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Diplomska naloga predstavlja ustvarjanje animiranega filma tako v teoriji kot v praksi. V teoretičnem delu diplomske naloge s pomočjo literature raziskujem nastanek animiranega filma skozi zgodovino v svetu in pri nas ter preučujem tehnike ustvarjanja animiranih filmov. V drugem, praktičnem delu diplomske naloge predstavljam ustvarjanje stop motion animiranega filma in končni izdelek. Idejo za ustvarjanje animiranega filma sem dobila v času študija pri predmetu Lutkarstvo. Prek diplomske naloge sem želela raziskati svet animiranih filmov in lutko prenesti iz gledališča v animirani film. Animirani film zahteva posebno tehniko ustvarjanja. Gre za ustvarjanje večjega števila risanih sličic ali fotografij, ki jih naše oko ob predvajanju v določenem časovnem premiku zazna kot gibajočo sliko. Poznamo tri vrste animacijskih tehnik, in sicer stop motion, risano animacijo in računalniško animacijo. V diplomskem delu s pomočjo različnih avtorjev predstavim igrače in pripomočke, ki so se s stoletji razvijali in omogočali razvoj animacije in pozneje filma. Prav vsi smo se v preteklosti srečali z igračami, ki so bile predhodnice animiranih filmov. Animirani film ni zgolj risanka, je mnogo več. In animirani film je eden prvih medijev, ki otroke popelje v svet umetnosti, v svet različnih kultur in ljudi. Film kot skupek različnih umetnosti in filmska vzgoja omogočata aktivno učenje na vseh področjih kurikuluma, zato sta v vzgojno-izobraževalnih procesih zelo zaželena. Številni pedagogi in drugi avtorji se strinjajo, da ima film lahko dober vpliv na otroke in mladino. Njihove teorije povzamem v predzadnjem delu diplomske naloge. Ustvarjanje animiranega filma mi je predstavljalo izziv. Zanimalo me je, kako igro z lutkami prenesti v stop motion animirani film. V praktičnem delu diplomske naloge tako podrobno predstavim ustvarjanje animiranega filma z naslovom Zaljubljeni Lojz – od prvotne ideje do razvoja zgodbe, priprave scenarija in likov in nato od samega snemanja in urejanja videa do končnega izdelka. V animiranem filmu kot like uporabim lobanje iz umetne mase, zato rešujem dilemo, komu je animirani film namenjen. Beležim odzive občinstva na njegovo likovno podobo in vsebino. V zaključku so zbrani odgovori naključnih odraslih in otrok, ki so podali mnenje ob ogledu animiranega filma. Kljub uporabi lobanj so bili odzivi občinstva dobri. Pridobljeni odgovori kažejo, da je odraslemu občinstvu pomembnejša vsebina zgodbe oziroma filma kot likovna podoba. Otroci so bili nad animiranim filmom navdušeni in si ga želeli ogledati večkrat. This thesis presents animation filmmaking, both in theory and in practice. In the theoretical part of the thesis, I use the literature to explore the origins of animation throughout history, both in the world and in Slovenia, and to examine the techniques of animation filmmaking. In the second, practical part of the thesis, I present the creation of stop motion animation and the final product. I got the idea to create an animated film during my studies in the Puppetry course. Through my thesis, I wanted to explore the world of animation and bring the puppet from theatre to animation. Animation requires a special technique. It is the creation of a large number of cartoon frames or photographs that, when played back, are perceived by the eye as a moving image over a certain period. There are three types of animation techniques: stop motion, cartoon animation and computer animation. With the help of various authors, I present the toys and gadgets that have evolved over the centuries and allowed the development of animation and later film. We have all encountered toys in the past that were the precursors of animated films. Animation is not just a cartoon, it is much more than that. And animation is one of the first media to introduce children to the world of art, to the world of different cultures and people. Film as a combination of different arts and film education enables active learning in all areas of the curriculum and is therefore highly desirable in educational processes. Many educators and other authors agree that film positively influence children and young people and I summarise their theories in the penultimate part of my thesis. Creating animated films has been a challenge for me. I was interested in how to translate puppet play into stop-motion animation. In the practical part of the thesis, I present in detail the creation of an animated film called Lojz in Love. From the initial idea to the development of the story, the script and the characters, and then the actual filming and editing of the video to the final product. I use plastic skulls as characters in the animation, so I'm solving the dilemma of who the animation is for. I record the audience's reactions to its visuals and content. In the end, I collect the answers from random adults and children who gave their opinions when they watched the animation. Despite the use of skulls, the audience's reactions were good. The answers obtained show that the adult audience cares more about the content of the story or the film than the visuals. Children were impressed by the animated film and wanted to watch it again.

Namen diplomske naloge je izdelati 3D interaktivno animacijo, ki kupcu pri nakupovanju in izbiri deske, znamke JH Boards, predstavi njen izgled in sestavo. 3D vizualizacija je pomembna komponenta pri nakupovanju preko spleta, saj lahko kupec z njo interaktivno sodeluje in pridobi boljšo predstavo o izdelku. V teoretičnem delu smo raziskali program Blender. Opredelili smo pojma interaktivnost in 3D vizualizacija produkta. Predstavili smo, kako pripomoreta k pridobivanju in ohranjanju kupcev ter zagotovita, da si izdelke lahko podrobneje ogledajo. V eksperimentalnem delu smo na podlagi pogovora z glavnim zastopnikom znamke JH Boards in informacij na spletu preučili rolkarske deske JH Boards in s programom Blender ustvarili 3D modele rolkarske deske, koles, podvozja, vijakov in ležajev ter jim dodelili teksturo in materiale. Izdelali smo 47 animacij v skupnem trajanju 157 sekund, ki prikazujejo različne dele deske, njene komponente (koleščke, podvozje, vijake, ležaje) in materiale. Animacije smo uredili oziroma priredili s programom DaVinci Resolve. Nato smo animacije po metodi razvejanega posnetka po drevesni shemi smiselno razvrstili v štiri segmente. S spletno platformo Stornaway.io smo ustvarili interaktivne točke, s katerimi lahko uporabnik animacijo navigira po svoji lastni potrebi. Z interaktivno 3D vizualizacijo smo kupca želeli pritegniti k sodelovanju, mu omogočiti lažji in zanimivejši ogled produkta in ga tako spodbuditi k nakupu. The purpose of this thesis is to create a 3D interactive animation that will help JH Boards customers, to better visualise the appearance and individual components of their skateboard. The fact is that 3D visualisation works as an important component for the online shopping customers, as they better imagine how the products appear. The big upside is also the fact that they can interact with visualsation of the product. In the theoretical part, we described the Blender program and defined the concepts of interactivity and 3D visualisation of the product and presented how they can help brands to gain and retain their customers, while ensuring that they can view products in more detail. In the experimental part, based on a conversation with the main representative of the JH Boards brand and information on the Internet, we studied the JH Boards skateboards. Then we created a 3D model of the JH Boards skateboard, its wheels, trucks, screws and bearings in Blender program. After that we assigned them texture and materials. We made 47 animations with a total duration of 157 seconds, showing different parts of the board, its components (wheels, tucks, screws, bearings) and materials. We edited the animations in the DaVinci Resolve program. We then arranged the animations by order into four segments, using the interactive branching video method. With online platform Stornaway.io, we created interactive points or hot spots that make it possible for user to navigate the animation according to their own needs. With 3D interactive visualisation, we wanted to attract the customer to participate, and at the same time we enabled him to visualise the product easier and made it more interesting.

Magistrsko delo vsebuje več raziskovalnih področij, in sicer uporabniško izkušnjo, animacijo in 3D računalniško grafiko. Namen naloge je bil oblikovati izgled spletnega mesta za marketinško agencijo z vključitvijo 3D vizualizacij, ter raziskati kako te vplivajo na celotno uporabniško izkušnjo. V teoretičnem delu smo se s pomočjo različne literature najprej osredotočili na pomembnost spletnih mest v današnjem času in oblikovanje uporabniških vmesnikov ter uporabniške izkušnje. Raziskali smo osnove animacij in 3D računalniške grafike, za konec pa pregledali še nekaj primerov spletnih mest, ki vključujejo 3D vizualizacije, ter dobili boljši vpogled v prednosti takšnega dizajna. Na začetku eksperimentalnega dela smo natančno raziskali identiteto podjetja in zastavili cilje, ki so nas vodili skozi ustvarjalni proces. Določili smo ciljne skupine in iz njih oblikovali persone. Specificirali smo funkcionalnosti in vsebino našega spletnega mesta, ter z žičnimi modeli prikazali enostavno postavitev elementov. Vzporedno smo se ukvarjali z izdelavo 3D modelov in 3D animacije, ki smo jih združili z uporabniškim vmesnikom ter ustvarili delujoč prototip. Testiranje smo izvedli z anketo, ki je bila razdeljena v dva sklopa. Prvi je vseboval splošna vprašanja o uporabi 3D vizualizacij na spletu, drugi pa pregled prototipa in vprašalnik o uporabniški izkušnji. Analiza odgovorov je pokazala, da se večina anketirancev na 3D grafike odziva pozitivno. Spletno mesto je doseglo dobre ocene v vseh šestih kategorijah uporabniške izkušnje, izmed teh pa sta bili najboljši kategoriji atraktivnost in originalnost. 3D vizualizacije so poleg dekorativnega predznaka pripomogle tudi k večji funkcionalnosti izdelka, kot je npr. pomoč pri prepoznavnosti vsebine. Rezultat magistrskega dela je spletno mesto, ki vsebuje 3D vizualizacije, ter s tem poskrbi za bolj zadovoljivo uporabniško izkušnjo. The master's thesis covers several research areas, namely user experience, animation, and 3D computer graphics. The purpose of the assignment was to create a visual design for the marketing agency website with the inclusion of 3D visualizations, and to examine how these affect the overall user experience. In the theoretical part, we first focused on the importance of today’s websites, and the design of user interfaces and user experience, with the help of various literature. We researched the basics of animation and 3D computer graphics, and reviewed some examples of websites that use 3D visualizations, to gain a better insight into the advantages of such design. At the start of the experimental part, we researched the company identity and set goals that guided us throughout the creative process. We defined target audiences and created personas. We specified the functionality and content of our website, and used wireframes to display simple layouts of elements. Alongside, we worked on 3D models and 3D animation, combined them with the user interface and created a working prototype. The testing was carried out with a survey divided into two parts. The first contained general questions about the use of 3D visualizations on the web, and the second contained a prototype review and user experience questionnaire. The analysis of the answers showed that most respondents have a positive reaction to 3D graphics. The site scored well in all six user experience categories, with attractiveness and novelty being the best. In addition to the decorative effect, 3D visualizations contributed to greater functionality of the product, such as help with content recognition. The result of the master’s thesis is a website that contains 3D visualizations and provides a more satisfactory user experience.

Diplomsko delo nam v prvem delu predstavi različna področja, zgodovino in razvoj animacije. Seznanimo se z osnovnimi pojmi in podrobneje spoznamo kolaž animacijo ali izrezanko, ki je ena izmed tehnik stop animacije. V drugem delu sledi predstavitev profesionalnega programa Adobe After Effects, ki ga uporabljamo za vizualne učinke in ustvarjanje gibljivih slik v stopnji postprodukcije. Spoznamo delovni prostor in delovanje programa. Uporaba programa je predstavljena skozi postopek izdelave končnega izdelka, tj. kolaž animacije. In the first part, the thesis presents history and development of animation techniques, with emphasis on collage animation or cut out animation, which is one of the techniques of stop animation. In the second part, we present the process of creating a collage animation in detail. We describe the usage and tools of the Adobe After Effects software, which is a professional tool for creation of visual effects and moving images in the post-production stage.

Uspeh mednarodne filmske industrije je v veliki meri zasluga programskega jezika Python. Danes praktično ni filma brez vizualnih učinkov in pri tem igra Python pomembno vlogo. V diplomskem delu bomo izvedeli zakaj je pro- gramski jezik Python postal sestavni del procesa ustvarjanja filmov. Spoznali bomo kdaj in zakaj so ga začeli uporabljati, kje vse je postal nepogrešljiv in kdo vse ga uporablja. Dotaknili se bomo zapletenosti filmskega cevovoda in s pomočjo programa Blender in v njem izdelanih skript, ustvarili svoj lastni kratki animirani film. The success of the international film industry is largely due to the Python programming language. Today, there is practically no film without visual effects, and Python plays an important role in this. In the thesis, we will find out why programming language Python has become an integral part of the film making process. We will find out when and why they started using it, where it all became indispensable and who all uses it. We will touch on the intricacies of the film pipeline and create our own short animated film using Blender, Python and the scripts created in it.

V diplomskem delu raziskujem izdelavo animiranega filma in upodobitev zgodbe brez dialoga. Bistvo dela je prikaz zgodbe in idej v njej s karakterjem, ki ima omejeno gibanje telesa in nima obrazne mimike. Na začetku predstavim medij animacije, kjer se osredotočim na 3D-računalniško animacijo, njeno zgodovino in uporabo v današnjem svetu. Zatem predstavim celoten proces izdelave animiranega filma. Začnem z zgodbo, v kateri opišem njen nastanek ter predstavim ideje in teme, ki so prisotne v tem kratkem filmu. Predstavim tudi glavnega karakterja in njegovo vlogo v filmu. Nadaljujem z opisom izdelave zgodborisa, modelov in okolja, predstavim postopek animiranja, kadriranja in osvetljevanja, končam pa z montažo in uporabo zvoka v filmu. In my Bachelor's thesis I am researching how to create an animated movie and depict a story without any dialogue. The point of this thesis is presenting a story and its ideas with a character who has limited body movement and lacks facial expressions. At the beginning I present the medium of animation, focusing on 3D computer animation. its history and its uses today. After that I present the entire process of my animated movie's creation. I begin with the story, where I describe its formation and present the themes and ideas present in the short movie. I also present the main character and its role in the movie. I continue by describing the creation of storyboard, models and environment, I present the process of animation, framing and lighting. I end with the montage and use of sound in the movie.

