of a human character. What design changes could you make to the model in terms of rigging and skinning to make the character more "robotic"?

R = the physical aspect, and that the movements are more rigid and not so fluid to give the robotic touch, since currently robots move very fluidly and can make faster expressions and make it look more metallic and not treat it to do with such a humanoid aspect.

5. How would you face the challenge of animating a "boned" model, such as a traditional RPG slime monster, or alternatively a snake or detailed tail animation?

R = you have to make an animation character that looks gelatinous, as through the program you have to create a mass that looks translucent so that it can simulate that the character does not have bones, because if you make it a solid object we would be losing the effect that the character is gelatinous that is supported without bones.