SIGGRAPH Educators Forum '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference Educator's Forum

For decades many colleges and universities offering an introductory to computer graphics course have been teaching computer graphics through a single course focusing on real-time computer graphics. Many of these real-time or interactive computer graphics courses have a focus on graphics in the gaming domain, and also require students to be proficient in at least one instructor-selected language (e.g. C++, Java, JavaScript) through the schools introductory sequence. In this work, we describe motivations to a ’second’ alternative and complementary introductory graphics course focused on non-interactive computer graphics (i.e. rendering images for movies) that can be taken at nearly any point in the curriculum after the first programming course. We have observed that this additional course may better foster a more diverse pool of students to garner interest in computer graphics. This non-interactive graphics course is taught with a focus on rendering (using path tracing), uses free resources, and is programming language-agnostic.

The proposed research applies reverse engineering techniques in the field of computer graphics (CG) production education at Japanese vocational schools. It involves the development of a "Philosophical Observation Decomposition Table" and a "Concept Decomposition Table" to analyze the relationship between words and visuals, along with artistic elements. This methodology is designed to be both educational and enjoyable. Furthermore, the study suggests the utilization of AI technologies, such as ChatGPT, to expand the scope of CG education beyond technical skills, encompassing soft skills like communication and creativity.

Industry panelists share perspectives and insights for students, educators, and creative professionals who are considering careers in animation, computer graphics, creative technologies, and interactive techniques. Within rapid and ever-expanding fields of technological change, many creative industries are reaching critical inflection points. Changing workplace cultures, advances in machine learning and artificial intelligence, real-time graphics and virtual production systems, edge computing and ever-faster network communications are all radically transforming the forms and capacities of creative industries and cultural production. A variety of opportunities and unforeseen challenges are exposed along the way. In this panel, creative industry representatives discuss the general and specific states of their fields, providing insights into changing career paradigms. Discussion includes advice for educators to help prepare students to meet the challenges and opportunities that currently face creative industries, as well as the preparation and training needed to anticipate change. Panelists consider what qualities make for desirable applicants in their respective fields, with insights for individuals who are preparing to enter creative industries, as well as for those considering career transitions. Represented industry segments include animation and VFX, computer graphics and information systems, themed entertainment, and interactive educational technologies. Questions considered include how pedagogy can help prepare and empower students for successful creative careers; what entry-level applicants should have (and should not have) on resumes, portfolios, and demo reels; and what can creative talents do to proactively acquire requisite credentials. Discussion will expose fresh outlooks on the futures of creative fields in animation, computer graphics, and interactive techniques.

Universal design/accessibility, inclusive classrooms and workplaces are essential components for the success of individuals affected by various challenges. Neurodivergent and disabled individuals have a variety of needs that are often unmet by schools and industries in the SIGGRAPH community. This panel discusses the current state of the issue, the challenges of neurodivergent and disabled individuals, different types of accommodations and their availability and effectiveness, and helpful ideas to make the learning and working environments more inclusive.

Although accommodations for some issues are required by law in the United States (including Americans with Disability Act (ADA) compliance), levels of enforcement and awareness vary. Moreover, accommodations to provide inclusive classrooms are not necessarily required in other jurisdictions. Yet, we know that persons who face different types of challenges are still able to make significant contributions to whatever endeavors in which they happen to be involved and there is an awareness of the importance of creating inclusive classrooms and workplaces that accommodate individuals with neurodiversity as well as people with various (and sometimes more obvious) physical disabilities. The panel discusses different types of accommodations, and what may be available for classrooms and workplaces.

