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Animation Dissertation Topics (28 Examples) For Your Academic Research

Mark May 2, 2020 Jun 5, 2020 Animation No Comments

We are aware that searching for a right and interesting dissertation topic becomes a nightmare for students. If you are also stuck in finding the best animation dissertation topics, you have visited the right site. We offer a list of animation dissertation topics, which can be worked on. The research topics on animation and project […]

The research topics on animation and project topics on animation are also included to help you in choosing a topic that you find interesting. You can also check the film dissertation topics to get more ideas on conventional and digital media. The list of animation dissertation topics includes all the latest and modern time topics.

Animation dissertation topics

To study how to illustrate the solution of a problem through images.

Analyzing the new areas related to illustration.

Examining the concept of digital illustration – a thematic analysis.

To investigate the ethics that an illustrator should always follow while fulfilling role and responsibilities.

A literature review on the advanced narrative illustration.

Exploring the evolution and development of 3D in printing.

To study the concept of animation editing and formatting.

How is the internet facilitating the film making?

Examining the role of social networking in society.

What is the role of visual effects in video album?

Studying the stop-motion and matte painting in live-action.

An analysis of creating photo-realistic objects in computer programming.

To investigate the mobile game, growth, and technological advancement.

Analyzing the concept of secure payment gateways.

Explaining the importance of Disney to the lives of young children in the 21st century.

Comparing and contrasting the unrealistic beauty as portrayed in the Disney films.

Studying the code development and technology development in Art Making.

Evaluating the technology art and culture in America.

A literature review on hypermedia – interaction and artwork.

Exploring the field of animation studies and its development in the past 10 years.

Evaluating the animation as a means of enhancing the learning of individuals with special needs.

Studying the integration of animation in learning fundamentals of entrepreneurship.

An analysis of the animal production testing model based on design-oriented learning.

Examining the area of emotional semantic recognition of visual scene in flash animation.

To investigate the concept of development 3D animated story as interactive learning media.

An evaluation of the squash and stretch in 3D animated short films.

Studying the animation as a visual indicator of positional uncertain in geographic information.

An assessment of the effects of animation and pictographs on viewer engagement.

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Film Studies Research Guide: Research Topics

Film Reviews
Films & Videos
Screenplays/Filmscripts
Archives & Institutes
Critical Approaches & Problems
Directors, Actors, Writers, etc.
Filmmaking, Producing, etc.
Genres, Styles, Categories, Series
History and/of Film
International Cinema
Literature & Film
Movie Business & Studios
Music & Sound in Movies
Social & Other Aspects
Themes, Subjects & Characters
Annuals & Directories
Bibliographies & Filmographies
Biographies, Credits & Plots
Dictionaries & Encyclopedias
Festivals & Awards
Guides & Companions to Films
Organizations & Associations

Topics in Film Studies

What's here.

This section of the Film Studies Research Guide provides assistance in many of the particular subjects in Film Studies. The pages discuss particular issues and list key resources on those topics.

You can get to the topical pages from the main navigation bar above or from the links below. The links are listed alphabetically.

Critical Approaches and Problems: Theory, Methodology, Philosophy and Aesthetics
Literature & Film
The Movie Business & Studios
Music & Sound in Movies
Social & Other Aspects of Filmmaking
Themes, Subjects and Characters

Director, Yale Film Archive

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Animation Research Centre

Founded in 1998, the Animation Research Centre at the University for the Creative Arts, Farnham is a centre for innovation, doctoral study, debate and dialogue, interdisciplinary and practice-based research into animation in all its most expanded forms.

Our current work ranges from archival research, conference organization, exhibition curation and academic publication to investigations in hand-made aesthetics, immersive technology, block chain and movement capture.

The Animation Research Centre at UCA was founded by Jill McGreal in 1998, as a centre for academic scholarship in Animation Studies. It complemented the Animation department at Farnham, which was established by Oscar-winning animator Bob Godfrey in 1969 and was the first Higher Education course in the subject in the UK. From 2000-2012, it was subsequently further developed under the leadership of Professor Suzanne Buchan, who founded the animation: an interdisciplinary journal and was responsible for a number of seminal international exhibitions, conferences and publications that served an important role in establishing Animation Studies as an academic discipline. Teaching Fellows and researchers involved with ARC over the years include Jim Walker, Kerry Drumm, Aaron Woods, Gemma Riggs and Katie Steed.

The centre benefits from UCA’s archives of post-1960s animation, such as the Bob Godfrey collection, the Dick Arnall collection and the ARC Video Collection with works by the internationally acclaimed alumni and staff. From 2012-2016, ARC was managed by archivist Rebekah Taylor as part of UCA’s Archives and Special Collections. Since 2018, animation research at UCA has been led for the School of Film, Media and Performing Arts Professor Birgitta Hosea. The Animation Research Centre was re-branded and officially re-launched in February 2020 with a conference on Cartoon Animation: Satire and Subversion. The work of Bob Godfrey informed the themes of this conference and co-organisers, Hosea and Walker, and it was intended as a tribute to him in celebration of the Golden Jubilee of his foundation of the Animation course at UCA. The conference was complemented by Bob Godfrey a Collaborative Act , an exhibition of archival materials in the James Hockey Gallery curated by Jim Walker.

For more information contact: [email protected]

Meet the researchers based in the Animation Research Centre.

Lesley Adams

Programme director of animation.

Dr Jeremiah Ambrose

Programme director for computing & creative technology / executive director of isea international headquarters.

John Dargan

Senior lecturer in visual communication.

Associate Lecturer Film & Digital Art BA

Professor Nicky Hamlyn

Professor of experimental film.

Professor Birgitta Hosea

Professor of moving image & director of the animation research centre.

Jim Le Fevre

Lecturer in animation.

Molly Okell

Martin Pickles

Lecturer in animation theory, latest news.

Trailblazing initiative to grow Surrey games sector

From the project Putting Ourselves in the Picture. Group workshop at Autograph, Women for Refugee Women, Fast Forward

Empowering women and non-binary emerging photographers

Animation grads nominated for British Animation Awards

Animation graduate celebrates with BAFTA win!

BAFTA nomination and industry accolades for animation’s brightest couple

Professor Jane Roscoe named as the new President and Vice Chancellor of UCA starting February 2024

Professor Jane Roscoe announced as UCA's new President & Vice-Chancellor

UCA wins funding to help revolutionise the gaming industry

A collage of film and television poster images - all of which UCA PhD student Mike McEvoy composed scores for

McEvoy explores musical inspiration in PhD study

Arc updates.

Call for papers & projects: Extended Senses and Embodying Technology Symposium 2022

Call for Papers, Synaesthetic Syntax II, Ars Electronica 12/09/21

‘Expanded Animation and Other Queer Goings on’, Birgitta Hosea inaugural professorial lecture

Maybelle Peters, PhD student, commissioned for Black British history project

Fantasy animation podcast on Bob Godfrey’s Roobarb and Custard with Birgitta Hosea

Ecstatic Truth: The Age of the Absurd, 2020, online symposium on animated documentary hosted by Under_the_Radar festival, Vienna. Recordings available

Sensory Spaces

UCA Farnham hosts new exhibition Bob Godfrey: A Collaborative Act

PhD student wins Womxn of Colour Art Award

Award for Expanded and Experimental Animation

Leeds Animation Workshop Speculative Lunch

GEECT Thematic Meeting on Film Research

Call for Papers - Ecstatic Truth V: The Age of the Absurd

'Call for Speakers' to celebrate 50 years of UCA's Animation course

Interview - Birgitta Hosea: Erasure at Hanmi Gallery Seoul

Recent Events organised by the Animation Research Centre

Synaesthetic Syntax II: Seeing Sound / Hearing Vision, Expanded Animation, Ars Electronica 12/09/21

Ecstatic Truth V: The Age of the Absurd, Under_The_Radar, Vienna, 15-16 th Dec 2020

Synaesthetic Syntax: Sounding Animation / Visualising Audio, Expanded Animation, Ars Electronica 13/09/20

Bob Godfrey: A Collaborative Act, James Hockey Gallery, UCA Farnham, 2020

Cartoon Animation: Satire and Subversion, UCA Farnham, 17/2/2020

Ecstatic Truth IV: The Truth Of Matter, University of Westminster, 2019 [Selected papers in the International Journal of Film and Media Arts, Feb 2020 issue]

Experimental and Expanded Animation symposium , UCA Farnham 13/2/2019, review by Lilly Husbands

Ecstatic Truth III : Making Sense Between Fantasy and Fact, Universidade Lusófona De Lisboa, Portugal, 2018

Documentary Discourses, UCA Farnham,2017

Our projects

Scouring, scrubbing, sweeping, bleaching, rinsing, brushing away – all these words refer to different ways of removing dirty marks during the act of cleaning. and every one of these processes was also used to make Erasure, a body of works brought together as a solo show at Hanmi Gallery, Seoul.

The exhibition included a short film, installations of animation projected over wall-mounted objects, defaced books, photographic documentation and remnants from a performance that took place at the private view. As well as the exhibition, Hosea produced a catalogue and two thematically linked book chapters.

The WEAR Sustain project funded and supported dozens of design teams to create sustainable and ethically-produced wearable technology and e-textiles. The project featured at the 2018 Ars Electronica Festival in a showcase of prizewinning and nominated works, new results and prototypes coming out of the European Commission’s STARTS (Science, Technology and the Arts) initiative.

This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. Read more

StoryFutures: AHRC Creative Cluster on Immersive Storytelling

StoryFutures and StoryFutures Academy: The National Centre for Immersive Storytelling place innovative storytelling at the heart of next generation immersive technologies and experiences. Both initiatives are funded by the UK government.

As the first book to be published on this subject, the term ‘performance drawing’ is used as a trope, or a thread of thinking, to describe a process of drawing dedicated to broadening the field through resourceful practices and cross-disciplinary influence. Read more

The “Computer Animation” category has been part of the Prix Ars Electronica since its very inception, and its development continues to display strength and vitality. It recognizes excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement. Read more

As a praxis for virtual gaze interaction this installation uses a digital representation of an art replica as an interface for emergent filmic experience. The act of looking at a virtual version of this replica spatially shifts the user, creating connections between their gaze and the space that surrounds them. Read more

Converging UCA arts specialties, the group brings together staff, students and other practitioners working within Digital Media, Creative Coding, Fashion and Textile Design, Computer Games, Digital Film (and Screen Arts), Acting and Performance, Animation, Architecture, Visual Communication, and more. Led by Professor Camille Baker , the vision of the X10DD Senses Laboratory is to share knowledge and develop new projects and research under an umbrella interest in interactive and immersive art and performance, wearables and haptic interface development, practices of embodiment, and notions of presence and affect. Within this endeavour, the group looks to collaborate with other institutions, using its professional networks in the UK, as well as Europe, Canada Australia and the US. While engaging with new and emerging modalities and technologies, X10DD Senses Laboratory strives to make socially responsible art and design, approaching issues of sustainability and the climate crisis and, data ethics and privacy, women’s health and equality, and others.

Group Aims:

Creating novel performance and interactive experience research and works, to benefit art, performance, design, and entertainment.
Addressing societal issues, for example climate change and sustainability, pandemic impact, diversity issues, data ethics and identity, among many others.
Nurturing & mentoring digital media/emerging technology research and collaboration across the university.
Attracting and supporting PhD, Masters’ and staff research in the areas of interest to the group.
Running a regular internal symposium for UCA research staff and students.
Hosting an annual lecture of an international speaker of significance.
Hosting an international cross-disciplinary conference on Extended Senses .
Ensuring that methods of practice and material understanding are placed at the centre of critical debate.
Facilitating the involvement of artists and academics, both from within and from outside UCA, in order to create international networks.
Facilitating links internally and externally and developing collaborative relationships with other institutions, networks, galleries and museums, and businesses, as well as supporting, develop and submit appropriate funding applications for innovative research

Find out more

Explore more projects

Head to our UCA Research Online platform to browse all our Animation Research Centre projects.

