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Dissertations / Theses on the topic '2D and 3D hybrid animation'
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1
Ellsworth, Thomas Sterling. "The Bird and The Fish: Motion Field-Based Frame Interpolation in the Context of a Story." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7721.
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Animating by hand can be a long and challenging process in part because of the necessity of drawing every frame by hand. 3D animation media minimize this problem with the use of automatically interpolated frames, but despite significant research no universally acceptable techniques have been demonstrated for 2 dimensional interpolation. In this paper we explore computer-assisted optimizations to the animation pipeline. Specifically, we utilize 3D motion fields to create more realistic in-between frames for sets of 2D ``key frames.'' We demonstrate our method by using it to create 2D special effects for a 30-second clip of an animated short film.
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BEZERRA, HEDLENA MARIA DE ALMEIDA. "3D COLORIZING FOR 2D ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7715@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORFINANCIADORA DE ESTUDOS E PROJETOS
Esta dissertação discute a aplicação de efeitos de colorização 3D a animações 2D produzidas pela técnica quadro-a-quadro. Utilizando algoritmos de processamento de imagens, desenhos 2D são preparados para receber técnicas de sombreamento evitando a transformação da cena para uma geometria 3D. Esta preparação se dá através da obtenção de mapas de normais que aproximam a geometria do desenho. O sombreamento é obtido através de um conjunto de técnicas de renderização foto-realistas e não-foto-realistas, que podem ser adaptadas para utilização de normais aproximadas. Visando amenizar o trabalho exaustivo de colorir cada desenho, um método baseado no relacionamento entre imagens é apresentado para colorir automaticamente cada quadro numa seqüência de desenhos. Este processo de colorização considera a necessidade de possíveis intervenções humanas para garantir a qualidade final de cada imagem da animação. Um estudo sobre aproximação de normais, técnicas de sombreamento, segmentação de imagens e rastreamento de objetos é amplamente discutido nesta dissertação.
This dissertation discusses the 3D colorization effects usage over a 2d animation, which has been produced through frame-by-frame techniques. Normal vector maps approximates the drawing geometry and provide the ability to perform shading effects by applying digital image processing algorithms, avoiding 3D geometry scene transformation. A set of photorealistic and non-photorealistic renderization techniques, which can be adapted to normal approximation usage, is proposed in the colorization process. Also, a method based on interframe dependence is presented, aiming to reduce the thoroughgoing effort of colorizing each individual frame within an animation. This colorization process considers possible human interventions to ensure image´s result quality. Finally, this dissertation provides a comprehensive study regarding several topics, such as normal approximations, shading techniques, image segmentation and object tracking.
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Chin, Min-Zhi. "Naga: Combining 2D and 3D Animation." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.
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Naga is an animated short about a lively dragon that roams about the lands embracing it’s surroundings dearly. It discovered a barren land while out exploring and was saddened by the sight. After pondering for a while, it then realized it could revive the land with it’s ability to summon rain using it's dragon ball. The short blends traditional animation and computer animation, where the look is similar to 2D animation but the character and a few environment elements are done in 3D. Software utilized to complete the short were Autodesk Maya, Adobe Photoshop, Clip Studio Paint, Adobe After Effects, and Adobe Premiere Pro. The short showcases a stylized Chinese traditional ink painting style, key frame animation, and particle effects.
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Au, Kristin C. "Animation : 2D versus 3D and their combined effect." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/92640.
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Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 53-54).
This thesis studies the differences in the perception of space and character movement between 2D and 3D animation. 2D animation is defined by elements constructed in a 2D environment while 3D animation by elements constructed in a 3D environment. Modern day animated films have been seen to mix the two forms for the sake of artistic effect, expedited production, and general convenience. Though some modern animations combine the two in the explorative quest to discover new animation forms, few films directly compare the forms to visualize the differences in their perceived qualities. Noticeably, the two animation methods differ in level of detail, dimension, realism, and artistic expression. In terms of lighting, the science of illumination dictates the 3D environment whereas in the 2D environment, lighting is an illusion created by coloring conventions. This study looks specifically at lighting as the controlling factor delineating the two forms. Two short mixed media films were created. One film had a 3D base while the other a 2D base. A varied set of subjects were shown one of the two short films produced and asked to complete a survey. The survey measured the subject's understanding of space and character movement as seen the film. Results show that in 3D there is an enhanced understanding of spatial perception while in 2D there is a lower sensitivity to character movement.
by Kristin C. Au.
S.B.
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McCool, Christopher Steven. "Hybrid 2D and 3D face verification." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16436/.
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Face verification is a challenging pattern recognition problem. The face is a biometric that, we as humans, know can be recognised. However, the face is highly deformable and its appearance alters significantly when the pose, illumination or expression changes. These changes in appearance are most notable for texture images, or two-dimensional (2D) data. But the underlying structure of the face, or three dimensional (3D) data, is not changed by pose or illumination variations. Over the past five years methods have been investigated to combine 2D and 3D face data to improve the accuracy and robustness of face verification. Much of this research has examined the fusion of a 2D verification system and a 3D verification system, known as multi-modal classifier score fusion. These verification systems usually compare two feature vectors (two image representations), a and b, using distance or angular-based similarity measures. However, this does not provide the most complete description of the features being compared as the distances describe at best the covariance of the data, or the second order statistics (for instance Mahalanobis based measures). A more complete description would be obtained by describing the distribution of the feature vectors. However, feature distribution modelling is rarely applied to face verification because a large number of observations is required to train the models. This amount of data is usually unavailable and so this research examines two methods for overcoming this data limitation: 1. the use of holistic difference vectors of the face, and 2. by dividing the 3D face into Free-Parts. The permutations of the holistic difference vectors is formed so that more observations are obtained from a set of holistic features. On the other hand, by dividing the face into parts and considering each part separately many observations are obtained from each face image; this approach is referred to as the Free-Parts approach. The extra observations from both these techniques are used to perform holistic feature distribution modelling and Free-Parts feature distribution modelling respectively. It is shown that the feature distribution modelling of these features leads to an improved 3D face verification system and an effective 2D face verification system. Using these two feature distribution techniques classifier score fusion is then examined. This thesis also examines methods for performing classifier fusion score fusion. Classifier score fusion attempts to combine complementary information from multiple classifiers. This complementary information can be obtained in two ways: by using different algorithms (multi-algorithm fusion) to represent the same face data for instance the 2D face data or by capturing the face data with different sensors (multimodal fusion) for instance capturing 2D and 3D face data. Multi-algorithm fusion is approached as combining verification systems that use holistic features and local features (Free-Parts) and multi-modal fusion examines the combination of 2D and 3D face data using all of the investigated techniques. The results of the fusion experiments show that multi-modal fusion leads to a consistent improvement in performance. This is attributed to the fact that the data being fused is collected by two different sensors, a camera and a laser scanner. In deriving the multi-algorithm and multi-modal algorithms a consistent framework for fusion was developed. The consistent fusion framework, developed from the multi-algorithm and multimodal experiments, is used to combine multiple algorithms across multiple modalities. This fusion method, referred to as hybrid fusion, is shown to provide improved performance over either fusion system on its own. The experiments show that the final hybrid face verification system reduces the False Rejection Rate from 8:59% for the best 2D verification system and 4:48% for the best 3D verification system to 0:59% for the hybrid verification system; at a False Acceptance Rate of 0:1%.
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Putri, Dian Kemala. "Comprehension of complex animation : cueing, segmentation and 2D / 3D presentations." Phd thesis, Université de Bourgogne, 2011. http://tel.archives-ouvertes.fr/tel-00795026.
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The goal of our studies was to test the effect of segmentation, cueing, and 2D/3D presentations to foster complex animation rocessing. The material was an upright mechanical piano system. We used an eye tracking system which provides information about learners' attention direction during the animation processing. We analyzed the effect of the format presentations and the eye movements during learning. Based on animation and multimedia research background, four experiments were conducted. In the first experiment the effect of the presentation of simplified external representations on learning from complex animation was investigated. Experiment two and three aimed at studying the cognitive processes involved in learning to complex mechanism system with new cueing techniques with spatial-temporal colored tokens. In the fourth experiment, 2D and 3D presentation of the same animated content were compared. Results of these experiments showed that (1) the use of a dual format presentation is better for developing a dynamic mental model from the animation than a single format, (2) the signaling strategies using cued tokens of dual format can guide efficiently learner's building of mental model and can enhance learner's comprehension of complex system, (3) a sequential format presentation followed by an animation format presentation helps the learner to understand the key stages of a dynamic process and to create a high quality mental model, (4) 3D animation presentation is better than 2D animation presentation to direct attention on relevant component of the animation. For depth processing, comprehension with 3D animation presentation is better than 2D animation format. Eye tracking measures provided insights into how people understood and learned complex systems. The analysis of eye tracking also contributed to the understanding of the subject's perceptual processing during learning. Overall, results provide a significant contribution in the field of learning with complex animation. Recommendations in the ergonomics area for the design of animations are proposed.
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Nilsson, Morgan, and Andreas Lundmark. "2D Aesthetics with a 3D Pipeline : Achieving a 2D Aesthetic with 3D Geometry." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324678.
