DOCSLIB.ORG

Slide Set: Svg1 B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Slide Set: Svg1 B Computer Graphics - English Week - 2009 N Slide Set: svg1_b z 1.1: Grouping Overview z 1.2: Elements inside Group z 1.3: Definitions z 1.4: Transformations z 1.5: Transformations z 1.6: Rotation about a point z 1.7: More on Transformations z 1.8: Transformation Example z 1.9: Nested Groups David Lightfoot (Oxford Brookes University) 1 Computer Graphics - English Week - 2009 Slide Set: svg1_e z 2.1: Structuring z 2.2: Symbols z 2.3: Symbols made of Symbols z 2.4: Symbols viewBox z 2.5: Clipping z 2.6: Clip an Image David Lightfoot (Oxford Brookes University) 2 Computer Graphics - English Week - 2009 Slide Set: anim_intro z 3.1: Animation z 3.2: Uses of Animation z 3.3: Example - Setting up IP socket connection z 3.4: The Illusion of Motion z 3.5: A Timeline in Movies z 3.6: Conventional Techniques z 3.7: Conventional Animation z 3.8: Use of Computers z 3.9: Keyframing z 3.10: Interpolation z 3.11: Linear Interpolation ... z 3.12: Smooth Motion David Lightfoot (Oxford Brookes University) 3 Computer Graphics - English Week - 2009 Slide Set: svg2_c z 4.1: SVG Animation: Introduction z 4.2: What, How, When z 4.3: What is animated? z 4.4: Common Attributes z 4.5: Animation Functions z 4.6: Relationship to SMIL z 4.7: Animation Styles z 4.8: Animating Properties/Attributes z 4.9: Animating d Attribute z 4.10: animate Examples z 4.11: Animating stroke-dashoffset z 4.12: Animating Text Offset z 4.13: Stop Opacity: Lighting z 4.14: animateTransform Element z 4.15: Additive Animations z 4.16: Pseudo 3D z 4.17: Transformed Paths z 4.18: Animate Symbols z 4.19: Animated Fridge Control z 4.20: Animated Fonts z 4.21: set Element z 4.22: Changing Visibility z 4.23: Changing Visibility z 4.24: animateColor Element z 4.25: animateMotion Element z 4.26: Animate along Path z 4.27: Animate Motion Example z 4.28: Other Motion Paths z 4.29: Animating Path and Offset z 4.30: How z 4.31: How is Animation Performed? z 4.32: Types z 4.33: How Attributes z 4.34: values Attribute z 4.35: values Example z 4.36: values Examples z 4.37: Animating Text Example z 4.38: Animating Clip Path David Lightfoot (Oxford Brookes University) 4 Computer Graphics - English Week - 2009 Slide Set: svg2_d z 5.1: keyTimes z 5.2: Example keyTimes z 5.3: animateMotion: keyPoints z 5.4: calcMode z 5.5: Key Spline Interpolation z 5.6: Example Key Spline Interpolation z 5.7: Ball Bouncing z 5.8: Linear v Spline z 5.9: Animating many Circles z 5.10: When z 5.11: When is Animation Performed? z 5.12: Timing Attributes z 5.13: Synchronisation z 5.14: Events z 5.15: Animation onclick and set z 5.16: Chaining Animations z 5.17: Chaining: IP Network z 5.18: Restarting an Animation David Lightfoot (Oxford Brookes University) 5 Computer Graphics - English Week - 2009 Slide Set: svg1_b 1.1: Grouping Overview 1.2: Elements inside Group David Lightfoot (Oxford Brookes University) 6 Computer Graphics - English Week - 2009 1.3: Definitions z Sometimes SVG elements are used to define something not to render it z To make it explicit that it is a definition: { Enclose the element in a defs element { Elements inside a defs element are not rendered <defs> <g>. for symbols <style>. <script>. <gradient id="gradientidentifier">. <clipPath id="clipidentifier">. <mask id="maskidentifier">. <symbol id="symbolidentifier">. <filter id="filteridentifier">. <animate id="animateidentifier">. <text id="textref">. for tref </defs> 1.4: Transformations David Lightfoot (Oxford Brookes University) 7 Computer Graphics - English Week - 2009 1.5: Transformations 1.6: Rotation about a point David Lightfoot (Oxford Brookes University) 8 Computer Graphics - English Week - 2009 1.7: More on Transformations 1.8: Transformation Example David Lightfoot (Oxford Brookes University) 9 Computer Graphics - English Week - 2009 1.9: Nested Groups David