DOCSLIB.ORG

The Game Animator's Guide to Maya.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Game Animator's Guide to Maya.Pdf 3857ffirs.qxd 5/11/06 4:37 PM Page i The Game Animator’s Guide to Maya® Michael McKinley Wiley Publishing,Inc. 3857ffirs.qxd 5/11/06 4:37 PM Page i The Game Animator’s Guide to Maya® Michael McKinley Wiley Publishing,Inc. 3857ffirs.qxd 5/26/06 1:50 PM Page ii Acquisitions Editor: WILLEM KNIBBE Development Editor: HEATHER O’CONNOR Technical Editor: KEITH REICHER Production Editor: DARIA MEOLI Copy Editor: LINDA RECKTENWALD Production Manager: TIM TATE Vice President and Executive Group Publisher: RICHARD SWADLEY Vice President and Executive Publisher: JOSEPH B. WIKERT Vice President and Publisher: DANIEL BRODNITZ Permissions Editor: SHANNON WALTERS Media Development Specialist: KATE JENKINS Book Designer: FRANZ BAUMHACKL Compositor: CHRIS GILLESPIE, HAPPENSTANCE TYPE-O-RAMA Proofreader: JENNIFER LARSEN, WORD ONE Indexer: TED LAUX Cover Designer: RYAN SNEED Cover Image: MICHAEL MCKINLEY Copyright © 2006 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN-13: 978-0-470-03857-4 ISBN-10: 0-470-03857-8 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rose- wood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Nei- ther the publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or Web- site is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information the organization or Website may provide or recommendations it may make. Further, readers should be aware that Internet Websites listed in this work may have changed or disappeared between when this work was written and when it is read. For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (800) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be avail- able in electronic books. Library of Congress Cataloging-in-Publication Data is available from the publisher. TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates, in the United States and other countries, and may not be used without written permis- sion. Autodesk and Maya are either registered trademarks or trademarks of Autodesk, Inc., in the U.S.A. and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. All other trade- marks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book. 10 9 8 7 6 5 4 3 2 1 3857ffirs.qxd 5/11/06 4:37 PM Page iii To my family, for their love and support. Acknowledgments So once again, events have allowed me the great opportunity to work with Sybex and Wiley to produce a book! And once again, while my name may be on the cover, I can’t take all the credit for its realization. Without the support of my family and friends, the understanding of those I worked with to produce the book’s artwork, and the hard-working assistance of my editors, this book would never have made it out of the idea phase! Great thanks once again to Steve Garcia, who contributed the ace concept art for all four of this book’s major projects. He was able to take a few sentences of description and cre- ate some fantastic pieces of art that I and the other artists were able to really have a blast making! Speaking of which, huge thanks to Gary Bergeron, David Russ, Leif Robles, and Evan Calderaro, who worked with me to create the models and textures used in this book’s projects. I couldn’t have done it without you guys! Great thanks to my good friend Sarah Stacy for helping me out at the last minute by providing her voice for the lip synching chapter. Thank you very much to Jacque Reimer for performing the sometimes-embarrassing gunslinger moves for the video reference and lugging those heavy pistols around! Thank you as well to Michael Morlan for helping me with the video reference filming. A great feature of this book wouldn’t have been possible without his expertise and equipment. Check out his impressive body of work (and maybe hire him for some) at