Thesis Example: --Faces and Hands-- : Modeling and Animating Anatomical and Photorealistic Models with Regard to the Communicative Competence of Virtu

Title:
--Faces and Hands-- : Modeling and Animating Anatomical and Photorealistic Models with Regard to the Communicative Competence of Virtual Humans

Abstract:
In order to be believable, virtual human characters must be able to communicate in a human-like fashion realistically. This dissertation contributes to improving and automating several aspects of virtual conversations. We have proposed techniques to add non-verbal speech-related facial expressions to audiovisual speech, such as head nods for of emphasis.
During conversation, humans experience shades of emotions much more frequently than the strong Ekmanian basic emotions. This prompted us to develop a method that interpolates between facial expressions of emotions to create new ones based on an emotion model.

In the area of facial modeling, we have presented a system to generate plausible 3D face models from vague mental images. It makes use of a morphable model of faces and exploits correlations among facial features. The hands also play a major role in human communication. Since the basis for every realistic animation of gestures must be a convincing model of the hand, we devised a physics-based anatomical hand model, where a hybrid muscle model drives the animations. The model was used to visualize complex hand movement captured using multi-exposure photography.

Source:
Albrecht, Irene. "--Faces and Hands-- : Modeling and Animating Anatomical and Photorealistic Models with Regard to the Communicative Competence of Virtual Humans." D4 MPI-INF Publications: Thesis. December 2005. Universitat des Saarlandes. 29 April 2007. http://domino.mpi-inf.mpg.de/intranet/ag4/ag4publ.nsf/AuthorEditorIndividualView/e3bf1293dc9b6e43c125713900501de7?OpenDocument

Thesis Example: Animate Pillow Project

By selectively focusing on the details of movement and gesture over true-to-life reproduction, animators create a stronger emotional bond with their audiences by allowing people the visual space to enrich the animation with their own experiences.

Photorealistic animation does not leave enough visual white space for people to project their imaginations into in order to fill in the discrepancies between what they see and what they experience as real. Because of this the audience is denied access to the emotional projection and anthropomorphism that effectively creates empathy in animation. By selectively focusing on details of movement and gesture, animators create a stronger emotional bond with their audience by allowing people to enrich the animation with their own experiences. Relying on this, applicants at Disney are asked to submit animations of a sack of flour expressing various emotions as part of their reel as a test of their abilties to take something so blank and featureless as a pillow and imbue it with life. Playing off this idea, I propose that effective empathy can be attained with animatronics using the same basic elements: anthropomorphism, emotional projection, and the gestures and motion that can be achieved with a pillow -- as opposed to the standard robotic approaches which feature either extreme realism in the appearance of an living creature, or focus on multiple degrees of facial articulation.

Source:

Riley, Phaedra. "Animate Pillow Project". ITP Thesis Presentations. May 2005. New York. April, 2007 http://itp.nyu.edu/thesis/spring2005/detail.php?project_id=198

The Physics of Cartoons

A project created by a group of animators inspired by the cartoon shorts of the 40's and 50's.

http://better-mouse-trap.com/physics/home.htm

Possible Thesis Titles

1) Teaching Emotion and Intersubjectivity in Animated Characters.
2) Animation Students: Make People Laugh Without Saying a Word
3) Squash and Stretch: Teaching Emotion and Intersubjectivity
4) Animated Emotion & Intersubjectivity: How to Run Off a Cliff with a Style
5) The Official ACME Animation Emotion and Intersubjectivity Guide

"Acting for Animators" Site

"Acting for Animators" by Ed Hooks
http://www.actingforanimators.com/

Purpose of the "Introduction" & "Overview"

It orients readers to the purpose and organization of the thesis document: The way you craft the components of your introduction will depend on a number of factors, including your writing style and ability, the nature of your study, and the logical demands of the argument you are trying to make. Providing a good introduction also involves finding the right flow for presenting all the points. Within that flow, your readers will gain insight into the thinking behind the study, get an idea of how the study is organized, gain awareness of what to anticipate, and obtain clarity regarding the assumptions of the study. This will help them evaluate your arguments as they read further.