Lightfoot (Oxford Brookes University) 10 Computer Graphics - English Week - 2009 Slide Set: svg1_e 2.1: Structuring 2.2: Symbols David Lightfoot (Oxford Brookes University) 11 Computer Graphics - English Week - 2009 2.3: Symbols made of Symbols 2.4: Symbols viewBox David Lightfoot (Oxford Brookes University) 12 Computer Graphics - English Week - 2009 2.5: Clipping 2.6: Clip an Image David Lightfoot (Oxford Brookes University) 13 Computer Graphics - English Week - 2009 Slide Set: anim_intro 3.1: Animation From the very beginning of cinematography, moving pictures were admirably placed to visually express new ideas and explore technical innovations. ... Animated cartoons attempt to recreate graphically physical or organic movement. Unlike live-action film, however, animation has the greater flexibility of using motion creatively. That is to say, it can exaggerate physical possibilities by slowing movement down, speeding it up and using it comically or expressively. Herein lies the starting point of the art of animation. ... We are all familiar with animated cartoons as mass entertainment, especially for children. ... There are also, however, many examples of animation's potential for communicating witty visual ideas and sophisticated narratives to older audiences; some animated films not only have immediate appeal but are memorable and contain interesting social comment. ... John Halas, "Masters of Animation", 1987 3.2: Uses of Animation z Advertising z Entertainment z Education z Art z Industrial design and simulation z Scientific visualization z Interactive computing/user interfaces ... David Lightfoot (Oxford Brookes University) 14 Computer Graphics - English Week - 2009 3.3: Example - Setting up IP socket connection 3.4: The Illusion of Motion z 1824, Peter Mark Roget, studying physiology at the University of London, wrote "Persistence of Vision with Regard to Moving Objects" z 1825, Dr John Ayrton Paris, commercialised his "Thaumatrope". A disc of card with a picture of a bird on one side and a birdcage on the other. Twirling it by strings attached to opposite edges, viewer's eye retained the image of one side as the other was revealed. Bird appeared to be in the cage z 1880, Eadweard Muybridge, placed twenty-four still cameras linked to trip wires across a race track. When horse broke each wire, camera was triggered. Sucession of images showed mechanics of movement in time z 1877, Emile Reynaud, used a circular cluster of revolving mirrors to reflect a sequence of drawings on a horizontal band around a revolving drum. By 1892 evolved into Theatre Optique, could be viewed by large audience. Show lasting up to 15 minutes z 1895, Auguste and Louis Lumiere projected live-action motion pictures onto a screen with their Cinematographe in Paris. Often regarded as the earliest film makers, La Sortie des Usines Lumiere z 1899, Arthur Melbourne Cooper, considered to have made first animated commercial, promoted Bryant & May, Match Appeal z 1907, Winsor McCay, Little Nemo in Slumberland, appeared in New York Herald. Earliest success in character creation. z 1914, Winsor McCay, Gertie the Dinosaur, film David Lightfoot (Oxford Brookes University) 15 Computer Graphics - English Week - 2009 3.5: A Timeline in Movies From Nancy Pollard, Brown University z (1914) Gertie, Winsor McCay z (1928) Steamboat Willie, Disney z (1933) King Kong, Willis O'Brien z (1930s and 40s) Betty Boop, Popeye, Daffy Duck, Bugs Bunny, Woody Woodpecker, Mighty Mouse, Tom & Jerry (how many did you spot in Who Framed Roger Rabbit?!!) z (1937) Snow White, Disney - animated feature film, cost $1.5M z (1982) Tron, MAGI - movie with computer graphics premise z (1984) Last Starfighter - computer graphics used interchangeably with actual models of space ship z (1993) Jurassic Park - computer graphics used to create living creatures, meant to appear realistic z (1995) Toy Story, Pixar, full-length