Students in tertiary education are coming from a system where supervising adults (parents, guardians, counselors) worked on their behalf to ensure they received the accommodations needed in primary and secondary schools (generally K-12 in the United States). Upon arrival at university, they often do not know how to self-advocate and parents or guardians, no longer able (or allowed) to advocate on behalf of their young adults, don’t know how to support them effectively. Meanwhile, faculty, administrators, and staff may not have been trained in effective methods of accommodating the variety of students in a classroom. Challenges that all students face are sometimes more difficult for those with challenges including how to manage time, effectively study, and manage interactions with instructors and classmates. They also need to learn about school policies, procedures and resources that may be available to help them. These questions and concerns are being addressed in several different ways, in the classroom, through civic engagement, and within the workplace.

Some accommodations are for physical challenges, and others for those who are neurodivergent. These accommodations can sometimes overlap and can benefit both. For example, scaffolding assignments can help all students be less overwhelmed with a project, by breaking it into smaller milestone goals. Scaffolding projects can be mirrored in the workforce as well by allowing employees to have several small goals that lead to the final larger goal and can give room for feedback and possible iteration. Other strategies that can be employed include pre-recording lectures when intellectual property issues are not being violated. Offering Lectures as PDFs in the Learning Management System your class uses allows for students to have access to the relevant notes of the in-class lectures and accommodates any students who require lecture notes to help them succeed. Setting up auto-reminders to the class via email regarding assignments and project deadlines can help all students with their time-management skills and meeting project deadlines.

Neurodivergent students [Asbell-Clarke et al. 2022], however, have a range of different challenges that need to be accommodated and may include issues of noise, light, learning style(s), sensitivity to issues of personal space, and ability to process information.

It has been announced that providing a place with a relaxed environment is effective for people with mental disorders such as autism and developmental disorders. For example, at SIGGRAPH 23, Inclusive Quiet Room was exhibited as a product for people with mental disabilities[Kimura et al. 2023]. This preaches that even if there are people with mental disorders in the SIGGRAPH community, It as a community should be tolerant of diversity and accept everyone.This product can also be applied to schools.

Even a so-called single issue, like dyslexia, may range from mild to severe. Topics such as active learning, breaking apart and/or flexibility in assignments and projects, physical/spatial accommodations, attendance policies, industry-academy partnerships, and civic engagement are all topics of discussion.

Establishing a welcoming atmosphere for all forms of diversity in the classroom and the studio is essential for student and employee success. This includes recognizing and addressing additional needs of individuals like those with PTSD, veterans, current military members, and parents of young children. Creating a supportive environment means understanding and accommodating their unique challenges, such as providing hybrid attendance policies, seating near the exit doors, regular breaks, clear safety procedures, and listing availability for mental health and childcare resources. Examples of ways to help some of those with these types of issues are discussed by the panel.

Schools and companies may believe that they do not have the wherewithal to effectively accommodate a specialized population, leading to questions such as, what is the reality of working in an industry known for being deadline-driven and collaborative? How can we foster more contributions from neurodiverse individuals to the community? Excerpts from short interviews with industry professionals are included as part of the panel.

Supporting neurodivergent and disabled students and employees requires a comprehensive approach [Junko Saimoto 2023], [John Hopkins University 2022] that can benefit all. By implementing these strategies, we create more inclusive and effective educational and professional environments. However, it is essential to continuously assess and improve practices, staying informed about new research and emerging technologies that can further aid inclusivity. Future efforts could include developing more advanced assistive technologies [Boyd 2023], offering specialized training programs for faculty and staff, and fostering partnerships with organizations specializing in neurodiversity and disability services. It is an explicit goal of this panel to create/improve a culture of inclusivity by promoting ongoing dialogue within the SIGGRAPH community, encouraging feedback, and adapting to the evolving needs of our evolving and increasingly diverse population. By prioritizing inclusivity, we not only support the success of individuals with unique challenges but also enrich our community as a whole, fostering innovation and creativity through diverse perspectives and experiences.

“Adjacencies” (2022 — ongoing) is an exercise in distance collaboration and creative exchange between artists and animation classes at Carnegie Mellon University and Yale School of Art. The exchange is modeled upon the principles of cadavre exquis, wherein participants contribute to a process of exchange that results in a collective assembly of animation. This project leverages the affordances of distance learning platforms, file sharing, and thematic prompts as organizing structures to guide student participation, collaboration, and learning across groups of artists located in physically remote locations.

