Academic literature on the topic '2D Animation'

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.

L’animation 2D traditionnelle est un processus exigeant à la fois en temps et en expertise, étant donné que les animateurs doivent dessiner à la main des milliers d’images afin de créer une séquence d’animation complète. Avec l’avènement de l’animation par ordinateur, les artistes ont désormais la possibilité d’utiliser l’animation 3D et des techniques de type marionnettes en 2D, qui éliminent la nécessité de dessiner manuellement chaque image, mais sacrifient souvent les pratiques artistiques uniques et le style caractéristique de l’animation 2D traditionnelle. D’autre part, les outils numériques qui émulent l’animation 2D traditionnelle sur papier facilite certaines tâches telles que le dessin et le coloriage, mais obligent toujours les animateurs à dessiner chaque image à la main. Dans le monde académique, de nombreuses méthodes assistées par ordinateur ont été mises au point pour automatiser la génération de dessins intermédiaires “propres” (i.e.,non esquissé), à partir d’images clés. Cependant, ces méthodes ont tendance à être limitées par des processus de création rigides et un contrôle artistique limité, en grande partie à cause des défis que représentent la mise en correspondance et l’interpolation des traits. Dans cette thèse, nous adoptons une nouvelle approche pour répondre à ces limitations en nous concentrant sur une étape antérieure de l’animation en utilisant des dessins esquissés (i.e., des croquis). Notre principale innovation consiste à reformuler les problèmes de mise en correspondance et d’interpolation en utilisant des “transient embeddings”, qui consistent en des groupes de traits qui existent temporairement entre les images clés. Ces structures transportent les traits des images clés par le biais d’une grille de contrôle 2D. Notre système génère des images intermédiaires esquissées en temps réel, permettant aux artistes de prévisualiser et d’éditer leur animation à l’aide d’outils offrant un contrôle précis sur la dynamique de l’animation. Cela garantit une continuité fluide du mouvement, même lorsque des changements topologiques complexes sont introduits, et permet l’exploration de mouvements de manière non linéaire. Nous démontrons ces capacités sur des exemples classiques d’animation 2D. Une autre tâche notoirement complexe est la représentation des mouvements 3D et de la profondeur à travers des dessins animés en 2D. Les artistes doivent accorder une attention particulière aux effets d’occultation et à leur évolution dans le temps, ce qui en fait un processus fastidieux. Les méthodes de génération d’images intermédiaires assistées par ordinateur, telles que les outils d’animation type marionnette, permettent de traiter ces effets d’occultation à l’avance à l’aide d’un “rig” 2D, au détriment de la flexibilité et de l’expression artistique. Dans cette thèse, nous abordons également les effets d’occultation sans sacrifier le contrôle non linéaire de l’animation. Notre contribution sur ce sujet est double : une méthode rapide pour calculer des masques 2D à partir de dessins esquissés, avec un système semi-automatique pour l’agencement dynamique des parties du dessin ; et une méthode intuitive pour l’artiste permettant de contrôler automatiquement ou manuellement la visibilité dynamique des traits pour les auto-occultations. Notre système aide les artistes à produire des animations 2D avec des effets de profondeur convaincants, y compris des tours de tête, des effets de raccourci, des rotations, des volumes qui se chevauchent et même de la transparence<br>Traditional 2D animation is a time-intensive process requiring a high level of expertise, as animators must draw thousands of individual frames by hand to create a complete animation sequence. With the advent of computer animation, artists now have the option to use 3D animation or 2D puppet-style techniques, which eliminate the need to manually draw each frame but often sacrifice the unique workflows and artistic style characteristic of traditional 2D animation. Alternatively, digital tools that emulate traditional 2D animation streamline tasks like drawing and coloring, but still require animators to draw each frame by hand. In academia, many computer-assisted methods have been developed to automate the inbetweening of clean line drawings, in which intermediate frames are automatically generated from input key drawings. However, these methods tend to be constrained by rigid workflows and limited artistic control, largely due to the challenges of stroke matching and interpolation. In this thesis, we take a novel approach to address these limitations by focusing on an earlier stage of animation using rough drawings (i.e., sketches). Our key innovation is to recast the matching and interpolation problems using transient embeddings, which consist in groups of strokes that exist temporarily across keyframes. A transient embedding carries strokes between keyframes both forward and backward in time through a sequence of transformed lattices. Our system generates rough inbetweens in real-time allowing artists to preview and edit their animation using tools that offer precise artistic control over the dynamics of the animation. This ensures smooth continuity of motion, even when complex topological changes are introduced and enables non-linear exploration of movements. We demonstrate these capabilities on state-of-the-art 2D animation examples. Another notoriously difficult task is the representation 3D motion and depth through 2D animated drawings. Artists must pay particular attention to occlusions and how they evolve through time, a tedious process. Computer-assisted inbetweening methods such as cut-out animation tools allow for such occlusions to be handled beforehand using a 2D rig, at the expense of flexibility and artistic expression. We also address occlusion handling without sacrificing non-linear control. Our contribution in that matter is two-fold: a fast method to compute 2D masks from rough drawings with a semi-automatic dynamic layout system for occlusions between drawing parts; and an artist-friendly method to both automatically and manually control the dynamic visibility of strokes for self-occlusions. Our system helps artists produce convincing 3D-like 2D animations, including head turns, foreshortening effects, out-of-plane rotations, overlapping volumes and even transparency

