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A sample model sheet from the DVD tutorial 'Chaos&Evolutions' In visual arts, a model sheet, also known as a character board, character sheet, character study or simply a study, is a document used to help standardize the appearance, poses, and gestures of a character in arts such as animation, comics, and video games.
More advanced languages allow decision-making, event handling, and parallel and sequential actions. The Face Modeling Language (FML) is an XML-based language for describing face animation. [5] FML supports MPEG-4 Face Animation Parameters (FAPS), decision-making and dynamic event handling, and typical programming constructs such as loops.
The T-pose is primarily used as the default armature pose for skeletal animation in 3D software, which is then manipulated to create animation. The purpose of the T-pose relates to the important elements of the body being axis-aligned, thereby making it easier to rig the model for animation, physics, and other controls. Depending on the exact ...
Facial motion capture is the process of electronically converting the movements of a person's face into a digital database using cameras or laser scanners. This database may then be used to produce computer graphics (CG), computer animation for movies, games, or real-time avatars. Because the motion of CG characters is derived from the ...
The fast pace of gesture poses helps an artist "loosen up" to avoid a stiff drawing style. The artist who undertakes gesture drawing also receives the benefits of self-training their drawing ability. This kind of very rapid drawing of the figure builds (through the act of frequent repetition) an instinctive understanding of human proportions ...
In 1972, in a project partially financed by DARPA, Parke made the first 3D animation of a representation of a human face, his wife's face. This animation used a wireframe geometry overlaid with Gouraud shading that produces approximate renderings of curved surfaces. The technique was invented by Parke's Utah colleague Henri Gouraud. [1] [2]
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The models' poses tended to be active: standing figures seem about to stir and even seated figures gesticulate dramatically. Close observation of the model's body was secondary to the rendering of his gesture, and many drawings - consistent with academic theory - seem to present a representative figure rather than a specific body or face.
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