Thesis (Ph.D.)--University of Pittsburgh, 2005. / Adviser: Jonathan Sterne. Includes bibliographical references.

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This paper studies the activity of bipedal walking with the objective of describing procedural techniques to automate this process. The main problem this paper explores is how to mathematically characterize the relationships and motion of different limbs involved in the process of walking and to represent realistic and natural walk cycles. Other issues discussed are possible variations to create different types of walk cycles. The results have been used to implement and develop a learning tool to assist students in the creation of animated walk cycles. This paper is reporting on the methods used to create a practical computer-assisted tool to show and teach students how walk cycles get affected by different parameters without having to learn every facet of their complicated 3D animation applications. The results can also be applied to many different areas of visualization, such as architectural and virtual reality environments, where human or bipedal models are involved.

In well-developed instructional programs, professional skills such as business writing, team organization, project management, and oral presentation skills are built into coursework throughout the curriculum. Because of limitations of the classroom environment, these experiences only simulate those encountered in the field, making it difficult for students to appreciate the importance of these skills in their career preparation. In the Digital Media (DIGM) program at East Tennessee State University (ETSU), students often see professional skills aspects of projects in animation, web design, or 3D visualization courses as unnecessary obstacles to learning primary course material. It isn't until they have an opportunity to work in the field that these skills suddenly become relevant. Only then do they understand the consequences of poorly developed professional skills. Industry advisors for our program emphatically stress the need to help students develop professional skills. Our graduates have been praised for technical and artistic skill, but even though they work in teams, write proposals, and make oral presentations in many of their classes, when it comes to applying these skills on the job they haven't fared as well. In a highly competitive job market, it is often demonstration of these professional skills, combined with an overall professional demeanor, that make or break an applicant's ability to successfully land a good job. To address this need, a service-learning project designed to give students real world experience was implemented in the fall 2005 Portfolio Development in Digital Media class. Using "Maryland's 7 Best Practices for Service Learning" as a guide, the project was developed in collaboration with the Tri-City Metro Advertising Federation (TMAF). Students would compete for the opportunity to produce the promotional campaign for the ADDY Awards Competitioni for the Tri-Cities (Johnson City, Bristol and Kingsport, TN). Student teams answered a "Request for Proposal" for the project, which was also sent to advertising professionals. Classroom limitations were removed, and real-world consequences and rewards were in effect. Students were placed in competition with professionals as peers, with the same expectations for performance and delivery. Curricular objectives were achieved by allowing students to apply digital media skills in a professional setting, on a real-world project, that would become a case study for their portfolios. The project provided incentives for a successful proposal in that the proposal chosen was professionally produced and actually used by TMAF. In each year that the project was assigned, one of the student teams designed the winning campaign and was given community recognition for their contribution to their field. Students met the same criteria as competing professionals for responsibility, professionalism, proposal preparation (including research, creative solution, and adherence to instructions), effectiveness of the "pitch" (persuasive oral communication of ideas), and delivery of product. By working with professionals, they made contacts that could assist them in their careers. As the case study will show, this was an eye-opening experience for the students and a learning experience for all involved. Students indicated they felt better prepared to meet workplace expectations. It has enhanced the DIGM program's relationship with the advertising community, and has opened opportunities for our students after graduation by creating a greater awareness of our program within the community.

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Digital media courses are usually found in art or communications departments where the instructional emphasis is weighted toward artistic and creative aspects of project development. In digital media courses offered in departments oriented to the technical professions, such as computer science and engineering technology, the instructional emphasis is usually on technical skills. Regardless of where these courses are housed, graduates working in animation, 3D visualization, and interactive media fields are finding that an ability to apply both technical and creative skills is necessary. This presents challenges in classrooms where students range from the "very artistic/somewhat technical" to the "very technical/somewhat artistic", not least of which is how to assess projects in which both technical and artistic skills must be demonstrated. There is often a negative perception of the critique process as being purely subjective. This "that's-just-the-teacher's-opinion" perception often becomes the stopping point in attempts to get students to recognize critique as part of an iterative development of a design solution. How we handle this assessment can be the difference between a student seeing critique as truly constructive criticism, or merely a matter of opinion. This researcher has developed a comprehensive method that addresses both objective and subjective criteria while giving students confidence in the validity of the critique. In this method, peer and instructor feedback is given informally as students develop their ideas, and formally at project completion with a traditional class critique. This is followed by completion of an on-line form incorporating Rikert scales and comment fields for specific criteria. Works being evaluated are also posted so students can view each piece as they complete the form. Results are compiled into a database, and a password protected report is automatically generated for each student showing the average ranking for each question and compiled comments. Anonymity is preserved, allowing students a comfortable way to provide honest feedback to classmates. Students can use this report to guide revisions to their work, and the instructor can use it to evaluate how the class, and each student, understands the principles being taught, and how their abilities to think critically are developing. By tracking averages of student evaluations over several years, it has been found that peer feedback and instructor feedback closely correlate, providing affirmation of the critique to the student, and support for the final grade.

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Computer-Based Non-Photorealistic Rendering is a rather elaborate term for a set of 3D rendering techniques that focus on nonrealistic, or stylized, output. Specifically for this paper, the style is a type of concept sketching, done with a computer rather than markers and pens and other traditional tools. This paper will give an overview and show examples of some of the nonphotorealistic rendering capabilities available with Maya. This curious set of tools and techniques gives you the ability to create the look and feel of pen, marker, and other traditional media concept drawings with the changeability, flexibility, and creative control offered by a 3D computer-based tool. The tools will also leverage your existing 3D capabilities of moveable cameras, lighting setups, animation, overnight renders, etc. to create multiple views and looks that can require significant amounts of rework for the traditional artist. The paper will compare computer-based versions of architectural drawings with professional artist renderings of the same project.

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