It begins to frame the study: The introduction gradually unveils the picture the document is to portray. Once readers have got a general sense of the whole document and made logical categories for the information that is to follow, they will be able to focus on the details that appear later in the text.

It provides a rationale for the study: In addition to giving the reader an overall sense of what the study is about, the introduction relates how the study is significant and how it was/will be conducted. It also provides a conceptual background from a personal perspective, i.e., “What brought the researcher to this study?” “Why did the researcher find it compelling?” and so forth.

It provides details about your personal background: In doing so, you form a backdrop for the intent of the study. You can accomplish this by inserting in the introduction components from your Personal Research Profile and other information related to your research journey. This is where you establish a conceptual bridge between your personal interests and the content / context / focus of your study.

Thesis Research and Writing Methodologies. Online Lectures. Miami Intenational University
April 24, 2007.

The Overview

The overview accomplishes specific tasks within the confines of about 200 words. First of all, it frames the study, succinctly describes it, and notes the study’s intent. In addition, the overview flags the mode of inquiry stating whether your study falls into the category of personal narrative, critical inquiry, text analysis, or some other form. The overview concisely summarizes key procedural issues and provides information on the “who, what, when, where, why, and how” of your study. It is usually no more than three paragraphs in length. In these paragraphs, the overview tells the reader:

• Why the study is important
• Who will be involved in the study
• Who will be interested in the results
• What the logistics of the study will be

Most researchers write the overview after the proposal has been completed and then insert this synopsis in an appropriate spot within the document. For proposals in this class, you should incorporate the overview near the beginning of the document. One way to get the feel of what an overview should contain would be to peruse the abstracts for some of the theses and dissertations you retrieve.

Thesis Research and Writing Methodologies. Online Lectures. Miami Intenational University
April 24, 2007.

Thesis Rough: Teaching Emotion and Intersubjectivity in Animated Characters

THESIS:
Teaching Emotion and Intersubjectivity in Animated Characters

INTRODUCTION:
My goal in exploring this thesis is two fold and they are related to my passion for both teaching and animation. One, is to develop curriculum that introduces and refines animation students' abilities, through industry standard exercises that teach animating emotion and intersubjectivity in characters. This curriculum would be geard towards intermediate to upper level students who are currently pursuing a career in animation in the video game, television or feature animation industries. Second, is for me to acquire and undergo these same exercises not only to gain experience and marketable skills within those fields, but to create examples that would serve the curriculum as a teaching aid.

Another vital component of this project is that it stresses fundamental theories and practices needed in the industry which the student needs be familiar with in entering the industry. For example "The 12 Principles of Animation", the preproduction process (research, sketches, storyboarding, keyframe planning), and industry standard workflows that the student will experience in this type of work.

The project when complete, will better prepare students entering a career in animation, by giving them the opportunity to practice industry standard workflows and will give them examples to be used in a professional demo reel.


EMOTION and INTERSUBJECTIVITY
Merriam Webster Online defines "emotion" :
1) a. the affective aspect of consciousness : FEELING. b : a state of feeling c : a conscious mental reaction (as anger or fear) subjectively experienced as strong feeling usually directed toward a specific object and typically accompanied by physiological and behavioral changes in the body.

It also defines "intersubjectivity" as:
1 : involving or occurring between separate conscious minds
2 : accessible to or capable of being established for two or more subjects :

The Importance of Emotion and Intersubjectivity
Animating emotion and gesture is important to conveying character emotion in video game, television and feature film animation. Emotion creates empathy and believability for a character which helps drive the story. Emotion is used when characters experience events in a story and it is through emotion that a viewer can empathize and engage in a story.

Intersubjectivity is the connection between the animator and the audience on a surface level. This not only involves animation or conveying emotion in a character, but also pertains to how a character is presented or staged. A stronger connection is made when both work togehter, and with this, the animator can guide the viewer. This leads to a deeper understanding of the character, which can lead to better story telling through anticipation or comedy, where in the viewer's understanding is switched.

Having an intermediate or even mastery level of being able to animate emotion makes one going into the field more marketable than someone who is not.