Go to UCARO

Current PhD students

PhD project: Queering blockchain with speculative animated fiction

More about Ruini Shi

PhD project: Phenomenal Blackness : Tracing the black body’s movements in Animation from Hypervisibility to Erasure

More about Maybelle Peters

PhD project: Aesthetics of Sex, Violence and Death in 2D Animation: Challenges and Opportunities

More about Tomas Mitkus

Dr Vicky Smith (2015): The animator's body: feeling negative, feeling positive https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659226

Dr Sarah Bown (2015): Landscape as transitional space in film practice https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681181

Dr Reza Yousefzadeh Tabasi (2011): The effect of context on socially-engaged animation: The case of Mr and Mrs Mockroach https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543188

Dr Charles DA Costa (2007): Racial stereotyping and selective positioning in contemporary British animation https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499066

Dr Fatemeh Hosseini-Shakib (2009): The hybrid nature of realism in the Aardman Studio's early animated shorts https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506518

Tomas Mitkus, Vilnius Gediminas Technical University, Lithuania

Professor Dr Gabriele Jutz , Universität für angewandte Kunst, Vienna, Austria

Dr Pedro Serrazina, Universidade Lusófona De Lisboa, Portugal

If you would like to find out more about the Animation Research Centre please contact us:

[email protected]

Director - Professor Birgitta Hosea

Dr Birgitta Hosea is an artist, animator and curator working with expanded animation and performance drawing.

Read more about Professor Birgitta Hosea

Felicity Croyden - Archives & Special Collections

Our Archives and Special Collections are rare or unique, such as original letters and artwork, with particular strengths in arts activism, animation and photography.

ARC Mission

The Animation Research Centre aims to initiate, enhance and promote:

creative innovation through scholarly, practice-based and technological investigation at the cutting edge of animation in all of its most expanded forms;
debate, dialogue and international research networks;
the animation of other disciplines through cross-cultural, inter- and multi-disciplinary collaborations;
UCA's archives of post-1960s animation with a focus on work by alumni and staff from UCA.

This will be done through our objectives, which are to organise and produce:

conferences, exhibitions, workshops and events;
funded research projects;
publications;
contribution to policy and opinion forming through judging, lobbying, consultancy and other forms of advocacy;
enhancing UCA’s animation archives;
hosting visiting scholars and research students;
contribute to the curriculum of related courses across UCA.

In the ever-evolving field of animation and the cinematic arts, creative and technical innovation continues to expand the meaning of the art form and establish new ways to perceive, understand and express the world around us.

Animation is integral to twenty-first century organic and digital art practice. From motion pictures, to streaming, immersive and AI networks to gallery artists and cutting-edge scientific research, nearly every field is finding that animation can contribute and enhance communication and research across industry, academia, and the arts.

Unique in its ability to visually communicate complex ideas and unseen worlds, animation is ubiquitous in creative and information rich fields. How does animation penetrate these fields? What is the future of animation? How can we apply our art practice in an ethical and socially responsible manner?

The Expanded Animation Research + Practice (XA) program incorporates practice in traditional and digital media ranging from works of metaphysical expression and perceptual experience, to the exploration of dreams and narrative storytelling, visualizing science, and documentary animation. XA invites an international community of students, scholars, researchers, and artists to study, present, and explore the expanding art form across disparate media, philosophies, and ideas. Our goal is to nurture unique creative content and voices that can expand the field and innovate new research.

Partnerships include Hanson Robotics, Adobe Systems Inc. Lowell Observatory, Wrigley Institute for Environmental Studies, Dr Judith Lovell and Batchelor Institute Alice Springs Australia, Desert Knowledge Australia, Nvidia Deep Learning, USC Research Collaborations Fund, and IBM Time Capsule 2050.

Possible Areas of Research

voicemail: (213) 764-3332

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Find the right school for you

Full Sail's Different - See how Full Sail’s approach to education is designed for you to get the most of your college experience – from hands-on learning in professional settings, to curriculum that helps you build upon your creative skills. Learn More.

10 UK Colleges with Animation PhD Programs

Which UK Colleges Offer Animation PhD Programs? ACR Takes a Look.

What are the Top Schools in the UK for Animation PhD Programs?

If you’re looking for a top Animation MFA program in the U.S., you won’t have any trouble finding a variety of options. UCLA, SCAD, and RIT are just a few. If you’re interested in Animation PhD programs? Well, let’s just say your search will be a bit more challenging. True, USC’s School of Cinematic Arts offers an excellent option—the PhD in Cinematic Arts. But if you want to earn a PhD that focuses on animation, you’ll have to find a school that is willing to customize its PhD program in art, design or other similar area to suit your goals. If you can’t find a suitable option, that’s OK. America’s strongest ally has you covered. Just head to the UK!

The UK is one of the easiest and most popular places to study abroad today. American students don’t have to worry about learning another language, and travel within the UK and to neighboring countries is affordable and convenient. The UK and the U.S. have many cultural similarities as well, so students can enjoy the same types of entertainment, recreation, and social institutions there as they do back home.

Students will also find that the educational institutions in the UK have more similarities than differences to those in the U.S. A few examples include teaching styles, internship opportunities, and the types of on-campus organizations and clubs. One welcome difference, however, is the cost. Though the cost of postsecondary education in both countries is far from cheap, tuition costs in the U.S. are generally higher.

Find a school

So, if you want to earn a PhD in Animation and the UK sounds like a great place to do it, take a look at our list of 10 popular options below and what they have to offer. Please note that the schools are not ranked.

1. Arts University of Bournemouth, Poole, Dorset, UK

Arts University Bournemouth (AUB) is a specialist institution offering degrees in the areas of art, design, media, and performance. Home to more than 3,000 students, AUB is one of a small number of UK colleges dedicated solely to the study of art, design, media and performance.

Students seeking the highest degree levels in animation have two options—the MPhil or PhD. The programs consist of the following unique research groups: Animation, Creative Pedagogies, Fashion and Textiles, and Plastics in Art and Design. AUB research degrees are awarded through a partnership with the University of the Arts London.

Note that for the 2013-2014 school year, at 97.4 percent, AUB had the highest percentage of graduates entering employment and/or further study within six months of graduation out of all universities in the UK.

2. Loughborough University, Loughborough, UK

Loughborough University is home to some 17,600 students from over 100 different countries. The school houses the School of the Arts, English and Drama, which offers Fine Art, English, Drama, Graphic Communication & Illustration, Publishing, and Textiles programs at all degree levels. The MPhil/PhD program is home to the Animation Academy—a “center for animation research, scholarship, practice and exhibition, embracing tradition and progress, education and industry, art and commerce; and dedicated to excellence at a national and international level in all its activities.” Students in the program may choose to study with one of the following research groups: Animation Academy, Drawing and Visualization, or Digital Humanities.

Film, Photography and Digital Media are other options. Programs lead to an MPhil or PhD in Art and Design.

3. Royal College of Art, London, UK

The Royal College of Art (RCA) is the “world's only wholly postgraduate art and design school.” The school, which is home to around 800 students from over 60 countries, offers 24 programs through six integral schools. The six schools focus on architecture, design, fine art, humanities, communication and material. Graduates of these schools (more than 93 percent) are professionally active in art and design five years after graduation.

Per the School of Communication, “the Animation, Information Experience Design and Visual Communication programs welcome applications for research degrees study in relevant areas of communication research.” Students in all research areas have full access to the School’s specialist workshops (digital print, animation, moving image, sound, letterpress) and labs (information experience design, animation, visual communication) to produce and present their practical work. The programs lead to an MPhil or PhD.

4. University of the Arts London, London, UK

University of the Arts London (UAL) is made up of six colleges including Camberwell College of Arts, Central Saint Martins, Chelsea College of Arts, London College of Communication, London College of Fashion, and Wimbledon College of Arts. Across all six schools, UAL offers the MPhil or PhD with the option to conduct research in subject areas in art, design, and communication. A few current subjects include Animation, Interactive, Film and Sound, Theater, Screen, and Performance Design, Fine Art, and Communication and Graphic Design. Specific research degrees have been awarded in Animation and Moving Image and Interactive and Sound Arts.

5. University of Kent, Canterbury, Kent, UK

The University of Kent is home to more than 20,000 students from 148 nationalities. The school has seven locations including Canterbury, (main campus), Medway, and Tonbridge, UK; Brussels, Belgium; Paris, France; Athens, Greece, and Rome, Italy. Three faculties (Humanities, Sciences, and Social Sciences) comprise 18 academic schools and three academic centers. The School of Engineering and Digital Arts is home to the Digital Media Group.

Per the School, in the area of time-based media, the Group has substantial interest in “digital film capture and editing and manipulation on to fully animated 3D modelling techniques” such as those used “in games and feature films.” Research Themes include Computer Animation and Digital Visual Effects, Digital Arts, Human Computer Interaction (HCI) and Social Computing, Mobile Application Design and Development, E-Learning Technology, and Medical Multimedia Applications and Telemedicine. The program is available at the Canterbury campus.

6. Anglia Ruskin University, Cambridge, UK

Anglia Ruskin University (ARU) consists four main campuses including Cambridge, Chelmsford, London, and Peterborough, UK. With 35,000 students, the school is one of the largest universities in the East of England. ARU offers hundreds of programs in areas from art and design to social sciences and humanities. Programs are offered at all degree levels.

Advanced animation students typically choose the MPhil or PhD in Computer Science, which covers animation, image manipulation, video systems, virtual worlds, gaming, 2D and 3D modelling, cloud computing, AI, audio applications, satellite technology, internet technologies and mobile media technology. The program is available at the school’s campus in Cambridge, “one of the UK’s premier science and technology cities.”

7. University College of London, London, UK

In 1826, University College of London (UCL) became the first university in England to welcome students of any class or religion, and the first to welcome women on equal terms with men. Today, the school is home to 38,000 students from 150 different countries. UCL offers programs in all subject areas leading to a BA, BSc, LLB, MEng, MA, MSc, PGCE, MPhil or PhD.

Animators who would like to earn one of the highest degrees in the field choose the MPhil or PhD in Culture, Communication and Media. Past research areas have included Young People’s Production of Digital Animation, Film and Computer Games, Virtual Worlds, Moving Image and Video Games, Online Communities, and Play and Film, to name a few.

8. Goldsmiths, University of London, London, UK

Goldsmiths, University of London offers programs in the arts, humanities, social sciences, cultural studies, computing, business and management, across 20 academic departments. Home to more than 8,500 students, the school offers the MPhil and PhD in Media Communications (MC). Students are encouraged to submit a proposal for Animation Research or other related area. The MC Department consists of a team of industry professionals active in Animation, TV, Film, Journalism, and Radio.

Students will research individually or under supervision. Related degree options include the MPhil or PhD in Arts & Computational Technology and Intelligent Games & Game Intelligence.

9. Falmouth University, Falmouth and Penryn, Cornwall, England UK

According to the Falmouth University website, this art and design school has been the UK’s number one arts university for three years. In addition, the school says that 97 percent of graduates are working or involved in further study just six months after graduating.

