Q1) EXPLAIN ANIMATION PRINCIPLE

There are 12 major principles for an effective and easy to communicate animation.

1. Squash and Stretch:

This principle works over the physical properties that are expected to change in any process.
Ensuring proper squash and stretch makes our animation more convincing.

For Example: When we drop a ball from height, there is a change in its physical property. When the
ball touches the surface, it bends slightly which should be depicted in animation properly.

2. Anticipation:
Anticipation works on action.Animation has broadly divided into 3 phases:

1. Preparation phase

2. Movement phase

3. Finish

1. Preparation phase Anticipation, we make our audience prepare for action. It helps to make our
animation look more realistic.

For Example: Before hitting the ball through the bat, the actions of batsman comes under
anticipation. This are those actions in which the batsman prepares for hitting the ball.
 3. Arcs:
In Reality, humans and animals move in arcs. Introducing the concept of arcs will increase
the realism. This principle of animation helps us to implement the realism through projectile
motion also.

For Example, The movement of the hand of bowler comes under projectile motion while doing
bowling.

4. Slow in-Slow out:

While performing animation, one should always keep in mind that in reality object takes
time to accelerate and slow down. To make our animation look realistic, we should always
focus on its slow in and slow out proportion.

For Example, It takes time for a vehicle to accelerate when it is started and similarly when it stops it
takes time.

5. Appeal:
Animation should be appealing to the audience and must be easy to understand. The syntax
or font style used should be easily understood and appealing to the audience. Lack of
symmetry and complicated design of character should be avoided.

6. Timing:

Velocity with which object is moving effects animation a lot. The speed should be handled with care
in case of animation.

For Example, An fast-moving object can show an energetic person while a slow-moving object can
symbolize a lethargic person. The number of frames used in a slowly moving object is less as
compared to the fast-moving object.

7. Movemen3D Effect:
By giving 3D effects we can make our animation more convincing and effective. In 3D Effect,
we convert our object in a 3-dimensional plane i.e., X-Y-Z plane which improves the realism
of the object.

For Example, a square can give a 2D effect but cube can give a 3D effect which appears more
realistic.

8. Exaggeration:
Exaggeration deals with the physical features and emotions. In Animation, we represent emotions
and feeling in exaggerated form to make it more realistic. If there is more than one element in a
scene then it is necessary to make a balance between various exaggerated elements to avoid
conflicts.

9.Stagging:
Stagging is defined as the presentation of the primary idea, mood or action. It should always be in
presentable and easy to manner. The purpose of defining principle is to avoid unnecessary details
and focus on important features only. The primary idea should always be clear and unambiguous.

10.Secondary Action:
Secondary actions are more important than primary action as they represent the animation as a
whole. Secondary actions support the primary or main idea.

For Example, A person drinking a hot tea, then his facial expressions, movement of hands, etc comes
under the secondary actions.

11.Follow Through:
It refers to the action which continues to move even after the completion of action. This type of
action helps in the generation of more idealistic animations.

For Example: Even after throwing a ball, the movement of hands continues.

12. Overlap:
It deals with the nature in which before ending the first action, the second action starts.

For Example: Consider a situation when we are drinking Tea from the right hand and holding a
sandwich in the left hand. While drinking a tea, our left-hand start showing movement towards the
mouth which shows the interference of the second action before the end of the first action.

Q 2) Depth Buffer Algorithm/ Z-Buffer Algorithm

It is also called a Depth Buffer Algorithm. Depth buffer algorithm is simplest image space algorithm.
For each pixel on the display screen, we keep a record of the depth of an object within the pixel that
lies closest to the observer. In addition to depth, we also record the intensity that should be
displayed to show the object. Depth buffer is an extension of the frame buffer. Depth buffer
algorithm requires 2 arrays, intensity and depth each of which is indexed by pixel coordinates (x, y).

Algorithm

For all pixels on the screen, set depth [x, y] to 1.0 and intensity [x, y] to a background value.

For each polygon in the scene, find all pixels (x, y) that lie within the boundaries of a polygon when
projected onto the screen. For each of these pixels:
(a) Calculate the depth z of the polygon at (x, y)

b) If z < depth [x, y], this polygon is closer to the observer than others already recorded for this pixel.
In this case, set depth [x, y] to z and intensity [x, y] to a value corresponding to polygon's shading. If
instead z > depth [x, y], the polygon already recorded at (x, y) lies closer to the observer than does
this new polygon, and no action is taken.

3. After all, polygons have been processed; the intensity array will contain the solution.

4. The depth buffer algorithm illustrates several features common to all hidden surface algorithms.

5. First, it requires a representation of all opaque surface in scene polygon in this case.

6. These polygons may be faces of polyhedral recorded in the model of scene or may simply
represent thin opaque 'sheets' in the scene.

7. The IInd important feature of the algorithm is its use of a screen coordinate system. Before step 1,
all polygons in the scene are transformed into a screen coordinate system using matrix
multiplication.

Limitations of Depth Buffer

1. The depth buffer Algorithm is not always practical because of the enormous size of depth and
intensity arrays.

2. Generating an image with a raster of 500 x 500 pixels requires 2, 50,000 storage locations for each
array.

3. Even though the frame buffer may provide memory for intensity array, the depth array remains
large.

4. To reduce the amount of storage required, the image can be divided into many smaller images,
and the depth buffer algorithm is applied to each in turn.

5. For example, the original 500 x 500 faster can be divided into 100 rasters each 50 x 50 pixels.

6. Processing each small raster requires array of only 2500 elements, but execution time grows
because each polygon is processed many times

7. Subdivision of the screen does not always increase execution time instead it can help reduce the
work required to generate the image. This reduction arises because of coherence between small
regions of the screen

Q 3) Coach curve

What is Koch Curve?

The Koch snowflake (also known as the Koch curve, Koch star, or Koch island) is a mathematical
curve and one of the earliest fractal curves to have been described. It is based on the Koch curve,
which appeared in a 1904 paper titled “On a continuous curve without tangents, constructible from
elementary geometry” by the Swedish mathematician Helge von Koch.
The progression for the area of the snowflake converges to 8/5 times the area of the original
triangle, while the progression for the snowflake’s perimeter diverges to infinity. Consequently, the
snowflake has a finite area bounded by an infinitely long line.

Construction

Step1:

Draw an equilateral triangle. You can draw it with a compass or protractor, or just eyeball it if you
don’t want to spend too much time drawing the snowflake.

It’s best if the length of the sides are divisible by 3, because of the nature of this fractal. This will
become clear in the next few steps.

Step2:

Divide each side in three equal parts. This is why it is handy to have the sides divisible by three.
Step3 Draw an equilateral triangle on each middle part. Measure the length of the middle third to
know the length of the sides of these new triangles.

Step4:

Divide each outer side into thirds. You can see the 2nd generation of triangles covers a bit of the
first. These three line segments shouldn’t be parted in three.

Step5:

Draw an equilateral triangle on each middle part.

Note how you draw each next generation of parts that are one 3rd of the mast one.