Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:34:05Z No. of bitstreams: 1 Thiago Guedes.pdf: 2064416 bytes, checksum: 59a78b07f2945717d7fc87ac73de56c9 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:55:18Z (GMT) No. of bitstreams: 1 Thiago Guedes.pdf: 2064416 bytes, checksum: 59a78b07f2945717d7fc87ac73de56c9 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:59:45Z (GMT) No. of bitstreams: 1 Thiago Guedes.pdf: 2064416 bytes, checksum: 59a78b07f2945717d7fc87ac73de56c9 (MD5) / Made available in DSpace on 2016-10-18T20:01:17Z (GMT). No. of bitstreams: 1 Thiago Guedes.pdf: 2064416 bytes, checksum: 59a78b07f2945717d7fc87ac73de56c9 (MD5) Previous issue date: 2015-12-21 / This paper approaches the imagery surfaces. For Aumont (2014), the “image civilization” is too broad a concept. On the other hand, the term reveals the widespread feeling of a world of images increasingly present, varied and interchangeable. The cinema, for example, is available on television, while paintings are observable in photographic reproductions (AUMONT, 2014). With such volume and diversification of images, an intricate process of exchange between the forms of narrating and presenting (BERTOCCHI, 2013) is perceptible. It is with this in mind that this project investigates the animated infographic, seeking initially to clarify the constructive elements in the visual language, as proposed by Aumont (2014), Caixeta (2005) and Moraes (2013). Then, it searches the illusory motion created as of the motion design, trying to understand the temporal attribute as a project-guiding element. The method for constructing the theoretical thinking of the animated infographic starts from the relation and hybridization between motiongraphics and static infographics. After the construction of what becomes the excited infographic, it was possible to realize a branch for different types of animated infographics, ranging from video to loop animations. / É acerca das superfícies imagéticas que o presente trabalho trata no primeiro momento. Para Aumont (2014), falar sobre "civilização da imagem" é muito amplo. Por outro lado, o termo revela o sentimento generalizado de um mundo de imagens cada vez mais presentes, variadas e intercambiáveis. O cinema é acessível pela televisão, assim como a pintura é observada em reproduções fotográficas (AUMONT, 2014). Com tal volume e diversificação de imagens, percebe-se um intrincado processo de intercâmbio de diferentes formas de narrar e apresentar (BERTOCCHI, 2013). Este projeto investiga o infográfico animado – buscando esclarecer inicialmente os elementos construtivos inseridos na linguagem visual, a partir de Aumont (2014), Caixeta (2005) e Moraes (2013). Em seguida, busca pesquisar o movimento ilusório criado a partir do motion design, na intenção de compreender o atributo temporal como elemento norteador projetual. O método para construir o pensamento teórico do infográfico animado parte da relação e hibridização entre o motiongraphic e o infográfico estático. Após a construção do que vem a ser o infográfico animado, foi possível perceber uma ramificação para diferentes tipos de infográficos animados, que vão do vídeo a animações em loop.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, 2014. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-12-08T17:53:59Z No. of bitstreams: 1 2014_FernandoNisio.pdf: 33482610 bytes, checksum: a2b6dce6d9975b8454ecccaa236558a7 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2014-12-09T16:53:52Z (GMT) No. of bitstreams: 1 2014_FernandoNisio.pdf: 33482610 bytes, checksum: a2b6dce6d9975b8454ecccaa236558a7 (MD5) / Made available in DSpace on 2014-12-09T16:53:52Z (GMT). No. of bitstreams: 1 2014_FernandoNisio.pdf: 33482610 bytes, checksum: a2b6dce6d9975b8454ecccaa236558a7 (MD5) / Esta dissertação prática-teórica visa apresentar a concepção de um curta de animação em stop motion a partir das características estéticas do cinema expressionista alemão. Primeiramente, as referências artísticas que embasaram os procedimentos metodológicos da estética da animação "O Robô e a Maçã". Esses embasamentos foram oriundos do Cinema Expressionista Alemão, com os filmes “Nosferatu”, “Metrópolis”, “Da aurora e meia noite” e “O Gabinete do Doutor Caligari”. Em um segundo momento são destacadas as principais características da teoria do expressionismo cinematográfico alemão como o forte contraste entre o claro e escuro; a geometrização da forma; o grafismo; os planos; as linhas diagonais e ângulos quebrados e obtusos; o direcionamento da luz e a manipulação