2D animation

Historically, the role of drawing in traditional animation was unequivocal. How has this role been affected or changed by the advent of computer animation, and the increasingly widespread use of digital tools in animation? Can the contemporary animator work exclusively with these digital tools and forego the use of drawing, or are these tools an extension of traditional drawing utensils?

VR has brought with it new possibilities in storytelling, alternative approaches to building narrative structures, and unique ways of creating immersive experiences. Meanwhile, a relatively new possibility which has become available thanks to Virtual Reality technology is the application of VR in digital painting, illustration, 3D modeling, and animation. Recently introduced VR-modeling applications such as Oculus Medium and MasterpieceVR provide 3D artists with the possibility to create 3D models directly inside the virtual space through an intuitive spatial interface. In addition, with Virtual Reality, digital Painting on 2D canvases is now extended to 3D spaces. VR applications such as Google Tilt Brush allow artists and digital painters to unleash their spatial imagination and draw in 3D space. In a similar fashion, Quill and AnimVR are virtual reality applications that allow artists to create 3D animations without the need to deal with the usual technical processes of 3D computer graphics. This article argues and demonstrates that these recent developments are giving rise to new visual aesthetics, creating unprecedented aesthetic possibilities for artists and animators. Focusing particularly on Quill and AnimVR, the article discusses that these two relatively new VR applications are re-defining the aesthetics of 3D animation by bringing 2D aesthetics to 3D computer graphics. With reference to three recently produced animated short films ― Dear Angelica (Saschka Unseld, 2017), Beyond the Fence (Goro Fujita, 2018), and Wired (Zeyu Ren, 2019) ― this article explores different ways VR technology and applications such as Quill and AnimVR are influencing animation workflows and production pipelines. It further explores how these new workflows and pipelines are giving birth to new and unprecedented aesthetics. The article concludes by identifying some aesthetic commonalities that can be observed across the animations created by using these emerging VR technologies.

In this paper, a procedural model has been developed for synthesizing cyclic horse motion through trigonometric functions. The system has been developed and implemented using mathematical model derived from trigonometric cyclic equations, along with forward and inverse kinematics to produce absolute gait control over the locomotion of horse character. The dynamic motion is calculated independently for each body part with user interaction and control over the speed, frequency and oscillation during runtime, for high divergence control of the simulation. The user can manipulate the simulation parameters for motion speed, body oscillation, leg impact phases and duration at runtime and our system will automatically adjust the motion of horse and gait transition according to the user input. At preprocessing level a template based horse skeletal rig is generated automatically with Inverse Kinematics (IK) controllers for the spine, neck and all four legs. The head, tail, and feet's are controlled with Forward Kinematics (FK), along with scapula and sternum joints of the legs. Motion cycle is generated using the stance time and leg cycle time. Our procedural model for horse simulation can currently generate various gaits of motion with variable speed and body oscillation with controllable behavior and transition of gaits at runtime.

This is 12 months course in which you will learn about modeling, texturing, lighting, rigging, rendering and character animation. After successful completion of this course you can go for Digital Artist, Animator- Rigging Artist, Light & Camera Artist, Compositor, Digital Effects Animator, Modeller, Pre-Visualization Artist, Visual Effects Supervisor etc.

I will be taking into account the various levels of realism and considering two central questions: Whether the perpetual quest for replication and the pure form of realism that some 3D animators explore, is the way forward for 3D animation and can 2D animation move on from of what Wells (1998) describes as the hyper realism (Eco, 1986) of 2D Disney style animation that dominates Western culture.

The goal of this research is to develop IP characters for “Maple” web series animation about some kind of fruits that lives in the same town named Kampung Rujak. Maple itself was from writer's line sticker back then in 2015. Writer got a lot of  positive responds to this. So, writer has decided to bring this character into the Final Project. These designs should able to interest people, especially the young kids in age 4 to 10 years old to know about  fruits better, and will try to eat them. Besides that, the designs should able to make unique characters concept and design that will remain in people's heart and mind.  Research method used by the writer is data gathering, planning, creativity, writer's imagination itself, and design application. Data will be gathered from literature review and references from books and online media.

From the viewpoint of Drawing Contour constitutes the line that defines and contains the shape and volume of any drawn object. From a perceptual standpoint, it is what distinguishes a shape from its background. In the past hundred years the contour line that defines animated characters has mutated through diverse styles, many of them a direct consequence of the technologies available at the time of their creation. Technological breakthroughs in animation such as Rotoscopy, Celluloid Cels, Digital Ink and Paint or Cel Shading led to the evolution of the contour line, influencing the style and appearance of cartoon characters. How can one expect the contour line to develop, in times when the character of this line no longer has to rely on the particular drawing styles of the animator, but can be created semi-automatically through software extrapolation?

