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Architecture is temporal. It is rooted in time and place and subject to the elements and actors that embody its space. As actors, we are active participants in this dynamic, whether consciously or subconsciously. Spatial comprehension is internalized through vision and augmented by touch – the body, hands, feet, and aural experiences. Within this paradigm, we perceive the passage of time and space as an infinite stream of consciousness, or narrative of events, successively linked through memory. Bernard Tschumi describes this sequence as “space, event, movement”, a fragmentary slice within the infinitely repeating sequence of our experiences. Simply existing in the world weaves us into this sequence. Out of the infinite, architects define space and develop a physical narrative through which actors engage and meaning is derived. Our syntax is the walls, ceilings, floors, solids and voids. And like writing or in film, architectural significance is based upon the juxtaposition and combination of sequential “chapters”. Although this quality is inherent to architecture, architects often undervalue supporting content for critical passages. “Programs fall into three categories: those that are indifferent to the spatial sequences, those that reinforce it, and those that work obliquely or against it” (Tschumi 159). Most architecture seems to follow the first order, or reinforce spatial sequences where it is convenient. Are we not concerned with the journey from point A to point be B? / Master of Architecture

The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.

Come with Me is the process of making a short 3D animation. Introducing the practice as a research method, I explored 3D animation production steps in a non-linear workflow. Each production step is then introduced along with the mind processes as Come with Me was developed from the story to the final animated scenes. The failed attempts are also included as an important part of this research. In the end, the workflows that allow for mistakes at each step of the 3D animation production are being explored. / Master of Fine Arts

Ce travail a pour point de départ une analyse quantitative de l’objet »storyboard » faite sur un large corpus. La taxinomie ainsi établie, croisée avec une approche qualitative, nous permet de mettre en lumière des codes de communication et des invariants inhérents à ce dispositif de pré-production. Cela aboutit, dans un premier temps, à la définition de l’outil storyboard parmi les autres dessins de préparation cinématographique. Le classement des données en fonction de leur période apporte ensuite une perspective nouvelle à l’analyse : c’est par l’objet, trace de sa propre histoire et vecteur de pensées, que se dessinent les interactions sociales et la professionnalisation de ceux qui le confectionnent. L’étude porte sur deux conceptions différentes de la pratique du storyboard, d’un côté et de l’autre de l’Atlantique. / The starting point of this work involves a quantitative analysis of the object »storyboard » applied on a large corpus. The taxonomy here established, crossed witha qualitative approach, allows one to reveal communication codes and invariantsinherent to this preproduction device. This first leads to the definition of the toolstoryboard among other film preparation drawings. The classification of the dataaccording to its period then brings a new perspective to the analysis: it is through theobject, vestige of its own story and vector of ideas, from which are drawn the socialinteractions and the professionalization of those who manufacture it. The studyconcerns two different conceptions of the storyboarding practice, on both sides of theAtlantic Ocean

Previsualisation är en arbetsprocess som i ett tidigt stadie ger oss preliminära versioner av bilder eller sekvenser. Den är till för att kunna uppskatta produktionskraven, visualisera ideér och en gemensam vision. En teknisk previsualisation är en mer specifik term där teknisk exakthet är avgörande. En teknisk previs kan skapas i programmet FrameForge Pré-viz Studio som denna text redogör för. Previsualisationen som beskrivs i denna text lägger grund för diskussioner kring hur den kan användas på en filminspelning. I en jämförelse mellan den previsualiserade och filmade versionen av en filmscen kan vi se att tekniska skillnader förekommer dem sinsemellan. Resultatet tyder ändå på att de är tillräckligt lika varandra för att möjliggöra att planera, ta både tekniska och estetiska beslut inför inspelning.