CURRENT PRACTICE:
Currently, intermediate to advanced level students entering the field take one or two classes on animating characters, which focuses on general movement and some emotion. I have found that not enough time is spent, on animating or portraying characterization utilizing emotion and intersubjectivity in schools primarily because of lack of time. Most of the time spent on this level is used to generate models that feature lighting, detail and rendering. Animating emotion is usually practiced while working in the field, or at the Masters education level. Many of these skills can be learned however early on in order to move the student forward. This project will create curriculum that is streamlined and effective in teaching these principles, which could be implemented in those programs that currently implement a quick timeline.

WHAT CAN BE GAINED:
An easy to follow curriculum as well as simple assignments and plans for the student and instructor, broken down in understandable components will be developed. This will help the student understand and practice animating emotion and intersubjectivity. It will also give them practice in fundamental animation principles, as well as experience in traditional and software workflow needed for the field. It will help generate numerous examples that the student could then include in a marketable and professional demo reel portfolio.

On a personal level, it will give me experience in teaching character animation and production in all levels beginning to advanced.


THE CURRICULUM

Importance of Planning
1) Lecture on Research : Ways to research, where and the importance of using visual reference.
2) Lecture on Sketching: Using sketch to help analyze and plan.
3) Lecture on Keyframing and Main Poses : How its used in the industry and how its used to save time.

Teaching Emotion
1) Lecture on "Emotion" : What is it and why is it beneficial for characters - Discussion.
2) Lecture: Emotion thru Gesture and body language
3) Lecture: Emotion thru Facial Animation
4) Lecture: Emotion thru Hands

Teaching Intersubjectivity
1) Defining Intersubjectivity and Examples
2) Lecture : Staging and the Importance of the Silhouette
3) Lecture : Characterization thru texturing, lighting and rendering
4) Lecture : Visual Effects and Characterizations

The Animation Workshop :
Below are the various exercises that will be implemented. Each will include lectures, demonstrations through procedural handouts, and will include sketching and planning sessions.

1) Animating personality in a ball
Lecture : "12 Principles of Animation" Overview

2) Animating personality with two balls.
one of a different weight and material
Lecture: Physics of materials overview

3) Animating Emotion : Face Only
The student is given a rigged character and is assigned to animate various emotions (5 total). Each is given a frame limit. Possible emotions emotions include: elation, anger, sadness, boredom, inquisitiveness.
Lectures include: Muscles of the face, Face and Emotion Dynamics

3B) Animating Emotion : Full Body
The student is given a rigged character and is assigned to animate various emotions (5 total). Each is given a frame limit.
Lecture: Gesture and emotion, Emotion and Hands, Staging

4) Gear Change
Animate 1 emotion, followed by a quick event which then leads to another emotion.
The student will animate 2 gear changes. One of the face, the other of the entire body.
Lecture: Types of transitions.

5) Animate a unique walk cycle
This walk cycle must convey a unique emotion.
Lecture: Walk cycle mechanics, Examples of great unique walk cycles.

6) Animating Character and Weight
Animate a character pushing or pulling a heavy object.

7) Animate two characters engaging in dialogue

8) Convey the emotion of a character through desgin, lighting, texturing, staging, environment and visual effects only. (I'm thinking that this may be a good first assignment).

9) Animate the above character utilizing any of the animation examples as reference. This assignment combines exercise 8 with any of the exercises 1 - 7.

DOCUMENTATION:
While each workshop is being conducted. I will be documenting the steps in a handout format, which could also be published to a website. Procedural steps will be listed as well as an evaluation process for the instructor, sample syllabi, and "Trips and Falls" section for each, listing common pitfalls and how to fix them.

SUPPORT:
To help me with the above mentioned animation workshop, I will need the expertise of the following individuals, many of which have done these assignment and who are professionals in the field.

• Ruel Pascual: Animator / Animation Instructor
Has animated for Pixar, Disney and Blurr Studios and teaches advanced animation classes at the Art Institute of Las Vegas.

• Rocky Bright Jr. : Animator / Animation Instructor
Teaches advanced animation at the Art Institute of Las Vegas.

• Lee Lanier : Modeler, texturer and animator
Lee has done work for Dreamworks Studios and he teaches advanced animation at the Art Institute of Las Vegas.

