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Lee, Sung Hwa. "Automated gait generation based on traditional animation." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2405.
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This thesis describes the development of a tool to assist animators in doing
walk cycles. In traditional animation, animators create expressive walk cycles with key
poses. The process of generating walk cycles by hand is tedious and repetitive. To help
animators, many researchers in computer graphics have worked on automating gait
generation. However, almost all of them used methods that eliminate animator defined
key poses. Although they produce realistic results, their methods are not suitable for
expressive walk cycles that can be found in cartoons. The tool described in this thesis
attempts to incorporate practices of traditional animators such as comparison of key
poses and the use of arc into the program interface. With this tool, animators can
concentrate only on setting key poses, which is the most creative task in animating
expressive walk. The gait generation program can produce highly expressive walks like
the double bounce walk and the sneak. With automated features of the developed tool,
animators can save time and effort when animating expressive walk along a curved path.
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Holmqvist, Lucas, and Eric Ahlström. "Comparing Traditional Key Frame Animation Approach and Hybrid Animation Approach of Humanoid Characters." Thesis, Blekinge Tekniska Högskola, Institutionen för kreativa teknologier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14813.
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Harvey, Louise, and n/a. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Griffith University. Griffith Film School, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070810.105026.
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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.
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Harvey, Louise. "The Best of Both Worlds: The Application of Traditional Animation Principles in 3D Animation Software." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365586.
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This research assesses the skills and knowledge necessary for the creation of animation in the 3D computer medium. It responds to the argument that students of this new form of animation must learn to apply principles and theories of animation that had their genesis in the early years of traditional, hand-drawn animation (Kroyer, 2002). Many industry notables argue for the use of traditional animation principles in 3D computer animation. John Lasseter, executive vice president at Pixar studios in the United States, represents one such example. He states that 'These principles were developed to make animation, especially character animation, more realistic and entertaining. These principles can and should be applied to 3D computer animation' (Lasseter 1987). The importance of animation principles in all animation mediums is stressed by Oscar-winning traditional animator Gene Deitch. He states that 'Every animated film made today uses those same basic principles developed at the Walt Disney studios during the 1930s. They still apply, no matter which technology is used' (2001). This research report examines the validity of this argument and identifies the tools, principles, and procedures that professional 3D animators are using. Central to this research is the dynamic of the contemporary relevance of traditional animation as an aesthetic, craft and economic entity. Most importantly this research considers how that dynamic might translate into the teaching of 3D animation courses. It is claimed that the findings of this research benefits 3D animation teachers, students, and those who employ them. To conduct on-site research with professional animators, this study enlisted the participation of a small number of animation studios in south-east Queensland, Australia by ensuring the protection of their Intellectual Property. Close observation of their working practices was made and numerous secondary sources of information (3D animation tutorials, books, DVDs, software manuals etc.) examined in order to locate the tools, processes, and principles that CG animators engaged. The findings were applied and critically assessed by means of a practical project (a seven-minute 3D-animated film) which was created concurrently with the research. Recommendations were formulated as to the most useful tools, processes, and principles for the student of computer animation by way of a revision of the existing Queensland College of Art syllabus for teaching computing animation. What follows is an account of the development and context of the project, the research methods applied, and critical analyses of the findings. The research concludes that it is necessary and advantageous to apply traditional animation skills to 3D computer work.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Griffith Film School<br>Full Text
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Carter, Chris P. "Animated Mise-en-scene and aesthetic harmony: An expansion of the traditional principles of animation to 3D computer animation." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93800/1/Christopher_Carter_Thesis.pdf.
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3D Computer Graphics (CG) has become the dominant medium for modern animated feature films. It is widely understood that traditional principles of animation developed in the 1930s at the Walt Disney Studio remain applicable to this new medium and heavily influence the range of aesthetic motion styles in contemporary animation. Via a frame-by-frame textual analysis of four animated feature films, this thesis tests and confirms the validity of the principles of animation and expands upon them by reinterpreting the Disney principle of appeal as aesthetic harmony, which delineates the way in which character posing and transitions between poses contribute to the animated motion styles that animators work in today.
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Baker, Jason. "Improving Chronic Constipation Health Literacy Proficiency: Animation Versus Traditional Written Pamphlets." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5448.
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The U.S. health care system is evolving from medical centric to patient centered, augmenting the importance for patients to comprehend and process medical information. The Department of Education indicated that 77 million Americans have a basic or below basic health literacy proficiency and 12% register as health literacy proficient. Animation is a time-tested device for improving health by enhancing comprehension. Chronic constipation (CC) complexity entails physiological, anatomical, and environmental mechanisms. Using the cognitive theory of multimedia learning and dual-channel auditory and visual processing, the primary research question addressed whether an animated educational video improved health literacy for CC more than a traditional written educational pamphlet. A secondary dataset of 100 CC subjects from the University of Michigan was collected using a cross-sectional study design with a convenience sampling strategy of CC patients who underwent anorectal functional testing. Dependent variables were CC Pretest Quiz and CC Posttest Quiz scores, and independent variables included CC education intervention, demographics, health literacy proficiency, and environmental learning variables. Descriptive and analytical statistical methods were employed for data summarization and comparison. The animated educational video had minimal impact (p = 0.20) on improving health literacy; however, pretest scores (p -?¤ 0.001), age (p = 0.03) and highest level of education achievement (p = 0.03) influenced the largest variance between quiz scores. Enhancing health literacy influences social change by empowering individuals with CC to improve quality of life metrics, increase work productivity, and decrease health care utilization costs.