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This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.
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Albright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.
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Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.
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Abdulsattar, Fatimah. "Identification by a hybrid 3D/2D gait recognition algorithm." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/404663/.
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Recently, the research community has given much interest in gait as a biometric. However, one of the key challenges that affects gait recognition performance is its susceptibility to view variation. Much work has been done to deal with this problem. The implicit assumptions made by most of these studies are that the view variation in one gait cycle is small and that people walk only along straight trajectories. These are often wrong. Our strategy for view independence is to enrol people using their 3D volumetric data since a synthetic image can be generated and used to match a probe image. A set of experiments was conducted to illustrate the potential of matching 3D volumetric data against gait images from single cameras inside the Biometric Tunnel at Southampton University using the Gait Energy Image as gait features. The results show an average Correct Classification Rate (CCR) of 97% for matching against affine cameras and 42% for matching against perspective cameras with large changes in appearance. We modified and expanded the Tunnel systems to improve the quality of the 3D reconstruction and to provide asynchronous gait images from two independent cameras. Two gait datasets have been collected; one with 17 people walking along a straight line and a second with 50 people walking along straight and curved trajectories. The first dataset was analysed with an algorithm in which 3D volumes were aligned according to the starting position of the 2D gait cycle in 3D space and the sagittal plane of the walking people. When gait features were extracted from each frame using Generic Fourier Descriptors and compared using Dynamic Time Warping, a CCR of up to 98.8% was achieved. A full performance analysis was performed and camera calibration accuracy was shown to be the most import factor. The shortcomings of this algorithm were that it is not completely view-independent and it is affected by changes in walking directions. A second algorithm was developed to overcome the previous limitations. In this, the alignment was based on three key frames at mid-stance phase. The motion in the first and second parts of the gait cycle was assumed to be linear. The second dataset was used for evaluating the algorithm and a CCR of 99% was achieved. However, when the probe consisted of people walking on a curved trajectory, the CCR dropped to 82%. But when the gallery was also taken from curved walking, the CCR returned to 99%. The algorithm was also evaluated using data from the Kyushu University 4D Gait Database where normal walking achieved 98% and curved walking achieved 68%. Inspection of the data indicated that the assumption made previously that straight ahead walking and curved walking are similar, is invalid. Finally, an investigation into more appropriate features was also carried out but this only gave a slight improvement.
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Wu, Wenchuan. "Acquisition and reconstruction methods for hybrid 2D/3D diffusion MRI." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:b6de8931-3910-4342-acdb-4eac49263b2c.
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Diffusion magnetic resonance imaging (MRI) has been increasingly used in neuroscience studies, particularly for mapping white matter tracts in the brain. Typically, diffusion MRI is acquired using a two-dimensional (2D) single-shot echo planar imaging sequence, which allows rapid acquisition and reduced sensitivity to subject motion. However, conventional 2D diffusion MRI faces many limitations, such as long TR (repetition time) which lead to low SNR (signal-to-noise ratio) efficiency, and long scan times with advanced diffusion protocols which usually require a large number of diffusion directions and/or b values. These limitations become more acute at high spatial resolution. Three-dimensional (3D) methods have also been developed for diffusion MRI, but they are not widely used for acquiring data in vivo due to the challenges in subject motion. Hybrid 2D/3D methods, including 3D multi-slab acquisition and simultaneous multi-slice acquisition, have been recently proposed to address the limitations of conventional 2D and 3D methods. However, 3D multi-slab acquisition faces the problem of slab boundary artefacts, which could decrease the image quality and propagate into diffusion quantifications. Simultaneous multi-slice acquisition would suffer from significant noise amplification when in-plane under-sampling is also applied. The work in this thesis seeks to develop acquisition and reconstruction methods to improve hybrid 2D/3D diffusion MRI. A new method is proposed to correct slab boundary artefacts in 3D multi-slab imaging, which jointly estimates the slab profile and underlying image using a nonlinear reconstruction. Correction results demonstrate superior performance compared with previously proposed methods. A k-q acquisition and reconstruction approach is developed to accelerate diffusion MRI based on Gaussian process methods. Here, we target improvements to simultaneous multi-slice imaging, demonstrating high acceleration factors in combination with in-plane under-sampling. Combinations of hybrid 2D/3D acquisitions with the ultra-high field of 7T are also investigated, which could enable high resolution diffusion MRI without substantially compromising SNR. The methods developed in this work are expected to improve the data quality and scan efficiency of diffusion MRI.
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Liu, Lu. "Using blocks to construct 3D shapes and create transformation animations." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4869.
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The objective of this research is to develop methods by which we can use blocks to
approximate the shapes of 3D objects and to generate shape transformation animations.
Two graphic tools are developed. One assists the animator in constructing 3D shapes
with bricks of different sizes and matching up the different shapes. The other tool helps
the animator generate a transformation animation of those bricks. Using polygon shape
data, these tools can procedurally place the bricks and control their animation. Several
different methods for animation are introduced. Those methods provide different ways to
generate animation paths of the blocks. The no path animation and the straight path
animation are easy for the animator to create and the animation time is easily controlled.
The flocking animation will provide more interesting effect.
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Guay, Martin. "Sketching free-form poses and motions for expressive 3D character animation." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GRENM016/document.
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L'animation expressive permet des styles de mouvements exagerés et artistiques comme l'étirement de parties du corps ou encore l'animation de créatures imaginaires comme un dragon. Créer ce genre d'animation nécessite des outils assez flexible afin de déformer les personnages en des poses quelconques, ainsi que de pouvoir contrôler l'animation à tout moment dans le temps. L'approche acutelle pour l'animation expressive est le keyframing: une approche manuelle avec laquelle les animateurs déforment leur personnage un moment spécifique dans le temps en cliquand et glissant la souris sur une partis spécifique du corps---un à la fois. Malgré le fait que cette approche soit flexible, il est difficile de créer des animations de qualité qui suivent les principes artistiques, puisque le keyframing permet seulement qu'un contrôle local spatiallement et temporellement. Lorsqu'ils dessinent des poses ou des mouvements, les artistes s'appuient sur différentes abstractions sous forme de croquis qui facillitent la réalisation de certain principes artistiques. Par example, certains animateurs dessinent des lignes d'action afin de créer une pose plus lisible et expressive. Afin de coordonner un mouvement, les animateurs vont souvent dessiner des abstractions de mouvement comme des demi-cercles pour des sauts, ou des boucles pour des pirouettes---leur permettant de pratiquer la coordination du mouvement. Malheureusement, ces outils artistiques ne font pas partis de l'ensemble d'outils de keyframing actuelle. Le fait que l'on ne puisse pas employer les même outils artistiques pour animater des personnages 3D a une forte conséquence: les outils d'animation 3D ne sont pas employés dans le processus créatif. Aujourd'hui, les animateurs créent sur du papier et utilisent le keyframing seulement à la fin pour réaliser leur animation. La raison pour laquelle nous n'avons pas ces outils artistiques (ligne d'action, abstractions de mouvement) en animation 3D, est parce qu'il manque une compréhension formelle de ceux-ci qui nous permettrais d'exprimer la forme du personnage---potentiellement au cours du temps---en fonction de la forme de ces croquis. Ainsi la contribution principale de cette thèse est une compréhension formelle et mathématique des abstractions de forme et de mouvement courrament employées par des artistes, ainsi qu'un ensemble d'algorithme qui permet l'utilisation de ces outils artistiques pour créer des animations expressives. C'est-à-dire que les outils développés dans cette thèse permettent d'étirer des parties du corps ainsi que d'animer des personnages de différentes morphologies. J'introduis aussi plusieurs extentions à ces outils. Par example, j'explore l'idée de sculpter du mouvement en permettant à l'artiste de dessigner plusieurs couches de mouvement une par dessus l'autre, de twister en 3D les croquis, ou encore d'animer un croquis ligne comme un élastique. Les contributions principales de cette thèse, aussi résumé ci-dessous: -La ligne d'action facilitant la création de poses expressives en dessinant directement le flow complet du personnage. -La courbe spatio-temporelle qui permet de spécifier un mouvement coordoné complet avec un seul geste (en dessinant une seule courbe), applicable à n'importe quel personnage 3D. -Un algorithme de matching rapide et robuste qui permet du ``squash and stretch''. -La ligne d'action élastique avec des attachements dynamiques à la ligne permettant d'animer un personnages à plusieurs jambes (bras) avec une seule ligne 2D animéeFree-form animation allows for exaggerated and artistic styles of motions such as stretching character limbs and animating imaginary creatures such as dragons. Creating these animations requires tools flexible enough to shape characters into arbitrary poses, and control motion at any instant in time. The current approach to free-form animation is keyframing: a manual task in which animators deform characters at individual instants in time by clicking-and-dragging individual body parts one at a time. While this approach is flexible, it is challenging to create quality animations that follow high-level artistic principles---as keyframing tools only provide localized control both spatially and temporally. When drawing poses and motions, artists rely on different sketch-based abstractions that help fulfill high-level aesthetic and artistic principles. For instance, animators will draw textit{lines of action} to create more readable and textit{expressive} poses. To coordinate movements, animators will sketch textit{motion abstractions} such as semi-circles and loops to coordinate a bouncing and rolling motions. Unfortunately, these drawing tools are not part of the free-form animation tool set today. The fact that we cannot use the same artistic tools for drawing when animating 3D characters has an important consequence: 3D animation tools are not involved in the creative process. Instead, animators create by first drawing on paper, and only later are 3D animation tools used to fulfill the pose or animation. The reason we do not have these artistic tools (the line of action, and motion abstractions) in the current animation tool set is because we lack a formal understanding relating the character's shape---possible over time---to the drawn abstraction's shape. Hence the main contribution of this thesis is a formal understanding of pose and motion abstractions (line of action and motion abstractions) together with a set of algorithms that allow using these tools in a free-form setting. As a result, the techniques described in this thesis allow exaggerated poses and movements that may include squash and stretch, and can be used with various character morphologies. These pose and animation drafting tools can be extended. For instance, an animator can sketch and compose different layers of motion on top of one another, add twist around strokes, or turning the strokes into elastic ribbons. The main contributions of this thesis are summarized as follows: -The line of action facilitating expressive posing by directly sketching the overall flow of the character's pose. -The space-time curve allowing to draft full coordinated movements with a single stroke---applicable to arbitrary characters. -A fast and robust skeletal line matching algorithm that supports squash-and-stretch. -Elastic lines of action with dynamically constrained bones for driving the motion of a multi-legged character with a single moving 2D line
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Triki-Bchir, Olfa. "Modélisation, reconstruction et animation de personnages virtuels 3D à partir de dessins manuels 2D." Phd thesis, Université René Descartes - Paris V, 2005. http://tel.archives-ouvertes.fr/tel-00273248.
