Den här uppsatsen undersöker vikten av fyra av Disneys 12 animationsprinciper i ansiktsanimation för 3D. De principer som undersöks är Anticipation, Followthrough and Overlapping action, Appeal och Secondary action. Detta prövas genom att först skapa en originalanimation, där alla Disneys animationsprinciper används, och därefter skapa fyra ytterligare, separata, animationer där en av detidigare nämnda principerna tas bort. Dessa animationer visades sedan för sex testpersoner som därefter fick svara frågor i en intervju. Det märktes tydligt att alla av de fyra testade principerna är viktiga för en animation, dock var avsaknaden av Appeal eller Secondary action tydligast. / This bachelor-thesis discusses the importance of four of Disney’s 12 animation principles in 3D facial animation. The principles discussed are Anticipation, Followthrough and Overlapping action, Appeal and Secondary Action. This is done by first constructing a standard animation, using all of Disney’s animation principles, and then creating four additional, separate, animations by removing the usage of one of the afore mentioned principles at the time. Six test subjects then view the animations and answer a series of questions in an interview format. We found that all four of the tested principles are important to an animation, but that out of the four it was the most obvious when either Appeal or Secondary Action was omitted.

An algorithm for generating communicative, human-like motion for social humanoid robots was developed. Anticipation, exaggeration, and secondary motion were demonstrated as examples of communication. Spatiotemporal correspondence was presented as a metric for human-like motion, and the metric was used to both synthesize and evaluate motion. An algorithm for generating an infinite number of variants from a single exemplar was established to avoid repetitive motion. The algorithm was made task-aware by including the functionality of satisfying constraints. User studies were performed with the algorithm using human participants. Results showed that communicative, human-like motion can be harnessed to direct partner attention and communicate state information. Furthermore, communicative, human-like motion for social robots produced by the algorithm allows humans partners to feel more engaged in the interaction, recognize motion earlier, label intent sooner, and remember interaction details more accurately.

This thesis examines the function of color in the design of a character and the scene of animated films and answers the question about color features in character and scene design as a separate animation principle, similar to the established 12 animation principles. The paper contains analysis about basic concepts of color and its visual perception, color theory and color psychology. The paper takes into consideration previous studies about color in physics, psychology and animation. The purpose of this study is to research the influence of the color on the plot perception in animation. The method of the study consists of comparing the statistics for correctness of recognition of the character's role and diegesis in the frame depending on the color change. Recognition correctness is established by conducting a blind survey of the representative sample of viewers. The survey is based on five sketches of the frame that use the same original drawing of the character's pose and different combinations of colors for the character and the background coloring. The following combinations of colors were used: warm color tones for the character and warm color tones for the background; warm for the character and cold for the background; cold for the character and warm for the background; warm for the character and warm for the background; uncolored character and uncolored background. Survey participants have assessed and identified different roles of the character and diegesis in each sketch of the frame based on the proposed five alternatives of the scene description according to the scenario idea. The results show that the effect of colors function was detected in all four colored sketches of the frame. The study confirms that all four combinations of color significantly increase the number of correct recognitions of all four roles of character in colored sketch of the frame compared to the uncolored sketch of the frame. This fact confirms the described hypothesis and emphasizes the effect of the color function which helps the viewer to interpret the design of the scene more clearly and to easily perceive the role of the character in colored sketch of the frame compared to the uncolored sketch. / Examensarbetet undersöker färgens funktion inom karaktärs- och scendesign. Jag utgår ifrån några grundläggande begrepp om färgvisuell uppfattning som har sitt ursprung i färgteori och färgpsykologi. Jag tar även hänsyn till tidigare studier om färg inom fysik-, psykologi- och animationsområden. Syftet med arbetet är att presentera jämförande statistik och dataanalys i användningen av olika färgkombinationer för att visa olika rollfigurer och diegeser utan att ändra den ursprungliga teckningen av bildrutan. Undersökningen bygger på fem egenproducerade skissar som använder densamma teckningen av karaktärens pose samt olika kombinationer av färger för karaktärens och bakgrundens färgning. Det används följande färgkombinationer: varma färgtoner för karaktären och varma färgtoner för bakgrunden; varma för karaktären och kalla för bakgrunden; kalla för karaktären och varma för bakgrunden; varma för karaktären och varma för bakgrunden; ofärglagda för karaktären och ofärglagda för bakgrunden. Deltagarna i enkätundersökningen har fått bedöma och identifiera olika rollfigurer och dieges i varje skiss av bildrutan utifrån de föreslagna fem alternativ av scenbeskrivningen enligt manusidén. Studiens resultat visar att effekten av färgfunktionen upptäcktes i alla fyra färglagda skisser av bildrutan. Alla fyra färgkombinationerna höjer antalet korrekta igenkänningar av alla fyra rollfigurer i färglagd skiss av bildrutan i förhållande till den ofärglagda skissen av bildrutan. Detta bekräftar den beskrivna hypotesen och betonar att färgfunktionen hjälper betraktaren att tolka scendesign mer tydligt samt gör igenkännandet av rollfiguren i den färglagda skissen av bildrutan enklare i jämförelse med den ofärglagda skissen.

Engagement. This has become a key concept in the field of marketing. The concept of "engagement" is utilized to describe the way users instantly engage with brands using clicks, reactions, comments, and sharing. Brands and advertisers utilize media platforms to increase brand awareness and create customer-engaging content. In recent years, most platforms have utilized motion graphics and animations to produce more dynamic content, separate themselves from competitors, and create engaging content. Nevertheless, is it possible to increase engagement by using animation principles? The objective of this research is to gain an understanding of how the principles of animation can be used to improve engagement on LinkedIn, as well as the impact these principles may have on social networking site platforms, and to determine which types of content are the most engaging. The following research question was asked: RQ1: How does the use of animation principles in dynamic posts influence the level of engagement on LinkedIn compared to static posts? In this study, an inductive and empirical approach through the Visual Attention Theory was used. A quantitative content analysis was performed on the companies' LinkedIn profiles to gather data on engagement. The content analysis was performed on LinkedIn in a real-world scenario using Ny Studio, Grace Studio, and Saga Production’s accounts. In total, 18 posts—three static and three dynamic were uploaded on each of the company's LinkedIn accounts. The collected data was inserted into the engagement metric to be further analyzed. Compared to static posts on LinkedIn, the dynamic post with the principles of animation did not yield significantly higher engagement. The animation of principles does, however, affect a post's comments, reactions, and shares. At the same time, static posts showed higher engagement in terms of views and clicks. The independent t-test resulted in a significant (p < 0.001) value for the engagement metric of clicks. This reveals that static post engagement on clicks does differ substantially in this study compared to dynamic posts. The findings contribute to the limited understanding of how dynamic LinkedIn affects user engagement and have laid the groundwork for further research in this area.