das sombras; entre outros. Finalmente, apresenta o processo de criação do curta em animação em stop motion em “O Robô e a Maçã” e a aplicação das características estéticas do Cinema Expressionista em sua concepção. ____________________________________________________________________________________ ABSTRACT / This theoretical and practical dissertation presents the conception of a stop motion animated short drawing from the aesthetic characteristics of the German Expressionist Film. Firstly, the artistic references that back up the aesthetic process method in the “Robot and the Apple”, that originate in the German Expressionist Films, such as “Nosferatu”, “Metroplis”, “From Morning till Midnight” and “The Cabinet of Doctor Caligari”. In this context, highlights the main characteristics of the German Expressionist cinematography: the strong contrast between light and dark; the geometrization of forms, the graphic planes; the diagonal lines and broken angles; light and shadow placement and manipulation; among others. Finally, presents the creative process of the stop motion animated short “The Robot and the Apple” and the application of the aesthetic characteristics of the German Expressionism, in its conception.

Det finns mer än ett sätt att skapa musik. Vissa sätt är dock mer okonventionella än andra. En särskild metod behöver inga professionella inspelningsmjukvaror eller digitala musikinstrument kompatibla för sammankoppling med datorer. Istället behövs, förutom ett musikinstrument, enbart videoinspelningsutrustning och videoredigeringsmjukvara. Syftet med denna rapport är att undersöka hur väl personer kan -med en instruktionsvideo innehållande tal, grafik och realtidsinstruktioner- lära sig att skapa egen musik. En inledande, mindre studie genomfördes för att finna personer (utan tidigare erfarenhet av musikskapande) villiga att göra ett användartest under uppsikt. Det tänkta antalet testpersoner hölls lågt till följd av den rådande covid-19-pandemin, samt det sista användartestets natur. Samtliga tillfrågade var entusiastiska till att genomföra testet att av instruktionsvideon och dess innehåll. För att besvara syftet utformades, genom en iterativ design- och redigeringsprocess, en instruktionsvideo. Denna instruktionsvideo visades för samtliga testpersoner varpå de instruerades att redigera samman egna, förutbestämda, korta musikstycken. Resultatet av de kvalitativa testerna visar att man kan lära sig denna typ av musikskapande förutsatt att vägledningen är pedagogisk, tydlig och tidseffektiv. / There are several ways to create music. Some ways are more unconventional than others, however. One particular method does not require professional audio editing softwares or digital music instruments compatible with computers. Instead, the only thing required, apart from a music instrument, is video recording equipment and video editing software. The purpose of this study is to examine how well people can –using a video tutorial containing speech, graphical elements and real time instructions- learn how to create their own music. A small-scale, initial study was conducted to find people (without any past experience of music creation) willing to take part in a supervised user test. The supposed amount of test subjects was kept at a minimum due to a current covid19-pandemic, as well as the nature of the test itself. Every respondent was enthusiastic about testing the tutorial and its content. Through an iterative design and editing process, a video tutorial was created with the intent to answer the purpose of this study. The video tutorial was shown to every test subject, whereupon they were instructed to edit their own, predetermined, short musical pieces. The results of the quality-based tests show that musical content creation can be taught, given that the tutorial is clear, pedagogical and efficient.

"Jag klippte luggen som Mia Wallace" is a portrayal and exploration of memories from my late teenage years. I felt strong emotions during that time without knowing where they came from. As an 18-year-old, I wanted to be seen as sexy and cool, fit into a social group, and create my identity as a young woman. That time of my life fascinates me. My degree project consists of a film with fragments of memories that play in a loop. I have worked in stop-motion animation, focusing on the expression that the soft clay gives my character. In parallel, I have, in my writing, connected these fragments to gender studies. This has helped me gain a better understanding of my 18-year-old self.

