THE EFFECT OF COLOR ON EMOTIONS IN ANIMATED FILMS

Lighting color in animated films is usually chosen very carefully in order to portray a specific mood or emotion. Artists follow conventional techniques with color choices with the intention to create a greater emotional response in the viewer. This study examined the relationship between color variations in videos and emotional arousal as indicated by physiological response. Subjects wore a galvanic skin response (GSR) sensor and watched two different videos: one portraying love and one portraying sadness. The videos were watched multiple times, each with variations in the lighting color. No significant effects on emotion for either hue or saturation were observed from the GSR sensor data. It was concluded that the hue and saturation of lighting are not likely to cause a significant impact in the strength of emotions being portrayed in animated films to a degree in which it can be measured by electrodermal activity

A Van Gogh inspired 3D Shader Methodology

This study develops an approach to developing surface shading for computer-generated 3D head models that adapts aesthetics from the post-impressionist portrait painting style of Vincent Van Gogh. This research is an attempt to reconcile a 2D expressionist style of painting and 3D digital computer generated imagery. The focus of this research is on developing a surface shading methodology for creating 3D impasto painterly renderings informed by Van Gogh’s self-portrait paintings. Visual analysis of several of Van Gogh’s self-portraits reveal the characteristics of his overall rendering style that are essential in designing methods for shading and texturing 3D head models. A method for shading is proposed using existing surfacing and rendering tools to create 3D digital heads rendered in Van Gogh’s style. The designed shading methodology describes procedures that generate brushstroke patterns. User controls for brushstroke profile, size, color and direction are provided to allow variations in the brushstroke patterns. These patterns are used to define thick oil paint surface properties for 3D digital models. A discussion of the range of results achieved using the designed shading methodology reveal the variations in the rendering style that can be achieved, which reflects a wide range of expressive 3D portrait rendering styles. Therefore, this study is useful in understanding Van Gogh’s expressive portrait painting style and in applying the essence of his work to synthesized 3D portraits

Dwaraka: An Immersive Storytelling Experience Represented in Virtual Reality Through a Graphic Novel

This thesis showcases the development of a narrative Virtual Reality (VR) experience told in the form of an immersive graphic novel. Virtual reality has the potential to be one of the more intimate forms of storytelling since it puts the user in the center of the story or scene. Similarly the graphic novel is an excellent storytelling device since it relies more on visuals rather than writing, enabling readers to absorb information faster without losing focus. Together they become a visually evocative experience for the audience by enabling them to not just look through the visuals but also jump into each panel and experience the story firsthand. Drawing inspiration from artists and writers like Alan Moore, Hokusai and Shinichiro Watanabe, along with elements from Indian mythology, I have created a graphic narrative based on a poem and present it as an immersive VR experience using the VR 3D painting and animation tool Oculus Quill

From Instantaneities To The Eternal: Shifting Pictorial Temporalities In Monet\u27s Rouen Cathedral

This paper focuses on Monet\u27s Rouen Cathedral paintings, a set of canvases painted by the artist between February 1892 and May 1895. This series has traditionally been hailed as Monet\u27s greatest and most significant, but historical scholarship has addressed the series within an Impressionist framework. However, this paper argues instead that the Cathedral paintings no longer represented Monet as an Impressionist, but instead as an artist with entirely original and different goals for whom the nature of time had taken on new meaning. Where Monet began his endeavors in seriality with a feverish focus on the temporary and elusive - the enveloppe - in Rouen he worked and reworked the canvases, bringing them to a hand-wrought and over-worked surface unprecedented within his own work. For Monet, these paintings did not capture specific moments; they rendered an enduring and overwhelming presence entirely outside of time and place. The Rouen Cathedral series marks a distinct shift in Monet\u27s oeuvre. With these paintings, the artist left behind Impressionism and its focus on the fleeting qualities of atmosphere and light. The Rouen Cathedral works were a declaration of his new grand ambition: to construct paintings that would endure through both their physicality and their timeless subject matter

Jasper Johns' False Start and his painting before 1964.

Thesis. 1979. Ph.D.--Massachusetts Institute of Technology. Dept. of Architecture.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.Vita.Includes bibliographical references.Ph.D

Shaping visual narratives : camera structure in animation

This dissertation delves into the role and impact of camera structure in animated films, exploring elements such as camera effects, lens choices, depth of field, lighting, and animation techniques. Employing a qualitative research design with an exploratory approach, the study analyzes existing literature and case studies to understand how camera structure influences the meaning and visual style of animated narratives. The key findings highlight the significance of camera structure: it defines a film’s unique visual identity, shaping aesthetics and visual style, conveys emotions, enhances audience engagement, serves as storytelling devices, guides attention, and conveys essential information, impacting the level of realism or fantasy, adding layers of meaning and symbolism to elevate storytelling, and establishing a unified visual language for enhanced audience immersion and narrative comprehension. The dissertation concludes by emphasizing the transformative convergence of animation and live-action cinematography, transcending traditional boundaries. This paradigm shift underscores the importance of cinematic language, where techniques become instruments for narrative expression, offering new horizons for storytelling and artistic exploration.Esta dissertação explora o papel e o impacto da estrutura de câmara em filmes de animação, investigando elementos como efeitos de câmara, escolhas de lentes, profundidade de campo, iluminação e técnicas de animação. Empregando um desenho de pesquisa qualitativa com abordagem exploratória, o estudo analisa literatura existente e estudos de caso para compreender como a estrutura de câmara influencia o significado e o estilo visual das narrativas animadas. Os principais resultados destacam a importância da estrutura de câmara: ela define a identidade visual única de um filme, moldando estética e estilo visual, transmite emoções, aprimora o envolvimento da audiência, atua como dispositivo de narração, guia a atenção e comunica informações essenciais, impacta o nível de realismo ou fantasia, adiciona camadas de significado e simbolismo para elevar a narrativa, além de estabelecer uma linguagem visual unificada para maior imersão do público e compreensão da narrativa. A dissertação conclui enfatizando a convergência transformadora entre a animação e a cinematografia de ação ao vivo, transcendendo fronteiras tradicionais. Essa mudança de paradigma destaca a importância da linguagem cinematográfica, onde as técnicas se tornam instrumentos de expressão narrativa, oferecendo novos horizontes para a narrativa e exploração artística