Falmouth U consists of 10 schools ranging from Architecture, Design & Interiors to the Games Academy. The School of Film & Television is home to the Animation Program. Advanced animation students seeking the highest degree typically choose the MPhil or PhD Research Program. The programs accept applications for interdisciplinary research in any art, design, media, performing arts or writing subject areas.

10. Birmingham City University, Birmingham, England, UK

Birmingham City University (BCU) is home to the Birmingham School of Art, which invites applicants to submit proposals for Art and Design PhD research within areas such as Art History, Education and Design Practice; Research in Art, Dissemination, Impact; Speculative Topologies of Art-design Practices, Radical Matter in Art & Philosophy, Center for Chinese Visual Arts, and others. Once accepted, students will become members of the research culture in Art and Design at BCU that includes CFAR (Centre for Fine Art Research) at the Birmingham School of Art, the Typographic Hub, Design Business Innovation Lab, Zero Carbon Lab, the Fashion & Textiles Research Group, and others.

Per BCU, students will “attend regular research seminars, conferences and symposia and will receive a dedicated workspace that acts as the hub of their PhD research activity.” They may also strengthen their PhD research and professional/personal development by “participating in wider international research communities and conferences, and by helping to teach degree modules to undergraduate students.”

For more information about study abroad opportunities, take a look at The Benefits of Animation Study Abroad Programs or Best Overseas Locations for Animation Internships: London, UK .

Winter Park, FL & Online
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Computer Animation - Florida Campus
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Simulation & Visualization - Campus
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Top 50 Nationally for Animation (#14) - 2024
Top 50 Nationally for Game Design (#12) - 2024
Top 50 Nationally for Graphic Design (#28) - 2023

BA in Game Art & Development
BS in Game Programming & Development
BA in Graphic Design
BA in Graphic Design & Web Design
Top 50 Private Graphic Design Schools in the US (#36) - 2023

2D Animation
3D Animation
3D Modeling
Concept Art
Digital Illustration
Game Art & Animation
Game Design
Game Programming
VFX Compositing and FX
Real-time 3D & Virtual Production
Game Development - Programming, Design, Game Art & Animation, Real-time 3D & Virtual Production
Top 25 International Animation Training Programs (#16) - 2023

Buenos Aires, Argentina & Online
Desarrollo de Videojuegos (Tecnicaturas Superiores)
Producción y Game Design (Tecnicaturas Superiores)
Arte y Animación para Videojuegos (Tecnicaturas Superiores)
Producción y Animación 3D (Tecnicaturas Superiores)
Realización Integral de Dibujos Animados (Tecnicaturas Superiores)
Tecnicatura Superior en Animación 3D para Videojuegos (Tecnicaturas Superiores) - NUEVA - ONLINE
Programación de Videojuegos con Unreal, Unity y Godot (Tecnicaturas Superiores) - NUEVA - ONLINE
Unreal Connectors (Programas Profesionales - 100% Online en Vivo)
Virtual Production (Programas Profesionales - 100% Online en Vivo)
Introducción a Unreal Engine (Programas Profesionales - 100% Online en Vivo)
Diseño de Interacción 3D en Realidad Virtual con Unreal Engine (Programas Profesionales - 100% Online en Vivo)
Realidad Aumentada con Unity (Programas Profesionales - 100% Online en Vivo)
Realidad Virtual para Arquitectura (Programas Profesionales - 100% Online en Vivo)
Audio Inmersivo (Programas Profesionales - 100% Online en Vivo)
Animación Profesional 3D (Programas Profesionales - 100% Online en Vivo)
Modelado Profesional 3D (Programas Profesionales - 100% Online en Vivo)
Visualización Arquitectónica (Programas Profesionales - 100% Online en Vivo)
Motion Graphics (Programas Profesionales - 100% Online en Vivo)
VFX (Programas Profesionales - 100% Online en Vivo)
Environments para Videojuegos con Unreal Engine (Programas Profesionales - 100% Online en Vivo)
Desarrollo de Videojuegos con Unity (Programas Profesionales - 100% Online en Vivo)
Game Design (Programas Profesionales - 100% Online en Vivo)
Concept Art (Programas Profesionales - 100% Online en Vivo)
Game Art (Programas Profesionales - 100% Online en Vivo)
Game Audio (Programas Profesionales - 100% Online en Vivo)
Game Quality Analyst (Programas Profesionales - 100% Online en Vivo)
Top 25 International Animation Schools - 2023 (#23)

"19 Institutions Offering Postgraduate Animation Courses in the UK." Hotcourses International . Hotcourses LTD, 2017. Web. 19 May 2017.

PhDPortal . StudyPortals B.V., 2007-2017. Web. 19 May 2017.

"Places of Interest in Great Britain." Study Abroad UK . StudyAbroadUK, 2017. Web. 19 May 2017.

Animatory thinking: An enquiry into tacit knowledge within animation practice

--> PhD thesis, Royal College of Art.

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Animation, Video Graphics and Special Effects Graduate Programs in America

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College of Arts, Media & Design - Northeastern University

Boston, MA ·
Northeastern University ·
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Department of Art, Film, and Visual Studies

The Department of Art, Film, and Visual Studies (AFVS) at Harvard offers a graduate program in Film and Visual Studies leading to a PhD.

The Department also offers a secondary field in Film and Visual Studies for students already admitted to PhD programs in other departments in the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences.

The study of film at Harvard functions within the multi-disciplinary examination of audio-visual experience. From Hugo Münsterberg's pathbreaking forays into the psychological reception of moving images and Rudolf Arnheim’s seminal investigations of "visual thinking" to Paul Sachs’s incorporation of film into the academic and curatorial focus of the fine arts at Harvard and Stanley Cavell’s philosophical approaches to the medium, Harvard has sustained a distinguished tradition of engaging cinema and the cultural, visual, spatial, and philosophical questions that it raises. With their emphases on experimentation in the contemporary arts and creative collaboration among practitioners and critics, the Department of Art, Film, and Visual Studies (AFVS) and the Carpenter Center for the Visual Arts provide a singular and unparalleled site for advanced research in Film and Visual Studies. The program aims to foster critical understanding of the interactions between the making of and thinking about film and video, between studio art, performance, and visual culture, and between different arts and pursuits whose objects are audio-visual entities. The Carpenter Center also supports a lively research culture, including the Film and Visual Studies Colloquium and a Film and Visual Studies Workshop for advanced doctoral students, as well as lecture series and exhibitions featuring distinguished artists, filmmakers, and scholars.

Interdisciplinary in its impetus, the program draws on and consolidates course offerings in departments throughout the Faculty of Arts and Sciences which consider film and other arts in all their various countenances and investigate the place of visual arts within a variety of contexts. Graduate students may also take advantage of the significant resources of the Harvard Film Archive (HFA), which houses a vast collection of 16mm and 35mm film prints as well as rare video materials, vintage film posters, photographs, and promotional materials. The HFA furthers the artistic and academic appreciation of moving image media within the Harvard and the New England community, offering a setting where students and faculty can interact with filmmakers and artists. In early 2003, the HFA opened a new Conservation Center that allows the HFA conservator and staff to accession new films as well as to preserve its significant collections of independent, international, and silent films.

Students and faculty in Film and Visual Studies are also eligible to apply to the Harvard Film Study Center for fellowships which are awarded annually in support of original film, video, and photographic projects. Established in 1957, the Film Study Center provides production equipment, post-production facilities, technical support, and funding for nonfiction works that interpret the world through images and sounds. Among the many important films to have been produced at the Film Study Center are John Marshall's The Hunters (1956), Robert Gardner's Forest of Bliss (1985), Irene Lusztig's Reconstruction (2001), Ross McElwee's Bright Leaves (2003), Peter Galison and Robb Moss’s Secrecy (2008), Ilisa Barbash and Lucien Castaing-Taylor's Sweetgrass (2009), Véréna Paravel and J.P. Sniadecki’s Foreign Parts (2011), Véréna Paravel and Lucien Castaing-Taylor’s Leviathan (2013) and De Humani Corporis Fabrica (2022), Stephanie Spray and Pacho Velez’s Manakamana (2014), Mati Diop’s Atlantiques (2019), Ernst Karel and Veronika

Kusumaryati’s Expedition Content (2020), and Joana Pimenta and Adirley Queirós’ Dry Ground Burning (2022).

Images: Instructions for a Light and Sound Machine (2005), directed by Peter Tscherkassky, from a print in the collection of the Harvard Film Archive.

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My native language is not english; do i have to take the an english language proficiency exam.

Adequate command of spoken and written English is essential to success in graduate study at Harvard. Applicants who are non-native English speakers can demonstrate English proficiency in one of three ways:

Receiving an undergraduate degree from an academic institution where English is the primary language of instruction.*
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When is the application deadline for admission to the Ph.D. program in Film and Visual Studies?

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Where can I obtain an admissions application?

Applications are found on the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences website ( https://gsas.harvard.edu/admissions/apply ).

Computer Graphics, Vision, AR/VR, Animation & Game Science

The GRAIL group is known for ground-breaking research in computational photography, games for science and education, 3-D reconstruction, Internet photo collections, object recognition, human shape and motion analysis, information visualization, and animation. In addition to benefiting from the expertise of our core faculty members, our students interact with world-class researchers from Microsoft Research, Adobe, Intel, and Google. Recent projects include Moving Portraits , which generates face animations of a person from large image collections and has been widely deployed as the “Face Movies” feature in Google’s Picasa, and Illumination-Aware Age Progression , which automatically renders images of a child’s face at multiple ages throughout his/her lifetime.

The UW Reality Lab brings together researchers to focus on augmented and virtual reality in order to advance the state-of-the-art and to educate the next generation of researchers and practitioners. Founded in 2018, it supports diverse research projects in the areas of computer vision, computer graphics, display optics, 3D reconstruction, lightfield rendering, accessibility, character animation, input devices, and more. Other ongoing programs include an idea incubator, courses , The Reality Studio , and The Reality Lab Lectures . Examples of work from UW Reality Lab Researchers include: Soccer On Your Tabletop , a system for turning 2D video of sports matches into 3D AR experiences, a Near-Eye Visor design that projects onto a micron-scale thick metasurface to allow a greater field of view; and an inexpensive way to turn a 2D tablet into a 3D display device.

Researchers at UW CSE's Center for Game Science use gaming to solve grand challenges, crowdsource human problem-solving to aid scientific discovery, and improve student interest and achievement in mathematics. Noteworthy projects include Foldit , the award-winning game that has engaged more than 100,000 players around the world in helping scientists to understand the 3-D structure of proteins to combat viruses such as AIDS and Ebola, and Nanocrafter , a game that enables players to build nanoscale machines using small pieces of DNA to advance synthetic biology research.

Animation Research Labs is a multi-disciplinary effort that brings together faculty and students from the Allen School, the Department of Architecture , and the Schools of Art , DXARTS , Drama , and Music .The ARL is focused on advancing the state-of-the-art in animation through teaching, research, and computer-animated production in collaboration with experts from Disney Animation Studios, Bungie, Industrial Light & Magic, Microsoft Game Studios, Pixar, and many others.