The following are professionals in the field that I have yet to make contact with. I'm hoping that engaging in research through this MFA thesis will open communication with these professionals. I'm confident that it will. I've made initial contact with many of them.

• Jean Denis Haas :
Animator for Industrial Light and Magic and Pixar Studios
http://www.jeandenis.net/

• Nick Navone
Animator for Pixar Studios
http://www.navone.org

• Bobby Boombeck
Animator for Pixar Studios
http://www.bobbyboombeck.com/index2.html

• David Chai
• Animation Professor San Jose State University and Director of Thunderbean Animation. http://www.thunderbeananimation.com/

• Melvin Tan
Professional Animator
http://www.melvin-tan.net/#


RESOURCES

Trade Publications
• HDRI 3D: http://www.hdri3d.com/
• 3D World: http://www.3dworldmag.com/
• Animation Magazine: http://www.animationmagazine.net/
• Computer Graphics World : http://www.cgw.com/ME2/Default.asp

Texts
• "Animation from Pencil to Pixels" by Tony White
• "Animating Facial Features and Expressions" by David Kalwick
• "Animation Motion Capture Guide" by Matt Liverman
• "Digital Character Animation" by George Maestri
• "Human Modeling and Animation" Peter Ratner

CONCLUSION
Preparing an MFA thesis in a subject matters that I'm passionate about, teaching and animation is an extreme privilege. I am not only gaining experience to be marketable in this competitive field, but that I am helping others to do the same. It helps the field of computer animation by helping to create entry level students who are more prepared and experienced with character acting.

Animation Workshop

1) Animating personality in a ball
Lecture : "12 Principles of Animation" Overview

2) Animating personality with two balls.
one of a different weight and material
Lecture: Physics of materials overview

3) Animating emotion Face Only
The student is given a rigged character and is assigned to animate various emotions (5 total). Each is given a frame limit.
Lectures include: Muscles of the face, Face and Emotion Dynamics

3B) Animate emotion Full Body
The student is given a rigged character and is assigned to animate various emotions (5 total). Each is given a frame limit.
Lecture: Gesture and emotion, Emotion and Hands, Staging

4) Gear Change
Animate 1 emotion, followed by a quick event which then leads to another emotion.
The student will animate 2 gear changes. One of the face, the other of the entire body.
Lecture: Types of transitions

5) Animate a unique walk cycle
This walk cycle must convey a unique emotion.
Lecture: Walk cycle mechanics, Examples of great unique walk cycles.

6) Animating Character and Weight
Animate a character pushing or pulling a heavy object.

7) Animate two characters engaging in dialogue

8) Convey the emotion of a character through lighting, texturing, staging, environment and visual effects only.

9) Animate the above character utilizing any of the animation examples as reference.

Fast Facial Animation Design for Virtual Humans

By: S. Garchery. A. Egges, N. Magnenat-Thalmann
MIRALA, University of Geneva, Geneva Switzerland

http://www2.miralab.unige.ch/papers/386.pdf.

Abstract
Designing facial animation parameters according to a specific
model can be time consuming. In this paper we present a fast
approach to design facial animations based on minimal
information (only feature points). All facial deformations are
automatically computed from MPEG-4 feature points. We also
present an extension of this approach that allows to
personalize or to customize the deformations according to
different characteristics. We will describe different prototypes
of the facial animation system, available on different
platforms. Then, we demonstrate how emotions and
expression can be incorporated into the facial animation
system.

Egges, A., Garchery, S. Fast Facial Animation Design for Emotional Virtual Humans. 2001.

Theoretical and Philosophical Perspectives :: Emotion and Intersubjectivity

Animation can be seen from two theoretical perspectives: entertainment, and educational. Animation in entertainment is used in feature film, video games and television, is used to give life to characters and to drive the story. It can also be used to create believability for things that do not exist through the use of special and visual effects. In education, animation is used to make presentations more clear and engaging through moving graphics. Animating reenactments can also be used for educational purposes. An example of this can be seen on Discovery Channel where animation is used to recreate events from the past such as wars, dinosaurs or to demonstrate the effects of global warming.