Kaj je resnično in kaj ne, kaj nam je lepo in kaj grdo, kaj je preveč in kaj premalo? Vse to so vprašanja, ki si jih zastavlja človek že od samega začetka. Naj bo to v načinu življenja, vizualni podobi, elektronskih virih in nenazadnje tudi v industriji zabave – filmu ter animaciji. Diplomsko delo se posveča pojavom srhljive doline (ang. Uncanny Valley) predvsem v animaciji. Anima pomeni v latinščini »duša«, animare pa »vdihniti dušo«. Preverili bomo, kaj definira fenomen srhljive doline, zakaj do njega sploh pride ter kako se mu izogniti, če je to sploh mogoče. Glede na prej zastavljena vprašanja bomo v pregled vzeli svetovno znane animacijske studie (Pixar, DreamWorks, Illumination, Disney) ter raziskali, kako se s tem fenomenom spopadajo oziroma kako ga zaobidejo in se mu izognejo. S pomočjo analiz starejših in novejših filmov igrano-animirane zvrsti bomo na koncu diplomskega dela lažje sledili razvojni poti zajčice Juno, ene izmed likov v kratkem diplomskem igranem filmu s stop animacijo z naslovom Ti. What is real and what is not what is beautiful and what is ugly what is too much and what is too little? These are all questions that man has been asking himself from the beginning, be it through our lifestyles, visual imagery, electronic resources and, last but not least, in the entertainment industry – namely, through film and animation. This thesis will discuss the phenomenon of the “Uncanny Valley,” mainly in animation. Anima means soul animare means to breathe in the soul. We will look at what defines the phenomenon of the uncanny valley, why it happens in the first place and how to avoid it if at all possible. In the light of the questions posed earlier, we will take a look at the world-famous animation studios (Pixar, DreamWorks, Illumination, Disney) and explore how they deal with this phenomenon or how they avoid and circumvent it. By analysing older and more recent films in the live-action animated genre, we will be able to trace the development path of Juno the bunny, one of the characters in You, a short featured live action film with stop motion animation.

Magistrsko delo obravnava problematiko onesnaženja narave ter vlogo človeka v tem degradiranem okolju. V teoretičnem delu sem vzpostavila povezavo med trenutnim družbenogospodarskim sistemom in posledičnim spreminjanjem naravnega okolja. V stoletju tehnološkega napredka, je človek postal orodje gospodarskega sistema, ki zasleduje kolesje nenehne rasti. Včasih povsem razumljiva lokalna odvisnost od naravnih virov je prešla v globalno odvisnost. S tem se je potrošnikom zabrisala povezava med izdelki in ekološkimi posledicami neetične pridelave. Napredek je pravzaprav povzročil degradacijo naravnega okolja. Zdaj, dobro stoletje kasneje, so posledice izrabljanja več kot očitne. Drastične spremembe podnebja in onesnaženost z odpadki, so pričele odvzemati floro in favno, naš prvotni naravni življenjski prostor. Smo v obdobju reševanja okoljskega vprašanja, vendar se naša življenja niso zares nič spremenila. Obsesivno se posvečamo prekomernosti odpadkov, torej simptomom hiperprodukcije, medtem ko se z vzrokom za nastanek situacije pravzaprav ne ukvarjamo. V praktičnem delu naloge sem tako preko digitalne animacije predstavila povezanost med malim človekom in veliko naravo. Razkol v njunem odnosu pa poglabljajo privzgojene potrošniške navade. Koncept postavitve elementov sicer povzdiguje vsemogočno naravo, a obenem nakazuje na nesmiselnost hiperprodukcije plastičnih izdelkov, ki okoli nas vzpostavlja konflikt med vrednostjo življenja in vrednostjo materialnega. The master's thesis deals with the issue of nature pollution and the role of humans in this degraded environment. In the theoretical part, I established a connection between the current economic and social system and the consequences on the natural environment. In a century of technological progress, humans have become a tool of an economic system that pursues the wheels of constant growth. The once perfectly understandable local dependence on natural resources has turned into a global dependence. This has blurred the link between products and the ecological consequences of unethical production. Progress has actually led to the degradation of the natural environment. Now, a good century later, the consequences of exploitation are more than obvious. Drastic climate change and waste pollution has begun to take away flora and fauna, our original natural habitat. We are in a period of resolving environmental issue, but our lives haven't really changed. We are obsessively focused on the excess of waste, i.e. to the symptoms of hyperproduction, while we are not dealing with the cause of the situation. In the practical part of the thesis, I presented the connection between a small person and a large nature through digital animation. The rift in their relationship, however, is deepened by cultivated consumer habits. The concept of the placement of elements elevates the almighty nature, but at the same time points to the futility of hyperproduction of plastic products, which creates a conflict between the value of life and the value of the material.

V praktičnem delu magistrske naloge se ukvarjam z izdelovanjem animiranega dokumentarnega filma o invazivnih rastlinskih vrstah v Sloveniji. Znotraj dokumentarnega filma se pojavijo elementi znanstvene ilustracije za razlago, kako in kje se ustalijo tujerodne invazivne vrste in kakšne so posledice za okolje in človeka. Predstavljen je tudi vidik strokovnjaka glede prihodnosti odnosa med človekom in naravo ter podobnimi temami. Hipoteza naše magistrske naloge trdi, da animacija lahko privabi večje število mlajših generacij kot katera druga oblika sporočanja in s tem pripomore k večji ozaveščenosti o problematiki tujerodnih invazivnih rastlin. V teoretičnem delu je raziskovan dokumentarni film, žanre dokumentarnega filma, kratki zgodovinski pregled animacije in animiranega dokumentarnega filma ter področje filma v primerjavi z dokumentarnim filmom. Raziskovano je stičišče med znanstveno ilustracijo in dokumentarno animacijo. Analizirani so različni animirani dokumentarni filmi ter izpostavljene skupne značilnosti. Prav tako je raziskovana problematika tujerodnih invazivnih rastlin in izvedeni so bili tudi intervjuji s tremi strokovnjaki na področju naravovarstva. In the master's degree project, an animated documentary about invasive plant species in Slovenia was developed. Elements from scientific illustration have been used to explain where and how invasive plant species settle, how they affect the environment and humans, and which plants actually are foreign species. Aspects of an expert, regarding the future of the relationship between man and nature and other topics delving with this theme are presented. Hypothesis of the master's degree project states that animation can bring attention to the issue of invasive foreign plants to younger generations, more likely than other forms of media in Slovenia, as it raises more awareness. In the theoretical part, research was done on a documentary film, its genre, a brief historical overview of animation and animated documentary film, the field of film compared to documentary film. Next, the juncture between scientific illustration and animated documentary was explored. In this regard, various animated documentaries and most prominent common features were analysed. We also researched the issue of invasive plants and conducted interviews with three experts working in the field of nature conservancy.

Raziskava govori o piksel art animaciji, ki je bila uporabljena za videospot pesmi 2210 skupine Dravle Records. Namen raziskave je bilo preučiti splošno področje animacij, področje piksel art animacij in njihovega izvora, predstaviti našo animacijo, ter podrobno analizirati postopek njene izdelave in ugotoviti morebitne izboljšave. Animacija je bila narejena v dveh programih. Program Adobe Photoshop smo uporabljali za pripravo grafičnih elementov, medtem ko je bil za animiranje uporabljen program Adobe After Effects. Za pripravo grafičnih elementov smo si pomagali z grafično tablico, celotna animacija pa je bila animirana na prenosniku Dell. Izdelava je trajala približno pol leta, v tem času pa smo ročno narisali vse like, ozadja in dodatne grafike, ter jih animirali z uporabo številnih osnovnih in naprednejših tehnik animiranja. Cilji raziskave so bili predvsem bolje spoznati področje animacije, podrobno preučiti našo animacijo, in odkriti morebitne napake pri procesu, ter predlagati izboljšave. Hkrati je bil eden izmed večjih ciljev izboljšati osebno znanje animiranja4 in se bolje pripraviti na prihodnje projekte. Cilji so bili v veliki meri doseženi. Kot posledica natančno preučenega področja animacij in postopka njihovih izdelav, smo med ponovnim preučevanjem naše animacije opazili veliko nepravilnosti v njeni izdelavi ter izpuščenih postopkov. V raziskavi so omenjene predlagane izboljšave in metode, s katerimi bi do teh izboljšav prišli. The research is about a pixel art animation, that was used for a music video of a song called 2210 from the group Dravle Records. The purpose of the research was to examine the general field of animations, pixel art animations and their origin, present our animation, and thoroughly analyse the animation's making and its potential improvements. The animation was made in two programs. Adobe Photoshop was used to prepare the graphic elements, while Adobe After Effects was used for the animation part. We used a graphic tablet to prepare the graphic elements. The whole animation was made on a Dell laptop. The production took about half a year, during which time we manually drew all the characters, backgrounds and additional graphics. We animated them with the use of many basic and advanced techniques. The main objectives of the research were to get to know the field of animation better, study our animation in detail, discover possible mistakes in the process, and suggest improvements. At the same time, one of the primary goals was to improve personal animation skills and better prepare for future projects. The goals were largely achieved. As a result of a carefully studied field of animations and the production process, during the re-examination of our animation we noticed many irregularities in its production and omitted procedures. The research mentions proposed improvements and methods to achieve these improvements.

Animacija je koristno orodje za izobraževanje, ki se lahko uporablja za izpolnjevanje afektivne ali kognitivne funkcije. Tema diplomskega dela je osredotočena predvsem na kognitivno funkcijo, saj je bil cilj testirati vpliv animacije na pomnjenje in razumevanje. Delo je razdeljeno na dva dela. Pri teoretičnem delu so preučeni osnovni pojmi animacije, pomnjenja in razumevanja ter raziskana uporaba animacije v izobraževanju in dejavniki, ki vplivajo na učno uspešnost. Narejen je tudi pregled že obstoječih raziskav na tem področju, kar je oblikovalo temelje za nadaljevanje v eksperimentalnem delu. V eksperimentalnem delu je bilo na podlagi strokovne literature o tematiki ozona sestavljeno besedilo, izrisan zgodboris, oblikovana in animirana grafika ter dodana naracija in ostali zvočni elementi. Po končani izdelavi animacije je bila narejena anketa, ki je testirala pomnjenje in razumevanje skupine, ki ji je bila tematika ozona predstavljena z animacijo in skupine, ki si je o problematiki prebrala besedilo. Rezultati testiranja so analizirani in predstavljeni z grafi. V razpravi je potrjena hipoteza, ki je trdila, da uporaba animacije izboljša pomnjenje in razumevanje. Podana je interpretacija rezultatov testiranja ter komentarji, kaj bi lahko spremenili pri poteku raziskave in kako bi raziskavo v prihodnosti lahko nadaljevali. Animation is a useful educational tool that can be used to fulfill an affective or cognitive function. The topic of the thesis focuses mainly on cognitive function, as the aim was to test the impact of animation on retention and understanding. The work is divided into two parts. In the theoretical part, the basic concepts of animation, retention and understanding are studied, as well as the use of animation in education and the factors that affect learning performance. A review of existing research in this field has also been made, which has laid the foundation for continuing in the experimental part. In the experimental part, on the basis of professional literature on the topic of ozone, a text was compiled, a storyboard was drawn, graphics were designed and animated and narration and other sound elements were added. After the animation was completed, a survey was conducted to test the retention and understanding of the group, which was introduced to the topic of ozone with animation, and the group, which read the text on the issue. Results are analyzed and presented in graphs. The discussion confirmed the hypothesis that the use of animation improves retention and understanding. At the end is interpretation of the results and comments on what it could be changed in the course of the research and how the research could be continued in the future.

Namen diplomskega dela je bil ugotoviti, ali uporaba animacije v kombinaciji z grafičnim oblikovanjem poveča sporočilnost in učinkovitost komunikacije vsebine. Tema diplomskega dela zajema področja animacije, grafičnega oblikovanja in grafike v gibanju. Obenem raziskuje vlogo sporočanja v javnem prostoru in vplivu, ki ga nosi plakat v urbanih središčih. Naloga je razdeljena na teoretični del, ki opisuje tri glavna področja naloge in eksperimentalni del, kjer predstavimo proces izdelave animiranih plakatov ter analizo njihove učinkovitosti v primerjavi s statičnimi. V teoretičnem delu smo predstavili področje oglaševanja s poudarkom na zunanjem oglaševanju. Nato smo opisali animacijo, njeno delitev in kakšen pomen nosi animacija v oglaševanju. V zadnjem poglavju teoretičnega dela smo predstavili še plakat, njegove značilnosti, definicijo in lastnosti animiranega plakata, vpliv plakata na družbo ter vpliv mestnega plakata na javno življenje v urbanih središčih. Eksperimentalni del najprej obsega predstavitev Cankarjevega doma, s katerim smo sodelovali tekom pisanja diplomskega dela. Nato smo opisali uporabljeno opremo in metode dela, vse od oblikovanja končnih animiranih izdelkov, do raziskave učinkovitosti animiranih plakatov s pomočjo toplotnih zemljevidov, ki smo jih izdelali z uporabo spletne programske opreme Expoze.io ter spletne ankete. Sledi analiza dobrih praks iz področja animiranih plakatov. V nadaljevanju opišemo izbrane statične plakate in postopek njihove predelave v animirane. Rezultat eksperimentalnega dela diplomskega dela je analiza učinkovitosti animiranih plakatov pri komuniciranju vsebine plakata. V poglavju o rezultatih, razpravi in zaključku je prikazana analiza toplotnih slik statičnih in animiranih plakatov. Sledi še predstavitev rezultatov ankete, s katero smo preverjali zapomnljivost informacij na statičnem in animiranem plakatu. The purpose of this diploma thesis was to explore, whether the usage of motion with graphic design contributes towards better effectiveness and communicativeness of the medium in question. Thesis covers the fields of animation, graphic design and graphics in motion. It also examines the role of communication in urban places and the impact of poster upon public city life. In the theoretical part we presented advertising, with special focus on outdoor advertising. Next, we explained the term of animation, described its division and the importance of animation in advertising. We concluded the theoretical part with a description of posters, features, the definition and characteristics of an animated poster, the role of poster in society and the impact of posters in public spaces in urban areas. The experimental part firstly covers the presentation of the Cankarjev dom, with whom we collaborated for the purpose of this thesis. Next we presented materials that we used throughout the designing process and the complete workflow starting with designing an animated graphic poster and then to the analysing of the final product using the Expoze online software tool as well as an online survey. We also analysed good examples of effective animated poster campaigns and concluded the experimental part with presentation of the static posters chosen for transformation into motion posters. The result of the experimental work in the diploma thesis is the analysis of effectiveness of animated posters in conveying a message. At the end of the thesis we presented heatmaps separatelly for static and animated posters and analyse of the survey's results, to demonstrate the difference in participant's recollection of static and animated poster.