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La production de dessins animés 2D, qui suit actuellement un schéma mis en place dans les années 1920, fait intervenir un très nombre de compétences humaines et de métiers différents. Par opposition à ce mode de travail traditionnel, la production de films de synthèse 3D, en exploitant les technologies et outils les plus récents de modélisation et d'animation 3D, s'affranchit pour une bonne part de cette composante artisanale et vient concurrencer l'industrie du dessin animé tradtionnel en termes de délais et de coûts de fabrication.Les défis à relever par l'industrie du dessin animé 2D se formulent donc en termes de:
1. Réutilisation des contenus selon le paradigme Create once, render many,
2. Facilité d'échange et de transmission des contenus, ce qui nécessite de disposer d'un unique format de représentation,
3. Production efficace et économique des contenus, requérant une animation automatisée par ordinateur.
Dans ce contexte compétitif, ce travail de thèse, réalisé dans le cadre du projet industriel TOON financé par la société Quadraxis avec le support de l' Agence Nationale de Valorisation de la Recherche (Oséo-ANVAR), a pour objectif de contribuer au développement d'une plate-forme de reconstruction, déformation et animation de modèles 3D pour les dessins animés 2D.
Un état de l'art des méthodes et outils contribuant à la reconstruction de modèles 3D et à leur animation est présenté et discuté au regard des contraintes spécifiques des règles de création des dessins animés 2D et de la chaîne de fabrication traditionnelle. Ayant identifié les verrous technologiques à lever, nos contributions ont porté sur :
* l'élaboration d'une méthode de reconstruction de personnages virtuels 3D à partir de dessins 2D,
* la mise au point d'une procédure de reconstruction surfacique par NURBS dotée d'une capacité de déformation interactive 2D/3D,
* la conception d'un module de modélisation 3D pour surfaces maillées, compatible avec le standard d'animation MPEG-4/AFX.
Les développements réalisés, intégrés dans un prototype de la plate-forme TOON, montrent un gain en temps de 20% sur l'ensemble de la chaîne de production tout en garantissant une complète interopérabilité des applications via le standard MPEG-4.
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Triki, Bchir Olfa. "Modélisation, reconstruction et animation de personnages virtuels 3D à partir de dessins manuels 2D." Paris 5, 2005. http://www.theses.fr/2005PA05S015.
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La production de dessins animés 2D qui suit actuellement un schéma mis en place dans les années 1920 fait intervenir un très grand nombre de compétences humaines. Par opposition à ce mode de travail traditionnel, la production de films 3D, en exploitant les technologies et outils les plus récents de modélisation et d'animation 3D, s'affranchit en bonne partie de cette composante artisanale et vient concurrencer l'industrie du dessin animé 2D en termes de temps et coûts de fabrication. Les enjeux à relever par l'industrie du dessin animé 2D se posent donc en termes de : 1. Réutilisation des contenus selon le célèbre paradigme du “Create once, render many”, 2. Facilité d'échange et transmission des contenus ce qui nécessite de disposer d'un unique format de représentation, 3. Production efficace et économique des contenus requérant alors une animation automatisée par ordinateur. Dans ce contexte compétitif, cette thèse, réalisée dans le cadre du projet industriel TOON financé par la société Quadraxis avec le support de l'Agence Nationale pour la Valorisation de la Recherche (ANVAR), a pour objectif de contribuer au développement d'une plate-forme de reconstruction, déformation et animation de modèles 3D pour les dessins animés 2D. Un état de l'art des méthodes et outils contribuant à la reconstruction de modèles 3D et à leur animation est présenté et discuté au regard des contraintes spécifiques des règles de création des dessins animés 2D et de la chaîne de fabrication 2D. Ayant identifié les verrous technologiques à lever, nos contributions ont porté sur : – L'élaboration d'une de reconstruction des personnages virtuels 3D àpartir de dessins 2D, – La mise au point d'une méthode de modélisation 3D par surfaces maillées, compatible avec le standard MPEG-4/AFX, Les développements réalisés, intégrés dans un premier prototype de la plate-forme TOON, montrent un gain en temps de 20% dans la chaîne de production et une complète interopérabilité des applications via le standard MPEG-4.
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Ko, Hyunhyub. "Design of hybrid 2D and 3D nanostructured arrays for electronic and sensing applications." Diss., Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/22606.
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This dissertation presents the design of organic/inorganic hybrid 2D and 3D nanostructured arrays via controlled assembly of nanoscale building blocks. Two representative nanoscale building blocks such as carbon nanotubes (one-dimension) and metal nanoparticles (zero-dimension) are the core materials for the study of solution-based assembly of nanostructured arrays. The electrical, mechanical, and optical properties of the assembled nanostructure arrays have been investigated for future device applications. We successfully demonstrated the prospective use of assembled nanostructure arrays for electronic and sensing applications by designing flexible carbon nanotube nanomembranes as mechanical sensors, highly-oriented carbon nanotubes arrays for thin-film transistors, and gold nanoparticle arrays for SERS chemical sensors.
In first section, we fabricated highly ordered carbon nanotube (CNT) arrays by tilted drop-casting or dip-coating of CNT solution on silicon substrates functionalized with micropatterned self-assembled monolayers. We further exploited the electronic performance of thin-film transistors based on highly-oriented, densely packed CNT micropatterns and showed that the carrier mobility is largely improved compared to randomly oriented CNTs. The prospective use of Raman-active CNTs for potential mechanical sensors has been investigated by studying the mechano-optical properties of flexible carbon nanotube nanomembranes, which contain freely-suspended carbon nanotube array encapsulated into ultrathin (<50 nm) layer-by-layer (LbL) polymer multilayers.
In second section, we fabricated 3D nano-canal arrays of porous alumina membranes decorated with gold nanoparticles for prospective SERS sensors. We showed extraordinary SERS enhancement and suggested that the high performance is associated with the combined effects of Raman-active hot spots of nanoparticle aggregates and the optical waveguide properties of nano-canals. We demonstrated the ability of this SERS substrate for trace level sensing of nitroaromatic explosives by detecting down to 100 zeptogram (~330 molecules) of DNT.
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Garretón, Gilda. "A hybrid approach to 2D and 3D mesh generation for semiconductor device simulation /." [S.l.] : [s.n.], 1998. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=12982.
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Fasano, Francesco. "Synthesis of Boron-Nitrogen-Carbon (BNC) hybrid materials : from 2D doped polyphenylenes to 3D porous architectures." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/111313/.
