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U završnom radu opisana je i detaljno objašnjena implementacija animacija u ozbiljnu igru za podizanje svijesti o poremećaju iz spektra autizma. Implementacija animacija grafičkih elemenata provedena je kako bi se povećala atraktivnost i uključenost korisnika ove ozbiljne igre te na taj način edukaciju korisnika o poremećaju iz spektra autizma učinila još zanimljivijom. U radu je opisano testiranje postojeće ozbiljne igre te oblikovanje animacija svakog scenarija. Ozbiljna igra razvijena je u razvojnom okruženju Unity, pa su u njemu implementirane i animacije. Detaljno je objašnjena implementacija animacija i opisani su koraci izrade pojedine animacije. Osim toga, opisano je postavljanje animacija u scenu i njihovo pokretanje u Unityju. This thesis describes and explains in detail the implementation of animations in a serious game to raise awareness of autism spectrum disorders. The implementation of animations of graphic elements was carried out to increase the attractiveness and involvement of users of this serious game and thus make the education of users about autism spectrum disorder even more interesting. The thesis describes testing the existing serious game and shaping animations of each scenario. The serious game was developed in the Unity development environment, so animations were also implemented in it. The implementation of animations is explained in detail and the steps of creating a particular animation are described. In addition, the placement of animations in the scene and their launch in Unity is described.

U ovom radu predstavljena je tehnika stop-animacije (eng. stop motion) i način na koji se može uključiti u projektnu nastavu. Animacija po svojoj prirodi i kao medij izražavanja zahtjeva projektno razmišljanje što je čini idealnim sredstvom za kompleksnije oblike nastave u ovom slučaju projektnom nastavom. U tradicionalnoj nastavi odnos učenika i učitelja jest da učenik vidi učitelja kao voditelja i organizatora, a učenik sebe kao pasivnog konzumenta i promatrača. Namjera ovog diplomskog istraživanja jest istražiti mogućnost promjene ovakvog odnosa u korist aktivnije uloge učenika u usvajanju novih vještina i učenju. Idealna metoda za to pronalazi se u projektnoj nastavi koja može učeniku dati veću kontrolu nad učenjem što donosi i veću odgovornost, ali i veću mogućnost individualnog rada. Projektna nastava neće učitelja postaviti u pasivni položaj. „Poznavajući sposobnosti učenika, sadržaje koji su usvojeni i temu koja je izabrana za projekt, nastavnik može odrediti gdje i kada je potrebna njegova direktna pomoć, a koje zadatke učenik doista može sam odraditi.“ (Cindrić, 2006, str. 38). Ono što uvelike pomaže uvođenju stop-animacije, ali i drugih oblika animacije u nastavu je činjenica da su djeca upoznata s medijem animacije i animiranim filmom u njihovoj svakodnevici kroz suvremene medije. Prema istraživanju Habib i Soliman (2015) većina djece dobi od 2 do 5 godina provede 3 ili više sati dnevno gledajući animirane filmove. U školi se pak susreću s pojmovima medijske kulture kao što su film, animirani film i kadar te razvijaju kreativnost i izradu objekata na nastavi likovne kulture (Nastavni plan i program, 2006). Također, ako uzmemo u obzir sve to uz činjenicu da u današnje vrijeme djeca puno ranije počinju koristiti tehnologiju, posebice mobilne uređaje i računala, dobivamo savršenu podlogu za upoznavanje sa stop-animacijom i izradom vlastitih animiranih filmova. This paper presents an animation technique called stop motion animation and the way it could be included in project-based learning. Animation, by its very nature as a medium, requires project-based thinking, which makes it an ideal tool for introducing more complex teaching methods, in this case project-based learning. Traditionally teachers are seen as leaders and organizers in the learning process, whilst students are passive consumers or observers of information. The goal of this thesis is to find ways of changing this type of teacher-student dynamic such that students assume a more active role in acquiring skills and learning. An ideal method of achieving that can be found in project-based learning, a type of learning that can offer students more control over their learning, as well as more responsibilities, and opportunities for individual work. In spite of that, project-based learning will not put teachers in a passive role, but rather give them a position of a moderator and a mentor. In understanding students' abilities, knowledge they have acquired and project topic, teachers can deteremine when and where they need to intervene, as well as which tasks can students complete on their own (Cindrić, 2006, str. 38). The main thing that aids the inclusion of stop-motion, as well as other various animation techniques, into the learning process is the fact that children are, from the earliest age, introduced to the medium of animation and animated film on a daily basis through current media. According to the research conducteb by Habib and Soliman (2015) most children 2 to 5 years of age spend 3 or more hours a day watching animated shows and films. Later in school they are introduced to the field of media culture and terms such as film, animated film and movie frame; they also have a chance to develop their creative thinking skills as well as their workmanship when it comes to making shapes, characters, etc. (Nastavni plan i program, 2006). If we take all that into consideration with the fact that nowadays children are introduced to and are able to use various technological devices, mainly mobile phones and computers, we can notice an incredible foundation for creating stop motion films.

Ovim završnim radom ću objasniti proces izrade 3D animacije u filmskoj industriji te više različitih procesa koji sudjeluju u izradi 3D animacije kao što je izrada scenarija, izrada 3D prostora, rekvizita, lika, tekstura i animacije te sam proces renderiranja (rendering) i uređivanja animacije. Osvrnut ću se na programsku podršku tj. programe korištene za izradu 3D animacije: Autodesk Maya, Autodeks Mudbox, ZBrush, Adobe Substance Painter i Adobe After Effects. Prikazat ću cijeli proces izrade animacije: scenarij, modeliranje, UV mapiranje, dodavanje teksture i rasvjete, montiranje lika tj. postavljanje kostiju, postavljanje kontrola za animaciju, proces animacije, renderiranje te kompozicija, VFX i zvukovi.

Završni rad je originalno autorsko djelo. Sama priča govori o tome kako Jack dobije moći od boga Persubusa na način da se slučajno kao dječak popikne i padne, nabadajući se na jednu od Persubusovih kosti, nakon čega odraste u laboratoriju gdje mu pomažu doktori da otkrije sam samoga sebe te kako kontrolirati svoju novu moć. Nakon par godina upoznaje se s Alice, koja mu je bila i ostala čuvarica. Na ovom dijelu priče postavljena je navedena uvodna špica. Kroz kreativni proces napravljeni su storyboardovi, animatici, dizajn likova, odabir pjesme, nakon čega je napravljena sama animacija. Kroz animaciju korištene su boje kao oblik medija, alat da prikaže kakvo je ponašanje nekog lika, koju on ulogu igra u priči itd. Ritam i kamera prikazuju kako se priča događa u samom serijalu. Postoje dijelovi koji su ozbiljniji i više fokusirani na jednog lika, a pojavljuje se također i odnos njih dvoje, njihov karakter, ili sami odnos između jednog i drugog. Cijela animacija osvještava da je u pitanju priča s akcijom, komedijom i dramom.

Predstava Močvarovci diplomski je rad koji je nastao u suradnji Kulturnog centra u Osijeku i studentice diplomskog studija lutkarske režije Ane Šantar s Akademije za umjetnost i kulturu u Osijeku, pod mentorstvom doc. art. Tamare Kučinović. U ovom pisanom radu objašnjava svoj dugi put od ideje lutkarske predstave za djecu do njene realizacije. Obrazlaže kako i što ju je privuklo ideji rada na dječjoj lutkarskoj predstavi. Opisuje proces rada na tekstu u suradnji sa spisateljicom Ivanom Klaić te rad u izradi scenografije i lutaka sa scenografkinjom i lutkarskom tehnologinjom Sarom Baričević. Put do ostvarenja suradnje s kulturnom ustanovom, nastanak glazbe s glazbenikom Ervinom Lustigom i proces rada s glumcima i lutkarima Reom Kamenski-Bačun, Anom Cmrečnjak, Tonijem Leakovićem i Nikolom Radošem. Problemi s kojima se susrela na putu često su povezani latinskom izrekom: Trnovit je put do zvijezda, nazivajući probleme trnjem, a zvijezde gotovi produkt predstave. Zaključuje rad pozitivnim stavom, ustrajna u poboljšanju sebe kao osobe, svojih sposobnosti i nadom na bolju budućnost rada u kazalištima, rada sa suradnicima i svijeta oko nje. Theater play Močvarovci is a master thesis work made in collaboration with Kulturni centar Osijek and student of puppet directing course Ana Šantar from Academy of arts and culture in Osijek, under mentorship of Assistant Professor Art. Tamara Kučinović. In this written work the student explains her long road begining with the idea of the puppet play for children all the way to its showing. It explains how and what drew her to the idea of working on a children's puppet play, and how the text was made in collaboration with author Ivana Klaić and making of scenography and puppets with scenographer i puppet technician Sara Baričević. It details the collaboration with the Cultural institution, making of the soundtrack with musician Ervin Lustig and the process of working with actors and puppeteers Rea Kamenski-Bačun, Ana Cmrečnjak, Toni Leaković and Nikola Radoš. The troubles she faced in the process of making the play can be tied to the latin phrase Per aspera ad astra (Through hardships to the stars), the troubles are considered as hardships and the stars would be the final product (play). The work concludes with positive attitude, endurance to make herself a better person, further develop her abilities and with a look and hope for better future in working in the theater, with other coworkers and the world around her.