Diplomsko delo z naslovom Posebni in vizualni učinki v avdio-video produkciji prikazuje potek izdelovanja videa, ki je kombinacija avtorskih posnetkov in računalniško generiranih elementov. Za končen enoten izdelek je bilo potrebno temeljito poznavanje teorije nastanka in izdelovanja videoposnetkov ter natančno praktično načrtovanje, izdelovanje in kombiniranje posameznih delov. Za dosego želene končne kreacije je ključna pravilna izbira računalniških programov. Diplomsko nalogo sestavljata dva dela. Teoretični del vsebuje zgodovino in razvoj filma ter začetke in napredek posebnih in vizualnih učinkov. Opisanih je nekaj primerov posebnih in vizualnih učinkov, uporabljenih v različnih scenah znanih slavnih filmov. Eksperimentalni del prikaže namene in cilje diplomske naloge ter poudari proces izdelovanja videa z vključevanjem posebnih in vizualnih učinkov. Eksperimentalni del sestavljajo predprodukcija, produkcija in postprodukcija. Predprodukcija vsebuje idejo, izdelavo zgodbe in zgodborisa ter vse ostale priprave na snemanje. V tem delu je je bilo potrebno izbrati tudi prostor za snemanje, glavni lik in kaj bosta 3D modela predstavljala. Produkcijo gradijo snemanje avtorskih posnetkov, izdelava 3D modelov in animiranje le-teh. Za ta proces sta bila v uporabi kamera in mikrofon telefona iPhone 11 ter računalniški program Blender za izdelavo 3D modelov. Postprodukcija vključuje potek izvedbe uresničitve zastavljene ideje z uporabo posebnih in vizualnih učinkov. Za ta del procesa so bili uporabljeni računalniški programi DaVinci Resolve za barvno korekcijo, After Effects za montažo in Audacity za obdelavo zvoka. Diplomska naloga se zaključi z analizo videa, ki vsebuje študijo filmske forme, zgodbe, osvetljave, zvoka ter uporabljenih posebnih in vizualnih učinkov. Podana je kritična ocena videa in uporabljenih pripomočkov za njegovo izdelavo. Uporabljeni pripomočki in računalniški programi zadovoljivo omogočajo izdelavo amaterskega videa. Izdelek je v celoti realiziran. Za konec je navedenih nekaj možnih izboljšav za delo v prihodnje. This diploma thesis titled Special and visual effects in audio-video production includes the process of making a video, which contains a combination of recorded footage and computer generated elements. It is necessary to have a profound understanding of the theoretical component in creating and recording videos and understanding how to plan, make and combine separate parts into one coherent finished creation. This thesis is made of two parts. First, the theoretical part, that describes the history and early beginnings of film alongside the evolution and growth of special and visual effects. Included are a few examples of special and visual effects, that were used in creating various famous movie scenes. The second, experimental part, demonstrates the purpose and goals of this thesis, with emphasis on the process of creating a video, which includes special and visual effects. It is comprised of preproduction, production and postproduction. Preproduction includes the idea, creation of the story and the storyboard with the addition of all other preparations for the recording process. The place of recording, main character and what the 3D models will represent were also selected at this time. In the production section the recordings, the 3D models and their animations were made. In this part of the process the iPhone 11 camera and microphone were used, alongside the computer program Blender in which the 3D models were created. Post-production includes the process of implementing the set idea using special and visual effects. In this segment the programs used were DaVinci Resolve for colour correction, After Effects for video editing and Audacity for sound editing. The diploma thesis concludes with a video analysis, which includes a discussion of the film form, story, lighting, sound and the used special and video effects. A critical assessment of the video and the used equipment for its creation was given. It was concluded that the used equipment and programs were sufficient for producing an amateur video. The product was fully realized. At the very end some options for better work in the future are suggested.

Prikazovanje nasilja v umetnosti ni nov pojav. Že v prazgodovini so naši predhodniki v jamskih slikah prikazovali boje z živalmi. Z razvojem civilizacije pa so se razvijali tudi boji, bitke, vojne ipd. in posledično tudi njihovo prikazovanje. Vzporedno z razvojem človeštva in z razvojem tehnologije nas prikazovanje omenjene tematike spremlja vse do današnjih časov. Zato se tudi vsebina animiranih filmov ni izognila tej tematiki. Pričujoče diplomsko delo predstavlja svet nasilja in spopadov v animaciji. Narejena je primerjava med animacijama vzhodnega in zahodnega sveta ter njunih pristopov do spopadov in uporabe nove tehnologije. Predstavljena je animacija vzhodnega sveta, kjer prevladuje japonska animacija – anime. Na Zahodu pa na trgu prevladuje svetovno znana korporacija Disney in njihovemu načinu podoben stil animacije drugih podjetij. Izpostavljene so razlike med tema dvema stiloma animacije in pa tudi podobnosti. Del naloge se osredotoča na prikazovanje spopadov. Diplomsko delo vsebuje poglobljen vpogled v razvoj in uporabo sodobnih metod, kot sta 3D računalniška animacija ter zajem gibanja (motion tracking), in razloži, kako je njuna prisotnost pomagala pri spreminjanju načinov ustvarjanja spopadov. Zastavljeno je tudi vprašanje, zakaj gledalci uživajo v gledanju takih animacij, kaj je tisto, kar privlači, ter ali so take animacije primerne za otroke. Predstavljene so tudi ugotovitve o pravi »formuli« za spopad, kako pripraviti spopad in kateri so najpomembnejši elementi, ki jih je potrebno upoštevati, da bi spopad pritegnil gledalca. Na koncu je opisana še lastna izkušnja ob izdelovanju praktičnega dela, ki je kratek animiran spopad z naslovom Bitka za gozd. Poglavje nas popelje skozi celoten proces ustvarjanja praktičnega dela: od predprodukcije, v kateri sta bili ustvarjeni zgodba, zgodboris in likovna zasnova, do produkcije, v procesu katere je bila ustvarjena animacija. Celoten postopek se je zaključil s postprodukcijo, v kateri so se dodali efekti in se je animacija sestavila v končno obliko. Showing violence in art is not a new phenomenon. Already in prehistoric times, our predecessors depicted animal fights in cave paintings. With the development of civilization, fights, battles, wars, etc. also developed. Consequently, also their display. In parallel with the development of humanity and the development of technology, this topic is still popular to this day. As a result, the content of the animated cartoons is also familiar with this theme. This thesis presents the world of violence and conflict in cartoon animation. A comparison is made between the animation of the Eastern and Western worlds and their approach to show battles and the use of new technology. The animation of the Eastern world is presented, where Japanese animation predominates - anime. The market of Western part of the world is dominated by the world-famous Disney Corporation and other companies with similar animation style. Therefore, here are highlighted differences between these two styles of animation as well as the similarities. Part of the thesis focuses on depicting these conflicts. An in-depth look at the development and implementation of modern methods such as the 3D digital device and Motion Tracking explains how their presence has helped change the ways in which conflicts are created. The question is also asked why viewers enjoy watching such animations, what attracts them and whether such animations are suitable for children. Findings are also presented on the right »formula« for conflict, how to prepare for creating a battle, and what are the most important elements that need to be kept for making a battle attractive and how to make sure it looks good. At the end the experience of making a practical work WoodFall, which is a short animated battle, is described. The chapter takes you through the whole process of creating practical work. This includes everything from the pre-production in which the story, storyboard and character designs were created, to the production where the actual animation is created. The whole process is completed with a postproduction in which effects are added and the animation is put together to the final form.

Magistrsko delo z naslovom Izdelava vizualnih učinkov in 3D lika za umestitev v stilsko enotno video vsebino obravnava potek izdelave kratkega filma, ki vsebuje vizualne učinke. Izdelava končnega izdelka je v magistrskem delu predstavljena skozi tri faze: predprodukcijo, produkcijo in postprodukcijo. V predprodukciji je obravnavano določanje elementov, ki jih je moč predstaviti kot vizualne učinke. Predstavljen je razvoj lastne ideje oziroma zgodbe, ki povezuje prej določene elemente v celoto, pojasnjen pa je tudi izbor snemalne ter računalniške opreme za uresničitev lastne ideje. Produkcija in postprodukcija sta fazi, ki obravnavata uresničitev ideje. V njma je predstavljeno, kako je s pomočjo predhodno opravljene analize različnih moţnostih ustvarjanja vizualnih učinkov z izgradnjo, dodelavo in obdelavo načrtovanih elementov ter montaţo nastalega digitalnega materiala moţno doseči stilsko enoten končni izdelek. Magistrska naloga je razdeljena na dva dela. Prvi, teoretični del, predstavi zgodovino razvoja vizualnih učinkov v filmski industriji, pri čemer je vključenih nekaj primerov dobre prakse, opisanih pa je tudi nekaj trendov ustvarjanja na tem področju v zadnjem desetletju. V teoretičnem delu je prav tako opisanih nekaj najpogosteje uporabljenih tehnik, ki so potrebne za izdelavo vizualnih učinkov. Drugi, praktični del, najprej predstavi namen in hipoteze magistrskega dela. Skozi različne stopnje ustvarjanja vizualnih učinkov razkrije, kaj vse je potrebno opraviti za nastanek kratkega filma z vizualnimi učinki. Pri tem obravnava načrtovanje končnega izdelka, izdelavo in dodelavo vsakega izmed računalniško ustvarjenih elementov, ki so vključeni v film, pri čemer opiše tudi vse tehnike, ki so bile uporabljene pri izdelavi. Predstavi tudi potek zaključne dodelave in obdelave digitalnega materiala, kjer se dotakne digitalnega sestavljanja, montaţe prizorov in barvne korekcije. Magistrsko delo se zaključi z analizo tistih delov končnega izdelka, s pomočjo katerih je bil doseţen namen magistrskega dela, ob enem pa potrdi hipoteze, ki so bile postavljene pred začetkom ustvarjanja. This master thesis, titled The Making of Visual Effects and 3D Character for Placement in a Visually Unified Video Content, describes the process of making a short film that contains visual effects. The process of making the final version of a video is described in three stages: pre-production, production and post-production. Pre-production addresses the determination of the elements that can be described as visual effects as well as the development of the story that connects the described elements into a unified content. Pre-production further contains a description of recording and software equipment planned for the realisation of the project. Production and post-production are the stages showing the realisation of the idea. In this part, the creation of a stylistically unified video content is presented, which was achieved through an analysis of the process of creating visual effects. The processing and final editing of digital elements are also described in these stages. The master thesis is divided in two parts. The first, theoretical part, is a presentation of the historical development of visual effects in the film industry, where some examples of good practice are also included. Some trends prevailing in this field over the last decade are described at this point as well. Last but not least, the theoretical part describes some of the most common techniques used when creating visual effects. The second, experimental part, first presents the purpose and hypotheses of the master thesis. Through various stages of creating visual effects, it describes what needs to be accomplished in order to create a short film with visual effects. Next, it includes the process of creating all the computer-generated elements that are included in the final version of the film, and describes all the techniques that were used in their making. The processes of digital compositing, video editing and colour correction are also described at this point. At the end of the master thesis there is an analysis of different parts of the short film proving that the purpose of the master thesis has been achieved. The analysis also confirms the hypotheses of the thesis.

Lepotni standardi so v družbi prisotni že od začetka človeštva, konstantno se spreminjajo in razvijajo. Različne kulture po svetu imajo raznovrstne ideale, ki se nam morda zdijo neprivlačni, nanje pa močno vplivajo in se odražajo v njihovi umetnosti. Tudi v naši družbi opazujemo in spremljamo podoben trend. Vpliv idealov na naše mentalno stanje je pri tem zelo pomemben, obenem pa tudi védenje, kako dojemamo ne samo sebe, ampak tudi druge. Pričujoče diplomsko delo se sicer ukvarja z omenjenimi socialnimi težavami, ampak v kontekstu animiranih filmov in risank. Vse bolj je očitno, da smo pod močnim vplivom korporacij, ki s svojimi lovkami pohlepa vse bolj segajo po nas, saj je njihov edini namen, da nas ohranjajo nesrečne, zato da bi kupovali njihove izdelke. Prav to dejstvo je poglaviten razlog za nastanek tega dela. V njem se sprva posvetimo razlagi telesne dismorfije in anoreksije nervoze, nato še moji osebni izkušnji v spopadanju z njima in nazadnje izboljšavi zdravstvenega stanja. V poglavju »Lepotni standardi v animaciji« si na primerih nekaterih animiranih junakov iz zahodne in vzhodne animacije oblikujemo mnenje o tem, ali lepotni standardi resnično vplivajo na to, kaj gledamo. Ob tem predstavimo tudi pomembnost likovne terapije in njeno uporabo pri izboljšavi mentalnega stanja in samopodobe. Del diplomskega dela je kratek animirani film Dismorfija, ki izhaja iz teoretičnega dela diplome. Ugotovili smo, da se lepotnim idealom ne moremo izogniti in se z njimi srečujemo na vsakem koraku. Zato je zgolj naša odgovornost in poslanstvo, da se naučimo imeti radi in ostanemo prizemljeni, z realnimi pričakovanji. Beauty standards have been around since the beginning of mankind and they are constantly changing and evolving. Different cultures around the world have a diverse veriety of ideals, that we might see as unattractive. This of course affects the cultures art. We can also see and observe that in our society. By doing that we can also track the affect it has on our mental health and not only how we see ourselves but also others. The thesis is based on the previously mentioned social problems but in the context of animated films and cartoons. It’s beginning to be more apparent that we’re »under attack« from the corporations, whos tentacles of greed are reaching further and further. Their only goal is to keep us unhappy so we buy their products. That’s why I decided to write about it. The thesis first explains the meaning of body dysmorphia and anorexia nervosa, then it touches on my own struggles with them and how I got better. We need to expose this social problem and seek help. In the next chapter entitled “Beauty Standards in Animation” we look at the West and East animation as we start to form our own opinion if beauty standards do affect what we watch. By that we also present art therapy and how it can help us with our self esteem and mental well being. The thesis also follows the steps of making a short animated film Dysmorphia which is also the basis and motivation for the theoretical thesi. In conclusion we find out that we cannot escape the beauty standards and that we have to learn how to love ourselves and keep our feet firmly planted on the ground.