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In the growing field of polycyclic aromatic hydrocarbons (PAHs), the replacement of carbon with isostructural atoms is becoming a versatile functionalisation strategy to tailor the optoelectronic properties of the materials. Among the different dopants, the substitution of C-C pairs by isoelectronic B-N covalent couples leads to isostructural molecular material bearing strong local dipole moments. This imparts a series of physical-chemical properties to the molecule, such as wider HOMO-LUMO gap, the introduction of anchoring points for gas storage and peculiar self-assembly behaviour on metal surfaces. The BN/CC isosterism concept goes back to the seminal discovery of the borazine (H3B3N3H3) by Stock and Pohland in 1926. Thus, in reference to its isoelectronic and isostructural relationship withbenzene, borazine ring is commonly known as “inorganic benzene”. Hence, borazine and its derivatives are valuable molecular modules to be inserted as doping units in graphiticbased carbon materials to tailor their physical-chemical properties. This dissertation focuses on the design, synthesis and characterisation of novel organic materials doped with borazine modules, with the aim of exploring the photophysics, electronics and self-assembly properties of hybrid boron-nitrogen-carbon (BNC)frameworks. Before addressing the detailed investigations of this thesis work, in Chapter I, a brief introduction on the past and recent achievements in the organic synthesis of borazine and its derivatives are given to the reader. This chapter also includes the main synthetic methods used for their functionalisations, as well as their chemical properties and materials applications. Chapter II addresses the design and synthesis of three-branched borazine doped polyphenylenes, in which one or more aryl units are replaced by borazine rings. Owing the possibility of functionalising the borazine ring with different groups on the aryl substituents at the N and B atoms, BNC polyphenylenes were prepared through the decarbonylative [4 + 2] Diels-Alder cycloaddition reaction. To achieve this, two types of molecular modules were synthesised: core and branching units. Therefore, having the possibility of introducing the borazine in different ratios, orientations and positions, three-branched hybrid polyphenylenes featuring controlled orientation and dosages of the doping B3N3-rings were prepared (Figure A.1). At last, the photophysical properties of borazine-doped polyphenylenes have been investigated, describing the relation between the light emission properties and the orientation / dosage doping of these hybrid materials. The second project tackled in this doctoral work is described in Chapter III. Inspiring by the local polar character of the borazine ring, B3N3 scaffold can theoretically interact with polar or polarisable gas molecules, thus making BN-materials promising candidates for tailoring the gas absorptions. In this chapter, the preparation of 3D BN metal organic framework (BN-MOF), composed by three-carboxyl borazine 3-1 as organic linker and [Zn4O(CO)6] as metal cluster is described (Figure A.2). Additionally, to evaluate the effect of the BN doping units in gas storage, the isostructural 3D C-MOF reference, in which the borazine core is replaced by the benzene unit, has been prepared (Figure A.2). The last section of the chapter is dedicated to the description of the X-ray crystal structures of the MOFs as well as their morphology, surface area and thermal stability. Finally, Chapter IV is dedicated to the investigation of three-pyridyl borazine derivatives, amenable to self-assemble and form 2D metal-organic porous network upon deposition on metal surfaces. The first part of the chapter deals with the synthesis of borazine 4-6 through a Suzuki cross-coupling reaction between borazine bearing three-OTf groups and an organoboron pyridyl moiety. The second part describes, by scanning tunnelling microscopy (STM), the tailoring of the 2D self-assembly of borazine 4-6 on Ag(100) and Cu(111) via coordination and thermal treatments. Specifically, densely packed honeycomb network on Ag(100) was observed, whereas interconnected chains were found on Cu(111). Upon deposition of additional Cu atoms at 420 K, a structural transformation can be induced on Cu(111), which leads to a fully three-fold coordinated triangular network (Figure A.3).
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Lu, Xubin [Verfasser], Michael [Gutachter] Bron, and Mehtap [Gutachter] Öezaslan. "Direct synthesis of 2D/3D carbon hybrid material and its application / Xubin Lu ; Gutachter: Michael Bron, Mehtap Öezaslan." Halle (Saale) : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2020. http://d-nb.info/1210730405/34.
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Nordberg, Johan. "Contour." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17074.
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Traditional sketching with pen on paper can be seen as to visualize the memory. Limited to a framework of influences, experiences and ideas the outcome will result in something already known.In searching for knowledge an experimental sketch method counteracts this framework. The aim of this work is to explore morph animation of archetypical garments. Shape interpolation in Adobe Flash software makes it possible to calculate the way between two silhouettes. The result is a third silhouette, a morph of selected garments and depends on where the animation is paused. The work also deals with the gap between visualize(sketching) and making(construction/realization). In the investigation a new way of using animation as an sketch method have been found. Also how to use computer based 3D sketching in fashion design and an alternative construction method based on paper craft techniques have been developed. The collection consists of garments based on a morph between a classic skirt and a blazer to discuss new visions and possibility’s in fashion. Can the way we sketch, construct and produce affect garment definitions? And how could the findings in this work being used in a commercial industry.Program: Modedesignutbildningen
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Ramadan, Hadeel M. "Jan. 25 ( Story of a Girl )." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/71871.
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The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel.
Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt.Master of Fine Arts
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Rydin, Daniel. "Från ord till handling : reflektioner kring arbetsprocessen bakom trailern ”Gabriel Glömmer”." Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1119.
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Rapporten tar upp mina reflektioner dels angående projektarbetet både på ett personligt plan samt samarbetet mellan oss två som gjorde projektet. Vad har fungerat och vad har fungerat mindre bra under projekttiden? Från 2D till 3D är en röd tråd genom hela rapporten då vi gått från 2D-referernsbilder i barnboken Gabriel Glömmer till utrenderade 3D-sekvenser. Jag går igenom vad jag gjort och vad andra gjort under projekttiden då vi haft hjälp av lite olika människor. Dessa människor presenteras snabbt, något annat som presenteras är boken och min relation till densamma. Resultatet av projektarbetet blev att vi lyckades med de uppställde mål vi hade innan projektet startades.
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Martinsson, Peter. "Det digitala konstverket ”Eve”." Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1613.
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Ambitionen och målet med mitt projekt var att visualisera delar av en berättelse med hjälp av den senaste datortekniken. Detta tog sin form av en 3d-animation. Målet var inte att producera en färdig kortfilm utan att arbeta med utvalda delar. Projektet var indelat i tre block; en planerings- och researchfas, en produktionsfas och en reflektionsfas. Stora delar av magisterarbetet har bestått av att producera innehåll som sedan ska analyseras. Med arbetet vill jag att folk ska få mer förståelse för 3d-tekniken som ett flexibelt och intressant konstverktyg. I denna reflektion som är beroende av produktresultatet försöker jag i ord beskriva den tekniska och estetiska vägen från koncept till produktion. För att få förståelse för mina resonemang i denna reflektion kommer jag att använda mig av bilder från min produktion. Resultatet av magistern är en del av en arbetsprocess som kan analyseras och reflekteras. Med projektet har jag lärt mig att 3d inte är ett likriktat grafiskt verktyg utan en fascinerande konstform som är mer flexibel och personlig än vad man kan tro. Jag har funderat mycket kring det konstnärliga värdet i det jag har skapat och funderat mycket kring vad digital konst egentligen är och hur jag ser på det.Detta är en reflektionsdel till en digital medieproduktion. cload@evilemail.com www.cloaddust.com
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Zunka, Ondřej. "Prezentace společnosti za využití animované infografiky." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2014. http://www.nusl.cz/ntk/nusl-224721.
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The point of this dissertation is a creation of motion graphics video which functions as an in-depth presentation of Visual Unity services. The output is a video of approx. two minutes in length which the company will make use of as an information basis for prospective clients during international conference participation and other new business initiatives. The result is a functional proposal addressing spectrum of areas throughout the company.
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Souissi, Omar. "Planification de chemin d'hélicoptères sur une architecture hétérogène CPU FPGA haute performance." Thesis, Valenciennes, 2015. http://www.theses.fr/2015VALE0003.
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Les problématiques de sécurité sont aujourd’hui un facteur différentiateur clé dans le secteur aéronautique. Bien que certains systèmes d’assistance aux hélicoptères existent et qu’une partie de la connaissance associée aux situations d’urgence ait pu être identifiée, reste que les travaux antérieurs se limitent pour la plupart à une autonomie de bas niveau. Ainsi la génération d’un plan de vol sous fortes contraintes de temps représente à ce jour une voie d’exploration nouvelle, et un défi technologique essentiel pour l’hélicoptère de demain. A cet égard, AIRBUS HELICOPTERS accorde un fort intérêt à la conception d’un système décisionnel capable de générer des plans de vols en temps réel. L’enjeu de l’intelligence répartie au travers de systèmes décisionnels distribués constitue un axe de recherche fort, et un des contributeurs clés pour un positionnement leader d’AIRBUS HELICOPTERS sur la thématique sécurité. Aujourd’hui, l’étude des systèmes décisionnels embarqués dans les engins volants constitue un défi majeur pour divers groupes de travail académiques et industriels. En effet, la résolution de ce défi fait appel généralement à différentes compétences afin de maîtriser plusieurs aspects du système recouvrant les domaines d’acquisition, d’analyse et de traitement de données. Et ce dans le but de prendre des décisions en temps-réel en prenant en considération plusieurs paramètres contextuels et environnementaux. Les défis scientifiques à contourner dans la présente thèse s’articulent sur deux axes majeurs. Dans un premier temps, il faut proposer une approche complète pour une planification en temps réel d’un plan de vol d’hélicoptères. Permettant à cette dernière de faire face à d’éventuels événements dynamiques tel que l’apparition de nouveaux obstacles ou un changement de mission. Ensuite, nous nous intéressons à une implantation embarquée de la solution proposée sur une architecture hétérogène haute performanceSecurity issues are today a key-differentiator in the aviation sector. Indeed, it comes to ensure the safety of expensive equipments but above all to save human lives. In this context, it is necessary to offer an important level of autonomy to helicopters. Although some studies have been carried out in this area, the dynamic generation of a sequence of maneuvers under hard time constraints in an unknown environment still represents a major challenge for many academic and industrial working groups. AIRBUS HELICOPTERS as a leader of helicopters manufacturing, looks forward to integrate an assistance system for mission re-planning in the next generation of aircrafts.The work conducted in this PhD thesis falls within a collaboration between AIRBUS HELICOPTERS and UNIVERSITE DE VALENCIENNES ET DU HAINAUTCAMBRESIS. One of the main purposes of this work is efficient flight plan generation. Indeed, for intelligent assistant systems we need to generate a new path planning inorder to face emergency events such as an equipment failure or adverse weather conditions. The second major objective of this work is the deployment of mission planning tasks onto a high performance architecture CPU/FPGA in order to meet real-time requirements for the dynamic optimization process. In the present work, we first studied efficient flight plan generation. Indeed, we developed efficient and effective algorithms for helicopter path planning. Then, in order to obtain a real-time system, we resolved the problem of scheduling optimization on a heterogeneous architecture CPU / FPGA by proposing several scheduling methods including exact approaches and heuristics
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Henriksson, Matilda. "Second Skin : To wear a space." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6957.