Project Grand Path (PGP) is leading the way to re-envision higher education in the 21st century by ‘mobilizing learners to be the architects of their education’. Located in the University's FuturEDlab, a resource for the campus at large, this interdisciplinary, collaborative, student centered. innovation hub is infused with a series of high impact learning experiences, accessible through a curated studio-based internship program. Utilizing design thinking, cutting-edge computer graphics and a mentorship program, PGP fosters an environment of inclusion and equity providing the opportunity for the next generation to dream up a new paradigm for the college experience.

This study focuses on the competency gap between computer graphics (CG) educational institutions and CG companies in Japan, with an emphasis on the competencies required in the entertainment industry. The goal is to seek and examine viable solutions for establishing a sustainable CG education framework.

In game development curriculum, mastering programming skills is important. Traditional methods to teach programming in computer science curriculum often face challenges in relevance for game development students, leaning towards individual mastery of the knowledge. This has shown a sign of contrast with the collaborative nature of game design and development courses where teamwork is emphasized. In our approach, especially for a game programming assignment that is often integrated with computer graphics requirements, we introduce the strategy of embedding “imagined social elements” into individual programming assignments, simulating team dynamics without a formal team structure. Through this approach, an assignment promotes the integration of independent contributions while maintaining the individual rigor essential for programming practices. The proposed assignment aims to be adopted in a game programming course. We have set up a git repository for this assignment (https://github.com/LizhouCao/Integrating-Independent-Contributions-in-a-Game-Programming-Assignment.git), with build instructions and required dependencies included.

Coding has become an integral tool for designers, but the logical structures of programming can be intimidating for many students in the arts. To make learning the fundamentals of coding less stressful and more appealing, I revamped a Creative Coding elective in our Media Arts, Design and Technology (MADTech) program to progress students through three increasingly technical game design platforms. Students were taught how to apply the player-centric MDA (Mechanics, Dynamics, Aesthetics) game design framework to Fortnite Creative, a popular 3D platform that doesn't require any coding but instead has students configure devices in the game world to implement logical interaction. Students used a library of game assets to build a complex prototype that required collectibles to open a door and progress in the game. These core game mechanics were carried through to similar projects in Unreal Engine and Unity, while the MDA framework enabled students to creatively vary aesthetics and dynamics to make each game look and feel unique. By applying the same logical structures in three platforms, progressing from graphical node-based Blueprints to C# scripting, students gained a better grasp of fundamental coding concepts and showed a preference for scripting by the end of the semester. Though this curriculum was primarily targeted at students in the College of Design, students from more technical backgrounds like Computer Science were still challenged by the more aesthetic features of this design-centric approach to game development.

Artificial intelligence is dramatically changing the creative process for many practices. We see this as an opportunity to enrich student projects within our classroom. We created educational materials and conducted an initial study in the Fall of 2023. The study focuses on the impact that image-based generative AI tools could have on the creative process for students in the 3D Animation classroom. We found that, within our class, most students found AI useful for their productivity, but further work was needed to educate students and to create a safe space for students to explore how these tools can enhance their creative work.

Design disciplines that require intensive ideation and demand spatial perception (e.g., architecture, interior, and industrial design) benefit from advanced computer graphics, interactive techniques, and human computer interactions. However, design students without a background in Computer Science (CS) face a steep learning curve and difficulties in experimenting with such advancements. Consumer-ready technologies, like Artificial Intelligence (AI) and Virtual Reality (VR), can leverage design skills such as risk-taking, iterating, and visualizing. Interior design students can translate their proficiency in concept writing and computer-aided design (CAD) software into AI prompt writing and VR digital modeling. This Engaging Education Technique and Assignment (EETA) features a nine-week lighting design project. Students use AI to ideate in 2 weeks, VR to visualize in 4 weeks, and 3D print to prototype in 3 weeks. Assessments for the 2022 class showed significant statistical evidence for creativity improvements with the use of consumer-ready AI and VR (but not with 3D printing).