www.Michael-Morlan.net. Big thanks to everyone I worked with at Feverpitch Studios. I’ve never worked with a greater group of people, and I’d count myself blessed to get the chance to work with any of you again in the future! And, of course, I have to thank everyone who withstood my bickering e-mails and finally conceded to contributing their profiles to this book. Floyd Bishop, Scott Ruggels, Kiel Figgins, Grayson Chalmers, Adam Houghton, and my good buddy Steve Garcia—thank you! I have to acknowledge the great people at Sybex, Wiley, and Alias who helped me so much in the creation of this book. While my writing skills perhaps have improved slightly since my first book, without their help I’m sure this thing would have been made with card- board and crayons! Willem Knibbe, Heather O’Connor, Keith Reicher, and Daria Meoli, thank you very much! Is book number three in the future? And last, but certainly not least, my parents and family. Without your constant sup- port and encouragement I would never have accomplished as much as I have. I love you all! Philippians 4:13 3857ftoc.qxd 5/11/06 4:39 PM Page iv Contents Introduction viii Chapter 1 Careers in the Game Industry 1 Developers and Publishers . 2 Artist Jobs in the Industry . 3 Junior Artist 4 3D Artist 4 Concept Artist 4 Character/Environment Artist 4 FX Artist 5 Technical Artist 5 Senior Artist 5 Lead Artist 5 Art Director 5 Demo Reels . 6 Art Tests 7 The Game Development Pipeline . 8 Chapter 2 Animation 13 Animation Concepts . 14 Timing 14 Emphasis 14 Secondary Motion 17 Anticipation 17 Follow-Through 17 Overlapping Action 18 Arcing Motion 18 Squash and Stretch 19 Settling and Resting 19 Straight-Ahead Animation 19 Pose-to-Pose Animation 19 3D Animation Terminology . 20 Keyframes 20 Interpolation 20 Rigging 20 Binding 21 Articulation 21 Forward and Inverse Kinematics 22 Vertex Animation 23 Blend Shapes 23 Animation Cycles 23 Set Driven Key 24 3857ftoc.qxd 5/11/06 4:39 PM Page v Rigging Tools and Commands . 24 Joint Tool 24 IK Handle Tool 25 IK Spline Handle Tool 25 Paint Skin Weights Tool 26 Clusters 28 Mirror Joint 28 Smooth Bind 28 Detach Skin 29 Go to Bind Pose 29 Animation Tools and Commands . 30 Setting Keyframes 30 Set Driven Key 32 Blend Shapes 34 Graph Editor 38 Dope Sheet 44 Trax Editor 45 Animation User Interface . 46 v Time Slider 47 ■ Range Slider 47 CONTENTS Playback Controls 47 Upcoming Lessons . 48 Chapter 3 Project: Calamity Jane 53 Assignment Breakdown . 54 Tutorial: Blend Shapes . 54 Creating Blend Shape Targets 56 Assigning Blend Shapes 59 Setting Up Set Driven Key 60 Tutorial: Rigging Calamity Jane . 63 Creating Leg and Feet Joints 64 Setting Up the Arm Skeleton 65 Mirroring Joints 70 Creating Specialized Joints 70 Setting Animation Controls 76 Binding the Skeleton 80 Painting Skin Weights 82 Tutorial: Walk Cycle . 85 Establishing Arm Movement 90 Ensuring Smooth Cycling 91 Incorporating Secondary Animation 92 Tutorial: Action Sequence . 96 Setting Pistol Constraints 97 Continuing the Animation 99 3857ftoc.qxd 5/11/06 4:39 PM Page vi Chapter 4 Project: Dire Wolf 103 Assignment Breakdown . 104 Tutorial: Rigging the Dire Wolf . 106 Hind Legs 107 Front Legs 109 Remaining Joints 109 Animation Controls 110 Binding to the Skeleton 112 Painting Skin Weights 113 Tutorial: Run Cycle . 116 Spine 117 Legs 118 Finishing Touches 125 Secondary Animation 126 Chapter 5 Project: Giant Kraken 131 vi Assignment Breakdown . 132 ■ Tutorial: Rigging the Giant Kraken . 134 Continuing the Skeleton 136 Applying Animation Controls 138 Binding to the Skeleton 140 CONTENTS Painting the Weights 141 Tutorial: Idle Cycle . 143 Beginning the Animation 145 Smoothing the Cycle’s Repeat 145 Creating the Head Movement 146 Tutorial: Attack Animation . 147 Finishing the Sequence 150 Tutorial: Death Animation . 151 Chapter 6 Project: Storm Tank 157 Assignment Breakdown .