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Arbetet utforskar det liminala gränslandet mellan mode och arkitektur genom parallella jämförelser av fasadbeklädnad och kläder. Med utgångspunkt i den personliga sfären, undersöks arkitektoniska och bärbara strukturer utifrån och omkring kroppen. Detta är ett undersökande kollage över designpraktikens gränser som förenar det mest intima rummet; våra kläder med den mest intima arkitekturen; tältet. Både arkitektur och mode grundar sig i vikten av att skyla och skydda sig samt att uttrycka identitet. Vad finns det för rumslig potential i detta lager som vi adderar genom att klä, både mänsklig kropp och arkitektonisk huskropp? Dagens samhälle speglar en livsstil i ständig förändring och förflyttning vilket gör att vi behöver vara mer flexibla i våra rum. Det publika rummet ställer allt högre extroverta krav och gör alltmer anspråk på det privata rummet. För dagens samtida urbana nomad formas ett behov av en mobil, bärbar och konvertibel privat sfär. Här följer en tolkning utifrån definitionen om arkitektoniskt och mänskligt skydd.
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Lenain, Roland. "Amélioration des méthodes de calcul de cœurs de réacteurs nucléaires dans APOLLO3 : décomposition de domaine en théorie du transport pour des géométries 2D et 3D avec une accélération non linéaire par la diffusion." Thesis, Paris 11, 2015. http://www.theses.fr/2015PA112180/document.
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Ce travail de thèse est consacré à la mise en œuvre d’une méthode de décomposition de domaine appliquée à l’équation du transport. L’objectif de ce travail est l’accès à des solutions déterministes haute-fidélité permettant de correctement traiter les hétérogénéités des réacteurs nucléaires, pour des problèmes dont la taille varie d’un motif d’assemblage en 3 dimensions jusqu’à celle d’un grand cœur complet en 3D. L’algorithme novateur développé au cours de la thèse vise à optimiser l’utilisation du parallélisme et celle de la mémoire. La démarche adoptée a aussi pour but la diminution de l’influence de l’implémentation parallèle sur les performances. Ces objectifs répondent aux besoins du projet APOLLO3, développé au CEA et soutenu par EDF et AREVA, qui se doit d’être un code portable (pas d’optimisation sur une architecture particulière) permettant de réaliser des modélisations haute-fidélité (best estimate) avec des ressources allant des machines de bureau aux calculateurs disponibles dans les laboratoires d’études. L’algorithme que nous proposons est un algorithme de Jacobi Parallèle par Bloc Multigroupe. Chaque sous domaine est un problème multigroupe à sources fixes ayant des sources volumiques (fission) et surfaciques (données par les flux d’interface entre les sous domaines). Le problème multigroupe est résolu dans chaque sous domaine et une seule communication des flux d’interface est requise par itération de puissance. Le rayon spectral de l’algorithme de résolution est rendu comparable à celui de l’algorithme de résolution classique grâce à une méthode d’accélération non linéaire par la diffusion bien connue nommée Coarse Mesh Finite Difference. De cette manière une scalabilité idéale est atteignable lors de la parallélisation. L’organisation de la mémoire, tirant parti du parallélisme à mémoire partagée, permet d’optimiser les ressources en évitant les copies de données redondantes entre les sous domaines. Les architectures de calcul à mémoire distribuée sont rendues accessibles par un parallélisme hybride qui combine le parallélisme à mémoire partagée et à mémoire distribuée. Pour des problèmes de grande taille, ces architectures permettent d’accéder à un plus grand nombre de processeurs et à la quantité de mémoire nécessaire aux modélisations haute-fidélité. Ainsi, nous avons réalisé plusieurs exercices de modélisation afin de démontrer le potentiel de la réalisation : calcul de cœur et de motifs d’assemblages en 2D et 3D prenant en compte les contraintes de discrétisation spatiales et énergétiques attenduesThis thesis is devoted to the implementation of a domain decomposition method applied to the neutron transport equation. The objective of this work is to access high-fidelity deterministic solutions to properly handle heterogeneities located in nuclear reactor cores, for problems’ size ranging from colorsets of assemblies to large reactor cores configurations in 2D and 3D. The innovative algorithm developed during the thesis intends to optimize the use of parallelism and memory. The approach also aims to minimize the influence of the parallel implementation on the performances. These goals match the needs of APOLLO3 project, developed at CEA and supported by EDF and AREVA, which must be a portable code (no optimization on a specific architecture) in order to achieve best estimate modeling with resources ranging from personal computer to compute cluster available for engineers analyses. The proposed algorithm is a Parallel Multigroup-Block Jacobi one. Each subdomain is considered as a multi-group fixed-source problem with volume-sources (fission) and surface-sources (interface flux between the subdomains). The multi-group problem is solved in each subdomain and a single communication of the interface flux is required at each power iteration. The spectral radius of the resolution algorithm is made similar to the one of a classical resolution algorithm with a nonlinear diffusion acceleration method: the well-known Coarse Mesh Finite Difference. In this way an ideal scalability is achievable when the calculation is parallelized. The memory organization, taking advantage of shared memory parallelism, optimizes the resources by avoiding redundant copies of the data shared between the subdomains. Distributed memory architectures are made available by a hybrid parallel method that combines both paradigms of shared memory parallelism and distributed memory parallelism. For large problems, these architectures provide a greater number of processors and the amount of memory required for high-fidelity modeling. Thus, we have completed several modeling exercises to demonstrate the potential of the method: 2D full core calculation of a large pressurized water reactor and 3D colorsets of assemblies taking into account the constraints of space and energy discretization expected for high-fidelity modeling
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Ericsson, Duffy Mikael. "DRAWN TO LIFE: Exploring real-time manipulation of the digitally represented surface in comics on smartphones and tablets." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23439.
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This research thesis is an exploration into what possibilities lie beyond the representation of analog material when it transcends into the digital realm. Specifically, how printed comics can be altered in realtime by creator- allowed user interaction, when adapted for presentation within the digital sphere of mobile smartphones and computer tablets. Using legacy computer-game techniques like parallax scrolling with modern digital layer filters, device sensors and applying them in realtime to the comic creators digitally layered content, alternative forms of presentation arise.This is an investigation into the comic creator’s will of allowing possibilities of added depth perception, interactivity and alternative visual narratives in their comic, manga or graphic novels when employing new techniques based on sensor data input from a reader, like accelerometer-, gyroscope- or eye-tracking sensors. Several different techniques are evaluated. The focus is mainly on the context of creators of comics or manga who use digital tools and layer compositions when producing their work. Several aspects of the user-centered experience are also explored.Although mainly an interaction design project, most of the design methods are used from a service design approach, emphasizing co-design techniques like interviews, observations and user tests. The results are digital prototypes and proof-of-concepts featuring technology tests that support final design conclusions.The results will show both enthusiasm and reluctance from test subjects towards the new technologies presented. The professional craft of comic, manga and graphic novel creation has a deeply rooted aesthetic and production cycle in its history of the printed form. It could be difficult to alter its standard, reverence and nostalgia in the eyes of its readers and creators, when pursuing the digital format and narrative possibilities of the future. A video explaining the project’s “Drawn To Life” technology is available online.
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Tsai, Hung-Wen, and 蔡鴻文. "The research and creation of blended animation by 2D handy-sketched animation and 3D computer animation." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/kg4g6d.