This paper introduces a simple but innovative assignment technique, the "How-To" as a way to simplify the relationship with AI in assessment events. As an assignment, the "How-To" guide merges reflective practice with technical skill development in technical or creative fields, inviting students to author a guide based on insights from prior coursework, personal projects or specific directed challenges. This method emphasizes reciprocal learning by engaging students in a reflective process where they must articulate and analyze their technical learning, thus reinforcing their understanding and evidencing their mastery of the given learning outcome. This technique could be more broadly applicable, building on the large success of online how-to tutorials; but in flipping the emphasis from passive consumption to productive engagement, the discussed assignment encourages a blend of narrative, technical detail, and creative expression, culminating in a resource that benefits both the author, their peers and potentially course development itself. This presentation will explore how the assignment’s framework develops as an extension of the principle of ‘ako’, a Māori concept emphasizing reciprocal learning. The discussion will focus on its application within the specific educational context of Aotearoa New Zealand and the broader value it offers to creative and technical education.

I have been designing a real-time Metahuman animation pipeline in our Media Arts, Design and Technology (MADTech) program at NCSU that emphasizes motion capture as a performing arts process to create dramatic scenes with digital doubles. Students developed a 3D self-portrait using photogrammetry in Epic Games Reality Capture software and Mesh to Metahuman plugin in Unreal Engine, and then performed their double using our inertial mocap suits and control rigs in Autodesk Maya and UE5 sequencer. Facial performance was captured using real-time software like Epic's Livelink Face app and Metahuman Animator, completing a virtual production process that emphasized embodied acting and improvisation over scripts and storyboarding. By framing the Metahuman as a performing object like a puppet and adapting design frameworks like Disney's 12 Principles of Animation to performance capture, students learned a technical animation process in the context of a performing arts approach. This produced aesthetics that are different and arguably more performative than the traditional keyframed approach taught in many animation programs.

By teaching the Science, Technology, Engineering, Art, and Math embedded in the objects they create, STEAM-based digital fabrication projects equip the next generation of leaders and problem solvers with the tools to make change and build the future. The Make Your Electric Guitar project has been tested successfully with undergraduate (Figure 1), middle, and high school students (Figure 2) since 2019. As students design and develop their guitar, they not only build a tool for self-expression but also learn iterative design, fabrication, and the physics of sound and circuitry and leave with a working electric guitar.

In this submission I present a mixed media assignment that asks students to challenge the dichotomy of nature and technology. For this assignment, students use animation, 3D modeling, and physical making to create an interactive piece that embodies the aesthetics of nature through visuals and sound or visuals and touch. The primary goal of this assignment is to strengthen a connectedness to nature through creativity, while also challenging the students by encouraging mixing media in creative ways. The current description of this assignment is open and flexible; however, it can also be focused on a specific discipline (e.g. animation or game development) or scaled by adjusting the scope of the final deliverable. This paper will give a brief overview of the assignment including the prompt, process, materials, and examples of student work.

Innovations in media technology, exemplified by extended reality, have begun. Hence, the seamless presentation of media, such as animation, film, and games, is progressing at an impressive rate. Integrating these advanced media and experiences into educational environments has excellent potential. Similarly, students who have studied traditional stop-motion animation can discover new forms of expression and enhance their abilities by challenging themselves to incorporate advanced media. This study introduces a unique challenge of stop-motion animation in 360° as a first step toward VR for students who have learned traditional handcrafted object modeling and stop-motion animation. No game engine or VR painting application will be used to ensure that this assignment is free from technical hurdles. Instead, students will complete the project using only an omni-directional camera and standard video editing software.