Load more

Recommended publications
  • Closing the Human-Robot Interaction Loop Underwater
    learning provided by such a system. Twenty-four participants the addition of other devices, which is costly and increases tested the system against a baseline system comprised of complexity. One of the more unique proposals is the use of colored lights flashing in codes, and the resultant data was an AUV’s light system in [16], where illumination intensity analyzed to determine whether motion-based communication is modulated to communicate simple ideas. This case study could be adequately accurate, efficient, and easy to learn for proved that a robot and a human could collaborate to achieve use in underwater robot-to-human communication. a task underwater, but the communication methods used were In this paper, we make the following contributions: not validated by a multi-user study. • We propose a unique system: motion-based (kineme) B. Nonverbal, Non-facial and Non-Humanoid HRI communication for underwater robots which purely uses Nonverbal methods form only a small portion of HRI, motion to communicate information to human collabo- much of which focuses on displaying emotions in humanoid rators. platforms, therefore, their results are only tangentially related • We show that there is a statistically significant improve- to the problem of nonverbal underwater HRI, as our focus ment in the accuracy of communication when using is non-humanoid robots displaying information rather than kinemes compared to light codes. emotion. That said, there are a number of works which • We show that kinemes outperform light codes in ease directly relate to our problem of robot-to-human commu- of learning and that given enough education, they can nication using nonverbal, non-facial methods with a non- be nearly as quick to understand as light codes.
    [Show full text]
  • The Fullness of Time
    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-13-2008 The ulF lness of time Kevin Allen Florida International University DOI: 10.25148/etd.FI13101587 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Creative Writing Commons Recommended Citation Allen, Kevin, "The ulF lness of time" (2008). FIU Electronic Theses and Dissertations. 1096. https://digitalcommons.fiu.edu/etd/1096 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida THE FULLNESS OF TIME A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS in CREATIVE WRITING by Kevin Allen 2008 To: Dean Kenneth Furton College of Arts and Sciences This thesis, written by Kevin Allen, and entitled The Fullness of Time, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Jog Dufresne Kathleen McCormack Les Standiford, iar Professor Date of Defense: March 13, 2008 The thesis of Kevin Allen is approved. Dean Kenneth Furton College of Arts and Sciences Dean George Walker University Graduate School Florida International University, 2008 ii DEDICATION To Jill, for the kindness, intelligence, wit, and love that inspire and sustain me. iii ACKNOWLEDGMENTS I wish to thank the members of my committee for their support and guidance, particularly, Professor Les Standiford, for his unwavering encouragement from the inception of this project through to its completion.
    [Show full text]
  • Intercultural Business Etiquette
    Intercultural Business Etiquette The document includes a compilation of “basic” information for the Business Etiquette in several countries. The country files include all the necessary basic information from the main religion and language, to greeting habits and business behavior. Contents Armenia ...................................................................................................................................2 Azerbaijan ................................................................................................................................4 Belarus ....................................................................................................................................6 China.......................................................................................................................................8 Costa Rica .............................................................................................................................. 11 El Salvador ............................................................................................................................. 13 Georgia .................................................................................................................................. 15 Guatemala.............................................................................................................................. 17 Honduras ............................................................................................................................... 19
    [Show full text]
  • Read Book Talk to the Hand
    TALK TO THE HAND PDF, EPUB, EBOOK Lynne Truss | 244 pages | 01 Oct 2009 | HarperCollins Publishers | 9780007329076 | English | London, United Kingdom Talk to the Hand PDF Book Full Cast and Crew. From Wikipedia, the free encyclopedia. Arianna Cochran rated it it was amazing Jan 09, Enlarge cover. You know the saying: There's no time like the present Escape the Present with These 24 Historical Romances. Want to Read saving…. Debra's therapist prompts her to consider whether she may actually be in love with her adopted brother. About Darrien Lee. Cortney Coleman rated it liked it Dec 12, External Reviews. Aug 10, Lady rated it it was amazing. Just a moment while we sign you in to your Goodreads account. To ask other readers questions about Talk To The Hand , please sign up. Language: English. I really felt like I was in Nedra shoes and also Donovon with the relationship they had with each other. Release Dates. Paperback , pages. Return to Book Page. Nedra Harris, a twenty-three year old business executive, has experienced her share of heartache in her quest to find a soul mate. Dec 13, Shannan Harper rated it it was amazing. Louis Greene. Dexter finds that in order to catch the Doomsday Killers, he must create a macabre tableau of his own; Debra's battle with LaGuerta boils over, and her therapist makes an unnerving suggestion. Talk to the Hand Writer Dexter finds that in order to catch the Doomsday Killers, he must create a macabre tableau of his own; Debra's battle with LaGuerta boils over, and her therapist makes an unnerving suggestion.