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碩士國立臺灣師範大學
設計研究所
96
Abstract The technique of 2D handy-sketched animation is becoming matured; also the invention of 3D computer animation brings the animation a new era. Animation artists try to adopt two distinctive techniques/forms for artwork creation. 2D handy-sketched animation is superior both in presenting multi visual styles and character animation. Hopefully, the animation creation is expected to be more of sense-of-aesthetics by proper including the principles of 3D computer animation. The ability of objects simulating and virtual space constructing are primary merits of 3D computer animation. Camera manipulating is 3D-based which can not be accomplished under tradition animation operation mode. In stead of frame-by-frame drawing in 2D handy-sketched animation, 3D computer animation renders in-between frames by key frames. This assures the efficiency. From literature reviewing and video films analysis of 2D-included 3D computer animations, it is a tendency that character animation is usually completed by 2D handy-sketched whereas stuffs such as mechanic equipment, traffic facility are constructed mostly by 3D techniques. To be consistent with 2D handy-sketched characters, the scene should be rendered in cartoon fashion. Additionally, to coordinating with 3D virtual camera, the sketched background ought to be considered and represented in 3D manner. This study intends to extract the blending principle of two differential animations. By experiencing the harmony of traditional 2D handy-sketched and 3D computer, the researcher expects to provide the varieties of visual art styles.
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Lin, Hung-En, and 林宏恩. "Design for 2D-3D Hybrid Digital Signage Application." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/35040554126203357230.
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碩士國立交通大學
平面顯示技術碩士學位學程
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Advertisement constantly penetrates everyone’s life through all kinds of media exposure. The general public becomes accustomed to most of the existing types of advertisement, but these existing types of advertisement did not arouse the interest of the public because it is shown by 2D electrical billboard and lacks of innovation and creativity. There is no motivation to watch the content of advertisement. The cost of the 3D digital signage equipment is high, and the pixels are easily misplaced, including failed to present delicacy of the words due to resolution downgrade. However, with the advance of display technology, there are many factors of new technology that can be applied into industry of advertisement. We combined a new application of 2D-3D hybrid outdoor advertising billboard. The 3D digital signage of the new application of 2D-3D hybrid outdoor billboard is expected firstly to draw attention of the public with product pictures presenting by 3D technology and moreover encourage the public to watch the 2D advertisement as assistant description. This combination presents an more exquisite advertisement with words In order to better the design parameters of this system, this thesis explores the new application of 2D-3D hybrid outdoor billboard from six experiments based on human behavior. The six experiments are as followed: First, the 3D effect of the new application of 2D-3D hybrid outdoor advertising billboards: To verify the new 2D-3D hybrid outdoor billboards have 3D effect is the first step; otherwise, the advantage of this new type of advertising billboards will lose its advantage. Secondly, the best 3D / 2D screen area ratio of the new 2D-3D hybrid outdoor billboards: Continuously adjust 2D screen space from the projector to find out the parameters for the best outdoor billboards 3D / 2D screen area ratio. Thirdly, integrate Transferred-reflected Mirror into new 2D-3D hybrid outdoor billboards: see if the 3D stereo effect could be enhanced by integrated Transferred-reflected Mirror into the new 2D-3D hybrid outdoor billboards as a result of its characteristic that reflects the environment Fourth, the best distance ratio of the reflector in the new 2D-3D hybrid outdoor billboards: constantly adjusting reflector location in the scrolling text to find the best 3D effect of the reflector distance ratio. Fifth, to find the best brightness ratio of the reflector in the new 2D-3D outdoor billboards: Adjust the brightness of the reflector to find the brightness ratio of the best 3D effects reflector. Sixth, increase display board into the new application of 2D-3D hybrid outdoor billboards: to place a display board in front of the new 2D-3D hybrid outdoor billboards to see if this action could the depth feeling of 3D image. The result of this experiment is that the new application of 2D-3D hybrid outdoor advertising billboard actually has 3D stereo effect which is 16% higher than original single 3D digital signage. Through the experiment focused on human behavior, it is concluded that transferred-reflected mirror and the display board could enhance 3D stereo effect by 16% ~33% and when the best parameters for the transferred-reflected mirror and the display board are added into the new 2D-3D hybrid outdoor advertising billboard, it can enhance human’s feelings of depth under the circumstance without increasing the disparity from the pictures of left eye and right eye. The viewers could experience the situation more vividly.
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Cerqueira, Carolina Dantas. "The Girl in the Museum - Short Film Exploring the Relationship between Women and Art." Master's thesis, 2020. http://hdl.handle.net/10316/92092.
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Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e TecnologiaAs mulheres sempre foram objecto de estudo em arte, mas a arte que elas mesmas criam tem sido sistematicamente excluída dos registos da história da arte há séculos. Isto deixa-nos com um ponto de vista unilateral sobre a participação da mulher no mundo da arte e da própria arte em si.Para enfrentar esta discrepância, este trabalho pretende criar uma animação a apresentar e chamar a atenção ao trabalho de várias artistas femininas. De maneira a criar este filme vou antes explorar a história da animação, especificamente sobre a animação que mistura técnicas em 2D e 3D ao analisar os filmes: "O Príncipe do Egito", "Spirited Away", "Howl's Moving Castle" e " Paperman", examinando como estes utilizam estas técnicas para contar uma história convincente. Isto é feito com a intenção de criar uma animação que apresenta e destaca o trabalho de artistas em diversas áreas. As artistas que escolhi investigar são Geng Xue, Helena Almeida, Barbara Kruger, Berthe Morisot, Guntal Stölzl e Yayoi Kusama. Desta lista decidi destacar o trabalho de Geng Xue, Helena Almeida, Berthe Morisot, Guntal Stölzl, Yayoi Kusama, Marina Abramović e Qing Han.Women have always been a subject of art but the art that they themselves create has been systematically excluded from art history records for centuries. This has left us with a one-sided point of view of the portrayal of women in art and of art itself.In order to tackle this discrepancy, this work intends to create an animation presenting and shining a spotlight on the work of several female artists. In order to create this film I will delve into the history of animation, more specifically animation which mixes both 2D and 3D animation techniques and analyze the films: "The Prince of Egypt", "Spirited Away", "Howl's Moving Castle" and "Paperman", by examining how they utilize these techniques in order to tell a compelling story. All with the intention to create an animation showcasing several artworks by artists in different fields. The artists chosen to study were Geng Xue, Helena Almeida, Barbara Kruger, Berthe Morisot, Guntal Stölzl, Yayoi Kusama, Marina Abramović and Qing Han. And from this lineup I ultimately chose to highlight the work of Geng Xue, Helena Almeida, Berthe Morisot, Guntal Stölzl, Yayoi Kusama, Marina Abramović and Qing Han.
Women have always been a subject of art but the art that they themselves create has been systematically excluded from art history records for centuries. This has left us with a one-sided point of view of the portrayal of women in art and of art itself.In order to tackle this discrepancy, this work intends to create an animation presenting and shining a spotlight on the work of several female artists. In order to create this film I will delve into the history of animation, more specifically animation which mixes both 2D and 3D animation techniques and analyze the films: "The Prince of Egypt", "Spirited Away", "Howl's Moving Castle" and "Paperman", by examining how they utilize these techniques in order to tell a compelling story. All with the intention to create an animation showcasing several artworks by artists in different fields. The artists chosen to study were Geng Xue, Helena Almeida, Barbara Kruger, Berthe Morisot, Guntal Stölzl, Yayoi Kusama, Marina Abramović and Qing Han. And from this lineup I ultimately chose to highlight the work of Geng Xue, Helena Almeida, Berthe Morisot, Guntal Stölzl, Yayoi Kusama, Marina Abramović and Qing Han.As mulheres sempre foram objecto de estudo em arte, mas a arte que elas mesmas criam tem sido sistematicamente excluída dos registos da história da arte há séculos. Isto deixa-nos com um ponto de vista unilateral sobre a participação da mulher no mundo da arte e da própria arte em si.Para enfrentar esta discrepância, este trabalho pretende criar uma animação a apresentar e chamar a atenção ao trabalho de várias artistas femininas. De maneira a criar este filme vou antes explorar a história da animação, especificamente sobre a animação que mistura técnicas em 2D e 3D ao analisar os filmes: "O Príncipe do Egito", "Spirited Away", "Howl's Moving Castle" e " Paperman", examinando como estes utilizam estas técnicas para contar uma história convincente. Isto é feito com a intenção de criar uma animação que apresenta e destaca o trabalho de artistas em diversas áreas. As artistas que escolhi investigar são Geng Xue, Helena Almeida, Barbara Kruger, Berthe Morisot, Guntal Stölzl e Yayoi Kusama. Desta lista decidi destacar o trabalho de Geng Xue, Helena Almeida, Berthe Morisot, Guntal Stölzl, Yayoi Kusama, Marina Abramović e Qing Han.
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Chung-Ming, Hsu, and 許峻銘. "A Study of Composing 3D Elements into 2D Animation - Case of Designing Scene in "Oscar"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/46767871659553440794.
Full textAbstract:
碩士嶺東科技大學
數位媒體設計研究所
97
The sense of quality between the role object created by three-dimension software and the presented two-dimension animation is fairly enormous - no matter whether it is the light point of light-receiving surface, physic reflection, the intensity of refraction or the hues, etc. They can be referred to the variations of two disparate materials of two media. In light of this, this research is focused on how to blend and utilize these two media in order to make use of their respective advantages and to make them applied to the creation of animation. Through the process of creation, the following conclusion was acquired: first, understand the indispensable elements, which deserves full attention, when three-dimension object is synthesized into two-dimension animation; second, employ the textures to complement the detail of model so as to prompt its production efficiency; third, try to generate an atmosphere of animation by referring to the conception of lights of arena. In addition to that, some suggestions have been addressed for those intent on getting involved in animation creation: first, reinforce the cultivation of fundamental fine arts; second, foster keen capability of observation, and widely gather relevant information.