Det här kandidatarbetet handlar om rörlig bild med miljöförstöring som tema och hur designfiktion tillsammans med berättande kan användas för att skapa rörlig bild. För att undersöka hur berättande och val av gestaltningsmetod påverkar budskap har olika produktioner inom rörlig bild diskuterats. Utifrån undersökningen har designfiktion och stopmotion gjorts som metodval i skapandet av gestaltningen. Som resultat diskuteras designfiktion som designmetod för skapande av framtida världar med miljöförstöring som tema samt berättandets påverkan av budskap. / This bachelor’s thesis is about motion pictures with pollution as a theme and how designfiction together with narrative can be used to create motion pictures. To research how narrative and choice of designmethod affects silent messages, a research about other motion graphics has been discussed. Based on the research, design fiction and stop motion has been choosen as a method of creating design. As result of the thesis, design fiction is discussed as a design method for the creation of future worlds with pollution as a theme and the narrative's influence on silent messages.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-06-04T12:29:36Z No. of bitstreams: 1 ROSSILENE MILHOMEM JARDIM COSTA.pdf: 1949139 bytes, checksum: 009b6742959cc303cdcc117998f11d29 (MD5) / Made available in DSpace on 2018-06-04T12:29:37Z (GMT). No. of bitstreams: 1 ROSSILENE MILHOMEM JARDIM COSTA.pdf: 1949139 bytes, checksum: 009b6742959cc303cdcc117998f11d29 (MD5) Previous issue date: 2018-02-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Pontif?cia Universidade Cat?lica de Campinas - PUC - Campinas / This research aims to reflect on development of pre-school children?s imagination and creativity using stop motion technique, with the historical-cultural approach as a theoretical reference. Based on this theoretical framework, the following specific objectives were outlined: (i) to reflect on the limits and potentialities of using the stop motion technique as a pedagogical practice in Preschool education; and (ii) to understand the relevance of such pedagogical practice which stimulates imagination and creativity in education. Aged five or six years old, thirty-two students at a pre-primary school in Indaitatuba took part in this research. The qualitative method was applied and, as outputs, stop motion animations were produced and organized in axes and sub-axes. The first axis refers to what and how did the children create with three sub-axes: quantitative analysis, predominance of reproduction/recombination, technique mastery. The second axis refers to role of the mediator with the sub-axes: models, reception and challenges of mediation. The results produced and analyzed showed that: 116 characters, both diverse and repeated among pairs, were created by the children; different scenarios were built and transformed by them with drawings, readymade images and modeling dough; stories were imagined and created, individually and in groups, and all students created stop motion animations by manipulating the technological tools available. Furthermore, from the analysis of the axes, propositions of models, the reception of the students? ideas, children?s autonomy and technique, as well as mediation dilemmas could be observed. Such aspects evidenced that the use of stop motion was relevant for the children as they loosened up, created, understood the proposal and displayed autonomy and creativity. Using such a technique also proved pertinent, as it is a practice that requires a creative process to imagine characters, stories and scenarios. The creative models provided by the adult ? in this case the researcher ? and the reception of the children?s ideas encouraged this creative dynamic and strongly contributed to the development of the imagination. Thus, this research brings its contribution to the understanding of children?s imaginative capacity and the many ways to develop them through innovative educational practices using technology. In addition, it supports teacher training programs regarding the poss ibility of works using the stop motion technique as a teaching- learning resource for students in preschool. / A presente pesquisa tem