In 1896, a French cinema pioneer named George Méliès demonstrated that an object could be set to motion by changing the objects shape or movement frame by frame. But it was not until the early 1900s that this specific genre of filmmaking became a great success. The animations were essentially short and were animated and published in The United States of America. The interest in animated movies began to increase, not only in the west, but also in Europe and Asia. The art of animation grew especially popular in Japan, and emerged as a parallel to Japanese comic books known more commonly as Manga.The history of Japanese animation is not as commonly known as the history of American animation. Most people know of Disney and how Walt Disney changed the world of animation. Most people also know that Disney was the first company to release an animated feature film in color- Snow White (1937). But there are not many people outside of the Asian countries that know the history of Japanese animation- How Japanese animation started out and later evolved and affected the Western form of animation.The aim of this thesis is to provide the reader with insight into the history of Japanese animation. To give the reader knowledge of where Japanese animation originated and why, and also to bring forth the factors that affected Japanese animators in the development of animated movies in the early 1900s and forward.A study of previous material on this subject was done in order to answer these questions. Both printed material and electronically downloaded material was collected and amazed in order to obtain information to specific background materials and information about the history of animation in Japan.It was concluded that in order to get an insight in the Japanese animation history, it was necessary to analyze the Japanese art traditions of Ukiyo-e, which according to many scientist, are the original roots of the Japanese art of anime and manga.Through the analysis it also becomes clear that manga and anime is not simply a copy if it’s western counterparts, but a combination of both Japanese and western styles. In this way the Japanese tradition of manga and anime have survived but undergone a form of renewal through the years.

Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2014.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 53-54).<br>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.<br>by Kristin C. Au.<br>S.B.

This research is concerned with the development of a set of novel sketch-based skeleton-driven 2D animation techniques, which allow the user to produce realistic 2D character animation efficiently. The technique consists of three parts: sketch-based skeleton-driven 2D animation production, 2D motion capture and a cartoon animation filter. For 2D animation production, the traditional way is drawing the key-frames by experienced animators manually. It is a laborious and time-consuming process. With the proposed techniques, the user only inputs one image ofa character and sketches a skeleton for each subsequent key-frame. The system then deforms the character according to the sketches and produces animation automatically. To perform 2D shape deformation, a variable-length needle model is developed, which divides the deformation into two stages: skeleton driven deformation and nonlinear deformation in joint areas. This approach preserves the local geometric features and global area during animation. Compared with existing 2D shape deformation algorithms, it reduces the computation complexity while still yielding plausible deformation results. To capture the motion of a character from exiting 2D image sequences, a 2D motion capture technique is presented. Since this technique is skeleton-driven, the motion of a 2D character is captured by tracking the joint positions. Using both geometric and visual features, this problem can be solved by ptimization, which prevents self-occlusion and feature disappearance. After tracking, the motion data are retargeted to a new character using the deformation algorithm proposed in the first part. This facilitates the reuse of the characteristics of motion contained in existing moving images, making the process of cartoon generation easy for artists and novices alike. Subsequent to the 2D animation production and motion capture,"Cartoon Animation Filter" is implemented and applied. Following the animation principles, this filter processes two types of cartoon input: a single frame of a cartoon character and motion capture data from an image sequence. It adds anticipation and follow-through to the motion with related squash and stretch effect.