This research proposes that design and visual thinking in combination with narrative theory contribute to enhance knowledge of innovation processes and support managers in their work. In particular, the focus is on the use of Storyboarding to support a better definition of a project’s brief. Innovation studies have shown that the initial phases of innovation processes (typically called the “front end of innovation”) are crucial for success. A proper definition of a brief, that occurs at the front of the front end, is therefore one of the most relevant events in innovation. This study investigates the early phases of innovation by developing and evaluating a new method for developing a brief. First, an explorative approach has been used in order to develop knowledge of challenges in the front end of innovation and how design thinking, visual thinking and narratives can bring new insights in teamwork. In this explorative search the use of case studies has been employed. Then, the explorative search has focused onthe use of Storyboarding as a tool for reflection, and in particular for igniting dynamics of framing and reframing of innovation problems. Finally, in order to create a deeper knowledge in the use of storyboarding three hypotheses has been evaluated, four experiments has been conducted with the involvement of more than 60 people defining innovation briefs. In these experiments, storyboarding (visual and narrative) has been used to support “thinking” that leads to the brief. In other words, storyboarding has been seen as a process to enable innovation teams to think differently or more precisely, rather than just a tool to represent or to communicate the brief. The experiments show that using storyboarding has effects that can support innovation management. First, storyboarding is useful if management wants to “stimulate” a reflection on meaning when developing a brief, i.e. when they want an innovation team to consider both utilitarian and emotional/symbolic factors in an innovation process. Second, Storyboarding brings a narrower focus, compared to traditional written briefs, within the “area of interest” brought up by management, which sometimes may be asked for when the organization is in search for reframing the direction of innovation. / Denna avhandling föreslår att design och visuellt tänkande i kombination med narrativ teori kan bidra till en bättre förståelse och ledning av innovationsprocesser. Framför allt med fokus på användningen av storyboarding för att stödja en bättre definition av ett projekts uppdragsbeskrivning, eller som det kallas en ”brief”. Tidigare innovationsforskning har visat att de inledande faserna av innovationsprocesser (vanligen kallad “the front end of innovation”) är av avgörande betydelse för att innovationer skall nå framgång. En ordentligt utformad ”brief”, formulerad tidigt, i de inledande faserna av innovationsprocessen är således en av de mest relevanta händelserna för framgångsrikt innovationsarbete. Denna forskning bidrar till kunskap i de tidiga faserna av innovationsprocessen genom att utveckla och utvärdera en ny metod för att utveckla en ”brief”, storyboarding. Först så har en explorativ metodik använts för att skapa förståelse för de tidiga faserna av innovation och hur metoder och teorier från design, visuellt tänkande och narrativ kan ge nya insikter i teamarbete. I denna explorativa del så har fallstudier använts som forskningsstrategi. Därefter så har mitt sökande efter förståelse fokuserats på användningen av storyboarding som ett verktyg för reflektion, och i synnerhet att formulera och omformulera inramningen av möjligheter för innovation. Slutligen, för att skapa en djupare förståelse av storyboarding, så har tre hypoteser utvärderats med hjälp av ett antal experiment med mer än 60 personers deltagande där team utvecklar en ”brief”. I dessa experiment så har Storyboarding använts för att stödja teamens “tänkande” för att utveckla en ”brief”. Med andra ord så har Storyboarding setts som en process för att möjliggöra för team att tänka annorlunda eller mer exakt, snarare än bara ett verktyg för att representera eller för att kommunicera en ”brief”. Experimenten visar att användningen av Storyboarding har ett antal effekter som kan stödja ledning av innovation. För det första kan vi se att Storyboarding kan vara användbart om man vill “stimulera” reflektion kopplat till innebörd (meaning) när man utvecklar en ”brief”, dvs. när man vill att ett team ska överväga både funktionella så väl som känslomässiga/symboliska faktorer i en innovationsprocess. För det andra så skapar storyboarding en ”smalare” definition, jämfört med traditionella skriftliga ”briefs”, inom det av ledningen valda fokusområde. Detta kan vara önskvärt när ledningen söker efter nya möjligheter för innovation.