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Scheller, Lauren Kimberly. "Firesail: An Exploration of Story Through Traditional and Digital Two-Dimensional Animation." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/555563.
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This honors thesis project oversaw the production of a short animated film, drawn completely by hand after foregoing extensive research in Fall 2013 into the development of the characteristics and dynamics of storytelling, traditional animation, and computer-based editing, as observed through storyboard layout and animatic and pencil-test setups. Story development setup followed through pre-production, production, and post-production. Applying techniques learned in fine arts courses, such as color theory, composition, and figure drawing, completed the totality of the developed world within the film. The Spring semester of 2014 included further finalization of story arc and the animation process itself; however with scheduling difficulty, the production and post-production process, including all edits and added musical score, carried over to be completed December 2014. This project, being a first experience of the entirety of the production of an animated film, centers on themes of self-sacrifice, narrative communication, and redemptive love.
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Corrigan, Nicholas C. "Outta This World: Merging Classic Animation Styles with Modern Technologies and Designs." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1503320474232437.
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Zhang, Lei. "A Cultural Revolution Revisited: Computer Animation and Beijing Opera." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367875.
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This research project focuses on the potential relationship between Beijing Opera (the traditional cultural heritage) and computer animation (a modern art form). It responds to the practical problem that Beijing Opera is a national treasure of China with a history of 200 years, but now it is in decline as popular entertainment. Beijing Opera (or Peking Opera) is widely regarded as the highest expression of Chinese culture, being one of the three main theatrical systems in the world. Attempts to keep this traditional cultural treasure alive have varied, including encouraging positive appreciation among young audiences and updating Beijing Opera's artistic style and performance. To further that ambition, this research explores how Beijing Opera's traditional stage performance can be adapted to a virtual stage by computer generated imagery (CGI), also known as computer animation. CGI animation has eclipsed other animation forms and has emerged as one of the most successful film-art forms (Polchat 2007). The resounding success of Toy Story, the first fully computer-generated feature film produced by Pixar (The Walt Disney Company) in 1995 and the following continuous release of breathtaking CGI films by numerous studios in the past decade, informs this project of the potential offered by CGI animation. This research report argues for the possibility of using computer animation to present Beijing Opera.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Johnson, Joseph A. "A Survey of Computer Graphics Facial Animation Methods: Comparing Traditional Approaches to Machine Learning Methods." DigitalCommons@CalPoly, 2021. https://digitalcommons.calpoly.edu/theses/2315.
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Human communications rely on facial expression to denote mood, sentiment, and intent. Realistic facial animation of computer graphic models of human faces can be difficult to achieve as a result of the many details that must be approximated in generating believable facial expressions. Many theoretical approaches have been researched and implemented to create more and more accurate animations that can effectively portray human emotions. Even though many of these approaches are able to generate realistic looking expressions, they typically require a lot of artistic intervention to achieve a believable result. To reduce the intervention needed to create realistic facial animation, new approaches that utilize machine learning are being researched to reduce the amount of effort needed to generate believable facial animations. This survey paper summarizes over 20 research papers related to facial animation and compares the traditional animation approaches to newer machine learning methods as well as highlights the strengths, weaknesses, and use cases of each different approach.
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Honari, Leila. "Farsh-e-Parandeh: Animated Mandalic Carpet Projection: Exploring the Links between Proto-Animation Techniques in Persian Traditional Arts and the Foundation of Animation and Cinema." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388648.
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This thesis probes associations between ancient Persian arts, which have a circular or
mandalic structure, and the various nineteenth-century optical toys that were vital stages
in bringing movement to cinema; and examines if the aesthetic links between them are
coincidental or may be the result of a discontinuous historical trajectory. Research
findings indicates that ancient items that have been found in archaeological digs from
Persia hold a significant clue and may be an important piece of the jigsaw of
understanding the antecedents of film and moving image—in particular, animation. This
thesis builds on an iconographic analysis of a selection of historical artefacts from
Persia and compares and contrasts them with the nineteenth century optical toys such as
the zoetrope and phenakistoscope. These theoretical and historical dimensions have
been incorporated into the creative practice exploring the above associations creatively
and affectively. Farsh-e-Parandeh (roughly translated as ‘Flying Carpet’ from Farsi), as
an animated aerial-projected installation —a moving-image version of a traditional
Persian carpet— reflects renowned philosopher Attar’s Conference of the Birds (AD
1177) as a reference point for mandalic structures of Persian and Sufi mystical stories.