Character rigging is a process of endowing a character with a set of custom manipulators and controls making it easy to animate by the animators. These controls consist of simple joints, handles, or even
separate character selection windows. This research paper present an automated rigging system for quadruped characters with custom controls and manipulators for animation.The full character rigging
mechanism is procedurally driven based on various principles and requirements used by the riggers and animators. The automation is achieved initially by creating widgets according to the character type. These widgets then can be customized by the rigger according to the character shape, height and proportion. Then joint locations for each body parts are calculated and widgets are replaced programmatically. Finally a complete and fully operational procedurally generated character control rig is created and attached with the underlying skeletal joints. The functionality and feasibility of the rig was analyzed from various source of actual character motion and a requirements criterion was met. The final rigged character provides an efficient and easy to manipulate control rig with no lagging and at high frame rate.

El presente ensayo pretende explicar de manera concisa el vasto campo de la animación, enfocándose en dos asuntos: 1) ¿Qué es la animación y cuál es su influencia en el mundo actual? 2) ¿De qué manera un proyecto de animación tradicional en 2d, como The Glassworker, puede competir en una era influenciada por la animación 3d? DEFINICIÓN Y PROCESO DE ANIMACIÓN La palabra animación " se deriva del latín anima que significa alma o espíritu, así del verbo animar que literalmente se convierte en acción de dar viveza " (Campillo,1990, p.15). Es por ello que al concepto de animación se le atribuye el don de propiciar movimiento y vida a personajes u objetos entrañables. Ahora bien, la animación no solo se conforma por elementos cinematográficos y televisivos, como suponen la mayoría de los espectadores; también combina técnicas que abarcan desde las artes plásticas para la anatomía en movimiento, hasta la tecnología donde los avances computarizados son esenciales para la producción de un proyecto animado. Pionera en el mundo en animar objetos o dibujos estáticos, la animación tradicional comprendía un amplio proceso: interminable. Anteriormente era trabajada a mano, donde cada fotograma se dibujaba cuadro por cuadro sólo para recrear una escena. En la actualidad la animación digital es un quehacer que se desarrolla desde muchas técnicas con

As artistic mediums have developed through history, each have held an integral function in mimicking a specified part of reality, and through its origin in both Eastern and Western culture, animation has simulated motion in a host of engaging methods, reliant on the artisans and societies in which produced these works.

Rotoscoping can produce believable 2D animation and movements when the process is done correctly. However, not all live-action footage can be easily rotoscoped due to scenes or fictional designs that are impossible to shoot. To overcome this technical challenge, 3D playblast can be used as footage for an alternative source for rotoscoping. This research aims to explore and evaluate two rotoscoping techniques of transforming 3D playblast into 2D animation. Two different animation software (Adobe Animate CC and Toon Boom Harmony) were used to explore those rotoscoping techniques. The method began by designing a storyboard with dynamic camera angles. Then, animated 3D models were developed based on the storyboard as footage for rotoscoping. Then, those animated 3D models were rotoscoped frame by frame using 'Toon Boon Harmony' and 'Adobe Animated CC'. The rotoscope outputs were evaluated for their effectiveness and weaknesses. Findings show that rotoscoping frame by frame is viable for both software with some nuances. Nevertheless, the proposed rotoscope techniques can maintain consistency between frames without losing the proportion of anatomy and style when animating in an extreme and distorted scene.

The fundamental principles of animation were developed at the Disney studio in the 1930s and when applied to animation result in a recognisable"Disney" style of motion. By adhering to these fundamental principles of animation, Animators have been able to successfully extendthe Disney style of motion to the 3D CG medium. This papergoes beyond Disney style motion andexamines the adaptation of techniques typically seen in more extreme cartoon-style motion and "pushed posing", exemplified by early Warner Brothers animated short films. This is achieved via an analysis of Hotel Transylvania by Sony Pictures Animation, which features a stylised form of animation adapted from the extended principles of extreme cartoon-style motion to the 3D medium.