como objetivo refletir sobre o desenvolvimento imaginativo e criativo de crian?as na Educa??o Infantil por meio do uso da t?cnica de stop motion, tendo como referencial te?rico a abordagem hist?rico-cultural. Com base nesse arcabou?o te?rico, foram delineados os seguintes objetivos espec?ficos: (i) refletir sobre os limites e as potencialidades do uso da t?cnica de stop motion como pr?tica pedag?gica na Educa??o Infantil; e (ii) entender a relev?ncia da pr?tica pedag?gica que estimule a imagina??o e a criatividade na Educa??o. Participaram da pesquisa 32 alunos, entre cinco e seis anos, de uma escola de Educa??o Infantil de Indaiatuba. O m?todo utilizado foi qualitativo e, como procedimentos, foram produzidas anima??es em stop motion. A pesquisa foi organizada em eixos e subeixos. O primeiro eixo se relacionou ao o que e como as crian?as criaram, tendo tr?s subeixos: an?lise quantitativa; predom?nio da reprodu??o/recombina??o; dom?nio da t?cnica. O segundo eixo tratou do papel do mediador, com os subeixos: modelos; acolhimento; e desafios da media??o. Os resultados produzidos e analisados indicaram que: as crian?as criaram 116 personagens diversificados e, tamb?m, repetidos entre os pares; foram constru?dos diversos cen?rios, transformados pelos estudantes com desenhos, imagens prontas e massa de modelar; as crian?as imaginaram e criaram hist?rias individuais e em conjunto e todos criaram anima??o em stop motion. A partir das an?lises dos eixos, foi poss?vel constatar: proposi??es de modelos; acolhimento das ideias dos alunos; t?cnica e autonomia das crian?as; dilemas da media??o. Tais aspectos evidenciaram que o uso do stop motion foi relevante para as crian?as, pois elas se soltaram, criaram, entenderam a proposta e tiveram autonomia e criatividade. Utilizar tal t?cnica tamb?m se mostrou pertinente por ser uma pr?tica que exige um processo criativo para imaginar personagens, hist?rias e cen?rios. Os modelos criativos proporcionados pelo adulto ? no caso, a pesquisadora ? e acolhimento das ideias das crian?as auxiliaram nessa din?mica criativa e contribu?ram fortemente para o desenvolvimento da imagina??o. Esta pesquisa traz, assim, contribui??es para a compreens?o sobre a capacidade imaginativa de crian?as e as m?ltiplas formas de desenvolv?- las por meio de pr?ticas educacionais inovadoras com o uso da tecnologia. Al?m disso, auxilia a forma??o de professores no que diz respeito ?s possibilidades de trabalhos com a t?cnica de stop motion como recurso de ensino-aprendizagem dos alunos na Educa??o Infantil.

Made available in DSpace on 2014-07-29T16:28:02Z (GMT). No. of bitstreams: 1 flavio gomes de oliveira.pdf: 1368250 bytes, checksum: 7a96f31617a529d76c09f60c8e762c0b (MD5) Previous issue date: 2010-04-28 / The main objective of this research is to establish the actual situation of the animation world with emphasis on animation technique known as stop motion. This survey is based on major feature films animated film produced in ten years covering the years between 1999 and 2008, then promote a discussion about this technique and the main visual characteristics present in films of the genre, in order to elect some quality indicators for this type of animation that justify maintenance of use of this technique. For master image production, is shown a short movie animation, produced with the technique of stop motion, following the technical indicators in the survey and system stereoscopic presentation. / O principal objetivo desta pesquisa é estabelecer o panorama atual da animação mundial com ênfase na técnica de animação conhecida como stop motion. Para isso, foi realizado um levantamento dos principais filmes de animação produzidos entre 1999 e 2008, para em seguida, promover uma discussão a respeito da utilização desta técnica e das principais características visuais presentes nos filmes do gênero, com a finalidade de eleger alguns indicativos de qualidade para este tipo de animação que justifiquem a manutenção do uso desta técnica. A título de produção imagética de mestrado, é apresentado um pequeno vídeo de animação, produzido com a técnica de stop motion, seguindo os indicativos técnicos apontados pela pesquisa e com sistema de apresentação estereoscópica.