Submitted by Rosa Assis (rosa_assis@yahoo.com.br) on 2017-11-13T18:22:20Z No. of bitstreams: 2 PEDRO HENRIQUE CACIQUE BRAGA.pdf: 27735262 bytes, checksum: e19cabdef85cc7bb976998b523e564c4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-11-21T11:03:25Z (GMT) No. of bitstreams: 2 PEDRO HENRIQUE CACIQUE BRAGA.pdf: 27735262 bytes, checksum: e19cabdef85cc7bb976998b523e564c4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-11-21T11:03:25Z (GMT). No. of bitstreams: 2 PEDRO HENRIQUE CACIQUE BRAGA.pdf: 27735262 bytes, checksum: e19cabdef85cc7bb976998b523e564c4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-06 / Digital animations development is a process that covers different knowledge areas and pursuits to connect computational processes with authors’ creative ability. Creation tools existent in the market require a wide knowledge of animation principles and also present a dense learning process. For the sake of the learning curve simplification in order to get faster results, inspiration in traditional cinema and in artificial intelligence systems to create new methods is sought. In animations preproduction steps, generating faster animations (animatics) in order to get script understanding is necessary. The creation basis of those animations is the document known as storyboard, which displays visually movies plots and scene compositions. This work presents the proposition of the language SLAP (Storyboard Language for Animation Programming), which purpose is to unify different visual representations of scenic elements contained in storyboards. A formal grammar is developed for this new structure and a novel storyboards creation method is proposed in order to optimize and unify pre-production learning process. SLAP interpretation is capable of producing semiautomatic animations in several levels of complexity, elevating the ordinary storyboard to an animated document. The prototype of the tool SLAP Editor is also presented as a proof of concept and validation of the language, which uses artificial intelligence and digital image processing concepts to recognize the visual language developed. Results of user experience evaluation tests with different preproduction experience levels are also analyzed. / O desenvolvimento de animações digitais é um processo que envolve diferentes áreas do conhecimento e busca facilitar o uso de instrumentos computacionais para ampliar a capacidade criativa de autores. As ferramentas de criação do mercado requerem um vasto conhecimento dos princípios de animação e apresentam um processo de aprendizagem denso. Com o intuito de simplificar a curva de aprendizagem para que sejam obtidos resultados rápidos, busca-se inspiração no cinema tradicional e nos sistemas de Inteligência Artificial para criação de novos métodos. Na etapa de pré-produção de animações é necessário gerar animações rápidas (animatics) para entendimento do roteiro. A base de criação destas animações é o documento conhecido como storyboard, que apresenta de forma visual o enredo e a composição das cenas do filme. Este trabalho apresenta a proposta da linguagem SLAP (Storyboard Language for Animation Programming), que tem como objetivo unificar as diferentes representações visuais de elementos cênicos contidas nos storyboards. A gramática formal para esta linguagem permite um novo método de criação de storyboards a fim de otimizar e unificar o entendimento do processo de pré-produção. A interpretação da SLAP é capaz de produzir animações semiautomáticas de variados graus de complexidade, elevando o storyboard comum a um documento animado. Apresenta-se ainda o protótipo da ferramenta SLAP Editor, como prova de conceito e validação da linguagem, que utiliza conceitos de inteligência artificial e processamento digital de imagens para reconhecimento da linguagem visual criada. Também são analisados os resultados de testes com usuários de diferentes graus de experiência na pré-produção.

The educational medium GetWellNetWork (GWNW) in a large magnet teaching facility offered few educational videos specific to vascular patients with a focus on leg elevation after lower extremity bypass surgery. Supplying patient-specific education has the potential for providing cost-effective nursing care to vascular patients and improving hospital reimbursement. Guided by the interactive care model, a storyboard was developed using best-practice evidence for vascular postoperative patients that could lead to the development of a video to address the educational needs of vascular patients upon discharge. The practice focused question asked if a video addressing the importance of leg elevation would improve patients’ use of in-house educational videos and stakeholder satisfaction. A vascular physician (n = 1) and nursing staff (n = 9) provided feedback on the appropriateness of the evidence-based educational content for the storyboard by completing a 9-item, open-ended survey. Survey results supported development of the video and revealed positive feedback on storyboard content and that staff with 1–3 years’ experience or 15+ years’ experience had an increased understanding of the importance of evidence-based guidelines for leg elevation for vascular patients. The feedback will be used to develop a vascular-patient-specific educational video. Encouraging patients to view the video on leg elevation has the potential to improve cost effectiveness of patient care and hospital reimbursement, prevent hospital readmission that could lead to patient and caregiver hardships associated with readmission, and improve the health outcomes for postoperative vascular patients.

The Story Art and Tech merges storytelling and technology together to elucidate the animated filmmaking process for readers who are interested in animation. The author's path to animation director is traced from beginning to end starting with writing ideas and moving on to forming storyboards and animatics to completing animations for the screen. Two 3D short animated films and three storyboards with animatics are presented. A storyboard primarily shows the audience the thought process of storytelling; it previsualizes a script or an idea. It is then narrated into moving images called animatics; a preliminary version of a film. Animatics are important references for animators to animate shots and characters. Eventually the rest of the animation pipeline makes it into a final product: an animated film. As an artist who writes stories and animates them with 3D technology, presenting how a storyboard is made into an animated film is the most immediate way to inform the audience of this process with entertaining stories. In this paper, an extended discussion of the author's creative thought and development processes are presented with two distinct parts: storytelling and technology. / Master of Fine Arts / The Story Art and Tech shows how storyboards are made into movies. The author utilizes storytelling and media technology together such as 3D animation and game-engine rendering. It is the author's intention to make entertaining animated movies for the audience as a prospective animation director. When a director comes up with a movie script or an idea, the quickest way to visualize it is to sketch it out on a storyboard. This profession is called a 'story artist.' Story artists simplify characters and backgrounds on the boards to catch a glimpse of the final movie. To make the storyboards more detailed, story artists make them into 'animatics', which show more animated images and characters. Animatics are then taken by the 'animators' to animate everything in the final phase which is eventually produced as an animated film. In entirety, concept arts, storyboards, and animatics are presented together to show the audience the 'behind the scenes' of animated films. This helps them understand the thought process of the author and how she moved from story idea to completed animation. In this paper, the journey of a filmmaker in the animation field is extensively discussed.