In my drawings and animation, I create a representation of a culture that is instilled in me, yet foreign. The work is inspired from a childlike perspective to depict a personal primitive experience with the Korean culture. The subtleties of the animations are meant to reflect the quiet nature of Asian paintings and to allow the viewer to experience and interpret it as they choose. I want others to see without hearing words in an already noisy world.

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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Claymation is an animation technique developed around a century ago and featured inseveral video games. However, traditional claymation production is not most accessible togame developers due to its specialized skill requirements. This research aims to make theclaymation visual style more accessible by digitally emulating its characteristics usingmethods widely used in game development. Our approach involved developing and iteratingdigital techniques to replicate the surface texture of clay models and the jittery animationquality in a 3D physics-based game, the emulated results of which were evaluated throughinternal and external playtesting. The research team concluded that a combination ofdisplacement maps, normal maps, and color adjustments could be used to emulate realisticclay surface textures. Meanwhile, 3D animation and physics-based animation approacheswere explored to recreate the jittery animation look. The team found that, within 3Danimation, strategic use of still frames and manual motion variance addition to each in-motionpose are effective jitter emulation methods, with the latter being more effective. With physics-based animation, adding a randomized value to an object’s physically simulated motionsimulates motion jitters. The research compiled the emulation process into steps, serving asemulation guidelines for future projects.

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Yes / Advances in computer animation techniques have spurred increasing levels of realism and movement in virtual characters that closely mimic physical reality. Increases in computational power and control methods enable the creation of 3D virtual humans for real-time interactive applications. Artificial intelligence techniques and autonomous agents give computer-generated characters a life of their own and let them interact with other characters in virtual worlds. Developments and advances in networking and virtual reality (VR) let multiple participants share virtual worlds and interact with applications or each other.

M.Sc (Computer Science) / Facial modelling and animation is considered one of the most challenging areas in the animation world. Since Parke and Waters’s (1996) comprehensive book, no major work encompassing the entire field of facial animation has been published. This thesis covers Parke and Waters’s work, while also providing a survey of the developments in the field since 1996. The thesis describes, analyses, and compares (where applicable) the existing techniques and practices used to produce the facial animation. Where applicable, the related techniques are grouped in the same chapter and described in a chronological fashion, outlining their differences, as well as their advantages and disadvantages. The thesis is concluded by exploratory work towards a talking head for Northern Sotho. Facial animation and lip synchronisation of a fragment of Northern Sotho is done by using software tools primarily designed for English. / Computing