V magistrskem delu je predstavljen proces izdelave in optimizacije 3D navideznega tolmača slovenskega znakovnega jezika za namen polavtomatiziranega tolmačenja za omejeno besedišče z uporabo aplikacijskih vmesnikov. Okolje Blender omogoča izdelavo naprednih fotorealističnih 3D modelov, okoščevanje in animacijo le-teh, ter upravljanje vnaprej pripravljenih akcij s pomočjo Python aplikacijskega vmesnika. Zaradi želje, da bi se upodabljanje čim bolj približalo realnemu času, je bilo v procesu izdelave izvedenih več optimizacij, tako na poligonski mreži, okostju za učinkovitejše upravljanje modela, prilagoditvi programskega vtičnika, kakor tudi optimizacija nastavitev pogonov za upodabljanje in analiza hitrosti upodabljanja na različni strojni opremi. Za povečanje dostopnosti, še posebej v primerih izrednih razmer, kot je izbruh pandemije COVID-19, je lahko uporaba 3D navideznega tolmača uporabna alternativa. Zaradi relativno visokih zahtev gluhe skupnosti, da morajo navidezni tolmači delovati čim bolj naravno, brez zatikanja, nepotrebnega vračanja v nevtralni položaj, ter uporabljati izrazito obrazno mimiko, izdelava primerne rešitve zahteva poglobljeno analizo vseh ključnih področij magistrske naloge. Končne upodobitve v praktičnem delu so se izkazale za uspešne, saj so vsi uporabniki v preliminarni študiji brez težav razumeli vse odkretane pojme. Končna zasnova bi lahko bila uporabljena na več različnih področjih, v sodelovanju z gluho skupnostjo pa tudi kot polavtomatski prevajalnik slovenskega govornega v znakovni jezik. In the master thesis the process of creation and optimization of a 3D virtual interpreter of Slovenian Sign Language is presented, intended for semi-automated interpretation for a limited vocabulary with usage of Application Programming Interfaces. The Blender environment enables the creation, rigging and animation of advanced photorealistic 3D models, as well as the management of pre-prepared actions using Python API. Due to the goal to bring final renders as close as possible to real time rendering, several optimizations were performed, from optimization of the polygon mesh, the created rig for more efficient movement, created API adjustments, as well as an optimisation of the render engine settings and analysis of render speed on different hardware equipment. The use of a 3D virtual interpreter can be a useful alternative to increase accessibility, especially in emergencies, such as the outbreak of the COVID-19 pandemic. Due to the relatively high demands of the deaf community which requires virtual interpreters to move as naturally as possible, with smooth gestures and without unnecessary returns to a neutral position, and to show eloquent facial expressions, the creation of an appropriate solution requires in-depth analysis of all key areas of the master thesis. The final renders in the practical part proved to be successful, as all users in the preliminary study easily understood all animated signed sentences. The final creation could be used in several different domains, while it could also be utilised, in collaboration with the deaf community, as a semi-automatic translator of spoken Slovenian to sign language.

Diplomsko delo opisuje potek 3D modeliranja ter uporabo pridobljenih informacij in znanj na poljubnem modelu, ki ga bo mogoče animirati. Za uspešno izdelavo je najprej potrebno pridobiti izkušnje na področju modeliranja z opravljanjem preprostejših nalog in postopno nadgradnjo na zahtevnejše naloge in izzive. Problem animiranja našega modela je rešljiv z opremo, ki je prosto dostopna tudi neprofesionalnim uporabnikom. Končni rezultat projekta bo animiran 3D model, ki bo imel primerne teksture in se bo nanj lahko preneslo gibanje, ki ga zajamemo z MoCap tehnologijo. Poskusili se bomo izogniti pogostim težavam, kot je npr. prekrivanje telesa modela in njegovih oblačil (ang. clipping). Opis procesa modeliranja, teksturiranja in animiranja modela lahko služi kot smernica drugim začetnikom na tem področju. This paper describes the process of researching various approaches to 3D modeling and applying the acquired knowledge on a 3D model of choice, which we will be able to animate. To achieve success we will first need to sift through the necessary materials and get the appropriate skills by doing basic, simple tasks and slowly building up from there. The problem of animating this model using motion capture is already much easier due to the fact that we will be using easily accessible applications and/or technology that even non-professional users can work with. The end result of this diploma thesis will be an animatable 3D model complete with appropriate textures, whose animation will be generated by retargetting motion from MoCap data. We will take into account various workarounds to avoid problems such as clipping, accurate behavior/physics of clothes and hair etc. The process of creating, texturing and animating said model from scratch with very limited prior experience should serve as a guideline to other beginner 3D artists that wish to take on similar tasks and challenges.

V magistrskem delu se ukvarjam s procesom ustvarjanja kratkega animiranega filma. Nastali film je ustvarjen po lastni zgodbi, zato je na začetku teoretičnega dela kratko poglavje o strukturi zgodb. V nadaljevanju so po generalni teoriji animiranega filma in ilustracije opisani vsi nujni koraki za izdelavo kratkega animiranega filma. Ti se začnejo z likovno zasnovo, ki zajema razvoj karakterjev, iskanje likovnega izraznega sloga in risanjem oz. slikanjem ozadij. Teorija, ki spremlja prakso, se dotakne zgodborisa in oživi v t.i. animatiku - zgodborisu, ki mu je dodana časovna komponenta. Sledi predstavitev in analiza izbranih del drugih avtorjev, katerih praksa se mi je zdela primerna iztočnica in zgled za izdelavo moje animacije. Pred zaključnim delom, ki zajema montiranje in dodajanje zvoka, bo tudi poglavje posvečeno samemu “oživljanju” likov oz. njihovemu animiranju. This master's thesis examines the process of creating a short animated film. Since the presented film is based on a story written by the author of this thesis, the theoretical part of the thesis opens with a short chapter on the structure of stories. Next, this thesis describes all the necessary steps for creating a short animated film in accordance with the general theory of animated film and illustration. Artistic design is described first, including character development, search for a style of artistic expression, and drawing or painting of backgrounds. The theory, which accompanies the practical part of the thesis, touches upon the storyboard and comes to life in the so-called animatic – storyboard with an added time component. This thesis then presents and analyses selected works of other authors, who were selected based on their practical work, as it seemed as an appropriate basis and example for creating presented animation. Before the final part of this thesis, which examines montage and adding of sound, one chapter focuses on how to bring characters to life or how to animate them.

Animacija je metoda prikaza, pri kateri se ustvari iluzija gibanja na ekranu. S hitro premikajočimi se sličicami se manipulira dojemanje gledalca, ki tako dobi vtis, da se le-te dejansko premikajo. Ideja diplomske naloge je izdelati 2D-animirani kratek film po scenaristični predlogi s sinhroniziranim zvokom. Pri poteku diplomske naloge je bila uporabljena raznovrstna programska oprema: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation) in Sketchbook. Zraven programske opreme in seveda računalnika je bilo poskrbljeno tudi za grafično tablico, mikrofon ter zvočno kartico. Diplomsko delo je razdeljeno na dva dela, teoretični in praktični del. Teoretični del zajema predvsem zgodovino animiranega filma po svetu in na naših tleh, čemur sledi opis zgodovine vključevanja zvokov in nasploh govora oziroma dialoga. Pri praktičnem delu pa je opisan potek nastanka animacije, od zasnove do končnega izdelka. Podrobneje je predstavljen tudi preizkus vlog vseh pomembnih članov produkcijskih hiš, s čimer je prikazan najbolj realen vpogled za nastanek takšnega projekta. Končni rezultat je kratka risanka z vključenim zvokom in govorom. Animation is a method, in which the still images create the illusion of movement on screen. We manipulate the viewer with fast-moving pictures to make them look as they can actually move. The intention of the diploma thesis is to make a 2D animated film based on a screenplay template with synchronized sound. In the course of the diploma thesis we had to provide different Software: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation) and Sketchbook. In addition to the software and, of course, the computer, we also used a graphics tablet, a microphone and a sound card. The diploma thesis was divided into two parts, theoretical and practical. The theoretical part mainly covers the history of animated film around the world and here, which we continue with the history of the inclusion of sounds and speech or dialogue in general. In practical work, we get to know the wokflow of the creation of animation, from the design to the final product. We tested ourselves in the role of all important members of production houses to get the most realistic insight into the creation of such a project. The final product of the diploma thesis is a short cartoon with synchronization of speech and sound.

Magistrsko delo opisuje izdelavo 3D natisnjene lutke za stop-motion animacijo. Cilj magistrskega dela je načrtovati 3D model lutke in okostja, preskusiti in analizirati njuno najbolj optimalno ujemanje ter doseči način, da se bo v animaciji čim bolj optimalno premikala. Raziskovanje je temeljilo predvsem na izdelavi okostja za doseganje njegove optimalne gibljivosti v povezavi z anatomijo telesa lutke. Delo se začne s pregledom teorije s področja 3D tiska, raziskav na področju materialov in tehnologij tiska, ki omogočajo čim bolj obstojen in močan tisk modelov. Sledi pregled teorije s področja stopmotion animacije. Po končanem teoretičnem delu so predstavljene metode dela, ki so bile uporabljene pri raziskovanju optimalnih rešitev za izdelavo lutke. Raziskovalni del vsebuje skiciranje armature, kateremu je sledilo modeliranje v programu Blender. Modeli so natisnjeni s tiskalnikom Form 2, ki deluje na SLA tehnologiji. Okostje lutke je izdelano iz belega tekočega fotopolimera, ki dobro imitira plastiko, zunanji del pa je izdelan iz elastičnega materiala Elastic 50A. Praktično delo je imelo veliko izzivov. Na začetku je potrebno najti prave razlike v velikostih zglobov in krogel, da je okostje sposobno obdržati določene poze. Pri zunanjem materialu je potrebno najti pravo debelino sten, ki še omogoča prepogibanje materiala in obstoj v pozi, pri tem pa je potrebno najti tudi način, kako se bo okostje v zunanji del vstavilo. Na koncu je izdelana animacija cikla hoje, s katero se je preizkusilo delovanje lutke. Opisani so vsi postopki izdelave animacije, od načrtovanja do post-produkcije. Rezultat magistrskega dela je 15- sekundna animacija cikla hoje, s katero je bilo preverjeno delovanje lutke. The master's thesis describes the production of a 3D printed puppet for a stop-motion animation. The intent was to design a 3D model of a puppet and skeleton to test and analyze their most optimal match, and achieve a way for it to move as optimally as possible in animation. The research was mainly based on making a skeleton to achieve its optimal mobility in conjunction with the puppets’ anatomy. The thesis begins with a review of the theory in the field of 3D printing, research in the field of materials and printing technologies, which would enable the most durable and strong printing of models. From then on we go through the theory in the field of stop-motion animation. After completing the theoretical work, we present the methods of work used in the research of optimal solutions for making a puppet. The research part contains a sketch of the armature, which is followed by modeling in the Blender program. The models are printed with a Form 2 printer running on SLA technologies. The skeleton of the doll is made of white resin, which when printed imitates plastic, the outer part is made of elastic material Elastic 50A. Experimental work came with many challenges. In the beginning, it is necessary to find the right differences between the size of the joints and spheres for them to be able to maintain certain poses. In the case of external material, the most suitable wall thickness had to be found, which allowed the material to be pre-folded and to maintain the pose, while also having to find a way for the skeleton will be inserted into the outer part. In the end, an animation of the walking cycle is made to test the function of the puppet. All animation production processes are described, from planning to post-production. The result of the master's thesis is 15 seconds long animation of the walking cycle. With that the function of the doll was checked.

Magistrsko delo vsebuje serijo družbeno kritičnih plakatov, ki se pojavijo tako v analogni kot digitalni, animirani obliki. Ilustracije so zasnovane kot avtorski pogled, osebni protest, oziroma kritična refleksija na nepravilnosti in absurdnosti v današnji družbi. Za izhodišče jemljem predpostavko, da je današnja družba vse bolj apatična, neodzivna, nepovezana, vrednote pa čedalje bolj skrhane. Menim, da je potrebno na nepravilnosti v družbi aktivno opozarjati tudi z oblikovanjem, saj je javni prostor prenasičen s komercialnimi vsebinami, oblikovalci pa se žal premalokrat zavedamo pomembnosti vloge družbeno kritičnega oblikovanja. Problemi, s katerimi se soočamo so globalni, zato predstavlja komentatorska, angažirana ilustracija popolno orodje za prenos transparentnih sporočil v vsem razumljivem vizualnem jeziku, kjer je tekst integriran v samo podobo. Aktualnih problematik se nameravam lotiti z uporabo satire ter črnega humorja, namen serije pa je v gledalcu vzbuditi družbeno odgovornost in ga spodbuditi k aktivni udeležbi v družbenokulturnih procesih. Sporočila ilustracij so jasna, minimalistična in nedvoumna, gre za vizualne prispodobe, ki prek prenesenih pomenov prikazujejo, oziroma izpostavljajo kritične točke današnje družbe ter na satiričen način razlagajo realnost. The master's thesis contains a series of socially critical posters that appear in both analog and digitally animated forms. The illustrations are designed as an author's view, a personal protest, or a critical reflection on injustices and irregularities in today's society. My starting point is the assumption that today's society is increasingly apathetic, unresponsive, unconnected, and values are increasingly broken. I believe that it is necessary to actively draw attention to irregularities in society through design, as public space is oversaturated with commercial content and designers are unfortunately mostly unaware of the importance of the role of socially critical design. The problems facing today’s society are global, so a commentary through illustration is the perfect way to convey clear messages in all understandable visual language, where the text and the image are integrated. I intend to address current issues using satire and black humor, and the purpose of the series is to arouse social responsibility in the viewer and encourage him to actively participate in sociocultural processes. The messages in the illustrations are clear, minimalist, and unambiguous they are visual parables that show or highlight the critical ideas of today's society figuratively and explain reality in a satirical way.

Diplomsko delo Izdelava promocijske animicije zagonskega podjetja je razdeljeno na dva dela, na teoretični del in na praktični del. Njegov namen je predstaviti postopke, ki so potrebni za izdelavo 2D animacije s programoma Adobe Illustrator in Adobe After Effects. V teoretičnem delu smo na kratko opisali zgodovino animacije. Na splošno smo predstavili najpomembnejše vrste animacij ter njihov razvoj in uporabo. Predstavili smo tudi najbolj uporabljene, plačjive in neplačljive programe za izdelavo animicije. Bolj podrobno smo se posvetili programoma Adobe Illustrator CC in Adobe After Effects, s katerima smo izdelali animacijo. Opisali smo kreativni proces izdelave animacije in trende za letošnje leto na področju animacij. Pojasnili smo, kakšna je psihologija barv v promociji, in podali nasvete za pravilno uporabo tipogarfije. V zadnjem razdelku v teoretičnem delu smo opisali promoviranje na družbenih omrežjih. V praktičnem delu smo najprej na kratko predstavili podjetje 2030 Builders za katerega je bila izdelana animacija. Predstavili smo njihove barve in tipografijo, nato pa smo se posvetili celotnemu postopku izdelave animacije in vsak posamezni postopek podrobno podprli s slikovnim gradivom. Natančno smo opisali naslednje postopke: scenarij, ilustriranje grafik, snemalno knjigo, priprave ilustracij za uvoz v program Adobe After Effects, uvoz datotek v program, animiranje ilustracij ter na koncu še dodajanje podnapisov, zvokov in zvočne podlage. Rezultat diplomskega dela je 2D animacija, ki smo jo izdelali za promocijo zagonskega podjetja. Z njo smo želeli na zanimiv in opazen način predstaviti podjetje ter jo objaviti na družbenih omrežjih in na spletni strani. Developing a promotion animation for a start-up company is a thesis, composed from two main parts teoretical and practical. The aim of thesis was to introduce special proceedings, which are crucial for creating 2D animation with help of Adobe Illustrator and Adobe After Effects programmes. Theoretical part is consisted from a short overview of animation history the main types of animation, their development and usage, from the most used type of animation to the economical overview (cost of programmes). But most interest in the thesis is based on Adobe Illustrator CC and Adobe After Effects, with which, the animation was originally created. Furthermore, creative process of making the animation is described, following by presenting the trends for this year in the field of animation. Theory also touches the psychological aspect of using variable colours in marketing and tips for correct application of typography. The practical part of the thesis contains a short describtion of a company 2030 Builders, for which the animation, colours and typography was created, following by a detailed explanation of creating the animation. Every step is thoroughly explained and supported by pictorial material the scenario, illustration of the graphics, recording book, making the illustrations ready for exporting into the Adobe After Effects programme, the export of files into the document, animation process of illustrations and adding procedure of subtitles, sound and sound base. The result of the thesis is the completed 2D animation, used for promoting a start-up company. The aim is to introduce the company and publishing, as on the social media and website.

