Duik is a free and open source character rigging and animation tool set. It facilitates character, props, and camera animation. Duik creates rigs which allow the animator to manipulate the characters in a very intuitive way. It has an international success; it is used to create TV series, advertising, motion design, video games, music videos, short movies and feature films. It is used in many companies all around the world. This book contains the complete source code of Duik. It's a manifesto for open source software. It's a way to physically show how open source software is different from other software, to show and explain how important it is, how even this small free software may weigh to change the world. Maybe it's also a work of art. Maybe you can just use it to wedge some furniture.

This is the Black and White version of the second edition of the Duik Bassel user guide. Duik is a free script for the Animation software Adobe After Effects. It eases character, props, and camera animation. Duik creates rigs which allow the animator to manipulate the characters in a very intuitive way. Created in 2009 in France, very simple at its beginning, Duik is now very complete and has an international success; it is used to create TV series, advertising, motion design, video games, music videos, short movies and feature films. It is used in many companies all around the world. Duik is free software (open source), since its creation, and the new version Duik Bassel, was financed by a Crowdfunding campaign which was a great success in the beginning of 2017. This success allowed a complete renovation with a lot of new features and improvements, while creating a large international comunity of users.

At last–the first guide to drawing comics digitally! Artists! Gain incredible superpowers...with the help of your computer! The DC Comics Guide to Digitally Drawing Comics shows how to give up pencil, pen, and paper and start drawing dynamic, exciting comics art entirely with computer tools. Author Freddie E Williams is one of DC Comics' hottest artists and a leader in digital penciling and inking–and here, in clear, step-by-step directions, he guides readers through every part of the digital process, from turning on the computer to finishing a digital file of fully inked comic art, ready for print. Creating a template, sketching on the computer, penciling, and finally inking digitally are all covered in depth, along with bold, timesaving shortcuts created by Williams, tested by years of trial and error. Step into the digital age, streamline the drawing process, and leap over the limitations of mere physical drawing materials with The DC Guide to Digitally Drawing Comics.

Power Quality and Electromagnetic Compatibility, High Voltage Engineering and Insulations Technology, Power Generation Technology, Power System Dynamic, Stability and Control, Power System Protection, Reliability and Security, Electric Power Transmissions and Distributions, Power Electronic Converter Topologies, Design and Control, Switch Mode Power Supplies and UPS, Electric Drives and Electrical Machines, Renewable Energy and Smart Grid Technology, Energy Storage System and Technology, Biomedical Engineering, Microelectronic Circuits and Systems, Measurement and Instrumentations, Nano Technology, Micro Electro Mechanical System, Sensor, RFID, and Electronic Design, Material and Device, Wireless and Mobile Communications, Telecommunication, Information modelling, Knowledge acquisition and accumulation, Knowledge discovery, Knowledge management, Information systems and applications, Human computer interaction and Modelling Social media engineering, E Learning and educational

An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.

Based on phonics and whole language skills, this method advances children ages 3 to 8 from knowing their alphabet to reading second-grade-level picture books.

Taking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.