feature film done entirely with 3D computer animation. Won an Oscar 3.6: Conventional Techniques z Drawing on film z Multiple drawings z Rotoscoping (project film of real actors onto drawing paper) z Stop motion animation z Acetate cels, multiple plane cels, e.g. face, hands, body, tree, grass, sky David Lightfoot (Oxford Brookes University) 16 Computer Graphics - English Week - 2009 3.7: Conventional Animation z Storyboard z Key frames drawn z Intermediate frames filled in (inbetweening) z Trial film is made (called a pencil test) z Pencil test frames transferred to cels z Note: iterative process with a lot of feedback 3.8: Use of Computers z In-betweening, e.g. La Faim, Peter Foldes, Canada, 1974 z Disney's CAPS system { scanned artists' drawings { online colouring of cels (broad colour palette, exact colour matching) { online compositing { 3D effects can be created with 2D drawings, e.g. Beauty and the Beast z 3D graphical worlds { permits easier experimentation with actor position, camera position { can perform more complex camera moves (which might be impossible with physical camera) { trades effort of creating drawings for effort of building and animating 3D world David Lightfoot (Oxford Brookes University) 17 Computer Graphics - English Week - 2009 3.9: Keyframing z Keyframes mark important visual transitions, extremes of action z Inbetweening is process of creating intermediate frames between the key frames z Can be computed z Calculate intermediate positions of figure along path z (Figure in these slides is very loosely based on a figure called Blubby, , H.J. Shin, J. Lee, S.Y. Shin and M. Gleicher, Computer Puppetry: An Importance-Based Approach, ACM Transactions on Graphics, 20(2), 2001.) 3.10: Interpolation z To interpolate from one position of the circle to another, we can linearly interpolate the position of the centre z Given positions v1 and v2, at keyframes 1 and 2, position of v for intermediate frame for time t (0 <= t <= 1), given by: vt = (1-t)v1 + tv2 David Lightfoot (Oxford Brookes University) 18 Computer Graphics - English Week - 2009 3.11: Linear Interpolation ..
Load more

Recommended publications
  • The Anime Galaxy Japanese Animation As New Media
    i i i i i i i i i i i i i i i i i i i i Herlander Elias The Anime Galaxy Japanese Animation As New Media LabCom Books 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-090-6 Título: The Anime Galaxy Autor: Herlander Elias Ano: 2012 i i i i i i i i Índice ABSTRACT & KEYWORDS3 INTRODUCTION5 Objectives............................... 15 Research Methodologies....................... 17 Materials............................... 18 Most Relevant Artworks....................... 19 Research Hypothesis......................... 26 Expected Results........................... 26 Theoretical Background........................ 27 Authors and Concepts...................... 27 Topics.............................. 39 Common Approaches...................... 41 1 FROM LITERARY TO CINEMATIC 45 1.1 MANGA COMICS....................... 52 1.1.1 Origin.......................... 52 1.1.2 Visual Style....................... 57 1.1.3 The Manga Reader................... 61 1.2 ANIME FILM.......................... 65 1.2.1 The History of Anime................. 65 1.2.2 Technique and Aesthetic................ 69 1.2.3 Anime Viewers..................... 75 1.3 DIGITAL MANGA....................... 82 1.3.1 Participation, Subjectivity And Transport....... 82 i i i i i i i i i 1.3.2 Digital Graphic Novel: The Manga And Anime Con- vergence........................ 86 1.4 ANIME VIDEOGAMES.................... 90 1.4.1 Prolongament...................... 90 1.4.2 An Audience of Control................ 104 1.4.3 The Videogame-Film Symbiosis............ 106 1.5 COMMERCIALS AND VIDEOCLIPS............ 111 1.5.1 Advertisements Reconfigured............. 111 1.5.2 Anime Music Video And MTV Asia.........