Predstava „Olovni vojnik“ JU Pozorišta mladih Sarajevo u Sarajevu diplomska je predstava studenta Marija Drmaća na Diplomskom studiju lutkarske režije pod mentorstvom doc. art. Tamare Kučinović. U predstavi igraju Mirza Dervišić, Ajla Cabrera, Elma Ahmetović, Belma Lizde-Kurt, Sanin Milavić, Alma Merunka, Anita Kajasa-Memović te Dino Sarija. U ovom pismenom radu student opisuje proces rada na predstavi, fokusirajući se na posao redatelja, koji je ujedno i autor adaptacije zajedno s dramaturginjom Džejnom Hodžić, nastale prema motivima bajke „Hrabri olovni vojnik“ H. C. Andersena. Opisuje način odabira suradnika i rad sa svakim od njih (dramaturgom, kreatorom lutaka i tehnologom, scenografom, glazbenikom i glumcima). Vraća nas u svoje najranije djetinjstvo i upoznaje sa svojim prvim kazališnim iskustvima, s odlaskom iz rodnog grada Mostara na studij glume pri Akademiji scenskih umjetnosti u Sarajevu, sa svojom stalnom borbom za održivost lutkarske scene koja se sustavno zapušta, kao i s odlukom da upiše studij Lutkarske režije u Osijeku. Zaključuje kako je za redateljski posao, kao i za svaki drugi posao umjetnika, potrebna vjera i borba s vječitim promjenama u zemlji. Jedino ustrajnom borbom, voljom, strpljenjem i učenjem dolazimo do svojega cilja. The theater play “Tin Soldier” of the Youth Theater of Sarajevo in Sarajevo is the graduation performance of student Mario Drmać at the graduate study of Puppetry directing under the mentorship of Assistant Professor Art. Tamara Kučinović. Actors in the play are Mirza Dervišić, Ajla Cabrera, Elma Ahmetović, Belma Lizde-Kurt, Sanin Milavić, Alma Merunka, Anita Kajasa- Memović and Dino Sarija. In this written work, the student describes the process of working on the play based on the work of the director who is also the author of the adaptation, together with playwright Džejna Hodžić, based on the fairy tale “The Brave Tin Soldier” by H. C. Andersen. He describes the method of selecting collaborators and working with each of them (playwright, puppet maker and technologist, scenographer, musician and actors). He takes us back to his earliest childhood and introduces us to his first encounters with the theater, his departure from his hometown of Mostar to the study of acting at the Academy of Performing Arts in Sarajevo, and his constant struggle for the sustainability of the neglected puppetry scene, as well as his decision to enrol in Puppetry directing studies in Osijek. He concludes that the director's job, as for all other artists' work, requires faith and struggle with eternal changes in the country. Only through persistent struggle, will, patience and learning can we reach our goal.

Pojava animiranog filma u svijetu imala je značajan utjecaj na kulturu ljudi i njihov stil života. Jedno od istaknutih imena u svijetu animacije zasigurno je Walt Disney koji je imao snažan utjecaj na radove ostalih autora i izvan granica Sjedinjenih Američkih Država. Njegovo plodonosno stvaralaštvo obogatilo je animirani film zauvijek, a njegovi filmovi gledaju se i danas. Mnogi animatori počeli su slijediti njegov primjer, ali s godinama većina teži svojoj autentičnosti i istaknutom stilu. Hrvatska nije zaostajala za ostalim zemljama jer već u dvadesetim godinama prošlog stoljeća nastaju prva dva animirana filma u hrvatskoj produkciji. U pedesetim godinama 20. stoljeća dolazi do procvata animacije u Hrvatskoj. Pojavljuje se izraz Zagrebačka škola crtanog filma. Pedesete i šezdesete godine smatraju se najplodnijim razdobljem za animaciju jer u tom razdoblju Hrvatska postaje bogatija za mnoštvo animiranih filmova i izvanrednih autora, od crtača i scenografa do redatelja. Dušan Vukotić, Vatroslav Mimica, Nikola Kostelac, Boris Kolar, Vladimir Kristl, Zlatko Bourek, Zlatko Grgić, Nedjeljko Dragić te Pavao Štalter, samo su neki od nevjerojatnih animatora koji su ostavili neizbrisiv trag u hrvatskoj kinematografiji i čija se djela i danas spominju. Djelovanje Zagrebačke škole crtanog filma i radove spomenutih autora prepoznaje struka u Hrvatskoj, ali i u svijetu. Animirani film tako se, osim brojnim nagradama i priznanjima, kao na primjer nagradom „Oscar“ te nagradama na brojnim festivalima, može pohvaliti i ogromnim publicitetom. Međutim, u sedamdesetim godinama dolazi do stagnacije u kreativnosti autora. Animirani film u Hrvatskoj suočava se i s odlaskom autora u inozemstvo, dok se nekolicina odlučuje okušati u svijetu igranog filma. Dodatan udarac animaciji zadala je i financijska kriza u osamdesetim i devedesetim godinama, a u vrijeme ratnih zbivanja proizvodnja animiranih filmova se zaustavlja. Završetkom rata nastavlja se izrada animiranih filmova te se pojavljuju nove generacije autora. Cilj rada jest prikazati razvoj animiranog filma u Hrvatskoj, najznačajnije autore i njihove animirane filmove. The appearance of animated films in the world had a significant impact on people's culture and lifestyle. One of the prominent names in the world of animation is certainly Walt Disney, who had a strong influence on the works of other authors even outside the borders of the United States of America. His fruitful work has enriched the animated film forever, and his films are still watched today. Many animators began to follow his example, but over the years, most strive for their authenticity and distinctive style. Croatia did not lag behind the other countries because, already in the twenties of the last century, the first two animated films produced in Croatia were made. In the fifties of the 20th century, animation flourished in Croatia. The term "Zagreb Cartoon School" appears. The 1950s and 1960s are considered the most fruitful period for animation, because in that period Croatia became richer for many animated films and outstanding authors, from cartoonists, scenographers to directors. Dušan Vukotić, Vatroslav Mimica, Nikola Kostelac, Boris Kolar, Vladimir Kristl, Zlatko Bourek, Zlatko Grgić, Nedjeljko Dragić, Pavao Štalter are just some of the amazing animators who left an indelible mark on Croatian cinematography and whose works are still mentioned today. The work of the "Zagreb Cartoon School" and the works of the aforementioned authors are recognized by the profession in Croatia as well as in the world. In addition to numerous awards and recognitions, such as the "Oscar" award, awards at numerous festivals, the animated film can also boast of enormous publicity. However, in the seventies there was a stagnation in the author's creativity. Animated films in Croatia are also faced with the departure of authors abroad, while a few decide to try their hand at the world of feature films. The financial crisis in the 1980s and 1990s dealt an additional blow to animation, and during the war, the production of animated films stopped. With the end of the war, the production of animated films continues and new generations of authors appear. The aim of the paper is to show the development of animated film in Croatia, the most important authors and their animated films.

U radu će biti obrađena tema pokretne grafike te će biti opisano i istraženo trenutno stanje pokretne grafike na televiziji u svijetu i u Hrvatskoj. Na kraju će biti napravljena pokretna grafika za otvaranje nove studentske televizije Sveučilišta Sjever. Vizualni identitet je skup svih simbola, tipografije, znakova i boja neke tvrtke, primjerice televizije, a označava ono prema čemu se ta tvrtka prepoznaje te kako se prikazuje na tržištu. U to je uključena i animacija grafike, pošto je gotovo svaki logotip koji je napravljen i animiran, pogotovo kod televizije gdje animacije logotipa najbolje dolaze do izražaja, jer se te animacije koriste i kao break bumperi. Prilikom izrade animacija, animator će se služiti vizualnim identitetom Studentske televizije Sveučilišta Sjever te će one biti korištene na novootvorenoj studentskoj televiziji Sjever. Glavni cilj završnog rada je predstaviti pokretnu grafiku budućim studentima te svima koji su zainteresirani za pokretnu grafiku i animacije. The paper will deal with the topic of motion graphics and will describe and investigate the current state of motion graphics on television in the world and in Croatia. At the end, motion graphics will be made for the opening of the new student television of the University North. Visual identity is a set of all symbols, typography, signs and colors of a company, i.e. television, and it signifies what the company is recognized by and how it is presented on the market. Graphics animation is also included in this, since almost every logo produced is also animated, especially in television where logo animations are represented at their best because they are also used as break bumpers. When creating animations, the animator will use the visual identity of the Student Television of the University North, and the animations will be used on the newly-opened Student Television North. The main goal of the final thesis is to present motion graphics to future students and everyone who is interested in motion graphics and animations.

U radu je na temelju dostupne literature predstavljen povijesni razvoj animacije u SAD-u i Sovjetskom Savezu, te razlike između dvije velike industrije animacije koje su u ovim državama nastale i to što ih je uvjetovalo. Rad prati evoluciju animacije od njenih najranijih dana, prije nego li je film kao medij uopće postojao pa sve do pojave prvih velikih imena u animaciji koji su svojim inovativnim pristupom i kreativnom uporabom animacijskih tehnika popularizirali ovaj mediji i probili led za cijelu umjetničku formu. Poseban fokus pridan je Walt Disneyu, čovjeku koji je svojom radnom filozofijom i umjetničkom vizijom oblikovao svijet moderne američke animacije, ali i standard za ono što se od animacije očekuje na svjetskoj razini, te je stvorio likove koji su toliko prepoznatljivi da svaka živuća generacija može reći da je uz njih odrasla. Što objektivnije sam se pokušala kritički osvrnuti na različite konvencije i socio-političke prilike SAD-a i Sovjetskog Saveza te ono što je sovjetsku animaciju činilo svojevrsnom antitezom američkoj, obje toliko različite po političkoj svrsi i estetskom senzibilitetu, no također se spominju i njihove ponekad iznenađujuće dodirne točke. Obrađene su teme razvoja televizije i naglih društvenih promjena u 20. stoljeću, te kako je to oblikovalo stilove brojnih animatora i tematike kojima su se u svojim animiranim filmovima bavili. Naravno, ovako bogatu povijest nije moguće odviše detaljno obraditi u formatu završnog rada, pa sam fokus zadržala na najbitnijim ličnostima svijeta animacije i njihovim stilskim doprinosima jednoj ovako opsežnoj i kompleksnoj grani umjetnosti. In this thesis, with the help of available literature, the historical development of animation in the US and the SSSR is presented, along with the differences between animation industries that came to be in these two countries and everything that laid ground for them. The work traces the evolution of animation from its earliest days, before film as a medium even existed until the appearance of the first big names in animation who, with their innovative approach and creative use of animation techniques, popularized this medium and broke the ice for the entire art form. A special focus is given to Walt Disney, the man who, with his work philosophy and artistic vision, shaped the world of modern American animation, as well as the standard for what is expected of animation at the level of the whole globe, and created characters that are so recognizable that every living generation can say that they grew up with them. As objectively as possible, I tried to look critically at the various conventions and socio-political circumstances of the USA and the Soviet Union, and what made Soviet animation a kind of antithesis to American animation, both so different in terms of political purpose and aesthetic sensibility, but also mention their sometimes surprising common points. The topics of the development of television and sudden social changes in the 20th century were covered, and how this shaped the styles of numerous animators and the topics they dealt with in their animated films. Of course, it is not possible to cover such a rich history in too much detail in the format of the final paper, so I kept the focus on the most important creators in the world of animation and their stylistic contributions to such an extensive and complex branch of art.