This thesis explores the evolution of my work in graduate school. Upon entering into this course of study my artistic expression was polarized into realms of 2 and 3-Dimensional tactile works and experiments in 4-Dimensions (time) in the form of animations and short films. The content and context of these works have interwoven but their presentations remained polarized. In my masterʼs studies I have attempted to synergize the mediums of my artworks in order to achieve more realized and formal presentations. Following this course, I hope for my work to further evolve.

Stop-motion animation is a traditional form of animation that has been practised for over 100 years. While the unique look and feel of stop-motion animation has been retained in modern productions, the production process has been modernised to take advantage of technological advancements. Modern stop-frame animation production integrates digital imaging technology and computational methods with traditional hand-crafted skills. This portfolio documents three projects undertaken at Aardman Animations, each investigated with the aim of improving efficiency in the stop-motion production process: - Rig removal is the removal of equipment, or ‘rigging’, used on set during stop-motion animation to hold characters or objects in unstable positions. All rigging captured in frames must be removed in post-production and currently manual methods are used which can be very time-consuming. The key task is to separate the character from the rig. In Chapter 2, I present a novel spatio-temporal segmentation algorithm for segmenting characters from stop-motion footage. The algorithm has been designed to work with stop-motion animated content, in contrast to other state of the art algorithms which struggled when tested on stop-motion footage. - Set shift is a problem which occurs when background items on set move subtly over the time taken to shoot a scene. For example, temperature and humidity changes can cause wood to warp during a weekend, changing the position of a background object the following week. These small ‘shifts’ are recorded in the footage and must be corrected in post-production. Chapter 3 describes the problem in detail, investigates potential solutions and explains why solving set shift automatically is a significant challenge. - Plasticine shading is required when a plasticine model has to be generated computationally. One motivation for producing footage computationally is that problems such as rig removal and set shift do not arise. In order to simulate plasticine accurately, the distinct reflectance model of this material must be known and reproduced. By collecting experimental data from plasticine samples and fitting parametric models, I have developed a bespoke surface shading model for plasticine (Chapter 4). This new model provides the best fit to the measured data when compared to existing state of the art surface shaders. It has been implemented into commercially used production systems, for use with existing rendering software. Advancing state of the art research is only one of the challenges when working in a production studio such as Aardman Animations. Additionally, findings must be integrated into the production pipeline. Chapter 5 discusses the challenges and constraints faced when conducting research in this environment. In order for stop-motion animation to remain competitive it is vital that production companies stay up-to-date with technological advancements in research areas that can contribute to their production processes. I conclude by discussing whether technological advancements can help Aardman Animations in improving the efficiency of their stop-motion production pipeline.

Orientador: Juvenal Zanchetta Júnior / Banca: Dagoberto Buim Arena / Banca: Rony Farto Pereira / Resumo: Esta pesquisa investiga como se dá a construção do conhecimento histórico - o que pressupõe a apreensão do conceito de tempo histórico - por alunos do ensino fundamental e médio de uma escola pública de Marília - SP. Por meio de uma dinâmica pedagógica dialógica e que utiliza a produção de filmes de animação quadro a quadro como base para a construção de discursos históricos pelos alunos, busca aliar o estudo da História às várias linguagens presentes na atualidade. Os diálogos estabelecidos nas aulas, diante de fontes históricas primárias e secundárias, são analisados de acordo com o conceito de circularidade cultural e pelo paradigma indiciário proposto por Carlo Ginzburg, cuja fonte teórica são os estudos da linguagem de Mickail Bakhtin. / Abstract: The present research investigates how the construction of historic knowledge happens - what implies apprehending of the concept of historic time - by elementary and high school students of a public school in Marília, SP, Brazil. By means of a dialogical pedagogical dynamics, and using the production of stop motion pictures as the basis upon which the students construct historic speeches, it aims at enlacing the study of History and the numerous languages occurring at present. The dialogues established during classes, before primary and secondary historical sources, are analyzed according to the concept of cultural circularity and the sign's paradigm proposed by Carlo Ginzburg, whose theoretical sources are Mickail Bakhtin language studies. / Mestre