    [Show full text]
  • What Is Augmented Reality
    Code Catalyst: Designing and Implementing Augmented Reality Curriculum in Art and Visual Culture Education Item Type text; Electronic Thesis Authors Rodriguez, Andie (Samantha) Citation Rodriguez, Andie (Samantha). (2020). Code Catalyst: Designing and Implementing Augmented Reality Curriculum in Art and Visual Culture Education (Master's thesis, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 13:14:44 Link to Item http://hdl.handle.net/10150/656764 CODE CATALYST: DESIGNING AND IMPLEMENTING AUGMENTED REALITY CURRICULUM IN ART AND VISUAL CULTURE EDUCATION by Samantha Rodriguez ______________________________ Copyright © Samantha Rodriguez 2020 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by: Andie (Samantha) Rodriguez titled: Code Catalyst: Designing and Implementing Augmented Reality Curriculum in Art and Visual Culture Education and recommend that it be accepted as fulfilling the thesis requirement for the Master’s Degree. Ryan Shin _________________________________________________________________ Date: ____________Jan 4, 2021 Ryan Shin Carissa DiCindio _________________________________________________________________ Date: ____________Jan 4, 2021 Carissa DiCindio _________________________________________________________________ Date: ____________Jan 4, 2021 Michael Griffith Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College.
    [Show full text]
  • Catalogue Anglais Version Finale (2018-09-26)
    Montréal Campus 416, boul. de Maisonneuve West, suite 700 Montréal (Québec) H3A 1L2 514-849-1234 Laval Campus 3, Place Laval, suite 400 Laval (Québec) H7N 1A2 450-662-9090 Longueuil Campus 1111, rue Saint-Charles West, suite 120 Longueuil (Québec) J4K 5G4 450-674-0097 Pointe-Claire Campus 1000, boul. St-Jean, suite 500 Pointe-Claire (Québec) H9R 5P1 514-782-0539 Anjou Campus 7400, Boulevard Galeries d’Anjou, suite 130 Anjou, H1M 3M2 514-351-0888 7400, Boulevard Mon QUÉBEC ÉDITION Reference code : CDI-CAT-PQF-0718 Version : July 2018 © Collège CDI Administration. Technologie. Santé. All rights reserved. Printed in Canada. It is prohibited to reproduce this publication in its entirety, or in part, without the written consent of Collège CDI Administration. Technologie. Santé. *For the sake of clarity and readability, the masculine form is used throughout this catalogue. TABLE OF CONTENTS ADMINISTRATION CASUALTY INSURANCE – LCA.BF ............................................................................................................... 1 FINANCIAL MANAGEMENT – LEA.AC ........................................................................................................ 4 SPECIALIST IN APPLIED INFORMATION TECHNOLOGY – LCE.3V .............................................................. 8 OPTION: LEGAL ADMINISTRATIVE ASSISTANT SPECIALIST IN APPLIED INFORMATION TECHNOLOGY – LCE.3V ............................................................ 11 OPTION : MEDICAL OFFICE ASSISTANT PARALEGAL TECHNOLOGY - JCA.1F……………………………………………………………………………………………………14
    [Show full text]
  • SVG Tutorial
    SVG Tutorial David Duce *, Ivan Herman +, Bob Hopgood * * Oxford Brookes University, + World Wide Web Consortium Contents ¡ 1. Introduction n 1.1 Images on the Web n 1.2 Supported Image Formats n 1.3 Images are not Computer Graphics n 1.4 Multimedia is not Computer Graphics ¡ 2. Early Vector Graphics on the Web n 2.1 CGM n 2.2 CGM on the Web n 2.3 WebCGM Profile n 2.4 WebCGM Viewers ¡ 3. SVG: An Introduction n 3.1 Scalable Vector Graphics n 3.2 An XML Application n 3.3 Submissions to W3C n 3.4 SVG: an XML Application n 3.5 Getting Started with SVG ¡ 4. Coordinates and Rendering n 4.1 Rectangles and Text n 4.2 Coordinates n 4.3 Rendering Model n 4.4 Rendering Attributes and Styling Properties n 4.5 Following Examples ¡ 5. SVG Drawing Elements n 5.1 Path and Text n 5.2 Path n 5.3 Text n 5.4 Basic Shapes ¡ 6. Grouping n 6.1 Introduction n 6.2 Coordinate Transformations n 6.3 Clipping ¡ 7. Filling n 7.1 Fill Properties n 7.2 Colour n 7.3 Fill Rule n 7.4 Opacity n 7.5 Colour Gradients ¡ 8. Stroking n 8.1 Stroke Properties n 8.2 Width and Style n 8.3 Line Termination and Joining ¡ 9. Text n 9.1 Rendering Text n 9.2 Font Properties n 9.3 Text Properties -- ii -- ¡ 10. Animation n 10.1 Simple Animation n 10.2 How the Animation takes Place n 10.3 Animation along a Path n 10.4 When the Animation takes Place ¡ 11.