A connection with the audience is present in all of these. Whether one is referring to an animated character, an animated "inanimate" object such as a lamp, animated text or shapes, or moving graphics for broadcast television, a connection with the audience is essential. Without it, you run the risk of an ineffective presentation. Monetarily, this is not a smart way to proceed, as animation requires a great many resources. The more ways one can connect with an audience, the more effective the message will be received. One of the many ways an animation can connect with an audience is through emotion and intersubjectivity.

Emotion in animation refers to the infinite portrayal of moods or feelings in a character or many characters to help convey story. Intersubjectivity refers to the ability of the audience to recognize an emotion or situation based on common experiences. If an audience connects emotionally and identifies with a character in these ways, a clearer more engaging animation is achieved.

Animation is a powerful medium. It gives a two dimensional surface such as a billboard or screen rhythm and vibration. As viewers, we are naturally attracted to this as it emulates what we see in life. An animator takes this knowledge to create believability, to breathe life into a character and to create effective connections with an audience.

Thesis Outline I

Thesis : Teaching emotion and intersubjectivity in character animation.

PART I
Explain why and its importance.
Reasons for the development of a curriculum related to this subject.
Review story and the importance of characterization within a story.
How does one connect with an audience? What makes a character believable? What makes a good character?

PART II
Define intersubjectivity and its role in animation.
Define emotion and its role in animation. Show examples.
Planning: Importance of keyframe poses.

Emotion thru drama / acting
Emotion thru Gesture: Full Body, Hands and Face
Emotion thru character design and color
Emotion thru character reaction
Explain intersubjectivity in animation

PART III
Workshop: Creating Emotion and Intersubjectivity in characters.
• Giving inanimate objects emotion (12 principles of animation) Storytelling / Clarity / Staging
• Animating a character interacting with an object / Weight Mechanics
• Character emotion / full body. Walk Cycle / Monologue
• Animating a character with mutliple objects, the character in an environment. Facial Animation / Gear Change
• Animate a character interacting with another character (dialogue).
• Character Intersubjectivity using design, color, lighting, and texturing. This exercise is also a culmination of the above exercises.

PART IV
Teaching these concepts:
Each of the above exercises will be accompanied by a syllabus that contains objectives, competencies, lectures and demonstration suggestions, activities and an evaluation process.

SUMMARY

CONCLUSION

CLOSING THOUGHTS
"Ways to move forward & further study."

Structure of a Research Paper

1. Establish a Point of View

• identify topic
• underlying themes
• opionions you may have
• what you intend to prove

2. Identify and Research

3. Compile the information in an organized fashion.

• Use mindmaps or slash charts.
• Cite resources.
• Use a computer to help stay organized or a 3 ring binder.

4. Make a master mindmap for your paper.

5. Create a rough 1st draft.

• Stay organized.
  
• A paper can be broken down into : An Intro, Body, Conclusion and Evaluation.
  
• Evaluations can be used to share what you have learned. You can also provide extra questions to set future directions.

6. Proofread and Revise

• Read your paper out loud. You should be able to hear grammatical errors.
  
• Use spell check.
  
• Check for flow and clarity.

7. Presentation

• Add a title page.
• Check pagination
• Add a citation or resources page.

Citation Examples - MLA Style

Citations are usually placed at the end of document in alphabetical order.

Books:
Falconer, Ian. Olivia. New York: Atheneum, 2000.

Dictionary
"Accord." Def.5b. The Oxford English Dictionary. 2nd ed. 1989.

Magazines:
Brenzel, Kathleen. "Rooms in Bloom." Sunset Magazine. Jan. 2002: 51-55.

Professional Websites:
List the creator of the site if known; the title of the site or a description of the site, such as "Home page" if no title is available; the date of publication or last updated date; the name of the organization associated with the site; the date of access; and the URL.

Lynch, Tim. "DNS Trials and Tribble-ations Review." Psi Phi: Bradley's Science Fiction Club. 1996. Bradley University. 8 Oct. 1997 PUT URL HERE


- - - - - - - - - - - - - -

Citing inText Citations.
• Both the author and page number if the source has both an author and a page number. Example: (Orwell 52).
• Only the author's name if the source has an author but no page number. Example: (Orwell). • The complete title in a signal phrase or a short form of the title in parenthesis if the source has no apparent author. Example: ("CNN News").