    [Show full text]
  • Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi
    Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Molly Evangeline Allen All rights reserved ABSTRACT Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen In Athens in the early 5th century BCE, a new genre of funerary vase, the white-ground lêkythos, appeared and quickly grew to be the most popular grave gift for nearly a century. These particular vases, along with their relatively delicate style of painting, ushered in a new funerary scene par excellence, which highlighted the sorrow of the living and the merits of the deceased by focusing on personal moments of grief in the presence of a grave. Earlier Attic funerary imagery tended to focus on crowded prothesis scenes where mourners announced their grief and honored the dead through exaggerated, violent and frenzied gestures. The scenes on white-ground lêkythoi accomplished the same ends through new means, namely by focusing on individual mourners and the emotional ways that mourners privately nourished the deceased and their memory. Such scenes combine ritual activity (i.e. dedicating gifts, decorating the grave, pouring libations) with emotional expressions of sadness, which make them more vivid and relatable. The nuances in the characteristics of the mourners indicate a new interest in adding an individual touch to the expression, which might “speak” to a particular moment or variety of sadness that might relate to a potential consumer.
    [Show full text]
  • |FREE| Body Language
    BODY LANGUAGE EBOOK Author: Julius Fast Number of Pages: 184 pages Published Date: 01 May 2002 Publisher: ROWMAN & LITTLEFIELD Publication Country: New York, United States Language: English ISBN: 9780871319821 Download Link: CLICK HERE Body Language Online Read Contrarily, if the Body Language are weak and lacking in mobility, perhaps due to the frequent adoption of a slumped Body Language, then this can convey the impression that the person is depressed. Retrieved 14 October Many factors also contribute to the meaning of touching Body Language as the length of the touch and location on the body in which the touching takes place. In India, a head bobble is the tilting of the head from side to side and is a common sign of saying yes, ok, or I understand in some manner. Birdwhistell pointed out Body Language "human gestures differ from those of other animals in that they are polysemic, that they can be interpreted to have many different meanings depending on the communicative context in which they are produced". Facial Expressions. Categories : Human positions Nonverbal communication. From eye behavior to the direction in which a person points his or her feet, body language reveals what a person is really thinking. Adam Blatner, M. Body Language if he takes your hand, he lunges to get Body Language and then squeezes so hard it hurts. If a person is wringing their hands, this demonstrates nervousness and anxiety. But this same gesture is insulting in other countries like Iran, Bangladesh and Thailand, where it is the equivalent of showing the middle finger in the US.
    [Show full text]
  • It Goes Without Saying: Increasing Cultural Competency of Ethnic Groups in Michigan
    IT GOES WITHOUT SAYING: INCREASING CULTURAL COMPETENCY OF ETHNIC GROUPS IN MICHIGAN by Amanda Marie Himmel This paper is submitted in partial fulfillment of the requirements for the degree of Doctor of Optometry Ferris State University College of Optometry May, 2019 i IT GOES WITHOUT SAYING: INCREASING CULTURAL COMPETENCY OF ETHNIC GROUPS IN MICHIGAN by Amanda Marie Himmel Has been approved 16th May, 2019 APPROVED: Dr. Lillian Kalaczinski Faculty Advisor: ACCEPTED: ________________________________ Faculty Course Supervisor ii Ferris State University Doctor of Optometry Senior Paper Library Approval and Release IT GOES WITHOUT SAYING: INCREASING CULTURAL COMPETENCY OF ETHNIC GROUPS IN MICHIGAN I,Amanda Marie Himmel, hereby release this Paper as described above to Ferris State University with the understanding that it will be accessible to the general public. This release is required under the provisions of the Federal Privacy Act. Amanda Marie Himmel Doctoral Candidate(s) 01-28-2019 Date iii DEDICATION For my fiancé, for keeping me sane with support and multiple read throughs. To my advisor, Dr. Kalaczinski, for creating the spark and trusting me throughout this project. For anyone that has read, reread, and then read again this paper to make it the best it could be, thank you. And, of course, to my kitties, for providing fluffy distraction. iv ABSTRACT Background: The purpose of this literature review is to investigate the cultural norms of the largest ethnic minority groups in Michigan and to identify the best practices for providing culturally competent eye care to patients within these groups in order to better provide for their optometric healthcare needs.