    [Show full text]
  • In the United States Bankruptcy Court for the District of Delaware
    Case 21-10457-LSS Doc 237 Filed 05/13/21 Page 1 of 2 IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE Chapter 11 In re: Case No. 21-10457 (LSS) MOBITV, INC., et al., Jointly Administered Debtors.1 Related Docket Nos. 73 and 164 NOTICE OF FILING OF SUCCESSFUL BIDDER ASSET PURCHASE AGREEMENT PLEASE TAKE NOTICE that, on April 7, 2021, the United States Bankruptcy Court for the District of Delaware (the “Bankruptcy Court”) entered the Order (A) Approving Bidding Procedures for the Sale of Substantially All Assets of the Debtors; (B) Approving Procedures for the Assumption and Assignment of Executory Contracts and Unexpired Leases; (C) Scheduling the Auction and Sale Hearing; and (D) Granting Related Relief [Docket No. 164] (the “Bidding Procedures Order”).2 PLEASE TAKE FURTHER NOTICE that, pursuant to the Bidding Procedures Order, the Debtors conducted an auction on May 11-12, 2021 for substantially all of the Debtors’ assets (the “Assets”). At the conclusion of the auction, the Debtors, in consultation with their advisors and the Consultation Parties, selected the bid submitted by TiVo Corporation (the “Successful Bidder”) as the Successful Bid. PLEASE TAKE FURTHER NOTICE that, on May 12, 2021, the Debtors filed the Notice of Auction Results [Docket No. 234] with the Bankruptcy Court. PLEASE TAKE FURTHER NOTICE that attached hereto as Exhibit A is the Asset Purchase Agreement dated May 12, 2021 (the “Successful Bidder APA”) between the Debtors and the Successful Bidder. PLEASE TAKE FURTHER NOTICE that a hearing is scheduled for May 21, 2021 at 2:00 p.m.
    [Show full text]
  • Cartooning America: the Fleischer Brothers Story
    NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms.
    [Show full text]
  • GKS-94 to SVG: Some Reflections on the Evolution of Standards for 2D
    EG UK Computer Graphics & Visual Computing (2015) Rita Borgo, Cagatay Turkay (Editors) GKS-94 to SVG: Some Reflections on the Evolution of Standards for 2D Graphics D. A. Duce1 and F.R.A. Hopgood2 1Department of Computing and Communication Technologies, Oxford Brookes University, UK 2Retired, UK Abstract Activities to define international standards for computer graphics, in particular through ISO/IEC, started in the 1970s. The advent of the World Wide Web has brought new requirements and opportunities for standardization and now a variety of bodies including ISO/IEC and the World Wide Web Consortium (W3C) promulgate standards in this space. This paper takes a historical look at one of the early ISO/IEC standards for 2D graphics, the Graph- ical Kernel System (GKS) and compares key concepts and approaches in this standard (as revised in 1994) with concepts and approaches in the W3C Recommendation for Scalable Vector Graphics (SVG). The paper reflects on successes as well as lost opportunities. Categories and Subject Descriptors (according to ACM CCS): I.3.6 [Computer Graphics]: Methodology and Techniques—Standards 1. Introduction a W3C Recommendation early in 1999. The current (at the time of writing) revision was published in 2010 [web10]. The Graphical Kernel System (GKS) was the first ISO/IEC international standard for computer graphics and was pub- It was clear from the early days that a vector graphics for- lished in 1985 [GKS85]. This was followed by other stan- mat specifically for the web would be a useful addition to the dards including the Computer Graphics Metafile (CGM), then-available set of markup languages.