Diplomska naloga predstavlja celoten proces izdelave animiranega filma za otroke od začetka do konca. Namen diplomske naloge je bil izdelati animacijo za otroke na podlagi knjižne predloge in tako spoznati celoten proces izdelave animiranega filma. Prav tako je bil namen spoznati dotično programsko opremo in se jo naučiti uporabljati. V teoretičnem delu je najprej na grobo predstavljena zgodovina animiranega filma v Sloveniji, ki je javnosti v večji meri nepoznana. Nato so opisani razvoj računalniške animacije in različne vrste animacij. Sledi predstavitev dvanajstih načel animiranja, ki so ključni za uspešno animacijo. Na koncu teoretičnega dela sledijo obširna razlaga pojma filmskega plana, predstavitev lestvice planov in kratka splošna predstavitev uporabljenih programov in pripomočkov. Na začetku praktičnega dela je opisana uporaba programov in pripomočkov, ki smo jih potrebovali za izdelavo animiranega filma. Sledi opis vseh postopkov načrtovanja animacije, vključno z izbiro ustrezne pravljice, sinopsisa, izdelavo scenarija in snemalne knjige. Detajlno so opisani postopki razvoja scen, likov in njihovega govora. Sledi najobširnejše poglavje o animiranju, kjer so predstavljeni ključni postopki animiranja, ki so bili skozi animacijo večkrat uporabljeni. Poglavje zajema animiranje hoje, govora, skoka in tranzicije, večnivojsko animacijo ter uporabo kamere. Posebej sta predstavljena razvoj in animiranje uvodne in zaključne špice. Praktični del se zaključi s poglavjem o zvoku, kjer so opisani postopki snemanja in dodajanja govora ter izbire glasbe in zvočnih učinkov. Rezultat diplomske naloge je uspešno izdelana štiriminutna animacija za otroke, ki je skupaj s scenarijem in snemalno knjigo dodana v prilogi. Thesis presents entire process of making animated film for children from beginning to end. The purpose of thesis was to create an animation for children based on a book template and to get to know the whole process of making an animated film. It was also intended to get to know the software in question and learn how to use it. In theoretical part, first, the history of animated film in Slovenia, which is largely unknown to public, is roughly presented. Then, the development of computer animation and different types of animations are described. Next is a presentation of principles of animation, that are key to successful animation. At the end of the theoretical part, there is an extensive explanation of the concept of a film plan, a presentation of scale of plans and a short general presentation of used programs and tools. At the beginning of practical part use of programs and tools we needed to make the animated film is described. Next is description of all animation planning procedures, including selection of appropriate fairy tale, synopsis, scriptwriting, and storyboard. The processes of developing scenes, characters and their speech are described in detail. What follows is the most extensive chapter on animation, where the key animation procedures, which were used several times throughout the animation, are presented. The chapter covers animation of walking, speech, jumping and transition, multilevel animation and use of camera. The development and animation of overture and credits are especially presented. Practical part concludes with a chapter on sound, which describes the procedures for recording and adding speech and also selection of music and sound effects. The result of thesis is successfully created four-minute animation for children, which is added to annex together with script and storyboard.

“Nekje drugje” je animirana pripoved s kredno risbo v produkciji Lutkovnega gledališča Ljubljana, ki je namenjena otrokom. Zgodba predstavi nesmiselnosti vojne in njenih hudodelstev skozi otroške oči. Igralka na vrtečo se tablo riše svet, po katerem se sprehaja narisana deklica, ki v predstavi čudežno oživi. To omogoča dopolnjujoča animacija, ustvarjena s tehniko stop animacije, projicirana na tablo. S pomočjo dinamičnega video mapiranja in senzorjev, ki vgrajeni v mizo v živo sledijo vsem premikom mize, se briše meja med risano in projicirano sliko. V uprizoritvi sta besedilo in animacija v nenehnem odnosu, kjer se recipročno dopolnjujeta. Govor, projicirana animacija in likovna podoba vzporedno ustvarjajo celotno zgodbo ter kot osrednji elementi igrajo enakovredno vlogo. Prve primere in širšo uporabo video projekcij v gledaliških predstavah beležimo že ob nastanku kinematografije v prvi polovici 20. stoletja, in sicer predvsem v Nemčiji, zahvaljujoč vizionarskemu režiserju E. Piscatorju. “Nekje drugje” is a children's animated chalkboard theater play produced by the Ljubljana Puppet Theater. The story presents the absurdities of war through the eyes of a child. The actress draws an imaginary world on a rotating board, where a chalk drawn girl character walks and magically comes to life in the play. This is made possible by the stop animation projected on the board. With the help of dynamic video mapping and sensors built into the rotating board that tracks its movement, the boundary between the drawn and projected image is blurred. In the performance, the text and the animation are in a constant relationship, where they reciprocally complement each other. Speech, projected animation and visual art play an equal role as central narrative elements. Early examples and wider use of film projections in theater plays are recorded in the first half of the 20th century and especially in Germany, where the director E. Piscator stands out as the leading pioneer.

IZVLEČEK Namen diplomskega dela je oblikovati dve vrsti avtomobilskih platišč, ki bi se izdelovali s postopkom vlivanja in kovanja aluminija. Izhodišče praktičnega dela je stanje industrije avtomobilizma, ki se širi in razvija, tehnologija napreduje in ustvarja vse bolj učinkovite postopke za izdelavo. Teoretični del naloge zajema pregled splošnih informacij o avtomobilskih platiščih, postopke izdelave, uporabo, osnovne materiale za platišča, opis prednosti in slabosti aluminijastih platišč v primerjavi z drugimi materiali, nato pa sta podana opis in slikovna predstavitev detajlov, ki sestavljajo platišče, pa tudi podroben opis postopkov izdelave platišča. Celoten postopek oblikovanja platišč se je izvajal v programu za industrijsko 3D-oblikovanje Autodesk Inventor, za katerega sta na kratko predstavljeni namembnost in uporabnost. V praktičnem delu diplomskega dela je opisan celoten postopek izdelave modela avtomobilskega platišča. Delo temelji na predhodno lastnoročno narisanih skicah avtomobilskih platišč. Glede na dimenzije in narisane skice izdelkov smo kasneje postopek za postopkom ustvarili avtomobilsko platišče, kot končni izdelek. Nato je sledilo animiranje. Končni rezultat diplomskega dela je animacija avtomobilskih platišč. The purpose of the diploma is to design two types of alloy wheels, which are made by the casting and forging process. As the automotive industry expands and evolves, technology is moving forward and creating ever easier processes to carry out production. The theoretical part includes an overview of general information about alloy wheels, production processes, use, basic materials for alloy wheels, a description of the advantages and disadvantages of aluminum alloy wheels compared to other materials, following by a description and pictorial presentation of the details that make up the wheel and a detailed description of wheel manufacturing processes. The entire wheel design process was performed in the program for industrial 3D design Autodesk Inventor, along with a brief presentation of the purpose and use of the program. In the practical part there is a description of the entire process of making a alloy wheel model. The work is based on a previously hand-drawn sketches of an automobile alloy wheel. Based on the dimensions and the drawn sketches of the products, step by step an alloy wheel was created as a final product. The final result of diploma work is an animation.

Cilj diplomske naloge je ustvarjanje 2D animiranega filma, vse od zasnove do končnega izdelka. Med postopkom raziskujemo veščine, ki so potrebne za ustvarjanje kratkega animiranega filma. V teoretičnem delu diplomskega dela so razloženi področje animacije ter orodja in tehnike, ki se uporabljajo za ustvarjanje animacij. Raziskali smo klasični potek produkcije filmov in obravnavali pomen različnih faz produkcije ter kako te vplivajo na kakovost končnega izdelka. V praktičnem delu smo opisali orodja, s katerimi smo ustvarili 2D računalniško animiran film, za katerega smo ustvarili dva originalna lika, ju animirali in vstavili v računalniško ustvarjen svet. Praktično delo se je začelo z načrtovanjem filma, pripravo scenarija, zbiranjem referenc ter izdelavo zgodborisa. Nadaljevali smo z oblikovanjem celotnega okolja, vključno z liki, kjer smo animirali like in predmete, nato pa vse, kar je nastalo, združili v kratek 2D animirani film z naslovom Isti (ang. The Same). Za nastanek filma smo uporabili naslednje programe: Adobe Photoshop, Adobe Illustrator, Adobe After Effects v kombinaciji z DUIK Bassel, Adobe Premiere Pro in Audacity za zvok. Rezultat diplomske naloge je 2D animirani film, ki traja približno devet minut. Pri nastajanju filma smo uporabili animacijsko tehniko interpolacije, za katero je značilno definiranje le začetne in končne vrednosti animacije, vmesne vrednosti pa izračuna računalniški program. Pri izdelavi animiranega filma smo upoštevali dvanajst načel animacije. Najpogosteje smo uporabili načelo uprizoritve, najredkeje pa načeli stiskanja in raztezanja. V zaključni fazi dela smo izdelek ovrednotili in obravnavali načine za njegovo izboljšavo. The topic of the thesis is the development of making a 2D animated film starting from a concept to the result. Throughout this thesis we explore the skills needed to create the film. In the theoretical part of the thesis we explain the field of animation and the tools and methods of how they are used. We researched the classic course of film production and analysed the effect of the different stages of production and how they influence the condition of the final product. In the practical section, we described the programs and methods with which we created 2D animated film for which we created two original characters, animated them, and inserted them into a computer-generated world. The practical work began with the planning of the film, the preparation of the script, the collection of references and the production of the story. We continued to design the entire environment, including the characters, where we animated the characters and objects, and then combined everything that was created into a short 2D animated film entitled The Same. The programs used to create the film include: Adobe Photoshop, Adobe Illustrator, Adobe After Effects in combination with DUIK Bassel, Adobe Premiere Pro and Audacity for sound. The result of the diploma thesis is a 2D animated film that lasts about 9 minutes. In making the film, we used the animation technique of interpolation (tween animation), which is characterized by defining only the initial and final values of the animation, and the intermediate values are calculated by a computer program. We made twelve principles of animation when making the animated film. The most commonly used principle was staging, and the least was the squash and stretch principle. In the ending aspect of the work, we evaluated the product and discussed ways to improve it.

Animacija je izjemno dober medij za izobraževanje in ozaveščanje o tematikah, o katerih težje govorimo. V magistrskem delu smo se osredotočili na ozaveščevalno in izobraževalno animacijo. Pri oblikovanju grafičnih elementov in sporočila animacije smo bili pozorni na to, da je izdelek privlačen za populacijo študentov. Poleg tega smo pri oblikovanju končne animacije upoštevali pravila socialnega marketinga in uspešnih destigmatizacijskih kampanj. Želeli smo ustvariti, kar najbolj optimalno interakcijo med gledalcem in animacijo. Naš namen je bil preučiti 2D ilustracijo in animacijo ter narediti učinkovito izobraževalno animacijo, ki nudi vpogled v stisko osebe z depresijo in ima poudarek na pravilni komunikaciji z osebo v stiski. Posredno smo z animacijo želeli spodbuditi ljudi v stiski in okolico, da o tem spregovorijo. V teoretičnem delu in pri pregledu stanja raziskav smo raziskali tipe animacije, proces, ki je potreben za izdelavo 2D animacije, naredili pregled literature s področja kampanj ozaveščanja in socialnega marketinga. Seznanili smo se s kampanjami destigmatizacije duševnih motenj in ilustracijami s tematiko depresije, iz katerih smo črpali smernice za avtorske ilustracije in animacijo, narejeno v eksperimentalnem delu. V eksperimentalnem delu smo sporočilo animacije priredili za ciljno skupino in naredili animacijo po lastnem scenariju, zgodborisu ter določeni barvni shemi. Izdelali smo anketo, s katero smo želeli preveriti, ali animacija vpliva na spremembo prepričanja in znanja o tem, kateri stavki so primerni oziroma neprimerni za komunikacijo z osebo z depresijo. Pridobljene rezultate smo statistično analizirali in jih predstavili s preglednicami in grafi. V razpravi smo opisali sporočilnost ilustracij oziroma animacije ter interpretirali pridobljene rezultate. V zaključku smo potrdili hipotezo in komentirali uporabnost animacije. Animation is an exceptionally good medium for education and awareness on the topics that are harder to talk about. The focus of the master's thesis was on how to make education and awareness based animation. When designing the graphic elements and the animation message, the aim was to make the product attractive to the student population. In addition, when designing the final animation, the rules of social marketing and successful destigmatization campaigns were followed. The goal was to create the optimal interaction between the animation and the viewer. The intent was to examine 2D illustration and animation and to make an effective educational animation that provides insight into the plight of a person with depression with an emphasis on correct communication with the person in need. The aim of the animation was to indirectly encourage people in need and others to talk about it. In the theoretical part and in the overview of the state of research, the types of animation, the process of making 2D animation, and a review of the literature in the field of awareness campaigns and social marketing were researched. A familiarization with the destigmatization campaigns of mental disorders and illustrations about depression was needed, in order to define the guidelines for our illustrations and animation, which were done in the experimental part of the work. In the experimental part, an adaptation of the animation message to the target group was made but also an animation according to our own script, storyboard and a specific colour scheme. The aim of the designed survey was to see if the animation influences people to change their beliefs and knowledge about which phrases are appropriate or inappropriate to use when talking to a person with depression. The obtained results were statistically analysed and presented with spreadsheets and graphs. In the discussion, the message of the illustrations and animations were described and the obtained results interpreted. In the conclusion, the hypotheses were confirmed and the usefulness of animation was commented on.