Farsh-e-Parandeh challenges the notion of moving-image production history as a
necessarily linear projection. This installation instead constructs an immersive, holistic
engagement based on cyclic patterned arrangements that harken back to nineteenthcentury
moving image forms of early animations.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Griffith Film School<br>Arts, Education and Law<br>Full Text
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Hamilton, Maia D. "The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1566558927880888.
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Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
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Ross, Karen C. "“Awake:” An Animated Exploration of Self-Discovery Through Mindfulness." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471826821.
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Johansson, Ida. "NOT ON THE FABRIC BUT IN THE FABRIC : hardanger embroidery, animation and the grid." Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5574.
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This paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.
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Rejniak, Gabrielle. "Improving Student Learning in Undergraduate Mathematics." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5455.
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The goal of this study was to investigate ways of improving student learning, par- ticularly conceptual understanding, in undergraduate mathematics courses. This study focused on two areas: course design and animation. The methods of study were the following: Assessing the improvement of student conceptual understanding as a result of team project-based learning, individual inquiry-based learning and the modi ed empo- rium model; and Assessing the impact of animated videos on student learning with the emphasis on concepts. For the first part of our study (impact of course design on student conceptual understanding) we began by comparing the following three groups in Fall 2010 and Fall 2011: 1. Fall 2010: MAC 1140 Traditional Lecture & Fall 2011: MAC 1140 Modi ed Empo- rium 2. Fall 2010: MAC 1140H with Project & Fall 2011: MAC 1140H no Project 3. Fall 2010: MAC 2147 with Projects & Fall 2011: MAC 2147 no Projects Analysis of pre-tests and post-tests show that all three courses showed statistically signifi cant increases, according to their respective sample sizes, during Fall 2010. However, in Fall 2011 only MAC 2147 continued to show a statistically signifi cant increase. Therefore in Fall 2010, project-based learning - both in-class individual projects and out-of-class team projects - conclusively impacted the students' conceptual understanding. Whereas, in Fall 2011, the data for the Modifi ed Emporium model had no statistical signifi cance and is therefore inconclusive as to its effectiveness. In addition the diff erence in percent of increase for MAC 1140 between Fall 2010 - traditional lecture model - and Fall 2011 - modi fied emporium model - is not statistically signi ficant and we cannot say that either model is a better delivery mode for conceptual learning. For the second part of our study, the students enrolled in MAC 1140H Fall 2011 and MAC 2147 Fall 2011 were given a pre-test on sequences and series before showing them an animated video related to the topic. After watching the video, students were then given the same 7 question post test to determine any improvement in the students' understanding of the topic. After two weeks of teacher-led instruction, the students took the same post-test again. The results of this preliminary study indicate that animated videos do impact the conceptual understanding of students when used as an introduction into a new concept. Both courses that were shown the video had statistically signifi cant increases in the conceptual understanding of the students between the pre-test and the post-animation test.<br>ID: 031001440; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Cynthia Young.; Error in paging: p. xi followed by a page numbered xi.; Title from PDF title page (viewed June 26, 2013).; Thesis (M.S.)--University of Central Florida, 2012.; Includes bibliographical references (p. 105-107).<br>M.S.<br>Masters<br>Mathematics<br>Sciences<br>Mathematical Science; Industrial Mathematics
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Osuchowski, Wojciech. "Plakat tradycyjny i interaktywny a partycypacja w sztuce." Doctoral thesis, Katowice: Uniwersytet Śląski, 2017. http://hdl.handle.net/20.500.12128/5842.
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The poster evolves while being a manifestation of pluralism in art. In the process of change, it is not difficult to see the multitude of direction to which it is subject. Those directions concern visual trends. At the same time, grows the number of works, which draw inspiration, or are being a continuation of many directions and schools.
Some still follow the trend of modernism, some of which we would generally define as postmodern posters. The evolution is not only limited to formal differences in visual but also in the media used. The poster is a great example of breaking down barriers and interdisciplinary creation in visual arts. It turns out that this pluralism brings many problems when it comes to defining the criteria; what can be considered a poster. The discussions on the subject do not give specific answers. There are different opinions about the condition and even the function of the poster. It’s not hard to notice that the poster is no longer universally present in public space. Ousted by the commercial and modern mass media, it stopped being street art and became museum art. Thanks to its evolution, it gained the status of a separate genre of visual arts.
The poster has always been in the traditional paradigm of art. Nevertheless, it is still trying to transcend its own laws and rules. The artists were able to successively exploit new technological innovations that greatly influenced the evolution of this genre. Lithography, then offsets and digital large format printing, the possibility to print in full colour, aero graphics, photography and finally computers and digital media – All of it shows the creators’ openness to new possibilities in image creation. There are increasingly clearer signals, that some of them are ready to try another transgression. With the development of new technologies and new media, we created works that we can define as transmedia – combining the traditional poster with animation, film or installation.
Each recipient’s contact with the work is an act of participation. It is an interaction we can define as cognitive. My dissertation is an attempt to analyze not only the level of participation of the viewer in the artifact-poster but through the transactivity of the viewer to a functional and clearly formulated level. For this to happen I had to fulfill certain conditions. An interface, an instrument to „communicate” with the work, was necessary. The work itself required the development of a strategy, a scenario of action and the preparation of certain proposals for the dispatcher. Through such interactivity, participation in the cognitive, contemplative interpretation of a work, changes into a unique artistic event, and the viewer becomes a cocreator of the work situation.