- - - - - - - - - - - - - -

Video and DVD presentations
Title (underlined or italicized). Author. Year. Format. Publisher or Distruber, year of distibution.
Annie Hall. Dir. Woody Allen. 1977. Videocassette. MGM/UA Home Video, 1991.

Emotion & Character Acting

Character Acting:
Listed on this wikipage are different types of roles for actors.
http://en.wikipedia.org/wiki/Character_acting

Emotion:
In its most general definition, is an intense mental state that arises autonomically in the nervous system rather than through conscious effort, and evokes either a positive or negative psychological response. An emotion is often differentiated from a feeling.
http://en.wikipedia.org/wiki/Emotion

Intersubjectivity

The term intersubjectivity is used in three ways. Firstly, in its weakest sense it is used to refer to agreement. There is said to be intersubjectivity between people if they agree on a given set of meanings or definition of the situation. Secondly, and somewhat more subtly it has been used to refer to the "common-sense," shared meanings constructed by people in their interactions with each other and used as an everyday resource to interpret the meaning of elements of social and cultural life. If people share common sense, then they share a definition of the situation[1]. Thirdly, the term has been used to refer to shared (or partially shared) divergences of meaning. Self-presentation, lying, practical jokes, and social emotions, for example, all entail not a shared definition of the situation, but partially shared divergences of meaning. Someone who is telling a lie is engaged in an intersubjective act because they are working with two different definitions of the situation. Lying is thus genuinely inter-subjective (in the sense of operating between two subjective definitions of reality).

Intersubjectivity emphasizes that shared cognition and consensus is essential in the shaping of our ideas and relations. Language is viewed as communal rather than private. Hence it is problematic to view the individual as partaking in a private world, which is once and for all defined.

Intersubjectivity is today an important concept in modern schools of psychotherapy, where it has found application to the theory of the interrelations between analyst and analysand.

Wikipedia
http://en.wikipedia.org/wiki/Intersubjectivity



Notes:

Citation:
Butte, George. “I know that you know that I know, narrating subjects from Moll Flanders to Marnie”. Ohio State University. 2004.

Citation and Abstract Example

Sumner, Robert - Dec. 2006
Massachesetts Institute of Technology
"Mesh Modification using deformation gradients."
http://wwwlib.umi.com/dissertations/fullcit/f160001

Computer-generated character animation, where human or anthropomorphic characters are animated to tell a story, holds tremendous potential to enrich education, human communication, perception, and entertainment. However, current animation procedures rely on a time consuming and difficult process that requires both artistic talent and technical expertise. Despite the tremendous amount of artistry, skill, and time dedicated to the animation process, there are few techniques to help with reuse.

Although individual aspects of animation are well explored, there is little work that extends beyond the boundaries of any one area. As a consequence, the same procedure must be followed for each new character without the opportunity to generalize or reuse technical components.

This dissertation describes techniques that ease the animation process by offering opportunities for reuse and a more intuitive animation formulation. A differential specification of arbitrary deformation provides a general representation for adapting deformation to different shapes, computing semantic correspondence between two shapes, and extrapolating natural deformation from a finite set of example shapes. Deformation transfer adds a general-purpose reuse mechanism to the animation pipeline by transferring any deformation of a source triangle mesh onto a different target mesh. The transfer system uses a correspondence algorithm to build a discrete many-to-many mapping between source and target triangles that permits transfer between meshes of different topology.

Results demonstrate retargeting both kinematic poses and non-rigid deformations, as well as transfer between characters of different topological and anatomical structure. Mesh-based inverse kinematics extends the idea of traditional skeleton-based inverse kinematics to meshes by allowing the user to pose a mesh via direct manipulation. The user indicates the class of meaningful deformations by supplying examples that can be created automatically with deformation transfer, sculpted, scanned, or produced by any other means.