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.

Orientador: José Mario De Martino<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação<br>Made available in DSpace on 2018-08-26T21:43:57Z (GMT). No. of bitstreams: 1 Costa_PaulaDornhoferParo_D.pdf: 15894797 bytes, checksum: 194a20ae502dfc7198a008d576e23e4c (MD5) Previous issue date: 2015<br>Resumo: O desenvolvimento da tecnologia de animação facial busca atender uma demanda crescente por aplicações envolvendo assistentes, vendedores, tutores e apresentadores de notícias virtuais; personagens realistas de videogames, agentes sociais e ferramentas para experimentos científicos em psicologia e ciências comportamentais. Um aspecto relevante e desafiador no desenvolvimento de cabeças falantes, ou "talking heads", é a reprodução realista dos movimentos articulatórios da fala combinados aos elementos de comunicação não-verbal e de expressão de emoções. Este trabalho presenta uma metodologia de síntese de animação facial baseada em imagens, ou animação facial 2D, que permite a reprodução de uma ampla gama de estados emocionais de fala expressiva, além de suportar a modulação de movimentos da cabeça e o controle de elementos faciais tais como o piscar de olhos e o arqueamento de sobrancelhas. A síntese da animação utiliza uma base de imagens-protótipo que são processadas para obtenção dos quadros-chave da animação. Os pesos utilizados para a combinação das imagens-protótipo são derivados de um modelo estatístico de aparência e formas, construído a partir de um conjunto de imagens de treinamento extraídas de um corpus audiovisual de uma face real. A síntese das poses-chave é guiada pela transcrição fonética temporizada da fala a ser animada e pela informação do estado emocional almejado. As poses-chave representam visemas dependentes de contexto fonético que implicitamente modelam os efeitos da coarticulação na fala visual. A transição entre poses-chave adjacentes é realizada por um algoritmo de metamorfose não-linear entre imagens. As animações sintetizadas aplicando-se a metodologia proposta foram avaliadas por meio de avaliação perceptual de reconhecimento de emoções. Dentre as contribuições deste trabalho encontra-se a construção de uma base de dados de vídeo e captura de movimento para fala expressiva em português do Brasil<br>Abstract: The facial animation technology experiences an increasing demand for applications involving virtual assistants, sellers, tutors and newscasters; lifelike game characters, social agents, and tools for scientific experiments in psychology and behavioral sciences. A relevant and challenging aspect of the development of talking heads is the realistic reproduction of the speech articulatory movements combined with the elements of non-verbal communication and the expression of emotions. This work presents an image-based, or 2D, facial animation synthesis methodology that allows the reproduction of a wide range of expressive speech emotional states and also supports the modulation of head movements and the control of face elements, like the blinking of the eyes and the raising of the eyebrows. The synthesis of the animation uses a database of prototype images which are combined to produce animation keyframes. The weights used for combining the prototype images are derived from a statistical active appearance model (AAM), which is built from a set of sample images extracted from an audio-visual corpus of a real face. The generation of the animation keyframes is driven by the timed phonetic transcription of the speech to be animated and the desired emotional state. The keyposes consist of expressive context-dependent visemes that implicitly model the speech coarticulation effects. The transition between adjacent keyposes is performed through a non-linear image morphing algorithm. To evaluate the synthesized animations, a perceptual evaluation based on the recognition of emotions was performed. Among the contributions of the work is also the building of a database of expressive speech video and motion capture data for Brazilian Portuguese<br>Doutorado<br>Engenharia de Computação<br>Doutora em Engenharia Elétrica