I divided the dissertation into two parts. I created a series of traditional posters, printed in B1 format. The
posters are a social theme, pointing to timeless values like decency, honesty or identity. I also referred to current events and issues such as the threatened civil liberties, leadership crisis or globalism. The level of participation is enormously determined by the level of design and the visual means used.
Part two is about interactive posters, partially multimedia because in few of them I have used the elements of animation. For obvious reasons, they are in the digital version, displayed on large screens or multimedia projectors. For the purposes of creating that part of my diploma thesis, I have set myself few limitations. The displayed image will not be created by any software algorithm. The posters are supposed to be mine, not computers’. The works are supposed to preserve all the features of a traditional poster. The animations implemented in several projects can not dominate. They are supposed to be just a message-enhancing element, not a way to transform the poster into an animated video. The topic of the interactive posters is social problems as well. Works inspired by famous works of art, The Creation of Adam by Michaelangelo, Birth of Venus by Sandro Botticelli, Henri Matisse’s Dance , Edvard Munch’s The Scream , Leonardo da Vinci’s Lady with an Ermine are touching the theme of creativity, beauty, prudence, the right to voice and violence. With a few other animated posters, I draw attention on human weaknesses, a problem with real democracy and pointing to personal goals. I also created one poster in several sequences pointing to global threats. I have prepared systems that enable the implementation of a project based on the Kinect technology, along with an original system based on motion sensors. Both required writing a dedicated software to handle them. In this form, I created three posters-systems. With some differences in particular solutions, their performance is generally similar. The screen image changes whenever an observer triggers a sensor acting as an interface. This picture is made up of the proposal-disposals I prepared.
The ubiquitous digital revolution is knocking on the poster’s door, opening it, actually. This situation is not to be considered a threat to the traditional poster. I am convinced that digital, interactive posters can make a great contribution to the first. It may also be an opportunity for its wider operation in public space.
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Norris, Van. "'Drawing comic traditions' : British television animation from 1997 to 2010." Thesis, University of Portsmouth, 2012. https://researchportal.port.ac.uk/portal/en/theses/drawing-comic-traditions(f3e59083-7442-4c7a-8ae6-f323fcc08fb1).html.
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This thesis examines the shifts within mainstream British television animation between 1997 and 2010 and it discusses how British animation’s close relationship with live-action television comedy reveals a map of contemporary attitudes and tastes. The British animated texts in this period reacted to their shifting industrial and broadcasting landscape. The historical moment of the late 1990s was determined by the successes of the American animated sitcom The Simpsons, which profoundly affected the way British practitioners conceived of the medium’s capabilities within a mainstream television environment.
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Wetterbrandt, Oskar. "Förmedling av känslor genom animation på simplistisk modell : En studie med avsikt att utöka användningsområden för traditionell lära inom animation." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13603.
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Denna studie undersöker ifall det är möjligt att illustrera känslor genom animation på en simplistisk modell, i detta fallet en kub. Animationerna som genomförs baseras i Disneys animationsprinciper samt Labans rörelseteori, två olika teorier angående hur högkvalitativ animation kan skapas och analyseras. Två animationer skapades, en som är tänkt att illustrera sorg och en som är tänkt att illustrera glädje. Dessa animationer tillsammans med en kort enkät nådde 84 respondenter och fick väntat resultat. Majoriteten av respondenterna läste in känslor i animationerna, men ett par av respondenterna som läste in känslor i animationerna läste in andra känslor än de som var tänkta att representeras. Slutsatsen är att det är möjligt att förmedla känslor genom animation på en simplistisk modell, men arbetet kan utökas ytterligare genom att nå ut till fler, basera animationerna på en bredare vetenskaplig grund samt att animationerna i sig recenseras och revideras av fler animatörer.
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Camacho, Camacho Veronica. "Les images de synthèse tridimensionnelles animées : entre tradition et innovation artistique." Paris 8, 2004. http://www.theses.fr/2004PA082397.
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La synthèse d’images tridimensionnelles animées est une technique complexe et ambiguë recourant à d’innombrables modèles de simulation numérique. De par leur vocation technique ces images sont capables de simuler la quasi-totalité des techniques artistiques traditionnelles, tout en les améliorant, et beaucoup de réalisateurs les ont utilisés dans ce sens. Mais ces mêmes techniques de simulation sont aussi, en même temps, susceptibles de proposer aux artistes des moyens nouveaux capables de changer les conditions de la création artistique et de favoriser l’innovation. L’hypothèse de cette recherche repose sur l’idée que la simulation numérique, tout particulièrement dans le domaine de la synthèse d’images tridimensionnelles animées, est à la fois capable d’enrichir les pratiques artistiques déjà existantes et d’en révéler de nouvelles. Cette thèse mixte propose donc de démontrer la manière dont ces techniques imitent et innovent en même temps. La méthode employée repose sur l’observation et l’analyse d’un corpus historique d’images de synthèses tridimensionnelles animées<br>The three-dimensional computer animation is a complex and ambiguous technique resorting to innumerable models of digital simulation. From their technical vocation these images are able to simulate the near total of the traditional artistic techniques, while improving them, and much of directors used them in this direction. But these same techniques of simulation are also, at the same time, likely to propose to the artists new means able to change the conditions of artistic creation and to support the innovation. The assumption of this research rests on the idea that the digital simulation, particularly in the field of the three-dimensional computer animation, is at the same time able to enrich the already existing artistic practices and to reveal news of them. This mixed PhD thesis thus proposes to show the way in which these techniques imitate and innovate at the same time. The method employed rests on the observation and analyzes of a historical corpus of three-dimensional computer animated films
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Tillesen, Brian. "Fairy Forts and the Banshee in Modern Coastal Sligo, Ireland: An Ethnography of Local Beliefs and Interpretations of These Traditions." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3097.