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Best 53 Animation Research Topics ideas with examples

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Best Animation research topics and ideas for master’s and undergraduate students

Here is the list of best animation research topics:

Exploring the effects of Kinematics methods on Animation
To study Animation and facial effects.
Does the study of filmmaking on the internet help students?
How do enhance the addition of emotional effects on Animation?
The survey on Animation Art and how many students are willing to make a career in this field.
To study the concept of 3D Animation and how it has transformed the world of animation in the last 10 years.
To analyze the Dynamic methods of Animation and compare them with the traditional ones.
What is the difference between Kinematics and Dynamic Animation?
To study the origin of Animation: how and when?
To use the texting art in Animated games.
The use of 3D in printing and the advancement in technology can bring more enhancement.
Studying the concept of animation editing and formatting – a literature review.
The role of Visual effects on Video albums and how they can grab the attention of users?
The idea of 3D animated short films and online streaming
What are the impacts of Animations on Viewers?
To analyze the new areas related to illustrations in the past 5 years
To study the idea of Digital illustration and its impact on an appealing visual element
To analyze the advanced narrative illustrations and how it benefits movie-making.
To explore the role of social networking in society.
To evaluate the research on fluid animations.
To evaluate the application of Animation in total packing.
To analyze the two-dimensional application of advertising and promotions.
To analyze the innovation in the Animations and how it benefits green packaging.
To explore some inspiring ideas for Animation for creative visuals.
To study the development in Animation over the last ten years.
To study the effects of animated cartoons on children.
An analysis of the integration of Animation in Advertisements and explore how it affects consumer behaviour.
How Animated movies grab the audience’s attention?
To explore the development of technology in art-making and study how it has improved results since 2015.
Examining the use of Animation in school to teach children: examining the positive and negative effects.
The use of Animation in good stories for people to learn good things from it.
How do you evaluate the future of Animation?
To study the History of American Animation.
To explore the purpose of digital Animation and the use of AI.
Why does your Animation become important?
What concepts are mainly used in Animation?
What are the advantages of Animation for brand managers?
To study the different types of Animations.
Is Animation a good career to choose? An analysis of the market situation.
Do animators have to draw every frame? What is best?
What are the skills an Animator required?
What makes an Animater skilled in Animation?
What are the advantages and disadvantages of Animation techniques?
The importance of Animation in the 21 st century based on a comparative industrial review
Why do you think Animation is so popular?
What are the effects of Animation in your daily life?
To study the use of Animation in the Entertainment Industry.
To study the use of Animation in Marketing and how it adds an appealing factor
Why do you like Animation? Would you like to make a career in this field?
To explore the Importance of breakdown Animation.

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Psychological Impact and Influence of Animation on Viewer's Visual Attention and Cognition: A Systematic Literature Review, Open Challenges, and Future Research Directions

C. k. praveen.

1 VIT School of Design, Vellore Institute of Technology, Vellore 632 014, India

Kathiravan Srinivasan

2 School of Computer Science and Engineering, Vellore Institute of Technology, Vellore 632 014, India

Associated Data

The original contributions generated for this study are included in the article; further inquiries can be directed to the corresponding author.

Animation is an excellent method to associate with the audience in a fun and innovative manner. In recent span, animation has been employed in various fields to enhance knowledge, marketing, advertisement, and age groups from infants to adults. The present communication expounds the systematic review on the impact created by animation on the viewer's visual attention. For this review, a database such as Google Scholar, ScienceDirect, Taylor & Francis, and IEEE Xplore were pursued for publications on the impact of animation on viewer's visual attention from January 2015 to December 2021. The search results showcased 175 titles with 114 full articles, out of which 35 were related to viewers' visual attention towards animation. These reviewed studies comprised of physical outcome ( n = 9), psychological outcome ( n = 15), and cognitive outcome ( n = 11) from which the attention-related factors, physical effects, and cognitive effects of animation were assessed. The animation has influenced the viewer's visual attention through the integration of the different stimuli and the highly organized presentation. Furthermore, the animation has also aided the viewer in attaining greater conceptual understanding, thereby facilitating their cognitive response. As a result, the animation was found to be helpful in enhancing learning skills, food marketing, and teaching strategy. Furthermore, the drawbacks and future recommendations of the studies were elaborated. In addition, challenges and open issues faced during the studies were discussed. Finally, the priority areas in animation identified for promising future directions to visualize large pool data, provide smart communication, and design 3D modeling structures were highlighted.

1. Introduction

Animation is a comprehensive introduction to animated films, from cartoons to computer animation. In layman's terms, it can be described as a state of being full of life. It brings the life of unanimated objects to moving objects, thereby attracting the modern world with its features [ 1 ]. In other words, it is a form of pictorial presentation that has become the most prominent feature of technology-based learning environments. In the modern world, it has become an essential tool for presenting multimedia materials for learners to understand them better [ 2 ].

Animation techniques have been developed over a while, either in 2D drawings or 3D objects like clay, stop motion, or motion graphics. It has become a reliable and significant platform for various fields that have impacted viewers' visual attention through its magic. The animation need not be a full-length movie to attract the viewers' visual attention; rather, it can be a clip of a few seconds comprised of just a few frames. The animation videos can be processed as represented in Figure 1 .

An external file that holds a picture, illustration, etc.
Object name is CMMM2022-8802542.001.jpg

Process of animation.

An idea of integrating traditional animation with the digital 2D animation technique was proposed by Purwaningsih [ 3 ]. It provides an alternative pipeline for hand-drawn 2D animation shorts, thereby optimizing the production time.

The impact of animation on viewer's visual attention and attention span was reviewed and reported either with respect to animated characters or character motion. The research on considering both as influencing factors for viewer's visual attention is insignificant. The present survey focuses on how animated characters and their motions create an impact on the viewer's visual attention. Also, it emphasizes the physiological and cognitive impact created by the animation on the viewers.

1.1. Need and Objectives of the Study

Animation is capable of attracting a large audience in every field. As a result, most people are exposed to this interesting field of knowledge. The major objectives of this systematic review are summarized as follows:

To exemplify the impact and influence of animation and animated characters on viewers visual attention and cognition
To elucidate the various approaches and techniques used in attention based animation studies
To elicit the standards, regulations, guidelines, and best practices that could assist the animation professionals in understanding the viewers' cognitive behavior
To exemplify the current trends and open issues of the impact of animation on viewers' attention and cognition
To elucidate the future research directions in animation-based attention studies

1.2. Related Work

Etemad et al. [ 4 ] have analyzed the motivating factors for processing motion features and their relative degrees of significance in a general paradigm called the perceptual validity (PV) model. The PV consists of four components: association, contextual dependency, internal consistency, and external consistency with underlying elements (bodily action, bodily expressions, facial action, and facial expression). A case study was conducted with this paradigm based on the contextual dependency and finally discussed with Disney's principles of animation. Zong et al. [ 5 ] have discussed the importance of character expression shaping in animated films. The features of facial expression design, such as exaggeration, accuracy, and virtuality, were briefed. Likewise, the expression techniques such as association, personification, exaggeration, and deformation were discussed. Finally, a case analysis of animation expression shaping with respect to every character depicted in the Kung Fu Panda film was carried out in-depth.

Kim et al. [ 6 ] studied character-audience similarity's impact on evaluating public service announcements (PSAs). The characters of smokers and persuaders are differentiated to explore their different roles in message effectiveness. Shao [ 7 ] has discussed the performance of visual humor in animation from the point of view of image, color, action, and rhythm. The image of an animated character is suggested as a bearer of visual humor. It suggested that the humor can be enhanced/created either in the form of body proportion (genius rat in Ratatouille) or structural reorganization (Pigsy's head in Journey to the West). The animated character's color is considered to render emotional visual humor (Panda Po in Kung Fu Panda). The action of the animated character is proposed to be surreal humor (Tom cat and Jerry mouse in Tom and Jerry). Finally, the rhythm of animated films was proposed to affect the audience's visual and psychological feelings.

Shah et al. [ 8 ] studied the application of animation in pharmaceutical advertisements and its impact on consumer perception of the risks and benefits of the drug. Two sets of studies have been carried out for the analysis. Rotoscoping was used to test the effects of animation in this study. Study 1 was carried out to assess whether any shift in perception exists and whether it agrees with a memory effect. In study 2, the findings from study 1 were extended by including consumer implications in order to demonstrate the downstream consequences of the use of animation in pharmaceutical advertisements. Smith and Neff [ 9 ] have investigated the influence of animated gestures in controlling personality perception. A sequence of four diverse gestures with twelve motion adjustments was selected as stimuli for the study. The correlation in personality perception was determined. In addition, the potential and possible limits of motion editing approaches were discussed. Two constellations of motion adjustments were selected for the study.

Vijayakrishnan et al. [ 10 ] analyzed the importance of animated cartoon characters in product marketing through advertisement. The preference of children over products having cartoon characters was scrutinized. The strategies used in the global market for selling the products using animated characters were also discussed. Geal [ 11 ] has explored how animation can manipulate a reflexive intertextual framework related to religious prohibitions on artistic mimesis that might replicate and threaten God's creative act. The limitations of the existing survey are listed briefly in Table 1 .

Comparison of existing surveys with the current review (✓: yes; x: no).

This paper is divided into seven sections and its general layout is depicted in Figure 2 . The first section introduces the animation, its impact on the viewer's psychology, and attention span. It also briefs the objective of this study, the limitations of the existing research, and the present study's contribution. The second section explains the application of the PRISMA protocol to evaluate the reviewing of other types of research. The evaluation is based on the survey's selection criteria, its information sources and search strategies, data collection process, and risk of bias in individual studies. The third section elaborates on the selection of the present study, its characteristics, selected data items, and the risk of bias within the studies. It also assesses animation's attention-related factors and physical and cognitive effects. The fourth section briefly presents the summary along with the limitations and recommendations. The fifth section elaborates on the challenges and open issues the researchers face during the study. The sixth section highlights the future research directions in the field of animation. Finally, the last section summarizes all the facts and concludes the reviewed results.

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Object name is CMMM2022-8802542.002.jpg

Structure of this review.

2. Methodology

2.1. prisma protocol.

The present study is reviewed based on the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) Protocol [ 22 , 23 ]. It is a set of recommendations designed for reporting systematic reviews. These guidelines aid authors in improving the reporting of systematic reviews and meta-analyses and ensuring the accuracy and transparency of the studies reported [ 24 ]. The present study's reporting quality can be optimized by completing the review report based on the PRISMA–P statement and checklist. Moreover, it also improves the efficiency of the peer review process and enables the readers to get a clear view of the author's work.

The steps followed in the PRISMA protocol are represented in Figure 3 . It is provided briefly as follows: (a) Identification, the records are identified through database searching and additional sources. (b) Removal of duplicates, the records that appear more than once should be removed to avoid reviewing the duplicate records. The entire list of records is exported to a citation manager to remove the duplicate records. The remaining records are entered in the second top box. (c) Screening, the number of screened articles are entered in the following box. Furthermore, this value will be the same as that of the number entered in the duplicate removed box. Further, the articles are screened based on their titles and abstracts. The number of articles excluded in this screening process is recorded in the relevant box. (d) Eligibility, the number of excluded articles after the screening process is subtracted from the total number of records screened. Full-text articles are assessed for eligibility. All these full-text articles are eligible for the final reviewing process. The number of excluded articles at this point is recorded in the appropriate box. (e) Inclusion, the number of excluded articles is subtracted from the total number of articles reviewed for eligibility. Furthermore, this number is entered in the qualitative analysis box. The number of studies list is entered in the quantitative synthesis box to perform the meta-analysis.

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Object name is CMMM2022-8802542.003.jpg

Flow diagram of PRISMA protocol.

2.1.1. Selection Criteria/Eligibility Criteria

The criteria selected were defined before undergoing screening of any articles. The selection criteria are listed in Table 2 .

Selection criteria.

