Search results

L'animation appliquée au tourisme n'est pas une nouveauté; le Club Méditerranée la pratique depuis bientôt 30 ans. Mais le Club mis à part, certaines formes de suggestions, de conseils et d'actions «font partie intégrante du rôle d'hôte de la part d'un hôtelier, restaurateur ou aubergiste à l'égard de ses clients». Dans les petites pensions ou les hôtels de famille, par exemple, la relation personnelle existant entre l'hôtelier et l'hôte constitue une grande part des «besoins» d'information, de suggestion, de contact et de communication liés aux vacances».

The purpose of this paper is to illustrate how designers attempt to engage audiences through different media in TV idents; and to explore how the human mark (such as drawing and model making) in a hybrid with digital media can not only revitalise traditions in design, but also the reception of illusion in this context.

The study focuses on the work of RedBee Media, a company that has a global market and reputation. The phenomenology of how BBC Three and BBC 2 Christmas were rebranded was examined through interviews with the designers and animators involved. Taking a media industry studies lens to examine an art/technology divide the author will expand the visual culture theory of Manovich’s (2007) metamedium.

The influence of technology on television graphic design is contested and continual. Designers might begin to question rather than rely on technology through the process of design. They can confront generic software solutions and apply more critical skills to explore fusions of heritage and digital processes in a metamedium.

This research was focused on a UK broadcaster and a single UK creative agency with a global influence. Future research should examine leading creative practice in other international markets.

The significance of this research is in understanding the materiality and creativity in the artform of TV idents and how designers attempt to engage audiences through different media.

Academics in media and design history are acknowledging the cultural significance of television branding. Design practitioners need to understand why and how in the work of others.

As one of a number of new learning technologies, multimedia is increasingly being used in traditional training and development events and also in open and flexible learning modules. With a move towards more flexible working practices, it is necessary to provide a more flexible approach to learning, training and development, particularly with regard to timing, location and the needs of the learner. Multimedia provides that flexibility. Gives educators, and training and development specialists some understanding of what multimedia is by providing a number of definitions and considering the benefits of using multimedia materials. Outlines developing and producing multimedia materials, together with some of the complex legal issues involved in production.

Highly sophisticated digital technologies have distanced architects and designers from intimate and immediate hand-drawing practices. Meanwhile the changes they rapidly bring come with undetected changes in cultural and social norms regarding the built environment. The growing dependence on computers calls for a more holistic, socially inclusive and place-responsive design practice. This paper aims to shed light on what we are losing in the design process as we rapidly transition to communicate architecture using digital media. The authors contemplate the paradigms in which the human body and physical objects still play an important role in today's design environment.

The paper looks at current trends in developing and establishing “computer imaging” within architectural education, and the architectural profession through parametric design and the area of sustainability. In order to reveal novel and hybrid ways of architectural image-making, it also looks into art forms that already experiment with bodily practices in design by taking an artisanal animation project as a case study.

The renewed longing for craft, haptic environments, tactile experiences and hand-crafted artifacts and artworks that engage the senses can be exemplified with the success of the documentary Last Dance on the Main, an animated film on the endangered layers of human presence in one of Montreal's downtown neighborhoods. The open possibilities for creative hybridizations between the handmade and the digital in architecture practice and education are exposed.

The influence of film on the perception and consequent design of cities is well documented. There is little literature, however, on how the materiality and process of artisanal film animation can provide alternative, if not additional, insights on how to communicate various aspects of the built environment, particularly those rooted in the human body. Furthermore, handmade film explores a broader understanding of sustainability, which includes considerations for social and cultural contexts.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

Reports the dynamic modelling of garments on synthetic humans. Develops the model based on a physical analogue to a deep shell system for describing and predicting the real 3‐D shape of clothes. Determines the garment motion by fabric deformation energy, gravity and external constraints of the garment, such as collision forces, using the deformable node bar concept. Justifies the model by agreement between real fabric prediction of static and dynamic drapes using our newly developed drape metre. Demonstrates the garment simulation using garments from two different fabrics in a virtual fashion show. Also describes the work on modelling and animating a synthetic female. The advantages of this model are that engineering parameters can be used as model parameters directly and that the model is configured based on the surface co‐ordinate system, which are important for the next generation of fashion CAD systems incorporating virtual fashion shows. This consideration is fundamental in the context of global retailing and becomes an integral part of intelligent textile and garment manufacture. Proposes the consequences of this work in cinema, TV, advertising and in graphics and animation are also important, but does not examine these.

This paper presents a new technique for collision detection between fabric and fabric or fabric and body, applied on our physical‐based fabric drape model. The technique can produce a realistic 3D virtual fashion show based on fabric mechanical properties and has the ability to handle the collision of clothing with an animated synthetic human. The collision technique appeared efficient and reliable when dealing with complex cases of fabric deformation. A full implementation of the drape model, collision detection with an animated human model is also described and discussed.

This paper asks the reader to consider future information retrieval services that return multimedia documents containing any combination of text, graphics, still raster images, audio, and motion video in response to user queries. It then argues that the emergence of generally available multimedia information services depends on four things: (1) close to ubiquitous high‐bandwidth networks; (2) inexpensive user appliances capable of handling multimedia; (3) adoption of standards for representation, compression, packaging and transport of multimedia information; and (4) development of a corpus of multimedia information and associated infrastructure for organizing and searching it. After some explanation, it asserts that the first three are already happening and expresses reserved optimism about the fourth.

Website design guidelines which have proven effective throughout the commercial sector could be adapted for library homepage design. Acceptance of industry standards for homepage usability, specifically Nielsen and Tahir's criteria, would give library users recognizable features and increase their confidence and comfort levels when using library websites. The paper aims to present a comparison of library homepages with these criteria to provide an assessment of how libraries fare in comparison with the commercial sector.

Little research has been undertaken to evaluate the appeal and efficacy of homepages of libraries associated with medium‐sized universities, which have different audiences than do larger universities. The dataset of 80 academic libraries associated with medium‐sized universities (8,000‐13,000 students) was compiled with data from the National Center for Education Statistics and Peterson's College Bound. Data on 14 variables derived from Nielsen and Tahir were examined on these 80 library homepages. Variables are grouped into four categories: search, navigation, design, and general features.

Based on Nielsen and Tahir's criteria, library homepages fared well in comparison to business homepages. Statistical analysis of the findings revealed that library homepage designs were significantly different from businesses for only four variables: the ability to search the website, the use of a search box or a link, the use of animation, and a change of link colors to indicate viewed links. A greater amount of business homepages used a search box as opposed to a search link. Fewer libraries facilitated navigation by creating links that changed color after use. Library homepages generally had fast download times, and avoided animations and automatic music.

A comprehensive review of all of Nielsen and Tahir's design characteristics for homepage usability cannot be fully considered in a study of this size.

Information‐seeking behaviors of college students and internet users within this age range suggest that design conventions established on the web and tested by usability experts may provide a framework for effective library homepage design.

Digital libraries are becoming vital in basic research and general surfing of the Internet and the Web. Unlike text‐based digital libraries, image intensive digital libraries have inherent problems of slow downloading and uploading. These bottlenecks are caused by low bandwidth at the “last mile”, the distance between the telecommunications carriers’ distribution center – or central office and the user premises. Telecommunications technologies which are commonly used to alleviate this problem are: high end analog modems, T… series, frame relay, ISDN, cable modems, digital subscriber line and satellites. The article summarizes the latest developments of these technologies and how they can be used by various types of information professionals and end‐users in accessing digital libraries.