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This thesis examines issues of cultural identity and modernity, and the anthropology of spirituality and sacred sites by conducting ethnographic research on fairy beliefs in contemporary Ireland. Irish folk belief has traditionally identified a spirit world intertwined with our own which is inhabited by spirits, often collectively referred to as fairies. Belief in these spirits was once widespread. My research sought to determine the prevalence of these traditional beliefs among modern Irish people within my research area, as well as differences in belief across variables including age, gender, and religious preference. I conducted eight weeks of ethnographic fieldwork during June-August 2008 in and around Sligo Town in County Sligo, Ireland. I selected County Sligo as a research site because it is a sparsely populated, largely rural area, identified in an earlier major study of Irish folklore as a region where belief in the Irish spirit world persisted more strongly than in other parts of the country. My primary research methodology was to conduct structured and unstructured interviews, complemented by visual site surveys. In the preparation of this thesis I utilized data from 52 Sligo residents plus ten other visitors to the area from surrounding Irish counties. While my research suggests that few Sligo residents from the project area continue to believe in the literal existence of fairies, it also shows a much more common belief in a "power" associated with sites identified as "fairy forts," which are natural features of the landscape or the remains of ancient burials or dwellings apocryphally endowed by folk tradition with supernatural or mysterious energies. These beliefs led to a taboo against intruding on, altering, or destroying these "forts" that is still very much alive today. Additionally I was able to discuss at length the subject of the Irish death-herald spirit called the banshee (bean sidhe) with several study participants. Although it can be classified under the umbrella label of "fairy", my research indicates that the banshee is seen as a stand-apart element of Irish tradition by research area residents, and is believed in by those who do not otherwise profess a belief in "fairies" in general.<br>M.A.<br>Department of Anthropology<br>Sciences<br>Anthropology MA
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Ma, Li-Jui, and 馬立瑞. "Traditional Greasepaint Technique in Art of Animation Practical Application." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/03139429103351920458.
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碩士<br>中國文化大學<br>美術學系<br>103<br>The development of ACG culture in Taiwan has been thrived in recent years. With deep interest in ACG culture, the author analyzes the original motives of his own creations from the experiences of painting and ACG after establishing the research motivation and research methods. Moreover, the author studies the processes of ACG industry related developments. The author also discovers the his own suitable painting method for this research from the industry development study and describes the aspects of himself that are influenced by ACG culture from several areas.
To find evidence to prove the artistic value of ACG culture, this article selected 3 modern artists who use ACG elements as their art creation. By examining the ACG culture influences in their works and the artistic value they created from ACG elements, and by comparing the analysis with the author’s own artistic ideas and works, the artistic value of the author’s creation for this research is verified.
This study is a creation analysis of the a series oil painting of Art of Animation created by the author using the computer game “League of Legends” as subject matter. This article also introduces the ACG culture development in Japan, Europe, and North America. The features of the culture in different areas and their influences on the author are also investigated in the research. Finally, an explanation on the author’s series of creation is provided. The series is divided into 3 main themes, and the picture plane composition as well as the creative ideas are analyzed respectively. Summarizing the comparisons, this study proves that it is practical to reflect the artistic value by applying ACG elements in traditional oil painting.
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JAN, Chiou SHR, and 邱士展. "“Mr. Wheels on Country Road” the Traditional Features of Taiwan in Computer Animation Art." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/80680509992794835127.
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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系<br>97<br>Culture is the most valuable assets to a country , and the unique rural culture to Taiwan is also the growth common memories for many Taiwanese ; there have been many art subjects of Taiwan rural culture and works whether in music,drama, film, literature, sculpture and some other artistic forms. And the property of animation is different from the other medias, if we can make use of animation to performance, not only can show the past face in memories of Taiwan; but also more accessible and no language barrier for promoting the cultural characteristics of Taiwan to the world.
This creation "MR.wheels" will use the 3D computer animation technology, to paint the rural era in the past, and unpolluted scenery of the carts path and the field to make a strong contrast with the current highway , industrial roads and high-voltage towers which can be seem everywhere in this film ; and the almighty property of computer animation would be used to create the spectacular fantasy scene of the migration of a large number of blue crows for describing the beauty of Taiwan.