Rad na ulozi Petra u predstavi Neobičan prijatelj naslov je diplomskog rada Tonija Leakovića pod mentorstvom izv.prof.artD. Maje Lučić i sumentorstvomumj. sur. Petra Eldana na Akademiji za umjetnost i kulturu, na odsjeku za kazališnu umjetnost, smjer gluma i lutkarstvo. Predstava je nastala u produkciji Hrvatskog kazališta Pečuh, režiji Maje Lučić i premijerno je izvedena 7. travnja 2022. godine. U ovom pismenom radu student opisuje proces rada na predstavi, s naglaskom na stavak Rad na ulozi Petra u kojemu analizira svoj rad na ulozi i objašnjava svoje procese i razmišljanja. U ostalim stavcima obuhvaćeni su podatci o autoru i tekstu, te o vanjskim elementima predstave; scenografiji te stolnim lutkama. Na kraju rada nalazi se životopis studenta. “Work on the role of Petar in the play Neobičan prijatelj“ is the tittle of the graduation thesis of Toni Leaković under the mentorship of Associate Professor of Arts, Dr. Maja Lučić and the co-mentorship of artistic collaborator Petar Eldan at the Academy of arts and culture in the acting and puppetry section of the department of theatre arts. The play was produced by the Croatian theatre in Pecs, directed by Maja Lučić and premiered on the 7th of April 2022. In this written thesis the student describes the process of working on the play with an emphasis on the paragraph „Rad na ulozi Petra“ in which he analyses and explains his work on the role and the process of it's creation. In the remaining paragraphs he goes over information on the author and the text and on the external elements of the play; the stage props and table puppets. At the end of the thesis is the biography of the student.

Cilj izrade ovog rada bio je pretvoriti 2D digitalni rad u 3D digitalnu scenu. Prilikom izrade svaki element iz 2D rada pretvoren je u element u 3D sceni, za što su korišteni različiti programi. Za modeliranje pojedinih elemenata korištena su znanja stečena na fakultetu, zajedno sa primjenom tekstura i materijala. Za izradu modela korišten je Blender, dok je scena napravljena u Unreal Engine 4. Pri izradi scene student proširuje znanja o korištenju potrebnog programa i tako razvija nove sposobnosti tijekom ostvarivanja cilja. Osim navedena dva programa, korišten je i Adobe Photoshop za potrebe izrade tekstura i materijala. Svaki korak izrade scene naveden je u ovome radu kao i rezultati, odnosno kadrovi, svake animacije. Jednom napravljena scena imala je brojne mogućnosti za animiranje pa su tako odabrane četiri animacije koje su, jednom izrađene, spojene u jednu. Uz animaciju izrađeni su također i pojedini kadrovi iz raznih kuteva kako bi se vidio gotovi rezultat scene. The goal of the paper was to turn a 2D digital artwork into a 3D digital scene. During production, every element from the 2D artwork was converted into an element in the 3D scene, for which different programs were used. Knowledge acquired at the university was used to model individual elements, together with the application of textures and materials. Blender was used to create the models, while the scene was created in Unreal Engine 4. When creating the scene, the student expands their knowledge of the use of the necessary program and thus develops new abilities while achieving the goal. Next to the two programs already mentioned, Adobe Photoshop was used for creating textures and materials. Every step of the production of the scene is described in the paper, as are the results or frames of every animation. Once created, the scene had numerous possibilities of animation, therefore four animations were chosen that, once made, combined into one. Alongside the animation, individual frames from various angles were made as well, so that the finished product of the digital scene is visible.

U ovom radu opisana je implementacija sustava za animaciju ljudskih likova po preprekama. Opisuje se izgradnja putanje po kojoj se kreće ljudski lik ovisno o pozicijama prepreka i njeno sastavljanje iz manjih podkrivulja, korištenje inverzne kinematike kako bi se postiglo poziranje udova te ulančavanje osnovnih pokreta ovisno kontekstu kako bi se proizvela sveukupna animacija. Na kraju se rezultati sustava za animaciju uspoređuju s video zapisom gibanja po preprekama te se ustanovljuje da sustav daje uvjerljive rezultate u usporedbi sa stvarnom osobom. This work describes the implementation of a system for animating the motion of humanoid characters over obstacles. It describes the generation of a trajectory along which the humanoid character moves depending on the position of obstacles and its assembly from smaller subcurves, the usage of inverse kinematics to achieve limb posing, and the chaining together of multiple basic movements to form a complete animation. Finally, the results of the animation system are compared to video footage of movement over obstacles and it is concluded that the system produces convincing results compared to real human motion.

Tema ovoga rada je jesu li Oddbodsi primjeren animirani film za djecu. U radu je spomenut film, njegovi rodovi, što je animirani film, njegove vrste te što je animacija. Također je spomenuta i povijest animiranog filma u hrvatskoj te što su zapravo Oddbodsi i što oni poručuju. Danas je film samo jedno od sredstava priopćavanja, a glavno obilježje svakog filma je slika pokreta. Animirani film je film u kojem se pojedinačne slike, crteži ili ilustracije fotografiraju kadar po kadar. Glavni element animiranog filma je animacija. Animacija je slika u pokretu, oživljavanje neživoga. Animaciju susrećemo svuda oko nas. Animirani filmovi su često namijenjeni mlađoj publici, odnosno djeci vrtićke i predškolske dobi. Djeca se, gledajući animirane filmove, susreću sa raznim situacijama kroz koje pojedini likovi prolaze te na koji način ih oni rješavaju. U mnogo situacija likovi koriste opasne predmete kako bi savladali druge likove ili se koriste tučom, šamaranjem i sl. Jedan od animiranih filmova, u kojem se služe raznim prethodno spomenutim predmetima i fizičkim načinima, je animirani film Oddbods. U ovom radu je provedeno istraživanje, u kojem se ispitala primjerenost, odnosno neprimjerenost animiranog filma Oddbodsi na djecu, upućenost roditelja i odgojitelja na opasne scene iz animiranih filmova, te utječu li animirani filmovi na ponašanje djece. Anketiranjem 20 roditelja i 20 odgojitelja vidjelo se kako su upoznati sa animiranim filmom Oddbods, smatraju da nije primjeren za djecu te da ne može biti koristan djeci. Svjesni su nasilnih scena iz animiranih filmova, te djeca u velikom broju oponašaju svoje najdraže likove. Are Oddbods a suitable animated movie for kids is the theme of this final work. Movie, its genres, its types, what is animated movie and what is animation is mentioned in this work. Also the history of animated movie in Croatia, what Oddbods really are and what are they saying is mentioned. Today, movie is one of the means of communication and the main feature of each movie is movement image. Animated movie is a movie in which individual images, drawings or illustrations are made photographing frame by frame. The main element of animated movie is animation. Animation is an motion image or a revival of the inanimate. We find animation all around us. Animated movies are often intended for younger audiences, ie kindergarten children and children of preschool age. Watching animated movies, children meet with various situations through which individual characters go and the way how are they solving them. In many situations characters use dangerous objects to overpower other characters or they fight, slap and etc. One of the animated movies in which are used various previously mentioned objects and physical methods is the animated movie The Oddbods. In this work, research was conducted. Research includes appropriateness or inappropriateness of animated movie Oddbods on children, parental and kindergarten educators awareness of dangerous scenes from animated movies and does animated movies make an affect on children's behavior. Result of surveying 20 parents and 20 kindergarten educators is that they are familiar with animated movie Oddbods and they consider that it is not suitable for children and it can't be useful for them. They are aware of the violent scenes from animated movies and most of the imitate they favorite characters.

U ovom radu opisan je osnovni način simulacije kretanja četveronožnog modela. Predstavljene su životinje koje pripadaju toj skupini i načini gibanja takvih životinja. Animacije su ostvarene u alatu Blender nakon čega su izvezene u alat Unreal Engine unutar kojeg su namješteni prijelazi između animacija i općenito gibanje objekata po sceni. Uzeta su dva primjera četveronožnih životinja: vuk i žirafa, te su nad njihovim modelima testirane animacije. This paper summarizes basic approach to simulation of a four-legged model movement. Animals that belong to that group, as well as their ways of movement, are presented. The animations were made in Blender and imported in Unreal Engine tool, within which the transitions between separate animations and general behavior of models were set. Two examples of four-legged animals were taken: the wolf and the giraffe, and animations were tested over their models.

