The Apparatus for animated persons are figural representations or pictures or any other form of representation that is intended to represent bodily functions, human body or facial features and other physical attributes of the subject. This Apparatus is made up of soft, movable parts such as ligaments, muscles, triceps, biceps, toes, head, neck, torso, arms, hands and fingers. The subject’s eyes may be seen in peripheral vision, and the Apparatus is capable of movement. The movements of this Apparatus may be articulated or extruded from the part of the machine that produces them. The most common type of apparatus that is used in Apparatus for Animation are called “figures,” while other types are more complex.

Figures are computer-generated images produced by Apparatus for Animation by means of image processing software. A “figure” is a three dimensional object, which is the simplest type of Apparatus. Figures may be a bit flat or very complex in shape. For example, if a business man goes to a meeting and a picture of the business man is shown in profile, the business man is said to “see stepdaughter.” This is a simple example; however, more complex aspects such as shading and other image processing techniques are utilized.

In some other cases, when we say “anime,” we refer to Japanese animation. Anime figures or anime characters, as they are known in Japan, have become a popular subject matter in visual arts worldwide. Anime figures or anime characters possess several important characteristics, the main ones of which are: realism, depth perception, and the presence of mind or spirit. Realism refers to the way that an animated character appears to be existing in the real world as it seems to the observer. In depth perception, it is the ability to see close to the subjects or objects depicted.

Depth perception refers to the ability to perceive an object deeply within its entirety and not just superficially. To illustrate, a baseball player who swings a bat in the air will hit a baseball to the left-handed side of the hitter’s body in the scene depicted on the photographic image. It would be much harder to do this with a baseball figure whose entire body is in the foreground. Likewise, the presence of mind refers to the method according to which an animated character thinks or chooses when engaging in an activity, such as turning the head of the viewer toward the target on a baseball screen, or scanning an audience for signs of interest on the screen, or raising one’s hands and waving them in an appropriate manner when conversing with a subject in a scene of a motion picture.

In the final analysis, the three-dimensional computer model, or 3D image data, and the two-dimensional drawings of the figures, are constructed in the same way and with the same information. The truth is that, although there are numerous differences between the two types of representations, there are similarities too. For example, both animated video sequences and existing photographic images contain lines, shapes, and shading. The only difference lies in how these elements are interpreted by the animated characters within the animation. In particular, if two figures are rendered in silhouette, the camera will usually move along a straight edge between them, while the eye will track a moving horizon line between the two points. This is true even if the two figures are viewed at different distances apart.

When viewing a figure, like a car in motion, the eye will track the motion of the auto right to identify a vehicle according to the distances the camera’s viewpoint could bear on the object’s position at any point along the frame of the video. The same strategy can be used to locate an animated character in a still photograph. The eye will track the direction of the target on the horizontal (target line) or vertical (viewing angle) axis of the viewing window as the eye moves around the horizontal or vertical axis of the viewing display, and the target appears as it moves toward the target over the course of the sequence of images. The depth perception of the human eye has limited range for resolving details and typically must rely on superimposition, or a combination of horizontal and vertical viewing angle for detecting objects.

Illustrative applications include identifying people in an image, identifying faces and other facial features, and depicting motion. Computer animation can comprise almost any image that can be drawn and manipulated using CAD drawing, computer graphics software, and other graphics tools. Computer animated video simulations may comprise a scene from a real location such as a sports game, a bird’s eye view from the sky, or a still photograph taken in a specific location. The same techniques used to render the original image can be used to superimpose the image on a digital surface such as a plasma screen or other digital media.