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sharn, Chang-po, and 張柏祥. "Near Heaven Integrated visual significance of traditional hand drawing and computer image process in animation." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/76068316654623385214.
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碩士<br>臺南藝術學院<br>音像動畫研究所<br>89<br>Abstract
In the traditional cel animation industry, the extensive manpower with skilled
hand drawing technique is the major force behind the animation production. By
applying personal experiences and skills in cel animation assisted with the latest
3D computer graphic technology helps add various visual elements and formats
in presenting animated images.
This paper is based on the thesis project "Near Heaven." The production is
combined with technique and procedure from traditional cel animation and
imageries created with 2D and 3D image processing software on computer.
With the mixture of the applied different formats, this film is created to study
further in depth in animation through the medium of innovative visual
presentation.
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Yang, Yu-Chih, and 楊育智. "The application of puppet animation creating and relative traditional handicrafts – a short film “head- hunting award”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/fk4euc.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>動畫藝術與影像美學研究所<br>104<br>This study will present the record of the process with an individual’s learning and creating of animation. The different cultures have different artful natures. The works not only display the creator’s experience in a personal culture and also leave a tiny mark in the life. Through the creation, the writer expects to experience all the corners of surrounding, a unique culture and living. The shot medium of stop-motion animation will be multiple. The short film “head-hunting award” will be produced by applying the puppet made with chien-nien (ceramics cutting and pasting) traditional crafts; through the medium it will display a different visualizing style, the shooting way and context of story will allow the researcher to explore his personal perception of stop-motion animation.
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謝長臻. "The study and creation of anti-traditional folktale by 2D animation - Take the Thief Chi legend as an example." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/76fukg.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>設計研究所<br>97<br>With the highly developing of computer technology and innovation day by day and advance of animation technology, 3D animation films have become a fad in whole world in recent years; thus, lots of animation companies follow this trend and 2D animation decreases gradually. However, researcher believes that 2D animation has more perceptual lines which 3D animation can't behave. This study combines Chinese ink technique and traditional animation technology to create a short animation.
This creation takes traditional folktale, a household story- “the Thief Chi legend”, as the inspiration, redefines the original main idea that everybody regards Thief Chi as a thief and a liar and then changes it into the other version, Thief Chi is a teenager with sense of justice. At the end of story, he is still wanted by the police, but he has disappeared. In addition, the short animation adds the story that Thief Chi helped people, which express the concept “Seeing is not always believing, we must consider the deeper meaning behind the fact, and think from other aspects.”
The process of making the Chinese ink animation is very complicated, so this research separates it into two parts: the dynamic and static pictures. The dynamic pictures are made with ink pen; therefore, the lines will remain the original characteristics of handy-stroke. After finishing all the rough drafts, the computer colored drafts in the style of Chinese ink painting for time saving. Nevertheless, the trend of 3D animation is inevitable. To increase various development and competition advantage, 2D animation should combine with 3D animation or other multimedia. As for traditional culture, researcher expects that more traditional culture characteristic of Taiwan will pass down to next generation in the future by animation, and traditional culture can spread along with science and technology.
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Li, Shu-Hung, and 黎書宏. "Creation Description of Traditional Hakka 3D Computer Animation “Bombing The Dragon” and Research of Applications on Dynamic Simulation of cloth in Maya nCloth System." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/72fppv.
Full textAbstract:
碩士<br>國立臺中科技大學<br>多媒體設計系碩士班<br>103<br>“Bombing The Dragon” is a traditional Hakka festival, also is one of the most important Hakka events of the year. Dragon is a mythological animal that can brings lucky and auspicious future, people developing the “dragon dance” from the dragon totem and wish it can brings the wellbeing back to the people. We wish to spread the beauty of Hakka traditional by 3D animation, use Maya nCloth to simulate the movement of the dragon, make it more vivid and real.
Hakka is the national cultural treasure of Taiwan, compare with the strong culture – Hokkien; it is not easy to conserve. Hakka culture is waiting to be discovered, it needs to be conserve and transmit.
“Bombing the Dragon” is one of the Lantern Festival activities, the others are “Flying Lanterns”, “Bombing Lord Handan” and “Feng pao”. “Bombing the Dragon” is the only Hakka culture activity. It has 6 stages over one week. The 6 stages are “Pasting the dragons”, “Dotting the dragon’s eyes”, “Welcome the dragon”, “Walk with the Dragon”, “Bombing the dragon” and “Send the dragon back to the heaven”. Every stage has mounts of culture content.
Animation is effective way to connect with audiences; it can present Hakka culture lively. “Bombing the Dragon” is attractive due to the sound and light effect, so dynamic simulation of cloth is very important. The nCloth system (New Cloth) of Maya is very useful. It will make the simulation more vivid and real of the dragon dance.
Hakka culture is deserved to learn and transmit, “Bombing the Dragon” is only one part of it. We hope that audience not only learn the Hakka culture by this animation, but also get interested in their own culture, and then found the beauty of it.