    [Show full text]
  • Copyrighted Material
    Index A arms. See torso and arms Arnold, Magda, 164 accommodating nonverbals, 31, 179, artifi cial time constraints, 31, 179, 181 181–182 action units. See AUs ask how, when, why questions, 31, adornment, 17–19. See also clothing 180, 181, 186–187 affi rmation, negation and, 194 ASKINT, 179 airport incidents, 21–22, 171–172 assistance themes, 31, 179, 181, Alperovitch, Dmitri, 204 182–184 altruism, reciprocal, 31, 180, 181 astonishment, mock, 194 Amaral, D. G., 165 AUs (action units), 103–105, “Americans and Text Messaging,” 196 187–190, 205 amygdala, 161–175 authority brain, 163–164 Gardner Museum theft, 47 hijacking, 167–168, 172–174, 185, infl uence, 32 203 Milgram experiments, 40 information processing, 165–166 introduction, 164–165 summary, 174–175 B Anderson, D. I., 6 baby anger laughing, 132 “Beat Them orCOPYRIGHTED Ban Them: The visual MATERIAL cliff experiment, 6–8, 170, Characteristics and Social 171 Functions of Anger and bad social engineering skills, 47–48 Contempt,” 121 Barbu-Roth, M., 6 described, 128–132 Batman (fi ctional character), 199 pursed lips, 148, 149 batons, 63, 191–192 Antwerp diamond heist, 47 “Beat Them or Ban Them: The anxiety, 13, 150, 151, 152, 169 Characteristics and Social applying nonverbal communication, Functions of Anger and 197–211 Contempt,” 121 bindex.indd 01/10/14 Page 213 214 Index Belushi, John, 194 C Ben and Selena examples caller-ID spoofi ng, 39–40, 41 anger, 129, 131 Campos, J. J., 6 comfort-discomfort, 142, 143, 144, carrying box, 45 146, 149, 150, 151, 152, 155, Case Western Reserve University
    [Show full text]
  • ECFG-Sri Lanka-2021R.Pdf
    About this Guide This guide is designed to prepare you to deploy to culturally complex environments and successfully achieve mission objectives. The fundamental information it contains will help you understand the unique cultural features of your assigned location and gain skills necessary for achieving mission success (Photo: USAF dental technician teaches local children to properly brush their Sri Lanka teeth in Jaffna, Sri Lanka). The guide consists of 2 parts: Part 1 is the “Culture General” section, which provides the foundational knowledge you need to operate effectively in any global environment with a focus on South Asia. Part 2 is the “Culture Specific” section, which describes unique cultural features of Indian society. It applies culture- Culture general concepts to help increase your knowledge of your assigned deployment location. This section is designed to complement other pre- deployment training (Photo: US Sailor tours Sri Lankan Naval cadets on the amphibious transport USS Somerset). For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact the AFCLC Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources. GENERAL CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments.