    [Show full text]
  • SVG AnimaIon
    12/12/2011 SVG Slides, Printed Version SVG Animation SVG Animation: Introduction What, How, When What is animated? Common Attributes Animation Functions Relationship to SMIL Animation Styles Animating Properties/Attributes Animating d Attribute Animating stroke-dashoffset and Text Offset animateTransform Element Additive Animations Pseudo 3D Transformed Paths Animate Symbols Animated Fridge Control setElement Changing Visibility Changing Visibility animateColor Element animateMotion Element Animate along Path Animate Motion Example Other Motion Paths Animating Font Size, Offset and Text Path How How is Animation Performed? Types How Attributes values Attribute values Example values Examples Animating Text Example Animating Clip Path Animating Pattern keyTimes Example keyTimes calcMode Key Spline Interpolation Example Key Spline Interpolation Ball Bouncing Linear v Spline Flash Walk in SVG SVG Discrete Walk SVG Key Values Walk SVG Key Splines Walk SWF v SVG Handcrafting Animating many Circles When When is Animation Performed? Timing Attributes Synchronisation Events Animation onclick and set Chaining Animations Chaining: IP Network Restarting an Animation C:/Jigsaw/Jigsaw/WWW/msc_2011-12/p00700/…/printed_slidessvg_f.xml 1/30 12/12/2011 SVG Slides, Printed Version SVG Animation: Introduction SVG Animation = change element attributes dynamically Animation is controlled through a set of animation elements Reusing parts of W3C's SMIL2.0 Specification (Synchronized Multimedia Integration Language Version 2.0) Declarative syntax, no real increase
    [Show full text]
  • Guide to the Mahan Collection of American Humor and Cartoon Art, 1838-2017
    Guide to the Mahan collection of American humor and cartoon art, 1838-2017 Descriptive Summary Title : Mahan collection of American humor and cartoon art Creator: Mahan, Charles S. (1938 -) Dates : 1838-2005 ID Number : M49 Size: 72 Boxes Language(s): English Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Mahan, Charles S., 1938 - Acquisition Information: Donation. Access Conditions: None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/for more information. Preferred Citation: Mahan Collection of American Humor and Cartoon Art, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Biographical Note Charles S. Mahan, M.D., is Professor Emeritus, College of Public Health and the Lawton and Rhea Chiles Center for Healthy Mothers and Babies. Mahan received his MD from Northwestern University and worked for the University of Florida and the North Central Florida Maternal and Infant Care Program before joining the University of South Florida as Dean of the College of Public Health (1995-2002). University of South Florida Tampa Library. (2006). Special collections establishes the Dr. Charles Mahan Collection of American Humor and Cartoon Art. University of South Florida Library Links, 10(3), 2-3. Scope Note In addition to Disney animation catalogs, illustrations, lithographs, cels, posters, calendars, newspapers, LPs and sheet music, the Mahan Collection of American Humor and Cartoon Art includes numerous non-Disney and political illustrations that depict American humor and cartoon art.
