This thesis presents a study of both traditional Chinese painting and threedimensional (3D) digital non-photorealistic shading techniques, the results of which are used to create a short animation illustrating an environment that maintains the aesthetic of a Chinese painting while exploring a two-dimensional art style in a new way through camera movement and parallax. Traditional Chinese painting uses alternative methods to communicate depth, such as value range, water-to-ink ratio and vertical placement of objects. In contrast, perspective and parallax are native characteristics of 3D digital technology and are easily generated using a virtual camera. When combining these two mediums to inject linear perspective into the Chinese painting style, it is equally important to maintain the integrity of the aesthetic by adhering to the stylistic and compositional rules throughout the animation. As a result, the final project may be paused at many key frames and appear to follow these rules closely. This study also describes the methodology of translating the Chinese painting aesthetic into a 3D digital medium, which can also be used in the interpretation of other traditional art styles.

The goal of this thesis is to develop and construct a repeatable, scalable, and portable rigging solution for the skeletal limbs of ungulates, maximizing functionality while streamlining intuitive interface controls for a feature film production pipeline. The research presents a methodology for breaking down character reference materials commonly available to feature film productions like artwork, anatomical drawings, photographs, and client provided performance criteria. It then presents a modular methodology and approach for successfully evaluating and applying the character reference to the construction of skeletal limbs using ungulates as the primary example. Each limb is broken down into modules that more easily translate into the digital world. The methodology then further defines how to combine and apply digital rigging tools such as constraints and inverse and forward kinematic techniques in a layered and modular way in order to achieve a robust character rig. The resulting ungulate limb rig provides an efficient, intuitive, and robust solution capable of replicating the given performance criteria as well as an example of a scalable approach applicable to non-ungulates. In application of the repeatable modular approach presented, huge efficiency gains have been realized in feature film production pipelines. Animation studios are under increasing pressure to create larger quantities of work, at higher quality, with shorter timetables, and smaller relative budgets. This methodology successfully meets those criteria.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 187-201). Available also in a digital version from Dissertation Abstracts.

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 78-80).

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 55-57).

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 182-189). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 151-163). Available also in a digital version from Dissertation Abstracts.

Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2003. / Includes bibliographical references (leaves 57-59). Also available in electronic version. Access restricted to campus users.

Thesis (Ph. D.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 66-70).