Predstava Neobičan prijatelj Hrvatskog kazališta u Pečuhu u Mađarskoj diplomska je predstava studentice Maje Lučić na Diplomskom studiju lutkarske režije pod mentorstvom doc. art. Tamare Kučinović. Predstava je ujedno i diplomski ispit studentima Toniju Leakoviću i Andriji Krištofu na Diplomskom studiju lutkarske animacije. U predstavi još sudjeluju Matea Bublić, Selena Andrić i Nikola Radoš. U ovom pismenom radu studentica opisuje proces rada na predstavi bazirajući se na posao redatelja koji je ujedno i autor teksta. Opisuje način odabira suradnika i rad sa svakim od njih (tehnologom, scenografom, glazbenikom, glumcima). Cijeli proces definira kao spoznaju kako je svjesna da ništa ne zna i da je redateljsko zanimanje jedno nesigurno putovanje koje ponekad djeluje kao utapanje, ponekad kao ronjenje, a ponekad kao plivanje. Zaključuje kako je za redateljski posao, kao i za svaki drugi posao umjetnika, potrebna ljubav i ustrajnost, prihvaćanje nesigurnosti i činjenice da učenje nikad ne prestaje i da je potrebno pronaći vlastiti put. The play An Unusual Friend performed by the Croatian Theatre in Pécs, Hungary is a graduation play created by student Maja Lučić for her Graduate University Study of Puppetry Directing under the mentorship of Tamara Kučinović, D.A. The play is at the same time a graduation exam for students Toni Leaković and Andrija Krištof for their Graduate University Study of Puppet Animation. Taking part in the play are also Matea Bublić, Selena Andrić and Nikola Radoš. In this paper, the student depicts the process of working on a play whilst focusing on director’s work who is simultaneously the author of the text. It describes the means of selecting collaborators as well as the working process with each of them (technologist, set designer, musician, actors). The author defines the whole process as a realization of her being aware that she knows nothing and that directing is an unpredictable journey that sometimes may feel like drowning, sometimes like diving, and other times like swimming. She concludes that directing, as any other job an artist may undertake, requires love and perseverance, accepting insecurities and the fact that learning never stops, and that it is essential to find one's own way.

U sklopu ovog rada implementiran je sustav za izradu i prilagodbu predložaka kratkih animacija za oglašavanje. Sustav koriste korisnici podijeljeni u 3 uloge. Korisnici s ulogom dizajnera koriste Figmu kako bi dizajnirali video predloške koje izvoze koristeći razvijeni Figma priključak. Korisnici s ulogom oglašivača koriste mobilnu aplikaciju razvijenu koristeći Appleove knjižnice Core Animation i AVFoundation. Mobilna aplikacija služi za odabir i prilagodbu video predložaka. Također, mobilna aplikacija sadrži servis koji na temelju video predloška i odabranih materijala prilagodbe renderira videozapis. Korisnici s ulogom administratora koriste web aplikaciju razvijenu pomoću Nuxt.js-a kako bi upravljali postojećim video predlošcima. As part of this work, a system for creating and adapting short animation templates for advertising has been implemented. The system is used by users divided into 3 roles. Designer users use Figma to design video templates that they export using the developed Figma plugin. Advertiser users use a mobile application developed using Apple's Core Animation and AVFoundation libraries. The mobile application is used to select and customize video templates. Also, the mobile application includes a service that renders the video based on the video template and selected customization materials. Administrators use a web application developed with Nuxt.js to manage existing video templates.

U ovom radu opisana je ideja i implementacija vremenskog dijagrama stanja sabirnica, kao nadogradnja postojećeg simulatora modelacijskog jezika COMDEL2 u sklopu programskog sustava SSPARCSS. Prikaz stanja sabirnica iznimno je bitan za praćenje komunikacije između simuliranih računalnih komponenti, ali i za ispravljanje grešaka u modelu. U radu su redom navedeni i objašnjeni svi programski objekti pomoću kojih je izvedena detekcija i pohranjivanje promjena stanja sabirnica te prikaz tih promjena unutar grafičkog sučelja, u korelaciji s procesom za uzorkovanje. Poseban je naglasak stavljen na sinkronizaciju simulacije i prikaza te na algoritam animacije u vremenskom dijagramu. This paper describes the idea and implementation of the bus time diagram display as part of an upgrade of the existing simulator for COMDEL2 modeling language within SSPARCSS software system. Bus state display is extremely important for monitoring communication between the simulated computer components, but also for model debugging. This paper explains all programming objects necessary for performing detection and memorization of bus state changes, as well as for displaying those changes within the graphical interface, in correlation with the sampling process. Special emphasis is placed on synchronizing the simulation and display processes and on the time diagram animation algorithm.

Turizam je u svom razvoju prošao kroz nekoliko transformacija. Danas je jasno kako se više ne razvija na „3S“ ponudi koja se bazira na suncu, moru i pijesku. Turisti su znatno zahtjevniji, traže sadržajniji boravak, čitavo iskustvo i niz faktora koji će njihov boravak u nekom mjestu učinit prilagođenim upravo njima. U ovom procesu, od izuzetne je važnosti turistička animacija kao dodana vrijednost na osnovne parametre turističke ponude. Postoji nekoliko grana turističke animacije, a u ovom radu fokus je na sportskoj animaciji i njezinoj ulozi u razvoju turističke ponude. Animatori su nositelji ovih aktivnosti i u neposrednom su kontaktu sa turistima te je nužno da posjeduju određena znanja, vještine i osobine koje će im omogućiti da na najbolji način obavljaju svoj posao, te će se detaljnije objasniti koje su to osobine i karakteristike. Tourism has undergone several transformations in its development. Today, it is clear that it is no longer developing on the "3S" offer, which is based on the sun, sea and sand. Tourists are much more demanding, looking for a more meaningful stay, the whole experience and a number of factors that will make their stay in a place tailored to them. In this process, tourist animation is extremely important as an added value to the basic parameters of the tourism offer. There are several branches of tourist animation, and in this paper the focus is on sports animation and its role in the development of the tourist offer. Anitators are the bearers of these activities and are in direct contact with tourists and it is necessary that they possess certain knowledge, skills and characteristics that will enable them to do their job in the best way, and will explain in more detail what these characteristics.

Tema ovog završnog rada je djelo nastalo kao rezultat prvog zadatka s ovogodišnjeg kolegija Slikarstva. Studenti su pri dodjeli zadatka koji je imao naslov “Interpretacija” metodom slučajnog odabira, “na izvlačenje”, dobili po tri umjetnika kao predložak za navedenu temu. Umjetnik i djelo na koje je stavljen fokus u ovdje priloženom radu je slika Gozba u kući Levi (1573, ulje na platnu, 560 x 1309 cm) Paola Veronesea (1528-1588). Rad znamenitog slikara tzv. Venecijanske škole je monumentalan u svom značaju i majstorski napravljen. Stilski se ova slika smješta u razdoblje renesanse (14. - 16.st.) koje odlikuje preporod antike, humanizam i brojne novosti u procesu slikarstva. To je ujedno razdoblje koje se smatra početkom modernog doba. Spomenuta slika je dupkom popunjena ljudima. Ono što je autoricu ovog završnog rada oduševilo kod prikazanih ljudi nisu bili njihovi raskošni kostimi ili bogat kolorit, već sama njihova 'ljudskost', odnosno dojam da svatko od njih postoji/postojao je i ima/imao je svoj život izvan te slike i tog trenutka. Namjera je bila u interpretaciji Veroneseove slike interpretativnu verziju napraviti tako da se dojam mase likova pojača i da ih se prikaže, ne kao nedohvatljive i svete, kao pripadnike daleke prošle generacije, već kao suvremene osobe slične nama. Razmišljanja u tom smjeru vodila su do ideje animacije i plesnog ‘partija’, nečega bliskog današnjici, što likovima udahnjuje još jedan život i na zabavan način reinterpretira biblijsku temu kako je ona viđena u 16. stoljeću kod Veronesea. The topic of this final paper is a work created as a result of this year’s Painting course first assignment. This task (under the name Interpretation) was assigned randomly. Each student got three influential artists as a starting point. The artist and his work which this paper primarily focuses on is Paolo Veronese (1528-1588) and his painting The Feast in the House of Levi (1573, oil on canvas, 560 x 1309 cm). This painting, made by famed Venetian school artist, is monumental in its importance and masterfully done. Stylisticaly, this work firmly belongs to the Renaissance period (14th - 16th century), an era characterized by the revival of antiquity, humanism and numerous innovations in the field of painting. It is also a period considered to be the beginning of the modern age. Aforementioned painting is „filled“ with people to the brim. What delighted the author of this final paper were not the rich colours or lavish garments, but rather mere ‘humanity’ of the painted characters, and the notion that each one of them exists/existed and has/had a life outside of this picture and this moment. The intention behind interpreting Veronese’s painting was to make a new rendition of it in such a way that it enhances the feeling of characters' multitude and presents them not as inaccessible and sacred, as members of the distant past generation, but as contemporary people similar to us. Pondering in that vein led to the idea of animation and a modern dance party, something present today, granting another life to these characters and reinterpreting, in an entertaining way, the bibilical theme as seen in the 16th century by Veronese.

Video prikazuje halucinacije uzrokovane visokom temperaturom iz djetinjstva. Namjera rada je prikazati ideju uobličenih mentalnih doživljaja karakteriziranih elementima poput linija, krugova i točaka; formama u ne-narativnom animiranom videu koje svojim pokretima predočavaju doživljaje mirnoće, kaosa ili nelagode, to jest elemente vlastitog mentalnog krajolika stvorenih u polu-svjesnom stanju. Video shows hallucinations caused by fever in childhood. Intent of this work is to show an idea of mental experiences characterized by elements such as lines, circles and dots; forms in non-narrative animated video which, with their movement, present sensations of calm, chaos or discomfort, that is elements of personal mental landscape created in semi-conscious state.