    [Show full text]
  • Nationalism, the History of Animation Movies, and World War II Propaganda in the United States of America
    University of Akureyri Faculty of Humanities and Social Science Modern Studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson Final BA Thesis in the Faculty of Humanities and Social Sciences University of Akureyri Faculty of Humanities and Social Science Modern studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson A final BA Thesis for 180 ECTS unit in the Faculty of Humanities and Social Sciences Instructor: Dr. Giorgio Baruchello Statements I hereby declare that I am the only author of this project and that is the result of own research Ég lýsi hér með yfir að ég einn er höfundur þessa verkefnis og að það er ágóði eigin rannsókna ______________________________ Kristján Birnir Ívansson It is hereby confirmed that this thesis fulfil, according to my judgement, requirements for a BA -degree in the Faculty of Hummanities and Social Science Það staðfestist hér með að lokaverkefni þetta fullnægir að mínum dómi kröfum til BA prófs í Hug- og félagsvísindadeild. __________________________ Giorgio Baruchello Abstract Today, animations are generally considered to be a rather innocuous form of entertainment for children. However, this has not always been the case. For example, during World War II, animations were also produced as instruments for political propaganda as well as educational material for adult audiences. In this thesis, the history of the production of animations in the United States of America will be reviewed, especially as the years of World War II are concerned.
    [Show full text]
  • SVG-In-Motion.Pdf
    SVG In Motion SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 1 — Freelance front-end dev. — Wrote the Codrops CSS Reference. — Co-authored Smashing Book 5 — SVG advocate SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 2 What’s with all the vowel letters? — Swaïdaan — Swaydein — Sw-"eye"-daan SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 3 What we will cover (not in this particular order): 1. How to Embed SVG 2. The SVG viewBox 3. Animating the viewBox 4. SVG Animation Techniques: CSS, SMIL, JavaScript 5. SVG Sprite Animation Techniques 6. SVG Line Drawing Effects SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 4 6 Embedding Techniques SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 5 <img src="mySVG.svg" alt="..."/> 1) Image can be cached (Requires HTTP request. But: HTTP/2!). 2) No CSS interactions. 3) No scripting. 4) CSS animations work only if defined inside <svg> SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 6 <picture> <source type="image/svg+xml" srcset="path/to/image.svg"> <img src="path/to/fallback.png" alt="Image description"> </picture> Same as <img> Fallback is included inside <picture> SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 7 background-image: url(path/to/mySVG.svg); Same as <img>, but the SVG can be cached as part of the style sheet if it is inlined using data URIs. SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 8 <object type="image/svg+xml" data="mySVG.svg"> <!-- fallback here; beware of multiple requests --> </object> 1) Image cached. 2) Scripting. 3) Default fallback mechanism. 4) CSS animations and interactions work only if defined inside <svg> SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 9 <iframe src="mySVG.svg"> <!-- fallback here --> </iframe> Same as <object> SVG for Web Designers & Developers | @SaraSoueidan | SaraSoueidan.com 10 <svg xmlns="http://www.w3.org/2000/svg" …> <!-- svg content --> </svg> 1) Image is not cached.
    [Show full text]
  • Building Responsive Websites
    HTML5 and CSS3: Building Responsive Websites Design robust, powerful, and above all, modern websites across all manner of devices with ease using HTML5 and CSS3 A course in three modules BIRMINGHAM - MUMBAI HTML5 and CSS3: Building Responsive Websites Copyright © 2016 Packt Publishing All rights reserved. No part of this course may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this course to ensure the accuracy of the information presented. However, the information contained in this course is sold without warranty, either express or implied. Neither the authors, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this course. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this course by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. Published on: October 2016 Published by Packt Publishing Ltd. Livery Place 35 Livery Street Birmingham B3 2PB, UK. ISBN 978-1-78712-481-3 www.packtpub.com Credits Authors Content Development Editor Thoriq Firdaus Amedh Pohad Ben Frain Benjamin LaGrone Graphics Kirk D’Penha Reviewers Saumya Dwivedi Production Coordinator Deepika Naik Gabriel Hilal Joydip Kanjilal Anirudh Prabhu Taroon Tyagi Esteban S. Abait Christopher Scott Hernandez Mauvis Ledford Sophie Williams Dale Cruse Ed Henderson Rokesh Jankie Preface Responsive web design is an explosive area of growth in modern web development due to the huge volume of different device sizes and resolutions that are now commercially available.
    [Show full text]