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Layout merupakan bagian yang sangat penting dalam menentukan kualitas visual dalam setiap adegan yang akan muncul dalam sebuah film animasi. Pembuatan layout merupkan langkah awal, khususnya dalam animasi 2 dimensi, pada tahap produksi dalamp embuatan film animasi. Layout berfungsi sebagai penggambaran lebih detail dari storyboard yang terjadi dalam tahap pra-produksi. Pembenaraan dan penyempurnaan storyboard yang sudah dipastikan keruntutannya secara visual terjadi pada layout. Peran layout juga sebagai penggambaran dimensional dari dimana karakter animasi akan bergerak dan bagaimana pergerakan kamera dalam dimensi itu.

Contemporary Irish Animation is renowned worldwide for a distinct and recognisable aesthetic design. From the earliest stop frame productions commissioned by national broadcaster Raidió Teilifís Éireann, to large scale animated features produced on Irish soil by American studios such as Sullivan Bluth, the Irish animation industry has an irregular and fascinating history. It can be argued the early animation scene in Ireland was shaped primarily by Disney-influenced animators and studios, which resulted in the medium developing without an authentic animation style and indigenous aesthetic for the majority of the 20th century. This study will offer an overview and contextualisation of the history of Western and Irish animation and practices. 
Irish independent studios are currently creating content which conveys an aesthetic grounded firmly in Irish culture. This aesthetic design is produced through a number of influences ranging from Celtic symbolism, Irish medieval monastic art, the European art-house animation scene, and the traditionalism of Oriental and Eastern artwork. This investigation will consider the cultural and artistic significance of these influences in the development of contemporary Irish animation aesthetic. This study will also consider the narrative direction of these productions. While they are universally accessible to a world audience, they also serve to unobtrusively explore and celebrate the history, folklore and culture of Ireland.
The aim of this research is to theorize the current trends in Irish animation, specifically applied to feature productions The Secret of Kells and Song of the Sea by successful animation studio Cartoon Saloon, and whether the narrative and artistic themes of nationalist pride, exploration of history, folklore and culture, are consciously challenging the dominant styles and practices of past and current American studios.

Analysis of how the editing choices in the animation feature film "Perfect Blue" are accurately studied and performed to reflect the psychological crisis the protagonist faces.

Published on "First Frame" (Spring 2021), BFE (British Film Editors) official magazine.
Edited by: Alan Miller (https://www.imdb.com/name/nm0000083/)

The combination of body and facial animation achieves significant results. While the main actions focuses on body movement and silhouette, the facial animation explores intention and emotion, though there are also emotions related to specific body gestures. If this combination is correctly explored, face and body gestures allows the viewer to exactly understand what’s happening and why. The human being is exceptionally good at reading body language of other people (or characters) and even better reading facial expressions. The main reason is that, since its birth, the human being observes others’ faces and bodies to understand what is happening around them and trying to determine someone’s thought. In this context, animators have been studying different techniques and styles to create much more expressive movements and emotion acting. This article delves into analyzes of facial and body animation, correlating emotion, human and character behavior.

El método de producción tradicional 2D está estudiado en libros, artículos, manuales, cursos especialización o referencias en internet. Pero el proceso adaptado a las técnicas gráficas vectoriales, son escasos o son tratados en apenas 4 páginas, aportando poca información útil para la persona que quiera profundizar en el nuevo recurso. Estamos ante un trabajo de investigación, que explora la producción de una serie de animación 2D para la televisión, con la novedad y gran aportación, que se hace en un entorno digital, y utilizando como herramientas vectoriales. Este trabajo muestra el proceso general, con todos los pasos necesarios para producir una serie de animación 2D, haciendo uso de los recursos tecnológicos, para llevar a buen puerto la serie, optimizando toda dos los recursos, tanto económicos, como de personal y materiales, para tener un producto original y diferente.

De-problematising animation through a critical examination of Aristotle’s
philosophy of motion.