Ovaj rad bit će posvećen zvuku za animaciju. Govorit će o nastanku samoga zvuka, koje sve vrste zvuka postoje, kada i kako je postao iznimno važan dio animiranog filma te kakvu zapravo ulogu ima u istome. Ukratko će se opisati i oprema tijekom povijest koja se koristila za snimanje zvukova i njihovu obradu. Pristup temi temeljit će se uglavnom na teoretskom znanju rada na animiranome filmu i praktičnom dijelu koji će se baviti cjelokupnim procesom produkcije zvuka i njegovom prilagodbom animaciji. animirani film, zvuk, proces, oblikovanje, produkcija, animacija

Turizam je u svom razvoju prošao kroz nekoliko transformacija. Danas je jasno kako se više ne razvija na „3S“ ponudi koja se bazira na suncu, moru i pijesku. Turisti su znatno zahtjevniji, traže sadržajniji boravak, čitavo iskustvo i niz faktora koji će njihov boravak u nekom mjestu učinit prilagođenim upravo njima. U ovom procesu, od izuzetne je važnosti turistička animacija kao dodana vrijednost na osnovne parametre turističke ponude. Postoji nekoliko grana turističke animacije, a u ovom radu fokus je na sportskoj animaciji i njezinoj ulozi u razvoju turističke ponude. Animatori su nositelji ovih aktivnosti i u neposrednom su kontaktu sa turistima te je nužno da posjeduju određena znanja, vještine i osobine koje će im omogućiti da na najbolji način obavljaju svoj posao, te će se detaljnije objasniti koje su to osobine i karakteristike. Tourism has undergone several transformations in its development. Today, it is clear that it is no longer developing on the "3S" offer, which is based on the sun, sea and sand. Tourists are much more demanding, looking for a more meaningful stay, the whole experience and a number of factors that will make their stay in a place tailored to them. In this process, tourist animation is extremely important as an added value to the basic parameters of the tourism offer. There are several branches of tourist animation, and in this paper the focus is on sports animation and its role in the development of the tourist offer. Anitators are the bearers of these activities and are in direct contact with tourists and it is necessary that they possess certain knowledge, skills and characteristics that will enable them to do their job in the best way, and will explain in more detail what these characteristics.

U ovom radu proučava se jedan od načina animacije slike lica. Animacija slike lica u ovom radu uključuje animiranje lica s neke proizvoljne slike, bez ikakvih dodatnih informacija (npr., dodatne slike ili videa) o osobi sa slike. Ipak, postoje neka ograničenja kao što su zahtjev da na slici bude lice s neutralnim izrazom, kao i da lice bude fotografirano odnaprijed. Naravno, i uz ova ograničenja, izrađena aplikacija imat će probleme, pa se u radu ukratko osvrće na to, na rješenja tih problema, kao i na moguća poboljšanja aplikacije. In this paper, one of the ways of facial image animation is studied. Facial image animation in this paper includes animating a face from some arbitrary image, without any additional information (e.g., additional images or videos) of the person in the image. However, there are some limitations, such as the requirement for the face in the image to have a neutral expression, as well as for the image to show the front of the face. Of course, even with these limitations, the developed application will have its problems, so the paper briefly looks at them, the solutions to these problems, as well as possible improvements to the application.

U ovom diplomskom radu opisuje se kako radi jednostavan sustav animacije čovjeka. Opisane su pomoćne strukture podataka pri izradi sustava animacije i procesi koji se odvijaju tijekom prikazivanja animacije. Opisan je postupak VIBE za prepoznavanje poze čovjeka iz videozapisa. Objašnjen je postupak učenja sustava VIBE i prikazani su rezultati tog sustava. Rezultat rada je funkcionalan sustav animacije izrad̄en u OpenGL-u koristeći programski jezik C++. Korisnik može tipkovnicom mijenjati animaciju koja se prikazuje i podešavati vrijeme prijelaza izmed̄u jedne animacije u drugu. Takod̄er, rezultat rada je i funkcionalan sustav VIBE koji se može koristiti na proizvoljnom videozapisu za prepoznavanje poze čovjeka. This thesis describes simple animation system. Supporting data structures and processes of animation system are described. System for human body pose estimation VIBE is described. It is described how to train VIBE. Results of VIBE are shown. Resulting work is functional animation system created using OpenGL and C++ programming language. User can choose which animation is shown and change fade time between animations. Resulting works is also functional VIBE system which can be used on arbitrary video for human body pose estimation.

Informacijsko-komunikacijske tehnologije (ICT) transformirale su turizam na globalnoj razini mijenjajući strukturu industrije i razvijanjem cijelog niza prilika i prijetnji. Stoga funkciju tehnologije treba promatrati kao glavni izvor inovacije, strateške diferencijacije i konkurentske prednosti pri uspješnom zajedničkom stvaranju iskustva u budućnosti. Specijalizacija i novi koncepti hotelskog smještaja naglašavaju važnost inovacija u hotelskoj ponudi, novim uslugama i novim turističkim sadržajima. Tržišna specijalizacija hotela i temelj same specijalizacije hotela za posebne tržišne segmente su posebni standardi koji su uvjetovani i određeni institucionalnim okvirom za standardizaciju i specijalizaciju u hotelijerstvu. Značajna je i animacijska djelatnost koja obavlja jednu od glavnih funkcija turističke industrije, povećanje užitka i zabave za vrijeme odmora. Srž animacijskih programa je igra koja je relevantna i zahtjevna u svim dobnim razdobljima, vrlo je aktualna ideja integracije igra, tehnologija ICT-a i učenja djece kroz animaciju. Iako su sve te inovacije primjenjive za animaciju i zabavu djece naročito u sklopu boravka u hotelima za obitelj, istovremeno je to vrlo kompleksno za samu izvedbu i primjenu. Information and communication technologies (ICT) have transformed tourism globally by changing the structure of the industry and developing a whole range of opportunities and threats. Therefore, the function of technology should be viewed as the main source of innovation, strategic differentiation and competitive advantage in the successful joint creation of experience in the future. Specialization and new concepts of hotel accommodation emphasize the importance of innovations in the hotel offer, new services and new tourist facilities. The market specialization of hotels and the basis of the very specialization of hotels for special market segments are special standards that are conditioned and determined by the institutional framework for standardization and specialization in the hotel industry. There is also a significant animation activity that performs one of the main functions of the tourism industry, increasing pleasure and entertainment during the holidays. The core of animation programs is a game that is relevant and demanding in all ages, the idea of integrating games, ICT technology and teaching children through animation is very current. Although all these innovations are applicable to the animation and entertainment of children, especially as part of a stay in family hotels, at the same time it is very complex for the performance and application.

U završnom radu opisuje se modeliranje, stvaranje kostura te animiranje virtualnog lika u Blenderu. Animacije napravljene u Blenderu su hodanje, trčanje te idle. Opisuje se izvoz iz Blendera. U Unityju se stvara virtualni svijet, razina igre, u koji se pozicionira lik nakon što se unese u Unity. Objašnjene su skripte i funkcionalnosti koje se njima postižu. Objašnjavaju se prijelazi između animacija korištenjem prozora „Animator“ te parametara animacije. Pomoću paketa Animation Rigging liku se dodaju animacije okretanja glave i tijela te podizanja ruke. Izrađuje se jednostavna igra. This thesis describes modelling, creating skeleton and animating the virtual character in Blender. Animations made in Blender are walking, running and idle. Export from Blender is also described. Virtual world is created in Unity, a level of a game, in which the character is positioned after being imported into Unity. The paper explains the scripts and their functionalities. It also explains the animation transitions using animation parameters and window „Animator“. Using Animation Rigging package more animations are created for character such as rotating the head and body and raising hand. Simple game is made.

Kao jedan od najzastupljenijih oblika medija u današnje vrijeme, film pruža odraslima i djeci užitak, no i u odgojno-obrazovnom procesu ima potencijalno važnu ulogu. Godine 1922. Hrvatska započinje stvarati vlastite animirane filmove u obliku reklamnih filmova. Djeca gledajući animirane filmove razvijaju maštu, a s obzirom na to da su često likovi u animiranim filmovima osmišljeni kao nadnaravni junaci, djeca se poistovjećuju s istima i uživljavaju se u ulogu istih. Bogaćenju i razvoju Zagrebačke škole animiranoga filma svojim radom i stvaralaštvom doprinio je i hrvatski scenarist, filmski redatelj, animator, karikaturist, ilustrator i strip crtač Joško Marušić. Filmovi Riblje oko i Neboder Joška Marušića ostvarili su uspjeh na međunarodnoj razini. Prvi hrvatski domaći animirani film Duga, napravljen prema pripovijetkama Duga i Alkar autora Dinka Šimunovića, Jošku Marušiću je donio posebnu nagradu žirija na festivalu u Annecyju za najbolji animirani film i nagrada kritike u Oberhausenu. Posebnost Marušićevoga umjetničkog izražavanja u stvaranju filmova jest to što njegovi filmovi naizgled su namijenjeni djeci, ali po svojoj grotesknoj i ponekad nasilnoj tematici primjereniji su za zreliju dob., As one of the most common forms of media today, film provides adults and children with pleasure, but it also has a potentially important role in the educational process. In 1922, Croatia began making its own animated films in the form of commercials. Children develop an imagination by watching animated films, and since often the characters in animated films are designed as supernatural heroes, children identify with them and enjoy the role of the same. Croatian screenwriter, film director, animator, cartoonist, illustrator and comic artist Joško Marušić also contributed to the enrichment and development of the Zagreb School of Animated Film with his work and creativity. His films Fish Eye and Skyscraper have achieved international success. The first Croatian domestic animated film Duga, based on the stories of Duga and Alkar by Dinko Šimunović, brought Joško Marušić a special jury award at the Annecy Film Festival for the best animated film and criticism award in Oberhausen. The peculiarity of Marušić's artistic expression in making films is that his films are seemingly intended for children, but due to their grotesque and sometimes violent themes, they are more suitable for a more mature age.

Rad pretvara izvornu ideju o rekreiranju konstrukcije vrata Zvijezde u animirani proces koji s prikazom staticnih detalja, animiranog procesa i informativnog sadrzaja, prezentira jedinstvenost povijesne bastine koja trenutno ne postoji ili je djelomicno zakopana.

Iako je prisutno u hrvatskom lutkarstvu od njegovih početaka, lutkarstvo za odrasle nije se uspjelo graditi u kontinuitetu. Ta činjenica umnogome je odredila njegov razvoj koji nije išao iznutra, već je rastao na vanjskim utjecajima. Ovaj rad uočit će prijelomne susrete vanjskih izraza i domaćeg lutkarstva za odrasle, ali i pokazati da nije bila riječ o jednostranim utjecajima, već o interkulturalnom prožimanju dvaju izraza i lutkarskih razmišljanja. Pozitivne i negativne strane takvog razvoja te nerazumijevanja i pokoji paradoks, rad će promotriti kroz primjere zadarske predstave Celestina u režiji poljskog lutkarskog redatelja Wiesława Hejna i osječke On i on u režiji slovačkog lutkarskog umjetnika Bohdana Slavíka.