Za svojo diplomsko nalogo sem se odločila opisati proces nastajanja animiranega filma, narejenega na temo slepih in slabovidnih. Namen animiranega filma je približati svet slepih in slabovidnih ljudem, ki vidimo. V svetu, v katerem živimo, je velik del našega počutja odvisen od zunanjih dejavnikov (socialna omrežja, različne reklame ipd.). Pomembno je zavedanje, da ni vse, kar vidimo, zlato. Animirani film se ukvarja z različnimi vprašanji kot so: kako se slep človek spoprijema z različnimi tematikami, kako se sooča z vsakdanjimi opravili, razmerji z drugimi ljudmi in na splošno, kako se spoprijema s svetom in okolico in to bom tudi opisala podrobneje v diplomski nalogi. Animirani film sem želela približati slepim in slabovidnim s tem, da sem dala največji poudarek zvoku, zvočnim učinkom in spremljajočemu besedilu animiranega filma. Izbrala sem barve, ki so računalniško izračunane in prilagojene za barvno slepe ljudi. Z uporabo preprostih oblik v animaciji sem hotela doseči to, da slaboviden gledalec lažje sledi animaciji in da ga hkrati spomni na to, kako bi lahko slepa oseba narisala različne objekte. V diplomskem delu bom opisala torej celoten proces izdelave animiranega filma in uvod v temo slepih in slabovidni z opisom umetnikov in kratkem povzetku kako slepi rišejo in kaj si mislijo o tej temi. Povzela bom vse, kar je zgoraj navedeno in podrobno opisala nastanek animiranega filma. The theoretical part of the diploma work is based on the animation I did for the diploma. The animation is exploring the theme of blind and partially sighted people. The goal of the animation is to bring the experiences of blind and partially sighted people closer to mainstream tendencies visual components are integral to forming and manipulating our self image, something that blind and partially seeing people don’t necessarily focus on. The animation is exploring with what a blind person deals with on a day to day bases. How do they make new friendships and relationships, how do they deal with people and the environment that they are in, etc. To make the animation more accessible to blind people I made the sound, sound effects and script a big part o the animation. The colours were chosen with the help of a program that calculates to colours that are the most suitable for the partially blind people with a certain deseas. With the usage of all of the above and a style that is created by distinguished and simple shapes I tried to make for the impared viewer the animation easier to track. The shapes and the line also remind in certain scenes of the way a blind person would draw them. In the diploma work I will describe the process of creating the animation and introduce the theme of partially sighted and blind people by describing their work and going into depth about how blind people draw.

Namen tega diplomskega dela je bila izdelava kratkega risanega filma s tehniko klasične animacije, ki je širom sveta ena izmed najbolj prepoznavnih in zahtevnih tehnik animiranja. Zgodba risanke z naslovom Pridem za veliko noč govori o nenavadni družinski zagati dveh zajcev, ki pa se na koncu razreši in se, kljub nenavadni raznolikosti njune družine, srečno konča. Teoretični del zajema pregled splošnih informacij o animaciji, njen izvor, predhodnike, nastanek, različne tehnike in njihovo najpogostejšo rabo, ter vlogo na slovenskih tleh. Temu sledi podrobnejši opis vseh principov animacije, ki so splošno uporabljeni s strani vsakega ustvarjalca na tem področju. Delujejo kot vodila, ki omogočajo čim bolj naraven videz gibanja, pri tem pa ohranjajo igrivost, ki je potrebna za atraktiven končni izgled. V praktičnem delu pa je opisan celoten postopek izdelave lastnega animiranega filma. Delo je temeljilo na izdelavi sinopsisa po idejni predlogi ter zgodborisa. Na podlagi teh dveh načrtovanih izdelkov smo kasneje ustvarili podobo likov, ki nastopajo, ter izris prostorov, šele nato je temu sledilo animiranje. Za njim pa še končni popravki svetlobe, barve, snemanje zvoka in montaža. The purpose of the diploma thesis was to produce a short animated film with the technique of classical animation, one of the most recognizable and demanding animation techniques in the world. The cartoon titled Coming for Easter, tells a story of the unusual family turmoil of two rabbits, which ultimately resolves and ends happily, despite the unusual diversity of their family. The theoretical part covers an overview of general information about animation, its origin, predecessors, formation, various techniques and their most common use, and the role on the Slovenian soil. This is followed by a more detailed description of all the principles of animation that are commonly used by every creator in the field. They act as guides, which allow for a natural appearance of movement, while maintaining the playfulness required for an attractive final appearance. In the practical part, the entire process of creating our own animated film is described. The work was based on the making of a synopsis after the idea and the storyboard. Depending on these two planned products, we designed characters, the sculpture of the rooms, and only after that the animation was followed. Later followed final corrections of light, colour, sound recording and editing.

Raziskovanje možganov in percepcije z uporabo nevroloških tehnik sproža vrsto vprašanj o tem, kaj več lahko ponudi takšno povezovanje ter kaj to pomeni za razvoj umetnosti. Nevroestetika skuša razvozlati delovanje naših možganov in zavesti, ki so materialna osnova naše zavesti, razložiti, kako pride do kreativnega delovanja samega človeka in raziskati nekatere temeljne oblike našega delovanja in odločanja. Svoje področje razširi na abstraktno umetnost, ponudi možne odgovore za razumevanje dinamične in nenehno spreminjajoče estetske izkušnje do razmerja umetnosti in oblikovanja umetniških preferenc. Nevrologija v moji umetniški praksi predstavlja vzrok, abstraktna umetnost pa njeno posledico. Researches of brain and perception with using neurological techniques raises a series of questions about what more can such connectivity offer us and what it means for the development of art. Neuro-aesthetics seeks to unravel the functioning of our brains and consciousnesses, which are the material basis of our body, to explain how the human creative functioning comes about and to explore some of the foundations of our functioning and decision-making. It extends its scope to abstract art, offering possible answers to understand the dynamic and constantly changing aesthetic experience of the relationship between art and the formation of artistic preferences. In my art practice neurology represent cause and abstract art is its consequence.

V svojem diplomskem delu raziskujem, kaj je potrebno za to, da bi umetnik z uporabo socialnih omrežij lahko financiral svoj umetniški izdelek. Ugotavljam, da so to znanje trženja, uporabe ideje in zgodbe, ki se prodaja, ter poznavanje omrežij, ki jih umetnik uporablja za učinkovito oglaševanje in prodajo. Koncept »revni umetnik« lahko v sodobnem času končno zavržemo, saj je v svetu toliko dosegljivega znanja, s katerim si lahko prav vsak umetnik pomaga, da s pomočjo svojih sledilcev ali patronov vsak zadani projekt na koncu tudi finančno podpre. V pisnem delu si ogledamo tudi zgodovino patronstva in kako se je razvilo vse do današnje točke, vrste socialnih omrežij, ki jih ima umetnik danes na voljo ter uspešne primere. In my thesis, I try to find out how artists can use their social media platforms to finance their art projects. How knowledge of marketing, using ideas and stories that sell, as well as understanding of the social media platforms is needed for efficient advertising and selling. The concept »poor artist« can finally be thrown away as there is so much knowledge in the world with which every artist can now work with and with which he can also get the needed financing with the help of his followers or patrons. In the thesis we will look through the history of patronage and how it got to where we are today. We will also talk about all social media platforms available to an artist and describe a few examples of sucessfully financed art projects.

V prvem delu diplomske naloge podamo definicijo animiranega filma in na kratko opišemo, kako nastane animirani film. Omenimo tudi osnovne standarde animacije. Drugi del diplomske naloge je razdeljen na pet obdobij razvoja, na podlagi katerih opišemo zgodovino 2D animiranih filmov. V prvem obdobju predstavimo delovanje in nastanek naprav, ki jih na splošno imenujemo »optične igrače« in delujejo po principu persistence vida. Podrobneje opišemo »laterno magico«, »tavmatrop«, »fenakitoskop«, »zoetrop«, »slikofrc«, »praksinoskop« in »optično gledališče«. Pri vseh navedemo, kdo in kdaj jih je izumil ter opišemo njihovo delovanje. Drugo obdobje razvoja temelji na pionirjih animiranega filma. Podrobneje navedemo avtorje, kot so Emile Cohl, Winsor McCay, Pat Sulivan in Otto Messmer ter brata Fleischer. Obrazložimo njihova najbolj prepoznavna dela, ki so prispevala k napredku animiranega filma. V tretjem obdobju razvoja prikažemo razcvet animiranih filmov s pomočjo analize del treh pomembnejših ustvarjalcev, in sicer Walta Disneya, Texa Averyja in Osamuja Tezuke. V četrtem obdobju razvoja opišemo slog animacije pri animacijskih hišah UPA, Warner Bros ter Hana in Barbera na podlagi njihovih likov. Omenimo tudi dva samostojna umetnika eksperimentalne animacije Normana McLarena in Johna Whitneyja. V petem obdobju prikažemo tehniko 2D digitalne animacije ter prvi digitalni animirani seriji (The Simpsons in South Park) in prva digitalna animirana filma (The Rescuers Down Under in The Iron Giant). Tretji del diplomske naloge je v celoti namenjen analizi avtoričinega kratkega digitalnega 2D animiranega filma Bubbles s primeri dela v programih TVPaint in Adobe After Effects. Diplomska naloga je zastavljena kot študijsko besedilo za vse, ki jih zanima animirani film in želijo pridobiti podlago za širjenje svojega znanja na tem področju. Tako kot vse izrazne oblike sodobne kulture tudi animacijska kinematografija ostaja razdvojena med umetnostjo in industrijo, med umetniškim elementom ter ekonomskim vidikom komercialnega izkoriščevanja. Nobenega od teh dveh vidikov ni mogoče zanemariti, ker oba prispevata k opredelitvi, razširjanju in sprejemu umetniškega dela. Zaradi tega tudi namen diplomske naloge ni zgolj navajanja seznama imen in naslovov, ki ga narekuje le kronološka D’Amico, Antonella: 2D animirani film skozi čas. Dip.nal. Nova Gorica, AU/UNG, 2019 časovnica, temveč gre za besedilo, ki poskuša prikazati mrežo odnosov med posameznimi osebnostmi, filmi in zgodovinsko-kulturnim kontekstom. In the first part of the diploma thesis, the definition of the term animated film and a brief description of how the animated films are made are given. Basic standards of animation are listed as well. The second part of the thesis is divided and described according to five periods of the history of 2D animated films. First, the operation and creation of devices that work on the principle of persistence of vision, which are generally referred to as optical toys, are described. Furthermore, magic lantern, thaumatrope, phenakistoscope, zoetrope, flip-book, praxinoscope and optical theatre are described in detail. Facts about their inventors, the year of inventing and their functions are listed. Regarding the second period, the thesis is focused on pioneers of animated film. Only certain authors, such as Emile Cohl, Winsor McCay, Pat Sulivan and Otto Messmer and the Fleischer's brothers, are particularly dealt with. Their most recognizable works, which represent a significant progress in the field of animated film, are discussed. To present the third period, major development of animated films is shown through work of three important artists: Walt Disney, Tex Avery, and Osamu Tezuka. In the fourth period, the animation styles of companies UPA, Warner Bros and Hanna and Barbera are described through their characters. In addition, two independent experimental animation artists Norman McLaren and John Whitney are mentioned. In the fifth period, technique of 2D digital animation, the first two digital animated series, The Simpsons and South Park, and the first digital animated films, The Rescuers Down Under and The Iron Giant, are discussed. The third part of the thesis is entirely focused on the creation of a short digital 2D animated film Bubbles. Examples of work in the programs TVPaint and Adobe After Effects are added as well. The thesis is born as a study text open to all those who are passionate about animated films and want to have some basis for spreading their knowledge. Like all contemporary cultural forms, animation cinema remains divided between art and industry, between the artistic element and the economic aspect of commercial exploitation. Neither of these two aspects can be neglected because they both contribute to the definition, dissemination and acceptance of a work of art. In this sense, the purpose of the diploma thesis D’Amico, Antonella: 2D animirani film skozi čas. Dip.nal. Nova Gorica, AU/UNG, 2019 is not a simple list of names and titles, dictated only by a chronological timeline, but a text that weaves a network of relationships between individual personalities, films and historical-cultural context.

V diplomski nalogi bom obravnavala svoj čustveni avtoportret. Delo je načrt umetniške instalacije, sestavljene iz 2D animacije, ki prikazuje stopnje čutenja, ki so potrebne za razvoj čustvene inteligence, ter avtorske glasbe, ki zvočno podpira vizualno. Animacija izhaja iz osebne pripovedi, je ekspresivna in eksperimentalna ter poskuša s pomočjo avdio-vizualnega izraziti osebno izkušnjo zunanjemu opazovalcu, ter s tem opozoriti na pomembnost samorefleksije. Notranje spremembe bom prikazala z abstraktnimi prizori ter skušala s tem prikazati šest osnovnih čustev strah, ljubezen, presenečenje, srečo, jezo ter žalost, ki so središče vseh umetniških zvrsti. Poleg koncepta bom predstavila tudi tehnično izvedbo projekta in pojasnila izbiro medija in teme ter komu je ta instalacija namenjena. In my graduation thesis I am discussing my emotional auto-portrait. This work in a plan for an art installation that compounds of 2D animation, which is portraying the stages of emotions, that are important for the development of emotional intelligence and music, composed by myself, which is helping co-create the mood to the visuals. The animation is my intimate story, it is expressive, experimental and tries with the help of audio - visuals express my experience to the observer and with that point out the significance of self-reflection. I am projecting my inner changes to abstract scenes and trying to portray six ground emotions fear, love, surprise, joy, anger and sadness, which are the center of all art forms. Besides the concept, I will also describe the technical work of the project and justify the selection of my thesis, as I will also explain who is this installation intended for.