The academic side of the animated world is small and seems to be making little-to-no progress in terms of theorising. The major issue faced by theorists seems to be that of defining what it is exactly that their theorising should apply to. There are numerous arguments as to what defines animation, all hotly contested by various scholars and this infighting has led to an almost complete stagnation of the field. The purpose of this paper is to apply a new mode of thinking to the issue of definition and to find a way around it. I do this by examining Aristotle’s philosophy of motion and common-sense, and applying the insight flowing from this to contemporary animation. I begin by exploring the works of Aristotle, as well as the work of the scholars in Aristotelian philosophy that have come before me. I pay particular interest in Aristotle’s application of common-sense in his philosophy of motion, as well as his philosophy on the nature of being. I use this opportunity to apply Aristotle to our current understanding of terms and ideas. After all the immediate applications are made, I explore the current state of the animation field, and explore the theories of contemporary writers in greater detail. Once their ideas are understood I again turn to Aristotle and apply his theories to those laid down by the contemporaries. It is clear that the problem in defining animation stems from the adherent of what is known as ‘digital media’. The research paper has identified this problem, as well as the solution, by drawing from the analysis of the case study this paper conducts. The medium has outgrown the old models of classification, and new theories are struggling to appease both the old ideas as well as the new characteristics of animation, specifically in the field of performance capture work. To overcome this difficulty, I use Aristotelian common-sense, as well as philosophies of motion and the nature of being, to re-classify ‘performance capture’ works under the headings neo-animation (where little-to-none of the recorded motion is altered in post-production) and faux-animation (where the captured motion is heavily modified in post-production) to remove performance capture from the current realm of animation and provide it its own space to grow.

Street Harassment has always been a serious issue in Jakarta. The goal of this research is to create educational animation which to inform people upon the harmful effect, hence, street harassment should be stopped. Research method used by the writer is data gathering, planning, creativity, and design application. Data will be gathered from literature review and references

Animasi, terutama animasi 2D merupakan awal dari perkembangan animasi seperti saat ini. Salah satu sumber kebudayaan nasional adalah kebudayaan daerah. Cerita rakyat di Indonesia merupakan bagian dari kebudayaan bangsa Indonesia. Perkembangan teknologi yang sangat cepat menuntut kita untuk memperoleh informasi secara cepat dan mudah. Dengan begitu akan mempermudah seseorang untuk mengakses informasi. Suatu bentuk informasi yang mudah untuk disajikan yaitu dalam bentuk animasi. Penggunaan animasi cukup berperan penting dalam menyebarkan pesan atau gagasan yang ingin disampaikan ke masyarakat luas. Akan tetapi, sekarang animasi tidak hanya digunakan dalam dunia hiburan seperti pembuatan film dan permainan, tetapi juga dalam pembuatan desain web dan dunia pendidikan.

Film pendek animasi 2 dimensi berjudul “Joko Budug” ini dengan spesifikasi ekstensi .mp4, resolusi 1280 x 720 (720 p), dan frame rate 30 frame per second. Dengan mengacu pada proses cerita, storyline, storyboard, modelling, animasi, compositing, editing dan rendering. Film pendek ini dibuat menggunakan Paint Tool SAI dan Anime Studio untuk membuat tekstur gambar maupun animasi, serta Adobe Premiere untuk pengeditan video.

Telah berhasil dibuat sebuah film animasi 2D pendek berjudul “Joko Budug”. Tujuan dari animasi ini adalah agar masyarakat Indonesia mencintai dan melestarikan budaya melalui film animasi 2D Joko Budug dengan unsur budaya itu sendiri yaitu cerita rakyat khususnya dari Sragen, Jawa Tengah.

Resumo: Este artigo propõe uma análise sobre como determinadas configurações estéticas dentro da ani-mação japonesa vieram a determinar as características distintas do que convencionamos a chamar de Anime. Será abordada a história estética do Anime, desde os primeiros experimentos com ani-mação de recorte, celofane e celuloide para compreender a formalização do modelo de produção da animação limited. Posteriormente, serão analisadas como as configurações das técnicas full limited , hyper-limited e superflat propuseram espaços compositivos inovadores e um uso diferenciado do intervalo entre e através das imagens. O campo digital também criou um espaço aberto para o intercâmbio de técnicas aparentemente distintas que trouxeram inovações compositivas para o Anime. Por essa razão, também será analisada como a habilidade de composição de camadas da animação veio a ser importante na inserção e combinação de elementos móveis e imóveis dentro do espaço digital. Por fim, concluímos sobre como esse cenário trouxe uma composição intercam-biável no espaço diegético e como isto afetou a composição e o intervalo dentro do Anime.

Abstract: This article proposes an analysis of how certain aesthetic configurations within Japanese animation have determined the distinct characteristics of what we conventionally call Anime. We will look at the aesthetic history of Anime, from the first experiments with cutout animation, cellophane, and celluloid to understand the formalization of the limited animation production model. Later, we will analyze how the configurations of the full limited, hyper-limited and superflat techniques proposed innovative compositional spaces and differentiated use of the interval between and through the images. The digital field also created an open space for the exchange of seemingly distinct techniques and brought compositional innovations for Anime. As such, we will analyze how the layering ability of animation has become important in the insertion and combination of mobile and immobile elements within the digital space. Finally, we conclude on how this scenario brought an interchangeable composition in the diegetic space and how it affected the composition and interval within the Anime.