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Chen, Ying-Chang, and 陳盈璋. "Hybrid Algorithm of Depth Perception and Architecture Design for 2D to 3D Conversion." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/98661723127278880848.
Full textAbstract:
碩士國立中興大學
電機工程學系所
100
3D video technology is getting more and more attention in recent years. Despite the fact that display technology is well-developed, 3D video source is still insufficient because of the high production cost. I argue that rather than spending more money in recording, it is advantageous if we can convert the huge 2D video database nowadays to 3D to form blending 3D video. It will be a good way to solve the current problem of lacking stereo video resource. For this reason, we propose a hardware-oriented 2D to 3D depth map generation algorithm. First, we choose three depth cues for depth estimation: motion information, linear perspective, and texture characteristic. Then they will go through bilateral filter for depth map smoothing and noise removal. Finally, the final depth map will be generated. We adopt moving object detection to get the contours of moving object and filling the moving object to estimate accuracy. Then, we assign depth value to get a foreground depth map. Second, we use simplified Hough Transform to detect the vanish region information, and assign scene depth map. Third, we use luma data to estimate texture depth map. After that, the three-depth maps are combined into one. The combined depth map performs better than one cue map. Finally we smooth the depth, and strengthen the visual comfort and video quality. Because the long processing time of software, we adopt hardware acceleration in order to achieve the real time processing. For hardware design, we simplify our algorithm for reducing the data storage size and complex calculation. We propose a spec for one parallelism, thirty frame for second, 1080p resolution 2D to 3D depth map generation circuit . Operating frequency is 63MHz.Our architecture is a four-pipeline design which aims to conform to our algorithm’s processing order and shorten the critical path.
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Conceição, Sérgio Gil Pinheiro da. "Cel shading : história e aplicação do efeito 2D em animação digital." Master's thesis, 2013. http://hdl.handle.net/10400.14/16680.
Full textAbstract:
A presente dissertação tem como principais objetivos a compreensão e a análise da técnica visual Cel shading, quer na indústria digital de animação, quer na de videojogos. Cel shading é uma técnica visual de animação, que permite emular ilustrações, ou desenhos, em gráficos 3D, que devidamente animados, formam vários constituintes das indústrias de animação e de videojogos. Ao longo desta dissertação é realizada uma contextualização histórica da animação, analisando diversas técnicas e processos que levaram à sua evolução, desde o celuloide até à era digital. Aqui é dando especial ênfase a determinados filmes revolucionários de cada época, fundamentais para a evolução das técnicas de animação utilizadas desde então. Além dos filmes e séries televisivas, é também realizada uma síntese dos videojogos mais relevantes, que usam, ou usaram, esta técnica visual, pois permite emular o estilo visual de banda desenhada. Os exemplos mais marcantes de cada tipo são: (i) em séries televisivas: “The Simpsons” (1989 – presente), “Futurama” (1999 – 2003) e “Family Guy” (1999 – presente); (ii) em filmes de animação: “Animatrix” (2003), “Ghost in the Shell” (1989) e “The Iron Giant” (1999); (iii) e em videojogos: “Jet Set Radio”, “XIII”, “The Legend Of Zelda: Phantom Hourglass”, ”The Legend of Zelda: The Wind Waker”.
Simultaneamente ao desenvolvimento da presente dissertação foi produzida uma curta-metragem de animação para a empresa de telecomunicações Optimus. Esta pretende descrever, através de metáforas e estilos visuais apelativos, a viagem de uma mensagem de texto e todos os processos inerentes ao seu envio e receção. Ao se optar por realizar esta curta-metragem, foram analisados vários estilos visuais muito próprios. De todos os estilos analisados, o escolhido para a curta-metragem realizada foi o Cel shading.
A interação com um cliente real exige a constante transformação, segundo as suas decisões. Uma das modificações aplicadas a esta dissertação foi o estilo visual escolhido. Invés da técnica visual Cel shading, o estilo visual adotado para a curta-metragem de animação produzido foi um estilo mais realista, baseado em imagens de High-dynamic-range imaging (HDRi).The present dissertation has as main objective the understanding and analysis of the visual technique Cel shading, either on the digital animation industry, or in the video games industry. Cel shading is a visual animation technique that can emulate illustrations, or drawings, in 3D graphics. Those illustrations, when fully animated, can form various elements of the animation industries and video games. Throughout this dissertation is held a historical context of animation, analysing different techniques and processes that led to its evolution, since the celluloid to the digital era, with emphasis on certain revolutionary films of each era, fundamental for the evolution of the techniques used since. Apart from films and television series, is also carried out a synthesis of the most important videogames that use, or have used, this visual technique, because it allows emulating the visual style of comics. The most remarkable examples of each type are: (i) in television series "The Simpsons" (1989 – present), "Futurama" (from 1999 to 2003) and "Family Guy" (1999 – present); (ii) in animation films "Animatrix" (2003), "Ghost in the Shell" (1989) and "The Iron Giant" (1999); (iii) and in videogames, "Jet Set Radio", "XIII", "The Legend Of Zelda: Phantom Hourglass" and "The Legend of Zelda: The Wind Waker". Simultaneously with the development of this dissertation, it was produced a short animated film for the Portuguese telecommunications company Optimus. This animation intended to describe, through metaphors and appealing visual styles, the journey of a short text message (SMS); and all the processes inherent on its sending and receiving. For the production of this short film, the authors analysed several visual styles. Of all the styles analysed, the chosen for the short film was the technique Cel shading. The interaction with a real client requires a constant change, based on its decisions. One of those modifications applied to this thesis was the visual style chosen. Instead of the visual technique Cel shading, the adopted visual style for the short animated film produced was a more realistic, based in images from High-dynamic-range imaging (HDRi).
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Huang, Ya-Tzu, and 黃雅紫. "2D/3D Face Recognition Using Neural Networks Based on Hybrid Taguchi-Particle Swarm Optimization." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/08496610125574017382.
Full textAbstract:
碩士朝陽科技大學
資訊工程系碩士班
96
Mary computer vision-based systems have become more and more important in recent years, such as the surveillance, automatic access control and the human-robot interaction. Face recognition plays a critical role in those applications. However, face recognition is a very difficult problem due to a substantial variation in light direction, different face poses, and diversified facial expressions. Therefore, we present a method of face recognition using facial texture and surface information. This method deals with face pose and facial expression problems of changes, and improves the recognition performances. We first use Gabor wavelets extracting local features at different scales and orientations by gray facial images, then combine the texture with the surface feature vectors based on principal component analysis (PCA) to obtain feature vectors from gray and facial surface images. We propose a hybrid Taguchi particle swarm optimization (HTPSO) algorithm for face recognition based on multilayer neural networks as an identification model. Experimental results demonstrate the efficiency of our method for 10 individuals with different face poses and facial expressions. In addition, our work compared with other proposed approaches such as back-propagation (BP), particle swarm optimization (PSO) and the genetic algorithm (GA). With different data modality the experimental results demonstrated that the proposed HTPSO learning algorithm is better than the other approaches in recognition rates.
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Cheng, An-Wen, and 鄭安彣. "A Psychological Study of the 2D and 3D Animation Viewers’ Personal Characteristics in the Reflection of the Animations." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/41989846595704140088.
Full textAbstract:
碩士文藻外語大學
創意藝術產業研究所
102
The purpose of the study is to explore the relationship between the personal characteristics of 2D and 3D animation viewers and their preferences in viewing animation. It is anticipated that the result of the study will provide the animation production related fellows with insightful information to better establish the aesthetics of animation and the culture of the community; to deeper understand more about their viewers’s audio-visual experiences; to comtemplate possible approaches to further develop potential animation viewers in order to facilitate in building up the scale of the consuming market. The study is conducted by the process of the literature reviews, the qauntative analysis of MBTI test, the qualitative analysis of the semi-structured interviews with the assist of a set of questionnaire survey, and of the observation of the interview participants of professional animators and general animation viewers. The conclusion provided in the study will be shared with the professional-animator-interviewees and non professions as a contribution to both sides’concerns.
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Hsiao, Mi-Shan, and 蕭米珊. "Explore the Impact of 2D and 3D Animation on Students' Scientific Concept Construction and Mental Model with the Use of EEG and Eye Movement." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/83571934837814280720.
