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.

"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 manipuate 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 mopvies 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 community of users."--Back cover

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.

"No other book to date presents facial animation concepts, theory, and practical application with the authority that Stop Staring does." —TIEM Design Crafting believable facial animation is one of the most challenging, yet rewarding aspects of 3D graphics. Done right, this art breathes life into otherwise deadpan faces. In this extraordinary book, professional animator Jason Osipa teaches you how to achieve realistic facial modeling and animation. Using detailed practical examples complemented with high-quality images and a touch of humor, Osipa leads you from design and modeling to rigging and animation. The CD and full-color insert demonstrate techniques you can use to fine-tune your facial animations. Reviewed and approved by Alias|Wavefront, Stop Staring: Facial Modeling and Animation Done Right, uses the Academy Award(r) winning Maya(r) 3D animation and effects software as the focus for its examples, yet the principles and techniques are described in ways that will be helpful to anyone working on facial modeling and animation. Mastering the Face Start out by getting familiar with the range of possible facial expressions, then focus on animating and modeling the mouth, eyes and brows. When you're ready to bring it all together, you can generate a scene from concept to completion. Topics covered include: Understanding how the whole face affects expression Learning visimes and lip sync techniques Constructing a mouth and mouth keys Building emotion through the eyes and brows Building interfaces to easily connect and control your models Skeletal setup, weighting, and rigging Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.

Voice Over for Animation takes animation and voice-over students and professionals alike through the animated voice-over world. The book provides information, exercises, and advice from professional voice-over artists. Now you can develop your own unique characters, and learn techniques to exercise your own voice gain the versatility you need to compete. You can also learn how to make a professional sounding demo CD, and find work in the field. The accompanying downloadable resources are professionally recorded, and feature: scripts, Animation Talent Agent interviews, Casting Director interviews and Interviews with Animation Voice-Over Artists like Nancy Cartwright (Bart, The Simpsons) and Cathy Cavadini (Blossom, Power Puff Girls) and Bill Farmer (Goofy). This is an invaluable resource for animators and voice-over artists.

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.

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