Animacija predstavlja pojam koji se unutar turističke djelatnosti upotrebljava u pogledu animacijskih programa putem kojih se turistima kao gostima nastoji ponuditi nešto novo, odnosno nastoje se ostvariti njegove želje te potrebe kako bi određeno mjesto, odnosno atrakciju moglo doživjeti na izričito pozitivan način. Turisti su zahtjevni i nastoje ostvariti aktivan odmor. U današnje doba pandemije COVID-19 i provođenja različitih epidemioloških mjera pred organiziranje turizma postavljene su brojne zadaće. Potrebno je osigurati provođenje različitih tipova animacijskih programa kojima je cilj ostvariti pozitivnu reakciju turista, a s druge strane i zaštiti turiste od pandemije korona virusa. Iz tog razloga animacijski programi posežu za oblicima virtualne animacije kao novog oblika promidžbe animacijskih programa.

Rad pretvara izvornu ideju o rekreiranju konstrukcije vrata Zvijezde u animirani proces koji s prikazom staticnih detalja, animiranog procesa i informativnog sadrzaja, prezentira jedinstvenost povijesne bastine koja trenutno ne postoji ili je djelomicno zakopana.

Lutkarsko kazalište za odrasle u Hrvatskoj razvijalo se u diskontinuitetu s nekoliko dužih pauza, zbog kojih je povremeno kasnilo za europskim, dostižući ga skokovitim razvojem. U takvom razvoju bilo je potrebno pristupiti građi i njenoj analizi iz aspekta u kojemu se najbolje očitava atipičnost i koji će omogućiti najbolji uvid u veze između različitih razvojnih faza. Rad je u fokus stavio analizu vizualnih aspekata predstava te je uočio šest osnovnih faza lutkarskog kazališta za odrasle u Hrvatskoj, međusobno ih povezavši i na taj način usustavivši. Rad je podijeljen na osam poglavlja. Prvo čini uvod u kojemu su definirani njegovi osnovni dijelovi – lutkarstvo za odrasle i vizualni aspekti lutkarske predstave te njihov povijesni razvoj i kratak pregled lutkarskog kazališta za odrasle. Drugo poglavlje čini prva faza koja se proteže od 1920. do 1948. godine i u kojoj je prevladavalo dramsko lutkarsko kazalište iluzije s rijetkim prodorima u avangardu i neverbalnost. Druga faza (1966.-1971.) uslijedila je nakon duže pauze i ključna je za razvoj suvremenog heterogenog lutkarskog kazališta za odrasle. Treća faza posvećena je predstavama s lutkama Branka Brezovca, dok četvrtu čine lutkarske predstave za odrasle Zlatka Boureka, Joška Juvančića i družine LEC MManipuli. Peta, zadarska faza, označila je posljednje desetljeće 20. stoljeća i predstavlja zlatno razdoblje lutkarskog kazališta za odrasle u Hrvatskoj, dok se u fokusu posljednje, još uvijek aktualne faze, nalaze kazalište predmeta i materijala u lutkarskim predstavama za odrasle Krune Tarle, Renea Medvešeka, Laryja Zappije i studenata Akademije za umjetnost i kulturu u Osijeku. Rad zaokružuje zaključak sa sintezom razvojnih faza. The basic plan of this thesis is to systematize the history of adult puppet theatre in Croatia since its beginnings to late 2019. Its atypical development is what makes such systematization problematic. Namely, adult puppet theatre in Croatia, which can be followed from the first performance of Petrica Kerempuh i spametni osel by Teatar marioneta (1920), has been developing intermittently, with several longer periods in which there were no productions. Because of those gaps, the crucial one occurring during a major rise of European puppet theatre, from 1948 to 1966, adult puppeteering in Croatia could not keep pace with the rest of Europe, and was catching up with it in recurring leaps. That is why it was necessary to approach the material and its analysis from a point of view which shows thisatypicality most clearly, but also enables the best insight into the potential connections between the development stages. As puppeteering is a visual art and its development in the second half of the 20th century concerns mainly the visual elements of the show, the research has leaned towards analysing the visual aspects of adult puppet theatre in Croatia. Six fundamental phases of adult puppet theatre in Croatia have been identified, interconnected, and thus systematized. The thesis is divided into seven chapters. The first one serves as an introduction, defining the main aspects – adult puppeteering and the visual aspects of a puppet show, their historical development, and a short survey of adult puppet theatre. The second chapter deals with the first development stage, spanning from Petrica Kerempuh i spametni osel (1920) to Iskušenje sv. Antuna by the Zemaljsko kazalište lutaka (1948), after which there was a gap of almost 20 years. A phase crucial for the development of contemporary heterogeneous adult puppet theatre follows, starting with Muzičke minijaturein Rijeka (1966), and ending with On i on in Osijek (1971). The third stage, taking place between 1977 and 1988, represented by Branko Brezovec's theatre productions involving puppets, departs slightly from the general course of the development of Croatian puppet theatre. Parallel to Brezovec, a course marked by Zlatko Bourek develops, also encompassing Joško Juvančić's adult puppet shows, as well as the adult puppet cabaret shows by the LEC Mmanipuli company. The fifth, Zadar phase, which marked the last decade of the 20th century, represents the golden age of adult puppet theatre in Croatia, in which for the first and only time the puppet theatre of a city based its entire repertoire on adult puppet shows. The last, current phase focuses on the theatre of objects and materials, i.e. the puppet adult shows created by Kruna Tarle and the Fasade company, Rene Medvešek, Lary Zappia and the students of the Academy of Arts and Culture in Osijek. In the first stage, adult puppet theatre in Croatia relied on foreign examples. It can be analysed from different aspects – Teatar marioneta modelled after the traditional puppet theatre of the German and Czech type, Družina mladih following French (and Russian) thinking about theatre and the unrealized, but very interesting emergence of Sergije Glumac in the contemporary paths of the puppeteering avant-garde. Besides Glumac, who would have to be analysed as a separate phenomenon, both Teatar marioneta and Družina mladihstill focus on text. Taking their first artistic steps while avant-garde ideas are still present in Europe, Teatar marioneta follow a safe path, creating shows influenced by popular German and Czech theatres which maintain a traditional expression, showing their greatest value on the level of repertoire and text selection, while visual aspects come second. The repertoire of Družina mladih is under political pressure and control, which partly hinders them, but at the same time opens the door to seemingly inessential, but for this research very important part of the repertoire – music and dance numbers. This is where the Croatian puppet theatre departs from the text for the first time, turning to movement and music as devices of plot and expression. This phase ends in a return to text and realism on stage, with a discreet, but present departure from the idea of a lesser actors' theatre, already seen in the choice of puppets: the most human marionette is replaced by a realistic looking, but still not so humanlike Javanese. The second phase was marked by foreign influences and artists, directly or indirectly enriching Croatian puppet theatre and adult puppet theatre by a luminescent version of the black technique (Berislav Brajković with Czech puppets as models), the theatre of objects (Brajković and Bohdan Slavík), the open scene dialogue between actors and puppets, and variety show structure. This sets the show freefrom verbal dominance and creates the foundation for a heterogeneous expression in puppeteering. The novelties that productions from this period introduced make up the basis of the contemporary puppet theatre, which will largely continue to develop and deepen later on, without much expanding. The third phase, in many ways specific and unique, is an exception. In his search for a total performative expression Branko Brezovec came across dolls, approaching them more from the postdramatic than the puppeteer's angle. As a result of his detached starting position, he enriched the Croatian puppet theatre with fresh sources (Peter Schumann, Robert Wilson), views and thinking, as well as numerous new performative solutions, reaching deeper than his predecessor into the realm of metaphor, symbolism, and semantic layering of visual elements and thematic aspects. He managed to do it in productions that differed significantly from oneanother, but were connected through a thread of development underlying important points in the history of European puppeteering – the early (and) ritual stage of puppeteering in which voice and movement became separate, then the rich, but still not mature heterogeneous expression, and finally the postdramatic drift towards total theatre. The fourth phase starts with Zlatko Bourek, whose work ties in with the second phaseof adult puppet theatre in several ways, re-establishing a logical course of development, while the main difference is in dramatic structure and text. But the return to text did not entail a return to dramatic puppet theatre, but a performance in which the text is only one of the show's communication layers, although in most cases the superior one. The other layers, although not governing the show, permeate the words, "stealing" their primacy in places, augmenting them, commenting, and thus developing and enriching the Croatian adult puppet theatre, its visual aspect above all. Bourek enriched the Croatian, as well as the European puppet theatre by inventing a new technique – the “guzovoz”, Joško Juvančić made several developing steps in terms of the relationship between the actor and the puppet, while LEC Mmanipuli, whose structure is also close to variety shows from the end of the second phase, positioned in the visual foreground elements which were not present enough in adult puppet theatre – the literal translation of the verbal into visual language, as well as the scenic realization of metaphor. What follows is the golden age of adult puppet theatre, with Zadar puppeteers in its focus. Turning to adult puppet shows out of necessity(there was no theatre for adults) and the need to draw attention to the political injustice (the war) in an artistic way, in the last decade of the 20th century, Zadar theatre artists created several anthology adult productions, going down in adult puppet theatre history as the only theatre which, during a period of time, approached this type of expression in a systematic and planned way. The choice of topics was mostly dependent on the political situation, and what prevailed were texts from the Croatian literary heritage which, adapted to the current conditions, spoke directly or indirectly about the aggression on Croatia and Zadar. In terms of poetics, the course was largely set by Polish director Wiesław Hejno, who connected Polish puppeteering expression with his own, as well as with the work of Zadar set designersBranko Stojaković and Mojmir Mihatov, and with socio-political circumstances. The result was a developed, heterogeneous puppeteering expression wrapped in contemporary ritual, in which the director, the set designer, and the performers play in equal measure, exploring the communication possibilities between different types of puppets, masks, and actors, as well as theatre itself. Along with Hejno, the Zadar puppeteering style was most strongly formed by a "guest" from the actors' theatre, Marin Carić, who did not impose the actor on the puppet, but allowed the puppets and set designers to lead him in the play of metaphors, metonymies, and stage symbols. With such a concept, the text becomes only a framework, giving primacy over to the visual aspect. In most of the shows, the focus of the visual layer was on masks, whose physical features limited words, and drew attention to the need for a constant dramaturgic development and selfdevelopment of the visual layer. In this stage, the switch from puppet to actor is decidedly present, and analysed by comparing two of Hejno's shows – Muka svete Margarite and Don Quijote. The switch is not a uniquely Zadar phenomenon, but a European puppeteering trend which does not erase the specificities of puppeteering expression, but gives the puppet, liberated from the subject role and converted from metaphor to metonymy, from character to sign, a possibility for versatile play, and, ultimately, for the substitution with an everyday object. In this world of objects, the actor does not openly rule the play, but is a hidden demiurg – the organizer, animator and manipulator of scenic objects, material, and characters. This performative world, the focus of which are object and material, the theatre of objects and new media, concludes this research. In the focus of the final and current stage were material and object, which have become prominent in the Croatian adult puppet theatre since the 1990s, and remain so today. Material was the starting point of Kruna Tarle's productions. She rejected story, dramatic tension and narrative structure. Rene Medvešek and Lary Zappia reintroduce them, approaching object and material from various angles, developing them towards personification and anthropomorphization, as well as objectification, i.e. emphasizing the objectness of objects. The final point of this research, a tentative one, was given by productions at the Academy of Arts and Culture in Osijek, which still focus on object and material, but extend the animation to the actor's body and sound. For the first time in Croatian adult puppet theatre, the modelling of the puppet is made perfomatively independent, becoming a building block of the play. As the relation towards the material and object changed, so did the one towards the actor. While for Tarle the actor was the initiator of the play, equal in dramaturgic value to the other elements of the performance, and for Medvešek and Zappia mainly the co-player with a changing relation towards the object, the Osijek Academy's Dugi became the collective demiurg of the performance as a whole. Different possibilities of approaching the object and material in a scenic way have been shown in this chapter, also in relation to narrativity. Tarle rejects it completely, building shows through visual and image dramaturgy, Medvešek ironizes the epic structure, Zappia counterpoises different narratives, while Osijek students treat narrative differently – from rejecting it in Kabanica, minimizing the narrative layer in Sevdah, to the narrative, but also auditive, framework in Fragile, Smrti, and Dugi. Adult puppet theatre in Croatia, as well as this research, do notexhaust all the potentials of the theatre of materials and objects, but they do reach a conclusion, bringing the first hundred years of adult puppet theatre in Croatia to a close. The analysis of the visual aspects of the major productions in each of the designated phases drew attention to the synchronic encounters and "clashes" of different performative approaches and styles, as well as to numerous diachronic connections, confirming that the Croatian adult puppet theatre, despite the discontinuity and intermittent development, went through all the major phases of European adult puppet theatre. Also, its development had a significant impact on puppet theatre in general, enriching it with many important novelties – from new techniques, to a different relation to text and the performance as a whole, to original direction and a broader understanding of the notion of puppet. At the same time, a conclusion can be drawn that all the novelties and stages have not been entirely exhausted, and all the potentials have not yet been fulfilled. From the current perspective, they seem to be a series of points, sketches and possibilities to be further developed and researched.