Full textAbstract:
碩士國立交通大學
教育研究所
99
The quasi-experimental design with 2 x 2 factors used in this study. Aim to explore the student with different spatial ability (high and low) used different type of animation (2D and 3D) to learn the scientific concept about atomic orbital model, the impact of their scientic concept construction learning achievement, mental model constrution, eye movement patterns and variation of EEG. Students from a high school at Hsin-Chu Country were involved in this study. Three different tests were administered to all of students which are spatial ability test, the pre-test of scientific conception test and the pre-test of mental model test. A total of sixty ten-grade students were assigned into two different groups by the results of the pre-test of scientific conception test. There are 18 male and 12 female in each group. The results of the pre-test of scientific conception test are not significantly between two groups. Two group students were learning through the 2D or 3D multimedia animation on web-based learning environment. Students’ EEG and eye movement were recoded when they are learning, employed to explore the variation of EEG and eye movement by learing from the multimedia animation. After learning, two different tests were administered to all of students which are the post-test of scientific conception test and the post-test of mental model test. Students’ different performance in pre- and post-test employed to explore how 2D and 3D animation impact their achievement of scientific concept construction, mental model construction, eye movement pattens and variation of EEG. Results indicate that there are not any interaction between spatial ability and type of multimedia animation in the scientific conception test. And students with high spatial ability outperform significantly than students with low spatial ability. Regardless the 2D or 3D group all perform better in post-test than pre-test in the scientific conception test, but there are not significantly different between two groups. Results also indicated that regardless the 2D or 3D group all perform better in post-test than pre-test in the mental model test. In spite of the 3D group outperform than 2D group, there are not significantly between two groups. About the pattens of students’ eye movement, results of total duration on whole picture, total duration on special areas, total duration of saccade on special areas and total duration of regression on special areas showed that the 3D group significantly outperform than 2D group. For mean fixation duration showed that the students with high spatial ability outperform than the students with low ability. For total duration of saccades on whole picture showed that the students with low ability outperform than the students with high ability. About the variation of EEG, regardless of the power of theta band, upper alpha band and upper beta band, the 3D group all significantly stronger than 2D group. For the power of theta band showed that the students with low spatial ability stronger than the students with high spatial ability, and weaker for the power of upper alpha band and upper beta band.
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LIN, Jyun-Ping, and 林峻平. "Construction of 2D and 3D media creation of the role and space ─The "Dangerous Garden" animation constraints and greed of the fable as an example." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/25550943006758330254.
Full textAbstract:
碩士崑山科技大學
媒體藝術研究所
98
Modern animation film production and development, often through digital technology mixed multi-media approach presents exquisite imagery to the theme of science fiction and horror thriller movie special effects, the better to create many close to the real presence. In this study, moving into a composite media object, and explore the techniques of 2D techniques and 3D mixed use, whether 2D or 3D virtual world, have evolved the ability to integrate with each other visual techniques, developed by a number of classic animation techniques also influence the development of countries in the world of animation or alter the trend of production of ideas. This paper will integrate 2D and 3D animation design level as a major theme of research to science fiction and horror films for the type of information, analysis of the two elements of the market feasibility of the dark background of data analysis that can meet the commercial market and the humane care of the story structure by 2D hand-drawn and digital coloring, 3D animation software to create unique mixed media animation, as a show of works presented.
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Duong, Adam. "Contrôle de l'organisation moléculaire en 2D et 3D par l’utilisation de liaisons hydrogène, de coordination métallique et d'autres interactions." Thèse, 2011. http://hdl.handle.net/1866/5324.
Full textAbstract:
La stratégie de la tectonique moléculaire a montré durant ces dernières années son utilité dans la construction de nouveaux matériaux. Elle repose sur l’auto-assemblage spontané de molécule dite intelligente appelée tecton. Ces molécules possèdent l’habilité de se reconnaitre entre elles en utilisant diverses interactions intermoléculaires. L'assemblage résultant peut donner lieu à des matériaux moléculaires avec une organisation prévisible. Cette stratégie exige la création de nouveaux tectons, qui sont parfois difficiles à synthétiser et nécessitent dans la plupart des cas de nombreuses étapes de synthèse, ce qui empêche ou limite leur mise en application pratique. De plus, une fois formées, les liaisons unissant le corps central du tecton avec ces groupements de reconnaissance moléculaire ne peuvent plus être rompues, ce qui ne permet pas de remodeler le tecton par une procédure synthétique simple.
Afin de contourner ces obstacles, nous proposons d’utiliser une stratégie hybride qui se sert de la coordination métallique pour construire le corps central du tecton, combinée avec l'utilisation des interactions plus faibles pour contrôler l'association. Nous appelons une telle entité métallotecton du fait de la présence du métal. Pour explorer cette stratégie, nous avons construit une série de ligands ditopiques comportant soit une pyridine, une bipyridine ou une phénantroline pour favoriser la coordination métallique, substitués avec des groupements diaminotriazinyles (DAT) pour permettre aux complexes de s'associer par la formation de ponts hydrogène.
En plus de la possibilité de créer des métallotectons par coordination, ces ligands ditopiques ont un intérêt intrinsèque en chimie supramoléculaire en tant qu'entités pouvant s'associer en 3D et en 2D. En parallèle à notre étude de la chimie de coordination, nous avons
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examiné l'association des ligands, ainsi que celle des analogues, par la diffraction des rayons-X (XRD) et par la microscopie de balayage à effet tunnel (STM). L'adsorption de ces molécules sur la surface de graphite à l’interface liquide-solide donne lieu à la formation de différents réseaux 2D par un phénomène de nanopatterning. Pour comprendre les détails de l'adsorption moléculaire, nous avons systématiquement comparé l’organisation observée en 2D par STM avec celle favorisée dans les structures 3D déterminées par XRD. Nous avons également simulé l'adsorption par des calculs théoriques. Cette approche intégrée est indispensable pour bien caractériser l’organisation moléculaire en 2D et pour bien comprendre l'origine des préférences observées. Ces études des ligands eux-mêmes pourront donc servir de référence lorsque nous étudierons l'association des métallotectons dérivés des ligands par coordination.
Notre travail a démontré que la stratégie combinant la chimie de coordination et la reconnaissance moléculaire est une méthode de construction rapide et efficace pour créer des réseaux supramoléculaires. Nous avons vérifié que la stratégie de la tectonique moléculaire est également efficace pour diriger l'organisation en 3D et en 2D, qui montre souvent une homologie importante. Nous avons trouvé que nos ligands hétérocycliques ont une aptitude inattendue à s’adsorber fortement sur la surface de graphite, créant ainsi des réseaux organisés à l'échelle du nanomètre. L’ensemble de ces résultats promet d’offrir des applications dans plusieurs domaines, dont la catalyse hétérogène et la nanotechnologie.
Mots clés : tectonique moléculaire, interactions intermoléculaires, stratégie hybride, coordination métallique, diffraction des rayons-X, microscopie de balayage à effet tunnel, graphite, phénomène de nanopatterning, calculs théoriques, ponts hydrogène, chimie supramoléculaire, ligands hétérocycliques, groupements DAT, catalyse hétérogène, nanotechnologie.In recent years, molecular tectonics has been a useful strategy in the construction of new materials. It relies on the spontaneous self-assembly of molecules called tectons. These molecules have the ability to recognize themselves using various intermolecular interactions. The resulting assembly can produce molecular materials with predictable organization. This strategy requires the creation of new tectons, which are sometimes difficult to synthesize and require in most cases many synthetic steps, which prevents or limits their practical application. Moreover, once formed, the bonds joining the central core of the tecton with the groups used for molecular recognition cannot be broken, which means that it is not possible to recycle or reform the tecton by simple synthetic procedures. To avoid these obstacles, we propose to use a hybrid strategy that uses metal coordination to build the central core of the tecton, combined with the use of weaker interactions to control the association. We call such entities metallotectons due to the presence of metal. To explore this strategy, we constructed a series of ditopic ligands containing either pyridine, bipyridine or phenanthroline to promote metal coordination, substituted with diaminotriazinyl groups (DAT) to allow inter-complex association by the formation of hydrogen bonds. In addition to the possibility of creating metallotectons by coordination, these ditopic ligands have an intrinsic interest in supramolecular chemistry as entities that can associate in 3D and 2D. In parallel to our study of coordination chemistry, we examined the association of ligands by X-ray diffraction (XRD) and scanning tunneling microscopy (STM). The adsorption of these molecules on the graphite surface at the liquid-solid interface results in the formation of different networks through a process of 2D nanopatterning. To understand the details of iv molecular adsorption, we systematically compared the 2D organization observed STM with the 3D structures determined by XRD. We also simulated the adsorption by theoretical calculations. This integrated approach is essential to characterize the molecular organization in 2D and to understand the origin of the observed preferences. These studies of the ligands themselves may therefore serve as a reference when we study the association of metallotectons derived by ligands coordination. Our work demonstrates that the strategy combining coordination chemistry and molecular recognition is a rapid and an efficient method to create supramolecular networks. We verified that the strategy of molecular tectonics is also effective in leading the organization in 3D and 2D, which often shows a significant homology. We found that our heterocyclic ligands have unexpected ability to adsorb strongly on the graphite surface, creating networks organize in nanoscale. Together, these results provide promising applications in several fields, including heterogeneous catalysis and nanotechnology. Keywords : molecular tectonics, intermolecular interactions, hybrid strategy, metal coordination, X-ray diffraction, scanning tunneling microscopy, graphite, nanopatterning phenomenon, theoretical calculations, hydrogen bonds, supramolecular chemistry, ligands, DAT groups, heterogeneous catalysis, nanotechnology.