The criteria selection helps to limit the broad topic to direct relevance for the research questions. The language is selected as English as it is the primary publication language for scientific articles. The year of publication is limited to providing a review based on recently published research works. Finally, peer-reviewed articles are considered to provide good quality of work and confirmed results. Also, published thesis work is considered, providing more detail about the research work introduced in peer-reviewed articles by the same or similar authors. Animation-based attention-creating articles were selected for the reviewing process.

2.1.2. Information Sources and Search Strategies

The search databases selected for article retrieval should have good coverage of the body of the relevant work. For this purpose, the two major exiting multidisciplinary databases, Web of Science and Scopus, were selected. Also, scientific databases like Google Scholar and ResearchGate are included as they cover good reporting of animation-related attention-creating articles. In recent times, these research articles can also be retrieved from general databases. However, Google Scholar gains superiority due to its positive correlation with the citation counts from various sources. Many of the works relevant to animation-based attention-creating articles can be retrieved from this database. The publishers such as IEEE, ScienceDirect, Springer, and SAGE also provide direct access to their publications, and their databases were also assessed for their yield of additional relevant results. All the relevant papers can be expected to be available online as the year of publication selection is from 2015 and above. So the analogue search was not conducted separately. Therefore, the electronic database searches were executed from January 2015 to the year 2021 until the preparation of the review. The reference list of all the relevant articles was analyzed for their significance with the research objectives and screened accordingly. The same selection criteria were applied here.

The search strategies need to be fine-tuned to get a better search of articles. Meanwhile, it should expose all relevant research works under a manageable level with no increase in the overall workload of the reviewing process. For the given research objective, the attention-creating articles published in the field of animation were chosen. The research terms for the search were used in either form of individual keywords or a combination of keywords. And specifically, the research terms used were ‘animation' OR ‘impact of animation' ‘Animation' AND ‘psychology' OR ‘animation' AND ‘audience' OR ‘animation' AND ‘cognitive psychology' OR ‘animation' AND ‘audience visual attention'.

2.1.3. Data Collection Process/Data Extraction Process

The title of the articles retrieved from the databases is evaluated for their significant relevance to the research objectives. Furthermore, their respective abstracts are read thoroughly. Based on this, the most relevant articles were segregated and organized in a Microsoft Excel sheet.

(1) Inclusion Criteria . Inclusion criteria for this study include the year of publication, country of origin, methodological base, experimental context, sample characteristics, study duration of existing articles, outcome measures, and exposure to animation duration.

(2) Exclusion Criteria . The criteria excluded for this study comprise lack of access to the full article, unsuitable research articles, letters to the editor, and retraction articles review articles.

The study's key findings mainly focused on how effective the animation in the existing articles. And no attempts are made to contact the authors for missing details in their respective articles.

2.1.4. Risk of Bias in Individual Studies

All the articles were independently evaluated based on the inclusion and exclusion criteria to assess the risk of bias in individual studies. The information extracted from each study is evaluated using the quality assessment tool. For the effective quality assessment, the checklist is made based on the following criteria: yes, no, not applicable (NA), and not reported (NR). The checklist of quality assessment tools includes the following criteria mentioned in Table 3 .

Design quality analysis.

3.1. Selection of the Study

3.1.1. summary of retrieved articles.

The summary of the search databases visited and the number of articles obtained from the respective sources is presented in Table 4 . Further, this table shows the percentage of articles retrieved from each academic database and reveals that the highest number of articles were retrieved from Google Scholar ( n = 199). It comprises research articles, conference papers, and students' dissertations. Other databases like Springer, Science Direct, and Taylor and Francis account for 6.76%, 6.41%, and 6.05% of the total number of articles. The rest of the articles were retrieved from IEEE Xplore (4.27%), ResearchGate (3.20%), and Wiley Online Library (2.49%).

Article sources and number of articles.

3.1.2. Exclusion of Retrieved Articles

The number of articles retrieved from the search database was reduced with the following eliminated procedure based on PRISMA protocol.

(i) Elimination of the articles based on language ( n = 6), irrelevant titles ( n = 75), and reduction of duplication ( n = 25) from various search databases, leading to reduction from 281 to 175
(ii) Elimination of articles after the examination of abstracts, leading to the reduction of articles from 175 to 114
Report on animation impact, 37
Not focused on animation, 18
Report on animation application, 14
Case study, review, and others, 5
Not enough information, 5

The procedure flow for selecting articles for the study is depicted in Figure 4 , which shows the elimination procedure.

An external file that holds a picture, illustration, etc.
Object name is CMMM2022-8802542.004.jpg

Elimination process of articles based on PRISMA protocol.

3.2. Characteristics of the Study

Based on the selection process, 35 articles were shortlisted for the systematic review. Each article was reviewed, and the information gathered from it was tabulated. The following information was extracted from the articles: description of the study, sample and design applied in the study, type and duration of animation used in the study, and outcome and findings of the study and case-control applied within the study. The study's characteristics, as itemized above, are summarized in Table 5 .

Summary of animation studies.

3.3. Data Items

The study participants' ages ranged from 30 months to 30 years, and most of the studies included both sex samples, with the exception of three studies with female samples alone and gender not mentioned in eight studies. In addition, most of the studies included 3D animation ( n = 10) followed by 2D animation ( n = 6) and flash ( n = 4), and the remaining studies included motion graphics, VR, and AR. Further, the outcomes reviewed from all these studies, namely, physical outcome ( n = 9), psychological outcome ( n = 15), and cognitive outcome ( n = 11), are presented in Table 5 .

3.3.1. Physical Outcome

The importance and necessity of physical exercise was easily delivered to the primary grade students. The results showed a significant difference in self-efficacy, learning, benefits, importance, personal best, and fun between the control and experimental groups ( p ≤ 0.05) [ 31 ]. The hand manipulative tasks was made better with the help of animation. The results showed that the animation groups ranked their difficulty levels (cognitive load) significantly lower than the static groups. Moreover, viewing hand or not made no difference for the animation group [ 36 ].

The effects of visual cueing depend on the subject matter and the learner's learning strategies [ 40 ]. The pretest scores revealed insignificant scores between the test and control groups. However, there is a significant difference between the test and control group in the sequential memory test [ 55 ]. The microintervention study revealed the positive impact of animation on creating awareness on body image among the adolescents. It helped them to understand the importance of telling a bully to stop. The study results showed a significant difference in body satisfaction between the groups. However, it is insignificant to media literacy and self-efficacy [ 29 ]. There is a significant difference in the learning outcomes between each PK (prior knowledge) group for reading comprehension. The animation annotation was easily noticed by the low PK group, whereas the text zone was noticed by the high PK group [ 38 ]. The results obtained from SPQ and BMI revealed the following results: Pororo - So-Yang type boy, Petty - So-Yang type girl, Loopy - So-Eum type girl, Pobby & Harry -most obvious contrast [ 50 ]. There is a significant difference between lip-syncing and gaze to target for perceived speech intelligibility [ 43 ].

3.3.2. Psychological Outcome

Food marketing industries have efficiently utilizing animation as a tool to attract the children, and they were assessing their attention towards healthy/unhealthy food items. Children are attracted to the food and beverages product with or without animated characters. Children were significantly chosen the less healthy product with or without character. Children significantly preferred more or less healthier products irrespective of character [ 51 ]. Children's pupil diameter increased on watching the candy condition. However, no significant difference was observed in the children's visual attention or emotional arousal towards candy or food conditions. There is a significant difference in children's emotional arousal to unhealthy products due to the parent's restriction of candy at home [ 32 ].

The children recalled the story and more content words significantly from animated conditions than a static conditions. Children's visual attention was significant with animated conditions compared to static conditions [ 57 ]. The children were able to recognize the facial identity through dynamic facial animation. However, they failed to learn the facial expression. There is no significant difference observed between the pre- and post-familiarization tests [ 47 ].

The animation has delivered a better opportunity to have self-awareness and knowledge on the health issues without any hesitation. The implementation of computer-animated agent provides assistance to deliver personally relevant information on breast cancer. It helps to reduce anxiety, support psychological needs, and boost confidence. The results showed a significant difference in the proportion of participants with unanswered questions for the post-intervention period [ 30 ]. The health awareness regarding the conditions of glaucoma was perceived by the patients through animation video. There is a significant difference in the patients' knowledge scores between pre- and post-intervention ( p ≤ 0.001). Rural residence, low income, and unemployment were identified as influencing factors for acquiring glaucoma knowledge [ 45 ].

There is a positive correlation between the learning experience between the VR simulation and traditional practice [ 52 ]. There is no significant difference between the real and hybrid CG characters ( p = 1.00). A less significant difference existed between real and CG characters ( p < .001) as well as between CG and hybrid characters ( p < .001). The CGI could feature the actor those who are alive or dead and are capable of enhancing the parasocial interaction and relatability [ 25 ]. The animated character influenced the viewer's attention. There is a significant difference in eeriness between the Pixar character and the Toon character ( p < 0.05). There is a significant difference in eeriness between the photorealistic human character and the Toon character ( p < 0.05) [ 48 ].

The prior knowledge about the techniques behind the making of stop motion films may influence the impact of viewer's attention towards the technical aspects rather than focusing on the story. However, the viewer's attention can be engrossed in the film, and it may develop a deeper connection with the story [ 26 ]. The level of exaggeration in animated cat is insignificant to the audience's perception of the appeal of the realistic feline character. Moreover, the significance of believability is higher for high exaggeration clips than for low exaggeration clips [ 37 ]. The frequency of exposure to animated television cartoons is higher among females, and it is greatly influenced based on their level of education. The perception of such cartoons varies with the level of education [ 56 ]. The viewer's pleasantness feeling toward animated character design aesthetics is insignificant to their gender and age group [ 44 ].

The animated virtual ads attracted the participants than the static ads. The virtual ads presented in the nonbattle scene attracted the participants than those ads in the battle scene. The interaction effect between ad animation and in-game context on fixation count is insignificant [ 41 ]. The animation intensity and animation color on the sponsorship signage showed negative effect on the viewer's attention. The arousal of the viewer's confusion due to increased levels of animation intensity was explored. And the results showed an insignificant effect of animation intensity on viewer confusion [ 46 ]. Also, there is no significant difference in color [ 59 ].

3.3.3. Cognitive Outcome

The studies reported that animation played an essential role in the cognitive development of children ( n = 6). The children who read the AR storybook were more confident in retelling and recalling the story when compared to those who read its printed version [ 27 ]. The mother's video prompted larger pupil dilations and a more smiling and cheerful eye blinking rate among the infants. The highest value cartoons prompted long looking time, reduced blinking, but no increased smiling or pupil dilation [ 34 , 40 ]. Animated films positively affect a child's involvement in symbolic mediation and the level of arbitrary behavior [ 54 ]. Also, it was observed that the executive functions of the preschoolers were disrupted after watching the animated fantastical events [ 28 ]. A significant effect of animated features in ebooks (motion and sound) was observed on children's vocabulary acquisition, story retelling, and visual attention [ 35 ]. There is no significant difference in birth weight, age, parental educational level, or preintervention performance levels between the groups. The trained group showed tremendous results immediately after the training and at 6 weeks follow-up [ 42 ].

