In this paper we develop a set of inverse kinematics algorithms suitable for an anthropomorphic arm or leg. We use a combination of analytical and numerical methods to solve generalized inverse kinematics problems including position, orientation, and aiming constraints. Our combination of analytical and numerical methods results in faster and more reliable algorithms than conventional inverse Jacobian and optimization-based techniques. Additionally, unlike conventional numerical algorithms, our methods allow the user to interactively explore all possible solutions using an intuitive set of parameters that define the redundancy of the system.

Human movements include limb gestures and postural attitude. Although many computer animation researchers have studied these classes of movements, procedurally generated movements still lack naturalness. We argue that looking only at the psychological notion of gesture is insufficient to capture movement qualities needed by animated characters. We advocate that the domain of movement observation science, specifically Laban Movement Analysis (LMA) and its Effort and Shape components, provides us with valuable parameters for the form and execution of qualitative aspects of movements. Inspired by some tenets shared among LMA proponents, we also point out that Effort and Shape phrasing across movements and the engagement of the whole body are essential aspects to be considered in the search for naturalness in procedurally generated gestures. Finally, we present EMOTE (Expressive MOTion Engine), a 3D character animation system that applies Effort and Shape qualities to independently defined underlying movements and thereby generates more natural synthetic gestures. ABSTRACTHuman movements include limb gestures and postural attitude. Although many computer animation researchers have studied these classes of movements, procedurally generated movements still lack naturalness. We argue that looking only at the psychological notion of gesture is insufficient to capture movement qualities needed by animated characters. We advocate that the domain of movement observation science, specifically Laban Movement Analysis (LMA) and its Effort and Shape components, provides us with valuable parameters for the form and execution of qualitative aspects of movements. Inspired by some tenets shared among LMA proponents, we also point out that Effort and Shape phrasing across movements and the engagement of the whole body are essential aspects to be considered in the search for naturalness in procedurally generated gestures. Finally, we present EMOTE (Expressive MOTion Engine), a 3D character animation system that applies Effort and Shape qualities to independently defined underlying movements and thereby generates more natural synthetic gestures.

An articulated figure is often modeled as a set of rigid segments connected with joints. Its configuration can be altered by varying the joint angles. Although it is straightforward to compute figure configurations given joint angles (forward kinematics), it is more difficult to find the joint angles for a desired configuration (inverse kinematics). Since the inverse kinematics problem is of special importance to an animator wishing to set a figure to a posture satisfying a set of positioning constraints, researchers have proposed several different approaches. However, when we try to follow these approaches in an interactive animation system where the object on which LOoperate is as highly articulated as a realistic human figure, they fail in either generality or performance. So, we approach this problem through nonlinear programming techniques. It has been successfully used since 1988 in the spatial constraint system within Jack 'W,a human figure simulation system developed at the University of Pennsylvania, and proves to be satisfactorily eff]cient, controllable, and robust. A spatial constraint in our system involves two parts: one constraint on the figure, the end-eflector, and one on the spatial environment, the goal. These two parts are dealt with separately, so that wc can achieve a neat modular implementation. Constraints can be added one at a time with appropriate weights designating the importance of this constraint relative to the others and are always solved as a group. [f physical limits prevent satisfaction of all the constraints, the system stops with the (possibly local) optimal solution for the given weights. Also, the rigidity of each joint angle can be controlled, which is useful for redundant degrees of freedom. given joint angles (forward kinematics), it is not so to find the joint angles for a desired configuration (inverse kinematics). Since the inverse kinematics problem is of special importance to an animator wishing to set a figure to a posture satisfying a set of positioning constraints, researchers have proposed many approaches. But when we try to follow these approaches in an interactive animation system where the object to operate on is as highly articulated as a realistic human figure, they fail in either generality or performance, and so a new approach is fostered. Our approach is based on nonlinear programming techniques. It has been used for several years in the spatial constraint system in the Jack TM human figure simulation software developed at the Computer Graphics Research Lab of the University of Pennsylvania, and proves to be satisfactorily efficient, controllable, and robust. A spatial constraint in our system involves two parts: one on the figure, called the end-effector, and the other one on the spatial environment, called the goal. These two parts are dealt with separately, so that a neat modular implementation is achieved. Constraints can be added one at a time with appropriate weights designating the importance of this constraint relative to the others, and ...

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