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We study data structures so that we can learn to write more efficient programs. But why must programs be efficient when new computers are faster every year? The reason is that our ambitions grow with our capabilities. Instead of rendering efficiency needs obsolete, the modern revolution in computing power and storage capability merely raises the efficiency stakes as we computerize more complex tasks. The quest for program efficiency need not and should not conflict with sound design and clear coding. Creating efficient programs has little to do with “programming tricks” but rather is based on good organization of information and good algorithms. A programmer who has not mastered the basic principles of clear design is not likely to write efficient programs. Conversely, “software engineering” cannot be used as an excuse to justify inefficient performance. Generality in design can and should be achieved without sacrificing performance, but this can only be done if the designer understands how to measure performance and does so as an integral part of the design and implementation process. Most computer science curricula recognize that good programming skills begin with a strong emphasis on fundamental software engineering principles. Then, once a programmer has learned the principles of clear program design and implementation, the next step is to study the effects of data organization and algorithms on program efficiency

• Character Animation • Posture representation • Hierarchical structure of the body Character animation is a specialized area of the animation process, which involves bringing animated characters to life. The role of a Character Animator is analogous to that of a film or stage actor, and character animators are often said to be "actors with a pencil" (or a mouse). Character animators breathe life in their characters, creating the illusion of thought, emotion and personality. Character animation is often distinguished from creature animation, which involves bringing photo-realistic animals and creatures to life.

Skeletal animation is a technique in computer animation in which a character is represented in two parts: a surface representation used to draw the character (called skin or mesh) and a hierarchical set of interconnected bones (called the skeleton or rig) used to animate (pose and keyframe) the mesh. While this technique is often used to animate humans or more generally for organic modeling, it only serves to make the animation process more intuitive and the same technique can be used to control the deformation of any object — a door, a spoon, a building, or a galaxy. This technique is used in virtually all animation systems where simplified user interfaces allows animators to control often complex algorithms and a huge amount of geometry; most notably through inverse kinematics and other "goaloriented" techniques. In principle, however, the intention of the technique is never to imitate real anatomy or physical processes, but only to control the deformation of the mesh data.

A joint is a point at which parts of an artificial structure are joined. when developing animated characters one needs to define the type of joints that will be used to combine multiple segments of the character e.g hand to shoulder. this is due to the fact that inorder to create a more realistic monevent of the character or oblect the siolidity principle must be adhered to and the sence of overlapping and irregular movements of the character must be avoided,

Skinning is the process of attaching a renderable skin to an underlying articulated skeleton. There are several approaches to skinning with varying degrees of realism and complexity. Our main focus will be on the smooth skinning algorithm, which is both fast and reasonably effective, and has been used extensively in real time and pre-rendered animation. The smooth skinning algorithm goes by many other names in the literature, such as blended skinning, multimatrix skinning, linear blend skinning, skeletal subspace deformation (SSD), and sometimes just skinning. This chapter will explain the smooth skinning algorithm in detail and provide additional information about the offline creation and binding process. Binding refers to the initial attachment of the skin to the underlying skeleton and assigning any necessary information to the vertices. Smooth skinning, while fast and straightforward, does have its limitations, and so alternative techniques are also briefly introduced and referenced, including a variety of deformation techniques and some more elaborate anatomically based approaches that simulate muscle and skin deformations

Generalized coordinates In analytical mechanics, specifically the study of the rigid body dynamics of multibody systems, the term generalized coordinates refers to the parameters that describe the configuration of the system relative to some reference configuration. Example is a vector to specify the posture of the body q=(q1 ,q2 ,q3 ,q4 ,q5 , q6 , q7 ,... ,qn) Usually, the first three numbers: location of the root the next three numbers: orientation of root The rest: the joint angles of the body

Facial Anination deals with the simulation of the different facial expresions a character can make. Inorder to simulate conversation, visible emotional expressions(e.g Saddness, Happines), we need to understand the different mechanisims and muscle structures that the face uses to accurately represent the emotion / visemes. generally the facial expressions and visemes in animation relies on three different appoaches: • Muscle-based models • Capture real human data • Expression Cloning

Data based facial animation The generation of facial animation data can be approached in different ways: 1. marker-based motion capture on points or marks on the face of a performer 2. markerless motion capture techniques using different type of cameras 3. audio-driven techniques 4. key frame animation