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Ramos, Luís António Gomes Tarrafa. "Production of 3D animated short films in Unity 5 : can game engines replace the traditional methods?" Master's thesis, 2017. http://hdl.handle.net/10400.14/22820.
Full textAbstract:
In 3D animation cinema, the elements of a scene are created by artists using computer
software. To generate the final result, there must be a conversion (rendering) of the threedimensional
models to two-dimensional images (frames) that will later be joined together and
edited into a video format.
3D animation films have traditionally been rendered using pre-rendering engines, a time
consuming and expensive process that usually requires the use of multiple computers rendering
at the same time (render farms), renders which may need to be repeated if the results are not
ideal.
Videogames, on the other hand, are reactive applications where the player may have
different possible courses of action that will generate distinct results. In those cases, it is
necessary that the engine waits for the player’s input before it calculates the following frames.
To allow for fast calculations in real time, 3D game developers use game engines that
incorporate real time rendering methods which can generate images much faster than the prerendering
engines mentioned above.
To be able to generate a large number of frames per second, there must be an
optimization of the entire scene, in order to reduce the number of necessary calculations. That
optimization is created by using techniques, practices and tools that are not commonly used by
animation cinema professionals.
Due to that optimization necessity, videogames always had a lower graphic quality than
that of animated films, where each frame is rendered separately and takes as long as necessary
to obtain the required result.
Physically Based Rendering (PBR) technology is one of the methods incorporated by
some rendering engines for the generation of physically accurate results, using calculations that
follow the laws of physics as it happens in the real world and creating more realistic images
which require less effort, not only from the artist but also from the equipment. The incorporation
of PBR in game engines allowed for high graphic quality generated results in real time,
gradually closing the visual quality gap between videogames and animated cinema.
Recently, game engines such as Unity and Unreal Engine started to be used – mostly by
the companies that created the engine, as a proof of concept – for rendering 3D animated films.
This could lead to changes in the animation cinema production methods by the studios that,
until now, have used traditional pre-rendering methods.<br>No cinema de animação 3D, os elementos de uma cena são criados por artistas através
da utilização de programas de computador. Para gerar o resultado final, é necessário fazer-se
uma conversão (render) dos modelos tri-dimensionais para imagens bi-dimensionais (frames),
que posteriormente serão unidas e editadas para um formato de vídeo.
Tradicionalmente, o rendering de filmes de animação 3D é feita através de motores de
pre-rendering, um processo demorado e dispendioso que geralmente requer a utilização de
múltiplos computadores a trabalhar em simultâneo (render farms), e que poderá ter que ser
repetido caso os resultados obtidos não sejam ideais.
Os videojogos, por outro lado, são aplicações reactivas, onde o jogador pode ter várias
sequências de acções, que poderão gerar resultados distintos. Nesses casos, é necessário o motor
de jogo esperar pela acção do jogador antes de calcular as imagens seguintes. Para possibilitar
cálculos rápidos em tempo-real, os criadores de jogos 3D usam motores de jogo que incorporam
métodos de renderização em tempo-real que conseguem gerar imagens muito mais rápido do
que os motores de pre-rendering mencionados acima.
Para conseguir gerar um grande número de imagens por segundo, é necessário existir
uma optimização de toda a cena, para reduzir o número de cálculos necessários. Essa
optimização é criada através da utilização de técnicas, práticas e ferramentas que, geralmente,
não são utiliadas por profissionais da área de cinema de animação.
Devido a essa necessidade de optimização, os videojogos sempre tiveram uma
qualidade gráfica inferior à dos filmes de animação, onde o render de cada imagem é gerado
separadamente e pode levar tanto tempo quanto for necessário para obter o resultado desejado.
A tecnologia de Rendering Baseado em Física (Physically Based Rendering – PBR) é
um dos métodos incorporados por alguns motores de rendering para a geração de resultados
físicamente correctos, usando cálculos que seguem as leis da física, tal como acontece no
mundo real e criando imagens mais realistas necessitando de menos esforço, não só da parte do
artista mas também do equipamento. A incorporação de PBR em motores de jogo possibilitou
resultados gerados em tempo-real com grande qualidade gráfica, o que gradualmente vai
aproximando a qualidade visual dos videojogos à do cinema de animação.
Recentemente, motores de jogo como o Unity e o Unreal Engine começaram a ser
utilizados – maioritariamente pelas companhias que criaram o motor de jogo, como prova de
conceito – para renderização de filmes de animação 3D. Este passo poderá levar a mudanças
nos métodos de produção do cinema de animação em estúdios que, até agora, utilizaram
métodos de pré-renderização tradicionais.
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VAŇKOVÁ, Karolína. "Reflexe krize autority z hlediska filosofie výchovy." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-54646.
Full textAbstract:
The thesis analyzes the crisis of authority in education. The first part deals with an analysis of the contemporary concept of authority; the definition of dimensions, legitimacy, power, bureaucracy, charisma, obedience to authority, authoritarianism, and the definition of the crisis of authority in society. The second part evaluates the knowledge, defines crisis of authority in education, analyses the roots of this crisis, and offers a solution. The final part deals with the definition of animation as a third dimension of education and defines its potential benefits in the issue of crisis of autority.