Rad pretvara izvornu ideju o rekreiranju konstrukcije vrata Zvijezde u animirani proces koji s prikazom staticnih detalja, animiranog procesa i informativnog sadrzaja, prezentira jedinstvenost povijesne bastine koja trenutno ne postoji ili je djelomicno zakopana.

Završni se rad temelji na izradi kratkometraţnog animiranog videa, inspekciji vizualnih stilova i vještini pisanja koji su utjecale na izradu videa. Film kao medij moţe se gledati poput kolaţa drugih umjetnosti. Ispituju se tematike i tehnike prisutne u poznatim filmovima te ideje reţisera videoigara Hideo Kojime. UsporeĎuju se različiti oblici kojima se radovi referiraju jedni na druge te načine na koje to moţe sluţiti kao odličan alat za prezentaciju ideja na vrlo kreativan i, gledatelju, zanimljiv način. Cilj rada je prikazati funkcionalnost referiranja i pripajanja kompleksnih ideja, ali i koncepata unutar poznate i jednostavne okoline (u ovom slučaju banalne dramaturške strukture videa). Na taj se način gledatelju izlaţu i objašnjavaju kompleksne ideje te ga navede na proširenje vlastitog svjetonazora.

Kinematika. Riječ koja dolazi od grčke riječi „kinesis“ što u prijevodu znači kretanje. Međutim, ona je puno više od same riječi. Ona proučava gibanje tijela i stanje tijela pod djelovanjem sile. Sustav međusobno povezanih tijela koji služi za ostvarivanje zadanog gibanja i prenošenja sila se naziva mehanizam. Današnji svijet je nezamisliv bez mehanizama. Slobodno možemo reći da oni pokreću svijet. Da bi se oni mogli dalje razvijati, jednu od važnijih uloga ima kinematička analiza. Cilj ovog rada je napraviti animacije mehanizama i prikazati koliko one pomažu u predočavanju rada istih. Osim animacija, napravljena je kinematička analiza mehanizma, najprije grafičko-analitičkom metodom, a zatim uz pomoć digitalnog alata SAM – The Ultimate Mechanism Designer i uspoređeni su rezultati. Kinematics. The word that comes from the Greek word "kinesis" which means motion. However, kinematics is much more than just a word. It studies the motion of the body and the condition of the body under the action of force. System of connected bodies that serves to achieve a given motion and transmission of forces is called a mechanism. Today’s world is unimaginable without mechanisms. They run the world. Kinematic analysis has an important role in the further development of mechanisms. The aim of this paper is to create animation mechanisms and show how much one helps in presenting their work. In addition to animations, a kinematic analysis of the mechanism was made, first by the graphical-analytical method, and then with help of the digital tool SAM - The Ultimate Mechanism Designer. After analysis, results were compared.

Ovaj završni rad obuhvaća i detaljno obrađuje pojam stop animacije. Sistem stvaranja stop animacije je fotografiranje scene i objekta uz male izmjene na objektu ili sceni. Spajanjem tih fotografija, u programu za stop animaciju, stvara se iluzija pokreta odnosno dojam da se objekt kreće. Teorijski dio ukratko će opisati povijest i same početke nastanka stop animacije. Osim povijesti opisat će se koje sve vrste stop animacije postoje te na koji način se one izrađuju. Također, navodi se potrebna oprema u izradi stop animacije te postavke fotoaparata koje su najbolje za izradu stop animacije. Ukratko se opisuje proces izrade jedne od vrsta stop animacije. Praktični dio sastoji se od stvaranja kratke stop animacije. U ovom dijelu opisat će se sam proces izrade i primjene određenih postavki za stop animaciju. Navest će se neki od problema nastalih tijekom izrade te kako je došlo do rješavanja tih problema. Danas se stop animacija koristi u izradi glazbenih spotova, dječjih serija i filmova. This final paper covers and elaborates on the concept of stop animation. The system of creating the stop motion is a photograph of a scene and an object with small changes to the object scene. By merging these photos, in the stop-animation program, the illusion of movement is created, i.e. the impression that the object is moving. The theoretical part will briefly describe the history and origins of the stop animation. In addition to history, all types of stop animation will be described and how they are produced. Also, the necessary equipment in creating stop animation and best camera settings for creating stop motion are listed. The process of making one of the types of stop animation is briefly described. The practical part consists of creating a short stop animation. This section will describe the process of creating and applying certain settings for stop animation. Some of the problems that arose during the development and how these problems were solved will be stated. Today, stop animation is used in making music videos, children series, and movies.

Upravljanje virtualnim trodimenzionalnim modelom čovjeka je problem koji iziskuje korištenje postupaka računalnog vida kao i računalne grafike. Sustav koji ostvaruje takvo upravljanje modelira se u dva dijela. Prvi dio iz video datoteke procjenjuje poze u trodimenzionalnom svijetu za svaki okvir videa te koordinate točaka svih poza predaje drugom dijelu, odnosno aplikaciji za iscrtavanje. Procjena trodimenzionalne poze se svodi na pronalaženje lokacija ključnih točaka zglobova u prostoru koji se potom povezuju na određni način kako bi se dobio skeletni model čovjeka. Aplikacija za iscrtavanje obavlja projekciju poze iz koordinata stvarnog svijeta u koordinatni sustav sustava za prikaz. Iscrtavanje se obavlja za jednu pozu u svakom okviru. Tako se dobiva animacija skeletnog modela čovjeka. Dio sustava koji procjenjuje trodimenzionalnu pozu iz slike obavlja to u dva koraka: prvi korak predviđa dvodimenzionalnu Controlling virtual threedimensional human model is a problem that needs to use aproaches from both computer vision and computer graphics. System that implements that kind of behavior is modelled in two stages. First stage estimates pose in threedimensional world for every frame of video given as input and sends it to second stage, which is rendering application. Threedimensional pose estimation means finding locations of key points of joints in given space. Those joints are afterwards connected in a specific way to get the model of human skeleton. Rendering application projects pose from threedimensional world to coordinate system of display. Rendering is being done for one pose every frame. This produces animation of skeletal model. Part of the system which estimates pose from an image does it in two steps: first step estimates twodimensional pose and second step estimates threedimensional pose from predicted twodimensional pose.