This technique is distinguished from traditional animation methods since the expensive character setup stage is avoided. It is distinguished from existing mesh editing algorithms since the user retains the freedom to specify the class of meaningful deformations. Results demonstrate an intuitive interface for posing meshes that requires only a small amount of user effort. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)

UMI Dissertaton Site

Go here to search a variety of dissertations and theses.

http://wwwlib.umi.com/dissertations/

An example of an Abstract/Citation is below:

She, Ying Ying. Real time animation of walking and running using inverse kinematics.
Concordia University, Canada. 2006
http://wwwlib.umi.com/dissertations/fullcit/MR14335

Computer animation technology is a rapidly developing topic in computer science. Realistic human motion, such as walking and running, is an important part of computer animation. However, the simulation of walking and running in articulated human figure is difficult, especially in real time simulation. Fortunately, recently, Inverse kinematics algorithms provide an approach to simulate human motion in articulated figures. In this thesis, I analyzed Jacobian based Inverse Kinematics algorithms that allow theses methods to be used as an efficient real-time inverse kinematics simulator. I describe the implementation of a human motion simulator, which mainly focuses on using inverse kinematics algorithm to simulate (wounded) walking and (wounded) running motion in an articulated body. With the assistance of inverse kinematics algorithms, the animator merely gives the desired location of certain chosen points on the body and relies on the algorithm to automatically compute a set of joint angles that satisfy the end-effectors constraints. This kinematics simulation approach can be used for real time animation in articulated figure without any motion capture data. In addition, the thesis shows that it is also possible to simulate human animation by using purely mathematical techniques without physical considerations.

Exercise / Workshop Ideas and Notes

Take Visual Notes :: Use Camera for movement reference

WORKSHOP:

• A legend of emotions: gesture
• A legend of emotions: hands
• A legend of emotions: face eyes mouth and brows

Possible Lectures

• The Golden Rectangle
• On Graphic Design
• Power of Research
• Experimenting
• Critical Thinking
• Mindmapping: A Visual Way of Notetaking
• Being Bold and Taking Risks
• Failing
• Being Clear
• Presentation is Everything

MFA Examples Thesis Structure

"The Unwantables,
An Exploration of Visual Narrative"
by Marius Valdes BFA University of Georgia
http://etd.vcu.edu/theses/submitted/etd-05142005-221315/unrestricted/valdesm_thesis.pdf


The Parts of the Thesis.
• justification
• research
• graduate workshop: Detailed the processes for evaluation and exploration
research, experimentation, critical thinking, and refinement.
here, valdes lists the various workshops, where he experimented
• new things were learned and listed : imagination
• project descriptions
• imagination processes
• evaluation : List problems, insight, new discoveries
• Achievements : How strength was achieve, how we are different, how this will benefit the profession.
• Credits Bibliography



"Playing to Learn"
J. Stanko
http://etd.vcu.edu/theses/submitted/etd-05172005-103417/unrestricted/stankoj_thesis.pdf

• Submitted to the faculty of xxx for partial fulfillment of xxxx degree.
• Introduction / Thesis or Goal /
• Definitions (Games vs. Play) / Definitions and Examples /
• Defining Learning and Connecting the Two
• Qualified Learning / Serious Game Summit
• Defining the Project / Character Studies and Variations / Background and Research (reserach viking lore), Inspirations, Software Docs., Limitations
• Work Methods: Preproduction.
• Assignments: A total of 4. Listed what was learned from each.
• Typeface / Thoughts on Usability and Design
• Thoughts on learning and design contributions to gaming. Games are considered counter culture.


Jennifer Jones Hundley
"The Process of Creating a Satirical Story of Richmond, Race and Resistance"
Virginia Commonwealth University
Richmond Virginia
December 005

http://etd.vcu.edu/theses/submitted/etd-07242006-152900/restricted/hundleyjj_thesis.pdf

• Table of Contents - Includes Acknowledgements
• Abstract - details how this project came about, and its purpose
• Thesis Project - lists its inception and an overview of what was learned.
• Challenges : beg. a new script. character breakdowns, these character breakdowns provide the basis for comparative analysis. music
• Decisions. Lists the choice and justification for a direction.
• Workshop: Describe Activity. List goals and objectives, processes, and an evaluation, what was learned,
• Auditions / Rehearsals / Stage Direction
• The Presentation / The Audience / Feedback and Evalation / Obstacles in the theatre /
• Where do I go from here: Future
• Personal Reflection
• The Actual Script / included in the appendices are historical photographs that were used as reference for the project.