Using Precisionism Within American Modern Art as Stylistic Inspiration for 3D Digital Works

This thesis presents the analysis of artistic techniques of paintings from the Precisionist movement and the implementation of the results of the analysis in the creation of three new works of art using digital media. Artists working in digital media express features of pre-digital artistic movements with varying degrees of adherence to principles, intentions, and awareness. This thesis seeks to create a bridge between the recognition of common features of Precisionist works and the expression of those elements in new works through the use of a system of analysis, interpretation, and translation. One outcome of this thesis is the description of a methodology for interpretation and translation that can be applied to other art movements. The Precisionist period within the Modern Art movement has both a historical importance in the world of art and a thematic relevance to popular uses of digital media ? specifically the representation of meaning and mood derived from industrial settings. Its influences can be traced from cubist, futurist, and constructivist art, as well as influencing the development of surrealism. It is considered the first solely American movement within Modern Art. Charles Sheeler's work plays a key role in the visual analysis portion of this research. Sheeler's work offers examples for applying 2D precisionist artistic style as aesthetic inspiration in creating a three-part production of 3D digital and video work. Work from precisionist artists Charles Demuth and Edmund Lewandowski also contribute some unique artistic characteristics considered during the analytical portion of this study. The new artistic works proposed include: (1) a linear, live-action short video with post-production manipulation; (2) a linear, 3D animated work; and (3) a non-linear, interactive 3D game environment

Reflecting on pictorial spaces: an investigation into ambiguous spatial effects created through the use of reflective materials, fragmented abstract form and oblique linear structures.

This practice-led art research project investigates the relationships between geometric abstract painting, architecture and urban space. The outcome of the research is an exhibition of large-scale and medium sized geometric abstract paintings on canvas that explore issues of reflection and spatial deformation. Compositions drawing from the spatialities of contemporary architecture and urban space are examined through the use of reflective materials, fragmented abstract form and irregular structuring to create a range of spatial interpretations intended to engage and manipulate the viewer’s perceptions of illusory space. The project focuses on the inventive uses of reflective painting materials and recently developed synthetic colours influenced by digital technologies and high-gloss surface qualities. Innovative possibilities and opportunities in contemporary abstract painting practice are investigated through the use of newly developed commercial paint materials, pigments and mediums to create new perceptual and physiological experiences for the viewer. From the position of being a contemporary abstract painter I investigate key issues of spatial unease, disorientation and instability experienced in contemporary architecture and urban space, in order to produce highly ambiguous pictorial spatial experiences in my work, including infinite reflections, permutations and deformations. This project contributes original research to the field of abstract painting, and produces a new body of knowledge about pictorial spatial structures, colours and surface effects that generate disorientating viewing experiences and build on the relationship between abstract painting, architecture and urban space

Higher level techniques for the artistic rendering of images and video

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Soviet Tableau: Cinema and History under Late Socialism (1953-1985)

During the Late Socialism (1953-1985), the geographic peripheries of the Soviet film industry demonstrated an upsurge in both the number of the produced films and in the boldness of the cinematic experimentations. This dissertation focuses on the peculiar cinematic trend that emerged in this context of the artistic reinvigoration of the Soviet periphery. In particular, I analyze films of Iurii Illienko, Leonid Osyka, Evgenii Shiffers, Tengiz Abuladze, and Sergei Parajanov. I propose that the films of these filmmakers exemplify a distinct cinematic trend and label this trend tableau cinema for two reasons: first, to avoid overgeneralization and homogenization of the commonly used term “poetic” cinema; second, to emphasize the predominance of a static painterly quality and integrate my analysis into a broader tradition of visual arts (Chapter 1). The central stylistic feature shared by the tableau films is their avoidance of linear perspective and kinship with non-perspectival painterly traditions, such as Persian miniatures or Orthodox icons. I argue that this stylistic feature is related to tableau cinema’s transformation of spectatorship (Chapter 2) and rejection of (Soviet) modernity’s insistence on historical progression, which are underpinned by linear perspective and reinforced by conventional use of cinema (Chapter 3). This dissertation demonstrates that tableau cinema created, by cinematic means, alternative histories to the evidently fragile project of Soviet modernity. In doing so, the filmmakers on the peripheries revive the genealogy of the “primitive” in Russian and Soviet cultural history. Unlike the future-oriented invocation of the “primitive” in the post-revolutionary cinemas, in tableau cinema the invocation of the “primitive” is oriented toward the rethinking of the past and the redefining of the cinematic medium itself. In this sense, the dissertation proposes to consider tableau cinema as a case of Socialist Modernism (Chapter 4). By investigating the history and aesthetics of the tableau cinema, this dissertation contributes to the largely understudied field of Soviet ethno-national cinemas and makes a theoretical contribution to rethinking the long-standing opposition between the (Greenbergian) modernism and (Lukácsian) realism in the twentieth-century art