Animacija lica u slici na način da se čini kao da osoba na slici nešto govori dobivena je korištenjem softvera visage|SDK, koji je omogućio pronalazak lica na slici te je korišten alat za 3D modeliranje Blender, koji je omogućio animaciju dobivenog 3D modela lica. Pomoću Visage-a je lice analizirano te su podaci o poligonima i vrhovima mreže lica zapisani u obliku OBJ datoteke. U Blenderu su transformirani rubovi mreže lica kako bi se postigao efekt otvaranja i zatvaranja usta, odnosno govora te se na model lica primijenila odgovarajuća tekstura, tj. originalna slika korištena za animaciju. Animacija je na kraju izvezena u obliku videa. Facial animation in still image in a way so it seems as if the person in the image is saying something was created using software visage|SDK, which enabled face tracking and also using a 3D modeling tool Blender, which enabled animating the obtained 3D face model. Visage was used for face analysis and its polygons and vertices were written to an OBJ file. The edges of the face mesh were transformed in Blender to get the effect of mouth opening and closing, i.e. speech. The proper texture was also added to the model of the face, i.e. the original image used for animation and the animation was exported in the form of a video.

Izrada animacije može biti dugotrajan i mukotrpan proces. Također postoji velik broj podtipova koji se razlikuju po primjeni i izradi iste. Zbog obujma njezinih osobina i tipova primjene, ali s druge strane i razvoja tehnologije, razvio se podtip animacije nazvan hvatanje pokreta (engl. Motion capture). Unatoč brojnim tehnikama, ovakav način izrade animacije pokazao se kao najrealističniji. Budući da daje realne snimke te hvata kretnje objekata, dosta je skupocjena tehnika. Obzirom na prethodno spomenuto, tvrtka „Radical“ odlučila je proizvesti ekonomski manje zahtjevnu aplikaciju kojom se na jednostavan način i bez puno popratnih elemenata može izraditi ovakva vrsta animacije. Isprva će se ovim radom obrazložiti i navesti tehnike animacije i njihova primjena. Nadalje, tematika istog će se bazirati na samoj tehnici hvatanja pokreta i njenim osobitostima. Za kraj će biti prezentirana i obrazložena različitost između snimaka nastalih u mobilnoj aplikaciji u različitim uvjetima i okruženjima. Također bit će objašnjen princip funkcionalnosti aplikacije te će rad u kratkim crtama sadržavati informacije i obrazloženja o korištenim tipovima rasvjete i podloge. Tehnika hvatanja pokreta je relativno mlada tehnika u odnosu na druge stoga je njena primjena i dalje djelomična nepoznanica u ljudskoj populaciji. Slijedno tome, ovakvim novitetom na tržištu kao što je aplikacija RADiCAL i njenom funkcijom hvatanja pokreta, trebala bi postati bliža i pristupačnija ljudima, kao i zanimljiva te poučna. Animation can be a difficult and a long-lasting process. There are also a large number of subtypes that differ in their application and construction. Due to the volume of its characteristics and types of application, but on the other hand, the development of technology, a subtype of animation called capturing movements has developed. Despite numerous techniques, this kind of animation production proved to be the most realistic. Since it gives real footage and catches the movement of objects, it is a very valuable technique. In view of the above mentioned, the company “Radical” has decided to produce an economically less demanding application that can produce this type of animation easily and without additional supporting elements. In the beginning of my work, the animation techniques and their application will be explained and specified. Furthermore, the theme will be based on the technique of capturing movements and its particularity itself. In the end, the differences between the images created in the mobile application in different conditions and environments will also be presented and clarified. The principle of application functionality will also be shown.in my thesis which will contain information and explanations about the types of lighting and substrates used, too. The technique of capturing movements is a relatively young technique compared to others so its application is still partly unknown in the human population. Consequently, with this novelty in the market, such as the radical application and its function to catch movements, it should become closer and more accessible to people, as well as interesting and educational.

Završni rad „Izrada reklamnog video sadržaja korištenjem alata vizualnih efekata“ bavi se izradom grafike i animacije reklamnog videosadržaja i testiranjem performansi programa Adobe After Effects 2020. Adobe je sa svojim programom After Effects postavio standard u izradi pokretne grafike. U poglavlju „Animacija“ opisana je povijest i nastanak animacije, od prvih civilizacija koje su svoje ideje crtali na kamenu i u špiljama do današnje animacije koja se izrađuje kompjuterski, te prikaz raznih tehnika izrade animacije. U poglavlju „Principi animacije“ prikazani su osnovni principi animacije. Opisani su pojmovi poput tempiranja animacije, te je predstavljen detaljan opis animacije i zakona gibanja u fizici na primjeru padanja i odskakivanja lopte. U poglavlju „Storyboard i vizualni prikaz animacije“ prikazani su prvi koraci u izradi animacije za ovaj završni rad. Prije nego krenemo na program važno je imati korake animacije zabilježene na papiru u više skiciranih sličica koji čine storyboard. U poglavlju „After Effects“ je predstavljen program pomoću kojeg je napravljen praktični dio završnog rada. Objašnjene su glavne karakteristike i mogućnosti programa kao što su kompozicija (composition), slojevi (layers), ključne točke (keyframe) i vrste ključnih točaka, manipulacija nad slojevima i objektima unutar kompozicije. The final project „The making of a commercial video for selling a product using visual effects tools“ is about making graphics and animation for commercial video and testing performances of Adobe After Effects 2020 software. Adobe has set high standards in making of motion graphics with their After Effects software. The chapter „Animation“ describes the history and origin of animation, from the first civilisations which painted their ideas on the cave walls and stone, to the modern animation which is made by computers, and also depicts different techniques in making of animation. In chapter „Principles of animation“ basic principles of animation are shown. It deals with describing terms such as animation timing, but also presents detailed description of animation and laws of motion in physics on examples of falling and bouncing of a ball. The chapter „Storyboard and visual presentation of animation“ describes the first steps in the process of making the animation for this final project. Before we move onto software, it is important to have the steps of animation writen on a paper in few rough sketches which form astoryboard. The chapter „After Effects“ presents the software with which the practical part of final project is made. It also explains the main characteristics and options of the software such as composition, layers, keyframes and types of key frames, manipulation of layers and objects in composition.

Tema završnog rada je izrada 3D modela i računalna animacija. U teoretskom dijelu rada prikazana je povijest 3D modeliranja kao i povijest računalnih animacija, te opis programa u kojem su izrađeni modeli i animacija. Animacija prikazuje dolazak vlaka na stanicu te izlazak i ulazak putnika u vlak. Za izradu 3D modela i animacije korišten je Program Blender. Eksperimentalni dio sastoji se od opisa postupaka izrade 3D modela, animiranja pokreta ljudi i vlaka

Sredinom 90-ih godina prošlog stoljeća lutkarsko kazalište za odrasle u Hrvatskoj doživljavalo je svoje zlatne dane i različitošću poetika ukazivalo na vlastitu zrelost. U takvom okruženju 1996. godine pojavile su se Kruna Tarle i družina Fasade, obogativši hrvatsko lutkarstvo teatrom objekta i materijala u takozvanom kazalištu poetskih slika. Riječ je o scenskom svijetu jedinstvenom u hrvatskom lutkarstvu u kojemu je Tarle, spajajući likovnost, pokret, ples, materijal i masku, prodrla duboko u rječitost vizualnih aspekata izvedbe. Pritom je odbacila klasičan dramski sukob, zamijenivši ga iskonskim susretom živog i neživog, brišući međusobne razlike i pomičući stupanj (ne)živosti s čovjeka na materijal i obrnuto. Ujedno, odbacivši riječi, progovorila je oživljenim slikama, stvarajući bogat svijet asocijacija i značenjskih apstrakcija., In the mid-1990s, the puppet theatre for adults in Croatia was at its golden age, indicating its own maturity with diversity of poetics. In such an environment, in 1996, Kruna Tarle and the company Fasade appeared, enriching Croatian puppetry with the theatre of objects and materials in the so-called Theatre of poetic images. It was a unique stage-world in Croatian puppetry, in which Tarle, by combining art, movement, dance, material and mask, penetrated deeply into the eloquence of the visual aspects of performance. In doing so, she dismissed the classic dramatic conflict, replacing it with the primordial encounter of the living and the inanimate, erasing differences between them and shifting the degree of (in)animate from man to material and vice versa. At the same time, discarding the words, she spoke with animated images, creating a rich world of associations and semantic abstractions.

Predstava Smrt ili o životu nastala je kao diplomska predstava studenata druge godine diplomskog studija kazališne umjetnosti iz kolegija lutkarstva na Akademiji za umjetnost i kulturu u Osijeku. Riječ je o autorskom projektu pod mentorstvom izv. prof. ArtD. Maje Lučić Vuković i doc. art. Tamare Kučinović koji progovara o dvije nerazdvojive suštine svojstvene svakom živom biću – o životu i smrti. Predstava je ispričana iz vizure smrti kao glavnog protagonista. Na tom putu Smrt nas vodi kroz nekoliko priča koje su utjecale i na promjenu nje same. U Smrti se javlja potreba obratiti se ljudima i ispričati im kako se ona zapravo osjeća kada mora ubiti. Među pričama su istaknute smrti ljudi u koncentracijskim logorima i smrt djevojčice Nore koja je oboljela od akutne limfoblastične leukemije. U predstavi smo se koristili tehnikama animacije predmeta kao i stvaranjem raznih atmosfera unutar pojedine scene. Ova predstava se velikim dijelom temelji i na glumačkim vještinama stoga govorimo o spoju glume i lutkarstva koji se unutar predstave nadopunjuju i jedno bez drugog ne mogu opstati. The play Death or About Life is a student production in the second year of the graduate programme in theatre arts, created as a part of a puppetry course at The Academy of Arts and Culture in Osijek. It is an author project carried out under the supervision of Associate Professor Maja Lučić Vuković and Assistant Professor Tamara Kučinović, thus exploring the inseparable forces inherent to human existence – life and death. In the play, Death takes the role of the narrator and the main character guiding us through several narratives that have affected and transformed Death itself. Death feels the urge to speak out and tell people what it really feels like to kill. Narratives are centred on deaths of people in concentration camps and the death of a girl called Nora who suffered from acute lymphoblastic leukaemia. The play deploys object animation techniques and focuses on the creation of a different atmosphere for each scene. Furthermore, the play rests firmly on the acting skills resulting in fusion of acting and puppetry, presented in the play as two interdependable forms of art that complement each other and cannot exist autonomously.