[pt] Com o recente aumento das aplicações da animação por computador, na mais diversas e importantes áreas, torna-se necessário o bom entendimento e a evolução das técnicas de animação. Este trabalho tem por objetivo mostrar algumas áreas de atuação e classificações da animação por computador. É apresentado um sistema integrado de geração de figuras e de animação por computador usando a técnica chamada Animação por Quadro-Chave Agrupados. Esta técnica é baseada na geração dos quadros de uma animação partindo-se dos quadros-chaves (quadros com posições extremas do movimento) desta. O termo agrupados é usado porque pode-se ter tantos quadros-chaves quanto se queira permitindo assim o maior controle do movimento. Através deste sistema é possível compreender como é feita a geração automática de quadros intermediários de uma animação, é possível fazer o controle do movimento final através do computador e ainda é permitida a animação de cores através de interpolações que fazem com que se uma figura muda de cor de um instante para o outro esta mudança seja suave e agradável aos olhos do usuário. / [en] Today, the continuing development of computer animation applications is becoming increasely important not only is background but also the current state-of-the-art research. This work presents some application areas and taxonomies of available techniques. It developes a Computer Animation System for keyframe drawing and inbetween segments computer creation. The system uses a knew assemblage tecnique (named Quadro-Chave Agrupados) for motion control. The algorithm empolys as many keyframe as necessary in cach animation. The system provides an enviroment where it is easy to know how atomatic inbetween is genereted and how motion control is reached. Given the initial and final collor, the figure hue and saturation are interpolated between the keyframes, the smoothly change produces pleasant result.

This thesis examines the characterization of blacks in contemporary British-made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain's multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain's premier animation studio.

Despite technology's growing presence in society, accounting classrooms have lagged behind other disciplines in utilizing educational animations. This is primarily due to inconclusive research and institutional resistance. In this thesis, I cover existing research on the benefits of visualizations as well as the significance of educational animations. To supplement my arguments for how these studies are lacking, I have made two educational animations covering introductory concepts of financial statements and the time value of money.

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This thesis support paper is the trajectory of my search to uncover what constitutes an aesthetic for my current practice and to unpack what I think the work is about. In this paper I trace the development of my process, identify primary aesthetic preferences, elucidate inspirations, and finally present several interpretations of the work. I came into the MFA program with the intention of moving my practice in animation to an art form that was non-linear and free of a flat projection screen and story arc. Working with materials is important to me and I also wanted to find a way to integrate time-based media with material art forms. What I discovered early in the MFA program is that making this shift in my practice involved understanding how object art generates meaning differently than the animated film does. In the Thesis Exhibition I take ordinary household objects, disrupt them so they are unfamiliar then project animated video of other ordinary objects made strange onto them. The illogical objects and their juxtaposition generates a tension – a cognitive stretching – that gives rise to various readings of the work. Perceptually engaged, I am immersed in a cognitive puzzle trying to make sense of the paradoxes I am experiencing and bring them to a resolution. It continues to astound me to what degree the household objects that I make strange can generate sensation, feeling, and meaning through the amalgam of their motion, gesture, and form, through the way in which they are situated in space and the way in which they relate to one another.

The topic that I have been studying for this thesis concerns the locomotion of quadruped animals. More specifically, my goal was to study how quadrupeds, such as canines or felines, move and then compare that movement to individuals of the same species, except adding in a factor such as a limp or the removal of an entire limb. I wanted to see how that affected their balance and their gait among other things. Luckily, there are plenty of resources out there for me to study the differences. Between videos online, living with dogs and cats at home, and semi-regularly volunteering at an animal rescue sanctuary, I have been able to amass a sizeable amount of data to determine both how these animals move regularly, and how injuries or the complete loss of a limb affects their movement. I have studied four different types of quadruped walk-cycles and then further studied them to see how various limb injuries affect how they get from point a to point b. Afterwards, I applied what I learned by animating a cycles that capture how the quadruped normally moves and then also animating a cycle where the quadruped has limited ability with one of its limbs.

Yes / This work presents an efficient and fast method for achieving cyclic animation using Partial Differential Equations (PDEs). The boundary-value nature associ- ated with elliptic PDEs offers a fast analytic solution technique for setting up a framework for this type of animation. The surface of a given character is thus cre- ated from a set of pre-determined curves, which are used as boundary conditions so that a number of PDEs can be solved. Two different approaches to cyclic ani- mation are presented here. The first consists of using attaching the set of curves to a skeletal system hold- ing the animation for cyclic motions linked to a set mathematical expressions, the second one exploits the spine associated with the analytic solution of the PDE as a driving mechanism to achieve cyclic animation, which is also manipulated mathematically. The first of these approaches is implemented within a framework related to cyclic motions inherent to human-like char- acters, whereas the spine-based approach is focused on modelling the undulatory movement observed in fish when swimming. The proposed method is fast and ac- curate. Additionally, the animation can be either used in the PDE-based surface representation of the model or transferred to the original mesh model by means of a point to point map. Thus, the user is offered with the choice of using either of these two animation repre- sentations of the same object, the selection depends on the computing resources such as storage and memory capacity associated with each particular application.

Imperceivable World is an immersive multi-media exhibition that allows the audience to explore the imperceivable micro world of various organisms. These microorganisms occupy a space within our world that is so minuscule that it might seem like fiction. A series of short animations are an exploration into how these organisms behave and interact, giving the viewer a brief glimpse into this micro world. Imperceivable World utilizes the Cyclorama, which is a massive cylindrical screen that can display 3D stereoscopic animations which provide the audience a larger than life perspective of these microorganisms. Along with cyclorama Imperceivable World uses the Cube's audio space to give the audience a fully immersive experience. / Master of Fine Arts / <i>Imperceivable World</i> is an immersive multimedia exhibition that allows the audience to explore the imperceivable microword of various organisms. . These microorganisms occupy a space within our world that is so miniscule that it might seem like fiction. A series of short animations are a tour into how these organisms behave and interact, giving the viewer a brief glimpse into this micro world. These short animations are an artistic imagination with inspirations from studies of the micro world that inhabits in our daily living space. <i>Imperceivable World</i> utilizes the Cyclorama, which is a massive cylindrical projector screen that can display 3D animation which provides the audience a larger than life viewpoint of these microorganisms.. Along with cyclorama Imperceivable World uses the ICAT Cube’s 128 speaker system to give the audience a fully immersive experience. Using these technologies, <i>Imperceivable World</i> explores how information and ideas can be best presented in a captivating experience.

Yes / Direct parameterisation is among the most widely used facial animation techniques but requires complicated ways to animate face models which have complex topology. This paper develops a simple solution by introducing a PDE-based facial animation scheme. Using a PDE face model means we only need to animate a group of boundary curves without using any other conventional surface interpolation algorithms. We describe the basis of the method and show results from a practical implementation. / EPSRC

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