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Choi, byng-uk, and 崔炳旭. "Fermented dish‧Eroticism－Animating Korean traditional food-Kimchi, An interpretation of women’s sexual and emotional suppression." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/30247195440914490584.
Full textAbstract:
碩士<br>實踐大學<br>時尚與媒體設計研究所<br>97<br>The main purpose of this creative study is to interpret the inside intention and the culture by Korean traditional fermented dish- Kimchi. The risen time of Kimchi was in the “Joseon” dynasty(1392-1910) which was be the historical background chosen by creator for this animation. In Korea, the work of making Kimchi almost belongs to Korean women, therefore, creator intends to represent how do Korean women release their suppressed emotion and eroticism by the process of making Kimchi.
Diet of a country shows its distinctive national features, values and social organizations. For example, the most famous Korean food in the world is Kimchi which is also a must-have during meal for all Korean families; on dinning table, Kimchi is not a principle, but definitely is a indispensable dish which changes and updates in accordance with different times to pursue gradation of taste and visual sophistication. The creator conveys the role of Korean women in society by means of Kimchi, which takes on the secondary place in society but is not able to be replaced; deep inside is very substantial and rich but still has to change herself for people around; a perpetual supporting role in the age but has a heart with toughness and tenacity.
Besides of talking women’s social status, the creator intends to express the Korean women’s lonely and have no choice for suppressed emotion, therefore, they are trying to release all repressions by the process of making Kimchi.
The artistic conception of this animation combines 2D and 3D effects. Using 2D effect for background as stage play and obtaining Korean culture and historic elements, like couture, house finishing, weather, etc. Applying 3D effect for characters and process of making Kimchi, like hands’ action and strength for smearing over trimmings on Chinese cabbage to show suppressed emotion. Creator prefers to express release and retrieve for sexual and emotional suppression by an implication way.
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Filipe, Isabel Maria da Silva Esteves. "Projeto Saboreia a tua Terra : estudo pós-facto de uma investigação-ação." Master's thesis, 2018. http://hdl.handle.net/10400.2/7898.
Full textAbstract:
O presente estudo de investigação que aqui é apresentado leva-nos à descoberta e conhecimento do Património Cultural do concelho de Mafra. A problemática e objeto de estudo da pesquisa centram-se na compreensão da razão do Património Cultural do concelho de Mafra não ser mais conhecido, ou pelo menos não ser do interesse da comunidade, após a realização do projeto “Saboreia a tua Terra” em 2010. Por conseguinte o estudo debruça-se na interpretação de que forma o projeto criou impacto e despoletou interesses na comunidade do concelho de Mafra, nomeadamente no Agrupamento de Escolas de Mafra (AEM) e Escola Básica Hélia Correia (EBHC), estabelecimento de ensino que o acolheu.
Nesta viagem que se iniciou com o desenvolvimento do projeto em 2010, ambiciona-se com este estudo, por um lado entender se as atividades ludico pedagógicas e criativas realizadas, dando a conhecer um conjunto de conteúdos da historia local de Mafra, tiveram impacto e despoletaram outros interesses de natureza patrimonial ao grupo alvo e comunidade escolar e por outro, compreender quais as perspetivas futuras para o projeto “Saboreia a tua Terra”.
A metodologia teórico-concetual e empírica da pesquisa desenvolve-se através de uma investigação pós-facto apoiando-se no método descritivo/compreensivo. A interpretaçao sobre os dados evidencia o contributo das atividades artísticas e de essência participativa, aliadas à componente curricular do 1º ciclo ao nível da história local para uma educação patrimonial na escola.
Anseia-se que este contributo auxilie na tomada de consciência, em especial dos mais jovens, mas também da comunidade escolar e entidades locais, originando uma sociedade mais consciente da importância da divulgação e preservação do seu património cultural.<br>The present research study leads us to the discovery and knowledge of the Cultural Heritage of the municipality of Mafra. The problem and object of study of this research is centered on the understanding of the reason why the Cultural Heritage of the municipality of Mafra is not more widely known, or at least is not in the interest of the community, after the completion of the project "Enjoy your town” in 2010. Therefore, the study is concerned with interpreting how the project has impacted and triggered interest in the community of Mafra, namely the Mafra School Cluster (AEM) and Hélia Correia Elementary School (EBHC), an educational institution that welcomed the project.
On this journey, that began with the development of the project in 2010, the aim is to understand if the educational and creative activities carried out, creating awareness towards a set of contents of the local history of Mafra, had an impact and triggered other heritage related interests among the target group and, on the other hand, to understand the future prospects for the " Enjoy your town" project.
The theoretical-conceptual and empirical methodology of the research is developed through a post-fact research based on the descriptive / comprehensive method. The interpretation of the data shows, on the one hand, the contribution of the activities of education through art and of a participative essence, allied to the curricular component of the primary school at the level of the local history for a heritage education in school. It is hoped that this contribution will help to raise awareness, especially among the younger generations, but also of the school community and local authorities, leading to a society more aware of the importance of disseminating and preserving its cultural heritage.