Nostalgia in The Princess and the Frog (2009), both at the level of form and text, will be the focus of this paper. As Disney’s first animated film featuring an African American heroine, its depiction of race has attracted much critical and academic attention. However, its specific medium and genre, a 2D animated fairy-tale, has been comparatively overlooked. Building on Jason Sperb’s work on the wave of nostalgia for obsolete technologies in contemporary digital cinema, I argue that nostalgia is the key impulse behind The Princess and the Frog’s aesthetic and generic approach, which directly impacts on the cultural values foregrounded in the film. Its use of and homage to traditional hand-drawn animation shapes its reworking of the “classic” Disney fairy tale. The values associated with this genre, such as the idealization of romance and the imperative of heteronormativity, were rendered old-fashioned by overtly parodic films such as Shrek (2001). Combining a genre-sensitive perspective with a focus on the animated form, my analysis of nostalgia in The Princess and the Frog investigates how this animated fairy-tale reworks what Jack Zipes describes as the “Disney formula” and its cultural values for the contemporary audience.

In 2020 it was the 70th anniversary of the première of Érase una vez... (1950), an animated film that blossomed in the final period of the Golden Age of Spanish animation. Walt Disney feared this film would compete in the European market with his own Cinderella, so the Catalan studio was banned by the Burbank one to use the same title. This article aims to balance the lack of activites around this anniversary.
El 2020 es va complir el setantè aniversari de l'estrena d'Érase una vez (1950), un film d'animació que va florir durant el periode final de l'edat daurada de l'animació a Espanya. El mateix Walt Disney va tenir por que el film català competís amb la seva Cinderella i l'estudi americà va prohibir al català l'ús del mateix títol. Aquest article persegueix equilibrar l'absència d'activitats entorn aquest aniversari traçant cronològicament el periple de creació del film.

There is an increased realization that computer animation models proving to be an ef ective tool in mass communication. In an ef ort to test the ef icacy of animated model, an empirical study was conducted at the doctoral level and this paper is meant to present the results pertaining only to animated model vis a vis the awareness level among the participants, as the research work covered other related objectives too. It was found there was an improved understanding among students after watching animated videos pertaining to health and hygiene. Paired Sample T test showed a statistically significant improvement in the scores obtained by the students after watching the animated videos. Further designing a new computer animated 2 D model for the same social awareness topics with inputs from the student respondents and incorporating the principles of animation and design was carried out.

2017 Ekim ayında Kocaeli Wellborn Luxury Hotel'de düzenlenen 2. Uluslararası İletişim, Edebiyat, Müzik ve Sanat Çalışmalarında Güncel Yaklaşımlar Kongresinde " Üç Boyutlu (3D) Dijital Animasyon Teknolojisinin TV Yayıncılığında Kullanımı" adlı bildirimin özeti:

"Görsel kültürün hızla insan hayatının vazgeçilmez bir parçası olduğu çağımızda sanal ortamda üretilen imgelerin gerçek kadar önemli bir yer teşkil ettiği genel bir kabul haline gelmiştir. 3D animasyon filmleri bu sanal ortamda yaratılan yeni gerçeğin güçlü bir temsilcisi olarak durmaktadır. İnsanoğlunun geçmişten günümüze değin imgeleme sürecinde, görsel algılamaya dair önemli bileşenlerin aktif olarak yer aldığı gözlemlenmektedir. İnsanın görsel algılamasında gözün fizyolojik yapısına dair bilimsel kanıtların ortaya konulmasıyla 3D animasyon film tasarımın niçin gerçeğe en yakın sonuçları doğurabildiği temellendirilmiş olunmaktadır."

Algorithms for drawing smooth curves and surfaces are well-known but may be too expensive in CPU time to use for certain high speed interactive graphics applications. This paper looks at some new geometrically-based smoothing algorithms that arrive at the final smooth curve or surface after the application of an infinite number of iterations of the algorithm using subdivision refinement. When CPU time is scarce low iteration counts can be used to provide an acceptable level of approximation of smoothness and when CPU time is more plentiful higher levels of iteration can be applied for greater visual smoothing accuracy. Three new algorithms are presented and analysed. Convergence is proved geometrically for each and their timings are reported. Mixing iterations provides new opportunities for achieving various different effects in curve and surface smoothing.

This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.