Razvili smo realno časovno simulacijo različnih plavajočih bitij v tekočini z uporabo ogrodja za fizikalno osnovano simulacijo Nvidia Flex, ki temelji na metodah pozicijske dinamike (angl. position based dynamics) in pozicijskih tekočin (angl. position based fluids). Predstavimo model telesa bitja, ki je sestavljeno iz delcev. Ti so združeni v trdne člene, ki so s pomočjo mišic gibljivi v zglobih med njimi. Z genetskim algoritmom optimiziramo delovanje mišic, da bitje čim bolj učinkovito plava naravnost v simulirani tekočini. Podamo štiri različna telesa bitij, katerim z razvitim sistemom avtomatično generiramo gibanje. Pokažemo, da je plavanje v tako simulirani tekočini mogoče, a počasno in ne ustvarja realistične turbulence. Razvito gibanje primerjamo z načini plavanja resničnih rib, in sicer anguilliform, carangiform in thunniform. Ujemanje z njimi je različno za podana telesa bitij. We develop a real time simulation of varied swimming creatures in a fluid using Nvidia Flex for physically based simulation. Nvidia Flex uses position based dynamics and position based fluids to achieve real time performance. We model creatures' bodies as solid clusters of particles that are connected with joints and animated using muscles. A genetic algorithm is used to optimise muscle function in order to allow the creature as efficient forward swimming gait as possible. We present four different bodies and use our system to automatically generate their movement. We show that swimming in such a fluid is possible, albeit slow and it does not result in realistic turbulence. The evolved gaits are compared with those of real fish, namely anguilliform, carangiform and thunniform. The fit is different for different bodies.

Srhljivka nas v takšni ali drugačni obliki spremlja že od začetka pripovedništva. Zgodbe o stvorih, ki se skrivajo na robu našega zaznavanja, nam domišljijo burijo še danes. Toda dobra srhljivka nam nudi več kot le zabavo v strahu z varne razdalje. Je odraz naše podzavesti in kulture, služi pa lahko kot močno orodje za raziskovanje tako psiholoških kot družbenih strahov. Žanrska fikcija je prej kot v področje umetnosti pogosto razvrščena med potrošne, kratkočasne vsebine zlasti, če je izražena v vizualnem mediju. Srhljivka pod drobnogledom dokazuje nasprotno. Moj cilj v analitično-raziskovalnem delu je srhljivko obravnavati kot pomemben kulturno-mitološki artefakt, razumeti njen namen in izvor (predvsem v vizualni umetnosti) ter preučiti, kako nam učinkovito vzbuja strah. Cilj animacije, ki predstavlja praktični del naloge, pa je pridobljena znanja in informacije predstaviti v stilu vizualnega eseja, ki bo srhljivko približal širšemu občinstvu, obenem pa služil kot estetski poklon žanru samemu. Horror, in one or another form, has been with us as long as the art of storytelling. Tales of creatures lurking at the edge of our perception stir up our imagination even today. But a good horror story offers us more than harmless fun from the safety of our seats. It is a reflection of our subconscious and our culture, and can serve as a powerful tool for exploring fears both psychological and societal. Genre fiction is often delegated to the entertainment section rather than viewed as art, especially in visual media. Horror, if carefully scrutinized, proves this assertion wrong. My goal in the analytical-exploratory part of this thesis is to consider horror as an important cultural and mythological artefact, understand its purpose and origin (especially as it relates to visual art), and examine how it accomplishes eliciting fear. The goal of the animation, which is the practical part of this thesis, is to present the acquired information in the style of a visual essay, which will aim to present horror to a wider audience and serve as an aesthetic homage to the genre.

V magistrskem delu se ukvarjam z izvedbo analogno-digitalne knjige brez besed. V teoretičnem delu obravnavam teme, ki so sestavni del knjižnega projekta in se navezujejo tako na njegovo realizacijo kot tudi na vsebino. V teoretičnem delu raziskujem pojme domišljijske ilustracije, likovnega jezika, branja podob in celostnega oblikovanja knjige, saj so to elementi, ki zahtevajo potrebno pozornost, da z njimi omogočamo prenos sporočila od ilustratorja k bralcu. Nadalje se posvetim definiciji interaktivnosti in pregledu že obstoječih interaktivnih knjig. Teme, pomembne za realizacijo knjižnega projekta, so ilustracija, knjiga brez besed in interaktivnost. Domišljija pa je tema, ki se nanaša na vsebinski del in sporočilnost knjige, zato poudarim njene pomembne lastnosti. V praktičnem delu pojasnim celoten proces nastajanja knjižnega projekta, od idejne zasnove do končne izvedbe. Opišem vsebino avtorske zgodbe, pripravo zgodborisa, razvoj protagonistov, izrazno tehniko in likovno analizo. Oblikovanje knjige zajema celostno izvedbo projekta, od grafičnega oblikovanja do vrste tiska in načina vezave. Pri digitalni nadgradnji pa razložim uporabo aplikacije in proces animiranja ilustracij. In the Master's thesis, I deal with the implementation of an analogue-digital wordless book. In the theoretical part, I discuss topics that are an integral part of the book project and relate to its realization and content. In this part, I explore the concepts of conceptual illustration, visual language, reading of images and the overall book design, as these are the elements that require the necessary attention to enable them to convey a message from the illustrator to the reader. Furthermore, I focus on defining interactivity and reviewing the existing interactive books. Topics relevant to the realization of the book project are illustration, a wordless book and interactivity. Imagination is a subject that pertains to the content and message of a book, so I emphasize its essential features. In the practical part, I explain the entire process of the book project, from the conceptual design to the final implementation. I describe the content of my authorial story, the preparation of the storyboard, development of the protagonists, expressive technique and visual analysis. Book design covers the overall execution of the project, from graphic design to print type and binding method. As far as the digital upgrade is concerned, I explain the use of the application and the process of animating illustrations.

V teoretičnem delu raziskujem tranzicijski čas, v katerem se je znašla današnja družba in posameznik. Začnem s Platonovo prispodobo o votlini, ki jo najprej postavim v kontekst filozofije, umetnosti in znanosti, nato pa analiziram teme, ki jih odpira, tudi s konceptom, kot je Lacanova psihoanalitična metafora zrcalnega stadija. Osredotočim se na nekatere vplive, ki jih je imela na film in filmsko teorijo. Naslednje poglavje začnem z razmislekom o Platonovem svetu idej in vlogi utopij. S pomočjo avtorjev, kot so Hegel, Slavoj Žižek, Frank Ruda, Rosi Braidotti in Immanuel Wallerstein, razmišljam o trendih in posledicah svetovnega sistema na življenje in subjektivnost ljudi. V poglavju o izhodu iz kapitalistične votline predstavim razloge za razočaranje nad revolucijami. Vprašanje svobode in odnosa, ki ga lahko zavzamemo do spremembe, se lotim s filozofijo tranzita Maria Perniole. Med razpravo vključim še interpretacije filmov: Konformist, Iztrebljevalec 2049 in Melanholija. V zadnjem delu predstavim razvoj animiranega filma Peščeni prehod, ki je strukturiran po modelu Platonove votline. Podam pogled na filmsko-pripovedne koncepte, ki so bili ključni za razvoj projekta. In the theoretical part of the master's thesis, I explore the time of transition in which the present society and individual is situated in. I begin with the famous Plato's Allegory of the cave that I first present in the context of philosophy, art and science. Then, I analyze the themes that it opens, with additional concepts, such as Lacan's psychoanalytic concept of the mirror stage. Next, I focus on the mirror metaphor, which influenced film and film theory. The next chapter begins with a reflection on Plato's world of ideas and the role of utopias. With the help of authors such as Hegel, Slavoj Žižek, Frank Ruda, Rosi Braidotti and Immanuel Wallerstein, I think about the trends and the consequences of the capitalist world-system on our life and subjectivity. In chapter about exiting the capitalist cave I present the reasons for the general disappointment with social revolutions. With the help of Mario Perniola's philosophy of transit I focus on the question of our relation to the change and the issue of freedom. During the discussion, I also include interpretations of films: Conformist, Blade Runner 2049, and Melancholy. In the last part, I present the development of an animated film, which is structured by a model of Plato's cave. I take a look at the film-narrative concepts that were important for the development of the project.

Namen diplomske naloge je bil, da se animacijo čim boljše sinhronizira s posnetim govorom. Hkrati pa tudi, da se odkrije način animacije in snemanja govora, ki bo za to nalogo najbolj optimalen. Za izdelavo končnega izdelka se je uporabilo programe Adobe Animate za animiranje, Adobe Photoshop za risanje ozadij in Davinci Resolve z modulom Fairlight za poobdelavo zvoka in končnega video posnetka. Izhodišče sta bili ideja animacije in skica glavnega lika. Ustvarjen je bil sinopsis, scenarij in snemalna knjiga, kjer se je določilo premike, kadre, glasbo, govor, počutje in lego objektov. Sledili sta izdelava ozadja in animacija celotnega izdelka, pri tem pa se je izpustilo sinhronizacijo. Izpuščeno je bilo torej animiranje obrazne mimike in ust. Nato se je začelo s snemanjem govora, in sicer zvečer, v zaprti sobi ter s kapico na mikrofonu, saj se je tako najbolj optimalno posnel govor, brez okoliškega zvoka. Govor se je še dodatno obdelalo in ga dodalo k animaciji. Po tem se je začelo z glavnim delom diplomskega dela, in sicer s sinhronizacijo govora z animacijo. Posebej so bili narisani različni položaji ust in različni položaji obrazne mimike, kamor se je vključilo oči, obrvi in gube. Končni izdelek je bil video sinhronizirane animacije z govorom, ki se je pregledal in analizirale so se težave, ki so se pojavile pri sinhronizaciji ter zapisalo se je rešitve in izboljšave, ki bi se lahko uporabile za nadaljnja dela. The aim of the diploma thesis was to create the best possible synchronization of animation and speech. In addition, it was also to discover the best way of animating and recording speech, to get the best possible results. The programs that were used are Adobe Animate, to create animations, Adobe Photoshop, to draw backgrounds and Davinci Resolve with the Fairlight module to manage audio in the animation as well as the final video. In the beginning, an initial idea for the animation had to be thought up and a sketch of the main character made. Following that a synopsis, a script and a storyboard for our animation were created to determine movements, shots, music, speech, emotions and final compositions. The animation process began with the drawing of backgrounds and animating the entire animation leaving out only the main character’s face to be animated later. Firstly, speech needed to be recorded. Trying to ensure the best possible results the speech was recorded in the evening, in a closed room and with a cap on the microphone, as that was the best possible way to eliminate the surrounding sound. Next, the speech was processed and added to the animation and the main part of our diploma thesis, the synchronization of animation and speech began. Different positions of the mouth and various facial expressions, which included eyes, eyebrows and wrinkles were drawn and animated. The finished product was an animated video with synchronized speech. The video was later analysed and reviewed for possible problems that may have occurred during synchronization and different solutions and improvements that can be used for further work were written down.

Diplomska naloga predstavi celotni proces ustvarjanja animiranega 3D modela, ki ga lahko uporabljamo na spletnih aplikacijah z obogateno resničnostjo (ang. Augmented Reality – AR). Najprej so razloženi relevantni teoretični koncepti, nato pa je predstavljen praktični primer izdelave 3D lika. Pri izdelavi 3D likov, je potrebno upoštevati način, kako bo lik predstavljen. Za 3D animacijo najpogosteje uporabljamo predstavitev s poligonskimi mrežami. Potrebno je razumeti tudi različne tehnike senčenja, s katerimi bo model upodobljen. Za stilizirane like je uporabno fizikalno osnovano senčenje, saj omogoči, da model izgleda sprejemljivo ne glede na osvetlitvene razmere. Pomemben je tudi način premikanja lika. Za ustvarjanje animiranih likov je v animacijski industriji standardna skeletna animacija. Pri tej tehniki uporabimo sistem med seboj povezanih kosti oz. ogrodje, ki posnema naravno gibanje z uporabo konceptov kot je inverzna kinematika. Pri modelih, ki bodo uporabljeni v spletnih AR aplikacijah, je potrebno razumeti tudi kako se bo model izvozil iz programa za modeliranje in kakšne omejitve ima izbrani format. Za splet in AR postaja standardna uporaba glTF (GL transmission format). Cilj naloge je ustvariti animiran lik, ki ga bo preprosto uporabiti v spletnih aplikacijah z AR. The diploma thesis presents the entire workflow of creating an animated 3D character that can be used in web and mobile AR applications. First, the relevant theoretical concepts are explained, next a practical example of 3D character creation is looked at. One of the first things to be taken in consideration when creating a 3D character is how the character will be presented. The most common for purposes of 3D animation is presentation with polygonal meshes. Then it is necessary to understand how the model is rendered using different shading techniques. Even when creating stylized characters physically based rendering is useful as it allows the model to look acceptable regardless of lighting conditions. Another important aspect to consider is how the character is going to move. For creating animated characters the technique known as skeletal animation is the standard in the industry. Skeletal animation employs a system of connected bones or armature that models natural movements using concepts like inverse kinematics. For models meant to be used in web and AR applications we also have to consider how the finished product is going to be exported and the limitations that come with that type of format. For web and AR the modern standard is glTF (GL transmission format). The goal of this thesis is to create an animated character that will then be easily loaded and interacted with in a Web based AR app.

V okviru diplomske naloge smo preučili možnosti vizualizacije rezultatov modeliranja hidravličnih dinamičnih sistemov v okviru programa Matlab. Ker smo vizualizacijo želeli dopolniti tudi z video posnetki, smo kot ustrezno orodje izbrali program VEGAS Movie Studio. V uvodnem poglavju diplome smo najprej opisali naloge, ki so motivirali delo. Sledi opis pomembnejših značilnosti programa VEGAS Movie Studio. Nato smo podali podrobnejšo predstavitev štirih hidravličnih sistemov. Posebej natančno smo opisali prvega med njimi. Gre za hidravlično pilotno napravo, ki se nahaja v Laboratoriju za avtomatiko in kibernetiko Fakultete za elektrotehniko Univerze v Ljubljani. Za to napravo smo podrobno opisali izvedene korake kombiniranega pristopa k modeliranju. Sledi opis realizacije animacije ter razširitev ilustracije delovanja, ki je podprta z ustrezno pripravljenimi video posnetki. Poglavja 3 do 5 slonijo na predstavitvi različnih načinov delovanja hidravlične pilotne naprave AMIRA 200 DTS. V omenjenih poglavjih smo najprej opisali že nasvete uravnotežene modele izbranih načinov delovanja, nato pa smo predstavili tudi razvoj funkcij za animacijo izbranih sistemov. Razvite datoteke smo uredili s pomočjo grafičnega vmesnika tako, da lahko uporabnik na preprost način opazuje učinke modeliranja in vizualizacijo, hkrati pa tudi najde datoteke, ki so poskrbele za izbran prikaz. In this diploma thesis, we examined the possibilities of visualizing of modelling results regarding hydraulic dynamic systems in the programme Matlab. We investigated also the options of combination of animation results with video presentation of the real system. For this goal also the programme VEGAS Movie Studio was used as a suitable tool for needed operations. In the introductory chapter the tasks that motivated this work are presented. This is followed by a description of the most important features of the programme VEGAS Movie Studio. Then four hydraulic systems are introduced. Very detailed description of the first one is given in the Chapter 3. This is a hydraulic pilot device located at the Laboratory of Control Systems and Cybernetics at the Faculty of Electrical Engineering, University of Ljubljana. For this device all needed design steps are described when using combined modelling approach. This is followed by a description of the developed animation results and also by the illustration how combined presentation is possible taking into account both developed animation results and video presentations of the real system operation. Chapters 3 to 5 present different operation modes of the AMIRA 200 DTS hydraulic pilot device. In these chapters first corresponding mathematical models are described, while later on also all developed programmes are given and illustrated with corresponding animation results. To enable user friendly observation of the operation of all developed programme files graphical user interface was generated. The user can observe all the features of developed modelling results and corresponding visualization by simply pushing the prepared buttons in the suitable level of this interface.