Some of the studies reported the role of animation in the teaching field ( n = 5). The adoption of 3D animation as a teaching tool for illustrating surgical skills in medical education was investigated. The test scores showed higher significance for the 3D animation group when compared to the traditional teaching group ( p < 0.0001) [ 33 ]. The animation lecture with instructional design helps in guiding learner's attention, thereby making them focus on the important instructions in the instructions. The animated group required less cognitive load, and they outperformed on the open-ended questions. It was further confirmed with insignificant differences between the two groups in the Genetic Foundation Test [ 39 ]. Idioms learning can be made easier by watching an English animated movies. There is a significant effect on learning idioms through English animated movies ( p < 0.05) [ 49 ]. The spatial features of the animations and the simulations facilitated the development of spatial ability of the 12th grade students. The experimental group's spatial ability and reasoning skills have higher significance than the control group ( p < 0.05) [ 53 ]. The cueing by pedagogical agents positively affected learning performance and instructional efficiency. The cognitive load measures between the two groups were insignificant [ 58 ].

3.4. Risk of Bias within the Study

The risk of bias assessment within the studies is summarized in Table 6 . The criteria for the assessment were based on the study design and data analysis. Nearly all the study participants were randomly selected ( n = 28) with control group ( n = 15) assigned. Some of the studies were conducted in isolation ( n = 31), and the pretest and post-test ( n = 16) method was employed to assess the significance of the hypothesis developed. The participants' visual perception of the animation was determined by their capability to recall or retell ( n = 27). The data obtained in most of the studies were analyzed using power analysis ( n = 12), validity measures ( n = 10), and baseline comparisons ( n = 7) and were employed in some studies. Follow-up on the influence of the animation was further assessed in a few studies ( n = 3), and missing data were reported in a few studies ( n = 5).

Risk of bias within the studies.

3.5. Attention-Related Factors

Some of the studies reported in this review are solely concentrated on the visual attention of the participant's towards animation ( n = 12). The attention-related factors among these studies are animation's interactive features ( n = 3), intensity ( n = 1), design ( n = 1), motion ( n = 3), sound ( n = 1), annotation ( n = 1), and character ( n = 3). The factors that are insignificant with the viewer's visual attention was animation's color.

In twelve out of thirty-five papers, eye-tracking technology was employed to assess the participants' visual attention to the animation. The pupil movement and fixation time was observed to assess the viewer's attention towards the animation.

3.6. Physical Effects of Animation

Animation has created awareness among adolescents about their body images and provided knowledge about the necessity of physical activity. It also helped women get a detailed report on mammographic procedures without hesitation. Moreover, it also delivered a knowledge on the health issues related to glaucoma.

3.7. Cognitive Effects of Animation

As mentioned earlier, the animation has created some cognitive effects towards infants to adults. The animated ebook has helped the children understand the story's structure and content. Furthermore, animation made it easy to learn the surgical procedures like intercostal drain insertion and suprapubic catheter insertion. Also, the concepts of genetics, such as cell division, mitosis, and meiosis, were presented in animation, and the participant's performance was found to be improved. Moreover, the student's spatial ability and reasoning skills were improved by watching the animation lectures.

4. Discussion

4.1. evidence summary.

From the overall studies, it was evident that the animation was employed in various applications to attract and assess the viewer's attention. Among thirty-five studies, five briefed about the animated characters and one study about the animation motion.

The rest of the studies described the perception of audience towards implementing animation in the following phenomenon: learning skill improvement ( n = 15), teaching strategy ( n = 2), health awareness ( n = 5), advertisement ( n = 3), food marketing ( n = 2), validating hearing aid ( n = 1), and political awareness ( n = 1).

4.2. Limitations and Recommendations

Although the studies reported in this survey showed a significant difference and the hypothesis generated was accepted, some limitations still exist. The common limitations identified in the studies are short period of time for implementation [ 53 ], smaller sample size [ 27 , 37 ], nongeneralizability [ 25 , 27 , 32 , 39 , 53 ], nonrandomization trials [ 52 ], and no control group and post only group [ 45 ]. Few other studies have reported the possibility of cross-contamination among the control and experimental group [ 33 ], increased dropout of participants before completing the post-test questionnaire [ 52 ], and underestimation of participant's knowledge of expressing words which might directly affect the animation [ 57 ].

Arshad et al. [ 44 ] have examined the “Pleasure” as a sole emotional response to describe the pleasure level of human emotion towards the Malaysian animation cartoon characters. In contrast, the PAD (pleasure, arousal, and dominance) model utilized in the study has two other dimensions: arousal and dominance.

The audience could not feel the warmth of the real human character in the animated short film as the animation span is too short [ 48 ]. In another study, there is a possible way for the audience to have different perceptions regarding the meaning of the word “believability.” Moreover, the cat's exaggerated motion alone studied might express the intrinsic characteristics of its particular character design [ 37 ]. While studying the viewer/character relationships, the PSI (parasocial interaction) scores remained low, which may be due to the cause that it features nonhuman characters in all-CGI conditions. At the same time, the other conditions featured only humans [ 25 ].

Some of the typical future recommendations mentioned in the studies are an extension of the study period [ 53 ], increasing the study sample size [ 37 ] and implementing a randomized sample approach from various situations to overcome the limitation of result generalization [ 37 , 52 , 53 ].

The audience's perception of various anthropomorphic animal characters performing various actions in different situations should be examined [ 37 ]. In addition to the animation, the story's narration is more concentrated when designing a storybook app [ 57 ]. Moreover, TV animated cartoons can be designed to attract people with tertiary education for political promotions and political mobilization [ 56 ].

5. Challenges and Open Issues

The challenges and open issues faced by the researchers during the study are elaborated in this section, and it is shown in Figure 5 .

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Object name is CMMM2022-8802542.005.jpg

Challenges and open issues.

5.1. Methodological Issues in Data Interpretation

The methodological issues in data interpretation may occur due to animation completion time, fixation duration, and other confounding variables. Fixation duration may be employed to determine the participant's eye or head movements. Mostly eye-tracking devices and gaze movement trackers are utilized for this purpose. Any fault with these devices will affect the data quality, data loss, and data interpretation bias. Li et al. [ 28 ] have suggested that fixation data points showed the preschooler's more significant mobilization and limited processing capacity. Tummeltshammer et al. [ 34 ] have determined the unfiltered eye movement data using SMI's BeGaze analysis software to overcome the error caused by the tracking device or participants in attention.

5.2. Results Generalization Based on Small Sample Sizes

The generalization of results based on small sample sizes may not be appropriate for all the cases. Most of the studies mentioned it as a limitation due to various concerns such as participants' demographical features and socio-economical features. Al-Balushi et al. [ 53 ] have reported improving logical thinking and spatial thinking skills of 12th grade students of Oman. He has also stated that further investigations are required due to the small sample size. Danaei et al. [ 27 ] have reported that the children who read the AR storybook were more confident in retelling and recalling the story.

The specific format or instructions employed in the research can also affect the generalization among the same or different populations. For instance, a specific pedagogical agent format that shows attraction towards the younger population might not show the same effects on adolescents and adults [ 58 ]. Similarly, the instructions designed to visualize in animation may not be appropriate for visualizing the same in real phenomena [ 39 ]. Binder et al. [ 32 ] suggested conducting more eye-tracking experiments with integrated food cues to attract children's attention toward healthy foods.

5.3. Loss of Participants' Data due to the Restless Audience

The audience becomes restless when the study duration is too long. This may be overcome by regular contact with them or follow-up studies. In some cases, participants find it difficult to spare their free time voluntarily. For instance, many students find it difficult to complete the questionnaire in their free time due to the stressful semester [ 52 ]. Sometimes, it is difficult to compel the participants to make things if they are children or infants. Among 39 children, one refused to retell the comprehensive stories learned through animated storybooks, so the corresponding data was removed from the study [ 57 ]. Two children in an experimental group refused to participate during the middle of the study [ 55 ].

In some cases, the data will be collected indirectly through random websites or by issuing pamphlets to random people. For example, Okoro and Onakpa [ 56 ] have collected data from selected towns in North Central Nigeria by issuing 385 copies of the questionnaire. Among these, 2% of the questionnaire were not received due to the restless audience.

5.4. Issues Associated with Calibration

The calibration of devices employed for measuring participants' visual attention plays a vital role in acquiring good quality data and aids in providing a better focus on the participants. Unfortunately, due to poor calibration (> 1) of the eye-tracking device, deviated results were obtained from five children, which may negatively impact the overall results [ 32 ].

5.5. Audience Requiring Assistance

The most important challenge faced in the study is to find the audience who requires assistance to participate in the study. Furthermore, this might help in acquiring better and more appropriate results. For example, Danaei et al. [ 27 ] have identified and helped the children who had struggled to start retelling the story learned through AR story book. And they were encouraged to continue the story.

5.6. Technology Issues and Mechanical Constraints

The technological issues may be caused due to unavoidable faults in the devices employed in the study. Due to this issue, the data points measured will be low, resulting in removing those data points. For example, in a study by Hendrikse et al. [ 43 ], the electrodes reached saturation due to the loose connection in the EOG (electrooculogram) electrodes for some participants. This, in turn, affected the data quality, and the corresponding data point was removed until it was adjusted to drift compensation. Similarly, two children were excluded from the study due to the problem that occurred in the stimulus presentation of fruit and candy [ 32 ].

5.7. Anxiety among Audience

Anxiety among the audience is another challenge faced during experimenting with new ideas. For example, al-Balushi et al. [ 53 ] have attempted to teach the critical concepts of 12th grade chemistry through animation. However, the students facing stressful periods due to the important exam in 12th grade made them anxious about the adoption of new teaching technology, which negatively affected the results. Nevertheless, the study still showed healthier results with improved spatial ability and reasoning skills of those students.

5.8. Maintaining Audience Attention

Another challenge in making animation successful is maintaining the viewer's attention. Attention can be influenced by various factors like animation span, animation intensity, animated character, the motion of the animated character, and sound. Likewise, it may be affected by intervening factors such as restlessness of the audience in the real-time study settings and eye irritation. This situation can be overcome by conducting studies in a silent room where the audience can focus on the visual animation without getting distracted by external factors [ 49 ]. In some cases, the audience may get distracted by the instructions provided in the animation video [ 39 ].

5.9. Issue of Data Quality

One of the significant issues faced while carrying out studies is the quality of data obtained. And it may be influenced by the missing data due to an error in the instruments employed. It can either affect the result or may be corrected. For instance, due to the eye-tracking device's problem, children's eye movements were not clearly captured, which resulted in extremely low fixation time [ 57 ]. Similarly, 31.4% of EOG data were missing due to some error in the device. However, the missing data points are adjusted by entering them as not-a-number in the analysis [ 43 ]. Figure 5 illustrates the open challenges associated with this research.

6. Future Research Directions

The priority areas identified for future research directions are elaborated to strengthen the body of evidence. These include the advanced applications of animations that may make life easier and are listed in Figure 6 and are elaborated below.

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Future research directions.

The foremost application could include artificial intelligence (AI) that may generate 3D motion from video without any capture equipment [ 60 ]. The AI and advanced hardware can bring breathing life into animation by blurring the lines between the virtual and real characters. The application of AI into animation has reduced the post-production time, limited the need for character design, and aids in improved lip-syncing [ 61 ]. The explainable AI is an artificial intelligence operation that runs on deep neural networks. The practical applicability and promotion of the AI tool are enhanced by developing computational help [ 62 ]. The major challenges in AI are to succeed explainability in its program, which can be facilitated with animation techniques [ 63 ]. The explainable AI can be adopted in autonomous car decision-making and energy efficiency in smart homes [ 64 ] and medical imaging [ 65 , 66 ]. Meanwhile, generative AI is a machine learning algorithm that can generate new content through text, images, and audio content. In addition, it can generate human-like language output [ 67 ].

