1. Introduction -- 2. Conventional Animation -- 2.1 Basic Principles of Conventional Animation -- 2.2 How Are Cartoon Animated Films Made? -- 2.3 Multiplane and Shooting Phase -- 2.4 Some Techniques and Special Camera Effects -- 2 5 Bar, Route, Model and Exposure Sheets -- 2.6 Postproduction -- 2 7 Historical Background -- 2 8 Applications of Animation -- 3. Computer Animation -- 3 1 The Role of the Computer in Animation -- 3.2 How to Classify Computer Animation Systems? -- 3.3 Real-time vs. Frame-by-frame -- 3.4 Frame Buffer Animation and Real-time Playback -- 3 5 Systems vs. Languages -- 4. The Development of Computer Animation in Various Organizations -- 4.1 The Early Systems: BEFLIX and EXPLOR -- 4.2 Picture-driven Animation: GENESYS -- 4.3 Analog Systems· SCANIMATE and CAESAR -- 4.4 ANIMATOR, ARTA and MOP -- 4.5 Computer Animation at the National Research Council of Canada -- 4.6 Computer Animation at Ohio State University -- 4.7 From GRASS to ZGRASS -- 4.8 New York Institute of Technology and Lucasfilm -- 4.9 MAGI/Synthavision, Robert Abel, Triple I and Digital Effects -- 4.10 And the Others? -- 5. Key Frame and Painting Systems -- 5.1 Computer-assisted Animation -- 5.2 The Input of Drawings -- 5.3 In-between Calculations -- 5.4 The Laws of Animation -- 5.5 Skeleton Techniques -- 5.6 The Path of Motion and P-curves -- 57 In-betweening Using Moving Point Constraints -- 5.8 Coloring Techniques -- 5.9 Paint Systems -- 5.10 Color simulation and Dithering -- 5.11 Gradation Techniques -- 5.12 A Case Study: The Multiple Track Animator System -- 6. Modeled Animation -- 6.1 What Is Modeled Animation? -- 6.2 Object Modeling -- 6 3 Object Creation -- 6.4 Motion Specification -- 7. Hidden Surfaces, Reflectance and Shading -- 7.1 Hidden Surfaces -- 7.2 Light Reflection Models -- 7 3 Shading -- 7.4 Structured Shaded Graphical Types -- 7.5 Rendering of Parametric and Patch Surfaces -- 8. Transparency, Texture, Shadows and Anti-aliasing -- 8.1 Ray-tracing Algorithms -- 8 2 Transparency -- 8.3 Texture -- 8 4 Fractals -- 8 5 Fuzzy Objects Modeling and Particle Systems -- 8 6 Shadows -- 8 7 Spatial Anti-aliasing -- 8 8 Motion Blur and Temporal Anti-aliasing -- 9. Human Modeling and Animation -- 9.1 Stick, Surface and Volume Models -- 9 2 The NUDES System -- 9 3 The Badler Bubbleman -- 9 4 Labanotation -- 9.5 Hand Representation -- 9.6 Facial Animation -- 10. Object-oriented and Actor Languages and Systems -- 10 1 Classes, Modules and Processes -- 10 2 Kay's Work and SMALLTALK -- 10.3 Hewitt's Actor Theory -- 10.4 LOGO and the DIRECTOR Actor-based Animation Language -- 10.5 ASAS· The Actor/Scriptor Animation System -- 10.6 CINEMIRA: A Language Based on Actor and Camera Data Types -- 10.7 MIRANIM· An Extensible Director-oriented 3D Animation System -- 11. Case Studies -- 11.1 Decor with Bridges and Houses -- 11.2 Computer Animation of a Robotic Arm -- 11.3 An Example of the Design of a Camera Path -- 11.4 A Scene with a Shaded Corvette -- 11.5 Fireworks -- 12. A Case Study: Dream Flight -- 12.1 Why Dream Flight? -- 12.2 Scenario and Storyboard -- 12.3 Decor Creation -- 12.4 Actors and Dynamic Objects in the Forest -- 12.5 Seascape -- 12.6 Undersea Scene -- 12.7 The Organization of a Scene and Shooting -- References -- Appendix A: Computer Animation Organizations and Teams -- Appendix B: Computer Animation Systems and Languages -- Appendix C: Computer-generated Films.