Diplomsko delo zajema celoten postopek izdelave stop motion animacije od začetka do konca. Teoretični del zajema zgodovino animacije, prvo uporabo animacije, njen razvoj, vrste animacije in njihov krajši opis ter razlago in različne vrste stop motion animacije. Praktični del diplomskega dela najprej zajema obrazložitev snovanja ideje in scenarija. Opišemo potek razvoja likov od skice do končnega lika in kakšne materiale in postopke smo uporabili za izvedbo, na kakšne težave smo naleteli pri izdelavi in kako smo jih rešili. Nato obrazložimo potek snovanja animacijske knjige in pomembnost le-te. Pregledamo, kakšna je postavitev scene in luči ter opišemo opremo, ki smo jo uporabili za izdelavo animacije. Nadaljujemo z opisom postopka animiranja in opisom težav, na katere smo naleteli ob njem, kako smo rešili napake in kakšne so rešitve problemov. Opišemo potek postprodukcije in kako smo se je lotili, opišemo postopek montaže video dela animacije ter kakšne učinke smo uporabili. Razložimo potek izdelave grafik in njihovo umeščanje, potek izdelave uvodne in zaključne špice ter potek snemanja in urejanja zvoka ter kakšno glasbo smo dodali animaciji ter zakaj. Na koncu obrazložimo še kako je potekala predstavitev otrokom, kakšni so bili njihovi odzivi ter kakšno je bilo njihovo mnenje o animaciji. Zaključimo s tem, kaj smo se naučili z izdelavo diplomskega dela in kaj bi spremenili pri nadaljnjem ustvarjanju stop motion animacij. The paper deals with the production process of stop-motion animation from beginning to end. In the theoretical part we discuss the history, first use and development of animation furthermore, different types of animation and stop-motion animation are presented and briefly described. The empirical part first presents our idea and the screenplay development process. We describe the development of the characters—from the first sketch to the final product—as well as the materials and procedures used in the production. Furthermore, we also discuss some problems we faced and explain how we solved them. In the empirical part, we likewise portray the designing process and the importance of an animation book. Additionally, we review the scene composition and lighting and describe the equipment, used in animation production. The animation process, problems that occurred in our work and solutions are presented. We introduce the post-production process, the video editing process and list the effects that were used in the production. We go on to explain how the graphics were created and used and then discuss how the opening and end credits were designed. The process of filming and sound editing was also presented. In the end, we discuss the presentation of our animation to children, what their reaction was and what they thought of the animation. In the conclusion, we review our work process and provide some suggestions on what we would change in the production process of stop-motion animation in the future.

Tema diplomskega dela združuje gibanje in animacijo v kombinaciji z grafičnim oblikovanjem za učinkovitejšo komunikacijo glavne sporočilnosti problematike, ki je predstavljena v delu. Diplomsko delo zajema področje animacije, grafičnega oblikovanja in grafike v gibanju. V teoretičnem delu so opisana ta tri področja, ki se kasneje nadaljujejo v praktično delo, pri katerem je nastal končni izdelek. V teoretičnem delu je opisano, kaj je grafično oblikovanje, kakšen je njegov namen, povezanost likovnih elementov s sporočilnostjo in njegovi mediji. Predstavljena je tudi kratka zgodovina. V nadaljevanju je opisan pojem animacije, njena zgodovina in kakšni so njeni principi. Sledi kratek opis grafike v gibanju in njeni začetki. Teoretični del se zaključi z opisom človeške percepcije gibanja. V eksperimentalnem delu je opisan delokrog od ideje grafičnega plakata do izdelka, ki je kratka ponavljajoča se animacija. V prvem delu eksperimentalnega dela so na kratko opisani programi, ki so bili uporabljeni pri izdelavi gibanja v grafičnem plakatu. Sledi predstavitev izbrane teme »Ohranimo čebele« in idejna zasnova treh plakatov. Predstavljen je postopek izdelave treh plakatov, opisani so glavni oblikovni elementi (tipografija, satje, čebela, medovite rastline) in izbrana kompozicija. Sledi predstavitev vsakega posameznega plakata. V drugem delu je opisan potek izdelave animacije. Predstavljena je snemalna knjiga, njena izdelava in kadri, izvedbeno ozadje animacije oz. grafike v gibanju in vrste gibanja, ki so bile uporabljene pri posameznih elementih. Rezultat eksperimentalnega dela diplomskega dela je izdelek, ki združuje grafično oblikovanje, animacijo in grafiko v gibanju. V poglavju o rezultatih, razpravi in zaključku je prikazan izdelek in njegov opis ter analiziran komunikacijski problem. The diploma thesis combines motion and animation in combination with graphic design to more efficiently communicate the main global problem that is discussed. The thesis thus includes animation, graphic design and motion graphics. In the theoretical part these three fields are described later, in the practical part they are combined to make the final product. The theoretical part describes graphic design, its purpose, the connection of visual elements with the main message, and its potential media. A short history of graphic design is presented. Afterwards, the concept of animation, its history and its principles are described. The beginnings and the principles of motion graphics are explained. The theoretical part ends with a presentation of the human perception of motion. The experimental part documents the path from the idea for a graphic poster to the final product – a looping animation. In the first part of the experimental part the programs that were used in the creative process of developing the motion graphics on the posters are described. This is followed by a presentation of the main message and idea of the three graphic posters. The process of making the posters is presented, and the main design elements (such as typography, honeycomb, bee, plants that attract bees) and the main composition are described. Each poster is presented separately. The storyboard, its making and main shots, the process behind the development of the animation or motion graphics, and the list of movements of specific elements are described. The result of the experimental work in the diploma thesis is a product that combines graphic design, animation and motion graphics. At the end of the thesis, the chapter on results, discussion and conclusions presents the final product and analyzes its communication challenge.

Pri izdelavi animacij, ki se uporabljajo predvsem pri izdelavi animiranih filmov, pogosto prihaja do problemov, ko je scena predstavljena s skupino premikajočih se objektov. Animiranje vsakega objekta oz. člana skupine je namreč časovno potratno, zato se v praksi uporabljajo simulacije, ki izračunajo gibanje skupine. Pri animiranju skupin, kjer se člani zavedajo sosedov v skupini in okolice, se za simulacijo lahko uporabi model kolektivnega gibanja. Simulacije prihranijo veliko časa pri delu, a z njihovo uporabo ni natančnega nadzora nad gibanjem posameznih članov. Simulacijo, ki uporablja model kolektivnega gibanja, lahko parametriziramo do te mere, da se animacija skupine izvede po naših željah. V tej nalogi so uporabljeni genetski algoritmi za izbiro optimalnih parametrov modela kolektivnega gibanja. Če poteka gibanje skupine brez trkov med člani ali z okolico, je videti takšno vedenje članov skupine bolj avtentično. Genetski algoritmi so bili uporabljeni tudi zato, da se je zmanjšal čas računanja simulacije. Implementiran je bil program za izvajanje takšnih simulacij, preverjen pa je bil na enostavnem scenariju, kjer se je skupina pojavila na določenem začetnem območju in se je morala mimo ovir premakniti do cilja. Z izdelanim programom so se izvajale simulacije z različnimi nastavitvami, za katere so se beležili trki in meril čas računanja posamezne sličice. Iz rezultatov je razvidno, da se lahko s tem programom izberejo optimalne nastavitve simulacije kolektivnega gibanja za uporabljen scenarij. S programom se lahko prepreči trke v simulacijah skupin z velikostjo do 340 članov. Zaradi uporabe genetskih algoritmov se je zmanjšal tudi čas računanja posamezne sličice simulacije. In the production of animated films, problems frequently arise in scenes with groups of moving objects. Animating each object or member of the group individually can be very time consuming, which is why simulations that calculate all the movements are normally used in practice. If group members need to be aware of other members and their surroundings, the most appropriate model for simulating the movement is a model of flocking behaviour. Such simulations save a lot of time at the expense of precise control over individual group members. To achieve the desired movement of the group, flocking simulation settings are iteratively changed until a satisfactory result is achieved. This thesis tests and evaluates the use of genetic algorithms for selecting the optimal parameters of simulated flocking. The aim was to simulate group movement without collisions between group members or with the surroundings to get an authentic animation of group members' behaviour. A programme for flocking simulations was implemented and tested on a short scenario. A group of objects scattered across a designated starting area had to pass an obstacle course to reach a final destination. The programme was run at different settings, and collisions and frame calculation times were recorded. The results show that the programme was able to set optimal parameters for flocking simulations in the scenario. Measurements show that groups of up to 340 members can be simulated without collisions using the programme. Additionally, the use of a genetic algorithm reduced the time needed to calculate the simulation.

Namen diplomskega dela je bil izdelati čim bolj realistično 3D-simulacijo agregatnih stanj vode in prehodov med njimi. Začeli smo z idejami ter skicami, s poskusi taljenja ledenih kock in segrevanjem vode, da smo analizirali, kako se ta obnaša. Nato smo izdelali kratko snemalno knjigo, v kateri smo določili lokacijo in smeri pogleda kamer. To nam je kasneje omogočalo lažjo realizacijo in izdelavo animacij. Za izdelavo simulacij smo uporabili odprtokodni program Blender, s katerim smo najprej izdelali enostavno kuhinjo s štedilnikom in z loncem, kjer se je celotna simulacija odvijala. Nato pa smo pričeli z izdelavo ledene kocke, nadaljevali z njenim taljenjem ter animirali vrenje vode, da smo dobili vodno paro. Za simulacijo pare smo nato animirali njeno kondenzacijo na neki površini, tako da smo prikazali kapljice, ki padajo nazaj v lonec, tam pa je voda zopet zmrznila. Analizirali smo tudi težave, ki so se pojavile pri izdelavi videov. Končni izdelek je bil video, ki smo ga pregledali za napake. Ugotovili smo, da bi se lahko še bolj približali realnosti, če bi bili zelo pozorni na podrobnosti, vendar pa je za začetek video izgledal precej dobro. The aim of the diploma thesis was to create realistic 3D simulation of physical states of the water and its transitions. We started with ideas and drawing the easy concept for it, with experiments of melting ice cubes and boiling the water to see how it would act. Then we created a short script, where we determined the locations and view direction of the cameras. Later that made it easier for us to create the real animations. For creating the simulations we used the open source program Blender. We first created easy kitchen with a stove and a pot, where the whole animation was happening. Then we started creating our ice cube, continued with its melting, then we animated boiling of the water so we got the steam. After the simulation of the steam we animated its condensation on a surface, by showing how the drops are falling back into the pot where the water froze again. We analized the problems, while we were creating the videos. The final product was a video, which we checked for mistakes. We figured we could make it more reallistic, if we were very focused on the details, but for a start it looked pretty good.

V diplomski nalogi obravnavam 100. obletnico delovanja umetniškega gibanja Bauhaus. Moj namen je ustvariti tri kratke animacije, ki napovedujejo ta dogodek. Oblika pripovedi je promocijski video spot, to je kratek video, ki vzbudi zanimanje o temi. Uporabil sem tehniko dvodimenzionalne in tridimenzionalne računalniške animacije. V diplomi so predstavljeni šola Bauhaus in njena načela. Pojasnjena je izbira vsebine animacije in možnost ponovitve koncepta predstavitve za predstavitev katerega koli izdelka iz obdobja Bauhaus. Pojasnjeno je tudi, kje se animacije lahko uporabijo in komu so namenjene. In my graduation thesis I am discussing the 100th anniversary of Bauhaus artistic movement. My intention is to create three short animations that will predict this event. The animations will have a trailer form. This is a short video that arouses interest in a given topic. I will use two-dimensional and three-dimensional computer animation technique. I will first present Bauhaus School and their principles of teaching. I will tell how I selected the content of the animation and how the concept of presentation can be applied to any given Bauhaus product. I will explain where animations can be used and who they are intended for.

V diplomski nalogi je opisan eden izmed najbolj razširjenih pristopov k 3D oblikovanju in animaciji karakterjev, ki jih lahko nato uporabimo v modernih računalniških igrah. V nalogi je na konkretnem praktičnem primeru prikazan potek dela, ki obsega vse od samega zbiranja referenčnih slik, skic, idej, do prve grobe oblike modela, dodajanja detajlov in kasneje njegove animacije ter končno teksturiranja. V igralnem okolju demonstriramo uporabo narejenih modelov. Tekom te naloge je predstavljenih tudi več problemov, s katerimi smo se soočili, kot je na primer optimizacija ali zmanjšanje števila poligonov, ki sestavljajo mrežo našega modela. Celoten postopek zahteva uporabo množice programske opreme. Za oblikovanje in animacijo je uporabljen odprtokodni Blender 2.79, za igralni pogon Unreal Engine 4 ter za teksturiranje Substance Painter. Vsak izmed teh programov je v nalogi na kratko predstavljen. Cilj diplomske naloge je predstaviti celotni postopek izdelave igralnega karakterja in razjasniti nejasnosti, ki se lahko ob tem pojavijo. This diploma thesis describes one of the most widely spread approaches to 3D modelling and animation of characters for use in modern video games. The workflow is presented in detail with practical examples. It consists of collecting reference images, ideas, modelling our first rough shape of the model, adding details and later creating animations and finally texturing it. In the game environment, an example usage of made characters is demonstrated. Over the course of this thesis multiple problems are encountered, e.g. reduction of number of polygons from our base mesh. This whole process requires usage of mainly three different computer programs. Blender 2.79 is used for modelling and animation, Unreal Engine 4 for final demonstration in real game environment and Substance Painter for texturing part of the workflow. Each software is also briefly presented in a separate section of the thesis. The goal of this diploma thesis is to present a complete workflow when creating playable characters and clarify any ambiguities one may encounter.