Analyzing a large amount of fragmented data can be simplified by converging the big data and augmented analytics. Moreover, it helps to provide simplified statements to the customers in an understandable manner [ 68 ]. The visualization of a large pool of data can be made easier with the help of animation. Moreover, the data visualization can be integrated with augmented and virtual reality [ 69 ]. The big data and augmented analytics play a major role in video gaming. For instance, Pokemon Go is a location-based Japanese video game franchise. This game transforms the gamer's physical location into an augmented world where the characters are superimposed on the reality seen through their mobiles. The Global Positioning System (GPS), a major staple of big data, makes this possible by allowing data collection and storing it upon the crowd-sourced data [ 70 ].

Quantum computing deals with pulling together the theoretical ideas of computer science and fundamental physics. It has been the focus of many large companies such as Google, IBM, and Microsoft. The algorithm created from quantum computing concepts can be employed to design a 3D modeling [ 71 ]. It is based on the qubits that give rise to new logic gates, which enable constructing a new algorithm. However, it is still in its emerging phase, and for future development, it is necessary to overcome the obstacles like decoherence and scalability issues [ 72 ].

The collaboration of robots and machines to perform a day-to-day task will be the perception of the modern era. However, its ethical issues are yet to be analyzed and eradicated [ 73 ]. Internet of Everything (IoE) provides interconnection of physical items to frame an information network that provides smart communication services to the users. The IoE finds applications in the fields like health care, smart grids, smart cities, smart homes, manufacturing, and transport [ 74 ].

Digital twin technology provides a virtual representation of a physical product consisting of information from the product's origin to its life cycle management. The general applicability of the digital twin lies in physical entities like agricultural supply chains, automotive wiring harnesses, smart cars, and farms, and virtual entities like health monitoring and scheduling [ 75 ]. The animation concepts play a vital role in mirroring the design concepts and visualizing them during the conceptual designing stage of the digital twin [ 76 ]. For instance, while designing the speed of the machines, synchronization can be achieved by controlling the rate of animation frames [ 77 ].

Another major industrial revolution is the cyber-physical system (CPS), composed of highly integrated computation, communication, control, and physical elements. The CPS research is emerging in education [ 78 ], agriculture [ 79 ], and manufacturing. For instance, in the manufacturing sector, the CPS may bridge the gap between design and manufacturing [ 80 ]. It extends the manufacturing process with a communication interface that mimics the worker assistance system. Furthermore, the animation is used to assist the operation flow of instruments in the worker assistance system [ 81 ]. However, the CPS development is still in the embryonic stage as it faces challenges such as security, privacy, efficiency, and interoperability [ 82 ].

The interaction and fusion between the physical space and virtual space are facilitated with the advancements in the 3R technology (virtual reality (VR), augmented reality (AR), and mixed reality (MR)). The VR is a simulated environment designed in real time using computer graphics and pictures of the scene in 3D. It will immerse the viewer into the virtual environment, closing them completely away from the outside world. Meanwhile, AR is an interactive environment that is designed by increasing this fusion between the physical and virtual space. The viewers can interact with the animated data and instructional information superimposed over the real-world view through devices such as mobile phones or tablets. At the same time, the MR simulation environment is designed from the fusion of real-world and virtual space comprising the co-existence interaction of physical objects and digital objects. Two or more viewers can be networked together in a virtual environment where they can interact with computer-generated objects on the real world [ 83 , 84 ]. In recent span, the AR, VR and MR applications have been widely used in health-care monitoring [ 84 , 85 ], clinical applications in oral and maxillofacial surgery [ 86 , 87 ], improvising nursing skills [ 52 ], and enhanced teaching strategy [ 27 ].

7. Conclusions

This paper highlighted a systematic review of 35 publications about animation's importance and its impact on viewer's visual attention and cognition. These publications were collected from 2015 to 2021 and are grouped into 3 categories. The risk of bias in the study design carried out in these publications was briefed. The attention-related factors such as animation motion, animated character, color, and intensity were assessed in the field of food marketing, teaching, entertainment, and advertisement. The animation motion and animated character are significant, whereas color and intensity are insignificant. The cognitive effects developed in the viewers are executive function, comprehension, spatial ability, and symbolic mediation. Meanwhile, the physical effects included confidence in their own body image and the importance of physical exercise. The limitations and recommendations associated with these 35 publications were elaborated. Also, the open challenges and issues under each category were summarized. The identified future research directions ideas may further strengthen the necessity for improving the visual quality of the animation.

The major limitation of this study is that the recently published articles were not included (i.e., publications in 2022). Several important animation research fields, such as gaming, medical, and entertainment, were not covered in this paper. Future research should include the recently published articles to enhance the quality and validate the findings in this study. In addition, the future study focuses on assessing the influence of animation motion and animated characters on the viewer's visual attention.

Data Availability

Conflicts of interest.

The authors declare that there are no conflicts of interest regarding the publication of this paper.

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Animation & Visual Effects Degrees: Masters, PhD & Online Course Info

Study Animation and Visual Effects: Degrees at a Glance

If you have a creative mind and like to be up-to-date with the newest media technology, you may have the right drive to obtain your master's or PhD degree in animation and visual effects. These graduate programs immerse you in the multi-step process of creating animations and teach you to work with cutting-edge graphics software. You're encouraged to develop a unique visual perspective and innovate new purposes for animation. Graduates can apply their knowledge to a wide variety of jobs in media, art and education.

According to the U.S. Bureau of Labor Statistics (BLS), employment of multimedia artists and animators was projected to increase by 8% from 2010 to 2020, while that of art directors was expected to increase 9%; these are slower-than-average rates. As for postsecondary teachers and researchers, the BLS projected that job growth would be 17%, an average rate.

Source: *U.S. Bureau of Labor Statistics (May 2011 figures)

Master's Degree in Animation and Visual Effects

Animation and visual effects programs cover the entire process of creating an animated film, from concept development to 3D modeling and post-production. You might choose a concentration in 2D or 3D animation, modeling or special effects. Programs teach you to create complex animation sequences with industry-specific software. You learn technical and professional communication and workplace standards, and you can build your professional portfolio with film projects.

A master's degree program in animation and visual effects can prepare you for work in many different types of multimedia art and animation settings. Careers this degree can lead to include video and computer game designer, technical director, 2D or 3D animator, 3D modeler, compositor and storyboard artist. In addition to these positions, you could also become a visual effects artist, concept artist, character designer or an educator at the technical or community college level.

Pros and Cons

Can apply and realize your creative vision
Course requirements are flexible and depend strongly on student interests
Degree requirement projects can boost your professional portfolio
Online master's degree programs are available
Slower-than-average job growth for animators expected between 2010 and 2020
Ability to create a remarkable portfolio and secure employment often depends on personal talent rather than the degree level
Lengthy and costly education path

Courses and Requirements

At the master's degree level, you're typically required to choose a specialization. Though you can expect some core courses in the history and culture of art and animation, your classes depend on your concentration and the electives you choose. Subjects you may study in an animation and visual effects program include the following:

Aesthetics of animation
Creating storyboards
Designing characters
2D and 3D modeling and animation
Animation production
3D character computer animation
Animation and movement art

In addition to coursework, exams and hands-on projects, you're also typically required to complete an internship or independent study project. Writing a master's thesis and/or creating an animation film may be the last requirements.

Online Degree Options

If you're a working professional or otherwise unable to attend on-campus courses, you can still earn a master's degree in animation and visual effects, via distance learning. By utilizing online multimedia applications, you can view class materials and artistic demonstrations. You can also communicate with instructors and classrooms through discussion boards and interactive conference software.

Getting Ahead With This Degree

Animation and visual effects jobs often require years of experience in the field, demonstrated through your portfolio and resume. Programs commonly offer directed study courses; you can use these to complete animation projects related to your areas of interest and prepare for the current competitive job market. You can also take on part-time, temporary jobs or complete internships to learn new skills and boost your professional portfolio.

PhD in Animation and Visual Effects

You can enroll in a media arts and technology doctoral program and focus your studies on animation and visual effects. Independent study options and self-tailored curriculums characterize doctoral studies in the field, and this level of study is designed for innovative people who want to create new applications and industries for animation. Doctoral programs in this discipline are typically extremely competitive. Class sizes tend to be small, the workload is research-intensive and you can expect a lot of one-on-one time with professors and advisors.

Keep in mind that for many jobs in this field, having years of experience is often more valuable to potential employers than a PhD. However, if you want to work in research or postsecondary academia, a PhD is often necessary.

You can tailor coursework and research projects to your interests
Through research and development, you could create new cultural and commercial applications for visual effects and animation
Job growth in academia is projected to be better than in multimedia arts and animation industries
If you choose to pursue a career in academia, you could potentially gain job security by earning tenure
It may be difficult to get into a PhD program in this field
Jobs may require relocation to areas with big film production industries, like New York City or Los Angeles
Attaining tenure can be arduous and is by no means guaranteed

The courses that you take in a PhD program in media arts and technology, focused on animation and visual effects, depends largely on your area of interest. For example, you could specialize in video game character development or focus on designing animated educational technology. The following are some animation topics that you could end up studying:

Interactive arts aesthetics
Culture of technology
Digital art
Game design
Iconography
Technology and arts research

Classes and qualifying exams are only two components of earning your doctoral degree in this field. You'll also typically be required to present a dissertation proposal in front of a board of advisors. Once your proposal is approved, you research, write and defend your dissertation.

Since earning your doctorate in this field is so research-intensive and hands-on, online animation PhD programs are hard to come by. As of September 2012, none were found. You'll most likely need to attend an on-campus program.

Stand Out With This Degree

There are numerous strategies that you can follow to get ahead of the competition in the job market. The following are a handful of suggestions that you might consider:

Stay abreast of current animation technologies and keep your computer skills strong. Employers usually have several software-based requirements and may require programming skills.
Learning a second language, like Spanish, can help you expand the markets you could potentially find work in.
Having research from your dissertation published in a peer-reviewed academic journal can be a solid way to strengthen your resume.

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Realtime 3D Facial Animation

Self-funded

Project code

CCTS4531021

Start dates

October, February and April

Application deadline

Applications accepted all year round

Applications are invited for a self-funded, 3 year full-time or 6 year part-time PhD project.

The PhD will be based in the School of Creative Technologies and will be supervised by Professor Hui Yu and Dr Brett Stevens .

The work on this project will:

Develop methods for high-fidelity 3D face generation from images or videos.
The focus can be any of the following aspects: 3D geometric reconstruction, high-fidelity texture generation, facial detail generation, 3D animation and VR application.
Demonstrate the effect of the developed method based on 3D facial animation system developed by VCG. Application of the developed technologies to mobile devices or VR headsets.

With the advancement of mobile devices (e.g. smartphone) and virtual reality (VR) headsets, performance-based facial animation has attracted increased interests in recent years. The technologies for real-time 3D facial animation using a single camera have found applications in many areas such as VR, augmented reality (AR), social media apps and online game. The core of the technologies is regenerating realistic 3D human faces from images or videos. Earlier technologies used facial markers, optical flow, or special equipment (e.g. camera arrays) for 3D facial reconstruction tracking for film and game production, which are not practical for consumer-level applications. Marker-less facial motion capture has been well researched in recent years, but reconstructing detailed dynamic 3D faces (dense 3D modelling) with high-fidelity texture from videos is still a challenging topic.