    [Show full text]
  • PDF Download Talk to the Hand Ebook
    TALK TO THE HAND PDF, EPUB, EBOOK Lynne Truss | 244 pages | 01 Oct 2009 | HarperCollins Publishers | 9780007329076 | English | London, United Kingdom Talk to the Hand PDF Book Vince Masuka. Jamie Batista Billy Brown There were 3 occasions where the author said one thing happened, and a few pages later it was said to have happened differently or not at all. When this phrase is used, it is customary to raise your hand, palm facing out , and place it almost touching your adversary's face. In that case, we can't Rita bonsu rated it really liked it Dec 05, Titiana rated it it was amazing Jan 23, To ask other readers questions about Talk To The Hand , please sign up. It is usually accompanied by the gesture of extending one arm toward the other person, with the palm of that hand facing the person being insulted, in the manner of the gesture to stop. I also noticed there were a few inconsistencies throughout the book. This little gesture is something that most negative minded Black woman and now a lot of men have incorporated into their communication system because they think its cute. Dickerson as Ernest Dickerson. Wetter than an otter's pocket Writers: James Manos Jr. Original Title. Debra Morgan : Those guys. Latoya rated it really liked it Apr 07, Hand, the person attached to you is an immature twit , and did you know Language: English. Often considered to be sarcastic or obnoxious, the phrase was popularized by actor and comedian Martin Lawrence in his sitcom Martin. April Briggette rated it it was amazing Jan 02, Look up talk to the hand in Wiktionary, the free dictionary.
    [Show full text]
  • WELL…THAT WAS AWKWARD 3 from the Air Pot and Settled Into a Victorian Settee in the Center of My Shop
    Copyright © 2020 by Megan Montgomery All rights reserved . ISBN: 978-0-578- 76827 -4 No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the author, except for the use of brief quotations in a book review . Formatted by N. Malone I was elbow-deep in vintage cookie cutters and stacks of pink Pyrex casserole dishes when I realized the Three Harpies of the Chesapeake were arguing about me. That is, me as in “the situation in need of remedy .” My brain throbbed against its confines. If I had to listen to one more comment about my looks, needs, or ought-tos, I was going to close up shop and move somewhere they appreciated outcasts and recluses . I stood, collecting my dust rag, and heard Mrs. Sylvia Rae Andrews chastise her friend. “I don’t know why you bother, Lorraine. All those tattoos and those clothes with the holes. She’s never going to get a nice man to want her looking like that.” Yep. She was talking about me, alright. No doubt she thought she was whispering, but when deaf old ladies don’t turn their hearing aids on, a whisper becomes a stage voice . “Hush up, Sylvia Rae,” Lorraine snapped. She needn’t have bothered. I’d heard it all before. In fact, Sylvia Rae repeated her assessment of me nearly every time she came into the shop. I don’t 2 MEGAN OLAVARRIA know if it was due to dementia or some latent passive-aggressive tendencies .
    [Show full text]
  • 1 Indian Namaste Goes Global in COVID-19
    International Journal of Drug Research and Dental Science Volume 3 Issue 1 (Page: 1-3), 2021 ISSN: 2582-0826 Indian Namaste Goes Global In COVID-19 Era Madhusudhan Kempaiah Siddaiah 1* Pallavi Madhusudhan2 1Reader, Department of Pediatric and Preventive Dentistry, The Oxford Dental College, Hosur Main Road, Bommanahalli, Bengaluru, Karnataka, India. 2Department of Biochemistry, Mysore Makkala Koota & Sri Dharmasthala Manjunatheshwara Mahila Maha Vidyalaya, Mysuru, India. E-mail: [email protected] ORCID: https://orcid.org/0000-0002-0658-7581 Letter to the Editor Keywords: Anjali Mudra, Coronavirus, Covid-19, Namaste, Namaskar, Pandemic. To the Editor-in-Chief Coronavirus disease 2019 (COVID-19) pandemic began in China with a bunch of severe pneumonia cases, later identified to be caused by the severe acute respiratory syndrome coronavirus-2 in December 2019. Thailand reported the primary COVID-19 case outside of China on 13th January 2020, Africa reported its first case in Egypt on 14th February 2020 and Nigeria reported its patient of COVID-19 on 27th February 2020. Virtually, all countries within the world are affected.1 Globally, countries and international organizations are putting efforts to halt the transmission of the disease by preventive measures, management protocols, research activities for definitive treatment and vaccines.1 The common principles in preventing and controlling infectious diseases are to eradicate the infection source, to cut off the transmission route, and to shield the susceptible population.2 Physical distancing is one of the measures being used to curtail the transmission of the virus. Transmission of COVID-19 by contact can occur when contaminated hands touch the mucosa of the eyes, nose or mouth.
    [Show full text]