This project aims to develop methods and systems that are able to capture a high-fidelity 3D face in real time from videos without any special requirements such as calibration. This includes the reconstruction of high quality of 3D face geometry, texture and the facial details. The outcomes of the 3-year project will be a system that given a video with a human face, the output of is a sequence of reconstructed high-fidelity 3D faces with facial details. The candidate can focus on any of the following aspects: 3D geometric reconstruction, high-fidelity texture generation, facial detail generation, 3D animation and VR application.

The candidate will work with a team in the Visual Computing Group (VCG) in the School of Creative Technology. The team is very strong in this area and has published a series of outputs in leading journals (see Bibliography below), so candidate has an established system to work on. VCG is in close collaboration with industry. The candidate has the opportunity to do internship in industrial partners during the PhD study. The candidate can also have access to the state-of-art facilities in the multi-million pounds CCIXR center.

The PhD candidate will work in the Visual Computing Group under the supervision of Professor Hui Yu ( http://www.yuhu.myweb.port.ac.uk/ ) in the School of Creative Technologies.

Fees and funding

Visit the research subject area page for fees and funding information for this project.

Funding availability: Self-funded PhD students only.

PhD full-time and part-time courses are eligible for the UK Government Doctoral Loan (UK and EU students only – eligibility criteria apply).

Some PhD projects may include additional fees – known as bench fees – for equipment and other consumables, and these will be added to your standard tuition fee. Speak to the supervisory team during your interview about any additional fees you may have to pay. Please note, bench fees are not eligible for discounts and are non-refundable.

Entry requirements

General admissions.

You'll need a good first degree from an internationally recognised university (minimum upper second class or equivalent, depending on your chosen course) or a Master’s degree in computer animation/game, computer science, mathematics, engineering or a related area. In exceptional cases, we may consider equivalent professional experience and/or Qualifications. English language proficiency at a minimum of IELTS band 6.5 with no component score below 6.0.

Specific admissions

Knowledge of computer graphics (or image processing, machine learning)
Hands-on experience in using Python or Matlab; experience in implementing deep learning approaches using Tensorflow or Pytorch is preferable
Ability to work in a collaborative environment
Good verbal and written communication skills

How to apply

We’d encourage you to contact Professor Hui Yu ( [email protected] ) to discuss your interest before you apply, quoting the project code.

When you are ready to apply, please follow the 'Apply now' link on the Digital and Creative Technologies PhD subject area page and select the link for the relevant intake. Make sure you submit a personal statement, proof of your degrees and grades, details of two referees, proof of your English language proficiency and an up-to-date CV. Our ‘ How to Apply ’ page offers further guidance on the PhD application process.

When applying please quote project code: CCTS4531021

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PhD Student (f/m/d) | Simulation, Optimization, and Experimental Validation of an Ammonia Reforming Process

Job Code: Ammonia Reforming PhD application 2024

The Department “ Process Systems Engineering ” (Director: Prof. Dr.-Ing. Kai Sundmacher) at Max Planck Institute for Dynamics of Complex Technical Systems is inviting applications for the position of a PhD Student with the research topic: “Simulation, Optimization, and Experimental Validation of an Ammonia Reforming Process”

The position is to be filled as soon as possible and is limited to three years. The research topic contributes to the concept of a hydrogen economy. Hydrogen will play a central role in the future energy supply. In particular, "green" hydrogen, which is produced using renewable energy, opens up a wide range of potential for a sustainable industrial and technological landscape. One promising option for transporting hydrogen over long distances is to bind it to other molecules. Ammonia, a nitrogen-hydrogen compound that is already widely used in agriculture and industry, offers itself as such a compound. The wealth of experience in handling this chemical suggests that ammonia offers promising prospects as an energy carrier and hydrogen storage molecule. The hydrogen is extracted from the ammonia via ammonia reforming, also known as "ammonia cracking". The further development of this technology is crucial for the creation of a large-scale industrial application. Progress in this area could pave the way for the efficient and sustainable utilization of ammonia as an energy source.

model-based simulation and optimization of an ammonia reforming plant, e.g. in Aspen and/or gProms
detailed modelling, simulation, and optimization of an ammonia reforming reactor, e.g. in Matlab and/or Python
planning and construction of a mini-plant for experimental validation of the process

Requirements for suitable candidates

hold a master's degree in the engineering or natural sciences, preferentially in chemical or process engineering, physics, chemistry or related disciplines with grades above average,
have a strong interest in combining theoretical and experimental work for reaction engineering and chemical analysis,
have strong communication skills and motivation for the cooperation with colleagues
knowledge and experience in chemical engineering laboratory work as well as model-based simulation and optimization of chemical plants, especially fixed-bed reactors are advantageous.
payment follows TVöD (Salary Class 100% E13)
a position in an interdisciplinary and intercultural research group
extensive training
direct and competent supervision
state-of-the-art instrumentation and equipment

For further information please contact

Dr.-Ing. Ronny Tobias Zimmermann

[email protected]

The Max Planck Society is actively committed to equal opportunities, gender equality, and diversity. What counts for us are your qualifications, your professional strengths and your personal attitude. We therefore welcome all applications regardless of gender, cultural or social background, disability, religion, age, lifestyle, ideology, or sexual identity. Increasing the proportion of women in areas where women are underrepresented is a primary goal of the Max Planck Society. We are therefore particularly interested in applications from qualified women and expressly encourage them to apply. The Max Planck Society has set itself the goal of employing more severely disabled people. Severely disabled persons and persons of equal status will be given special consideration if they are equally qualified. Applications from severely disabled people are therefore expressly encouraged.

Application

Evaluation of the applicants is continuous on a rolling basis until the position is filled, latest by 30 September 2024 . Please, send the application documents, including motivation letter, curriculum vitae, bachelor and master certificates, and names of two academics willing to prepare reference letters, to:

Max Planck Institute for Dynamic of Complex Technical Systems Sandtorstraße 1 39106 Magdeburg Germany

E-Mail: [email protected]

For an online application , please submit your application documents as a PDF document with a maximum size of 8 MB and title the e-mail of your application „Ammonia Reforming PhD application 2024“.

Please note the information regarding the storage of personal data: https://www.mpi-magdeburg.mpg.de/data-protection-for-applicants

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Alumnx profile: Cathy Callaway (PhD '90)

by James J. Clauss

Dr. Cathy Callaway (BA University of Wisconsin 1978, MA University of Missouri 1982, PhD University of Washington, The Oath in Epic Poetry , 1990) recently retired from her position as Museum Educator at the Museum of Art and Archaeology at the University of Missouri-Columbia, which she held from 2006-2022; she had been editor of the Museum’s journal Muse since 2018. In addition to her recent publications “Reverse Ekphrasis: The Visual Poetics of Nancy Morejón’s Amo mi a Amo ” ( Afro-Hispanic Review 36 [2017] 50-59) and “The Funerary Stele of Heliodora, Astrologer,” with Roger S. Bagnall and Alexander Jones ( Muse 53-54 [2019-2020] 28-45), she coedited and contributed a paper (“Material Culture Telling the Stories”) to a collection of essays entitled Homer in Sicily (Parnassus Press, 2023), which is available as an open-access publication on-line at https://www.jstor.org/stable/jj.11660129 . Congratulations, Cathy, on a distinguished career!

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Your complete guide to a PhD in Animation
Skills needed for a degree in Animation: Creativity and drawing skills are only a part of Animation. If you want to excel in this area, you need more than just passion; you should have good observational skills or an eye for detail. While patience is the key, you also need some basic skills in computers and software, as you are going to use ...
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Animation Dissertation Topics (28 Examples) For Your Academic Research
Topic With Mini-Proposal (Paid Service) Undergraduate: £30 (250 Words) Master: £45 (400 Words) Doctoral: £70 (600 Words) Along with a topic, you will also get; An explanation why we choose this topic. 2-3 research questions. Key literature resources identification. Suitable methodology with identification of raw sample size, and data ...
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Research Centre. Founded in 1998, the Animation Research Centre at the University for the Creative Arts, Farnham is a centre for innovation, doctoral study, debate and dialogue, interdisciplinary and practice-based research into animation in all its most expanded forms. Our current work ranges from archival research, conference organization ...
Research
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Find a school. So, if you want to earn a PhD in Animation and the UK sounds like a great place to do it, take a look at our list of 10 popular options below and what they have to offer. Please note that the schools are not ranked. 1. Arts University of Bournemouth, Poole, Dorset, UK.
Animatory thinking: An enquiry into tacit knowledge within animation
Glover, Hugo, 2020, Thesis, Animatory thinking: An enquiry into tacit knowledge within animation practice PhD thesis, Royal College of Art. Information; Documents; Abstract or Description: Since the invention of devices that use rapidly repeating still images to create a phenomenon of apparent motion, a tension has existed between the artistry ...
Computer Science (animation) PhD Projects, Programmes ...
Understanding eye-hand coordination in object interception - a computational modelling approach. This PhD project with Dr Yeo will focus on understanding how we perform interception. Interceptive movements--such as catching a gently thrown ball, quickly grabbing a tilting cup to avoid spilling or even just handshaking someone--feel like trivial ...
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Graduate
Graduate. The Department of Art, Film, and Visual Studies (AFVS) at Harvard offers a graduate program in Film and Visual Studies leading to a PhD. The Department also offers a secondary field in Film and Visual Studies for students already admitted to PhD programs in other departments in the Harvard Kenneth C. Griffin Graduate School of Arts ...
Computer Graphics, Vision, AR/VR, Animation & Game Science
Animation Research Labs is a multi-disciplinary effort that brings together faculty and students from the Allen School, the Department of Architecture, and the Schools of Art, DXARTS, Drama, and Music.The ARL is focused on advancing the state-of-the-art in animation through teaching, research, and computer-animated production in collaboration ...
53 Best Animation research topics
Doctoral: £60.95. You will get the topics first and then the mini proposal which includes: An explanation why we choose this topic. 2-3 research questions. Key literature resources identification. Suitable methodology including raw sample size and data collection method.
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Alumnx profile: Cathy Callaway (PhD '90)
by James J. Clauss. Dr. Cathy Callaway (BA University of Wisconsin 1978, MA University of Missouri 1982, PhD University of Washington, The Oath in Epic Poetry, 1990) recently retired from her position as Museum Educator at the Museum of Art and Archaeology at the University of Missouri-Columbia, which she held from 2006-2022; she had been editor of the Museum's journal Muse since 2018.

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10 UK Colleges with Animation PhD Programs

Which UK Colleges Offer Animation PhD Programs? ACR Takes a Look.

1. Arts University of Bournemouth, Poole, Dorset, UK

2. Loughborough University, Loughborough, UK

3. Royal College of Art, London, UK

4. University of the Arts London, London, UK

5. University of Kent, Canterbury, Kent, UK

6. Anglia Ruskin University, Cambridge, UK

7. University College of London, London, UK

8. Goldsmiths, University of London, London, UK

9. Falmouth University, Falmouth and Penryn, Cornwall, England UK

10. Birmingham City University, Birmingham, England, UK

Animatory thinking: An enquiry into tacit knowledge within animation practice

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Animation, Video Graphics and Special Effects Graduate Programs in America

College of Arts, Media & Design - Northeastern University

College of Liberal Arts and Human Sciences

Meadows School of the Arts

School of Visual Communication - Savannah College of Art and Design

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DigiPen Institute of Technology

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College of Humanities and Social Sciences - George Mason University

Ball State University College of Communication, Information, and Media

Pratt Institute School of Art

School of Creative Technology - Savannah College of Art and Design

Academy of Art University School of Animation and Visual Effects

California College of the Arts

Southern California Institute of Architecture

Atlantic University College

School of Animation and Motion - Savannah College of Art and Design

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