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Relevant bibliographies by topics / 2D character design

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Academic literature on the topic '2D character design'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "2D character design"

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Purwaningsih, Dominika Anggraeni, and David Haryanto Ruswandi. "Designing Anthropomorphic Cat Family Characters in 2D Animated Short Film “Hanyut"." IMOVICCON Conference Proceeding 2, no. 1 (2021): 54–63. http://dx.doi.org/10.37312/imoviccon.v2i1.57.

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Jakarta is often, if not regularly, being hit by a natural disaster in a form of floods. Floods have affected not only human but also domestic animals like cats, chickens, and pigeons, especially in Kampung Pulo. There are not many films out there that show the struggles and sufferings of animals during floods which is why author and team decided to make an animated film about it titled “Hanyut”; how are their conditions; how can they survive the events. In the scope of the film preproduction, author decided to focus on character design which is designing the cat family characters in the 2D an

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Qiu, Jie, Hock Soon Seah, Feng Tian, Quan Chen, Zhongke Wu, and Konstantin Melikhov. "Auto Coloring with Enhanced Character Registration." International Journal of Computer Games Technology 2008 (2008): 1–7. http://dx.doi.org/10.1155/2008/135398.

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An enhanced character registration method is proposed in this paper to assist the auto coloring for 2D animation characters. After skeletons are extracted, the skeleton of the character in a target frame is relocated based on a stable branch in a reference frame. Subsequently the characters among a sequence are automatically matched and registered. Occlusion are then detected and located in certain components segmented from the character. Two different approaches are applied to color regions in components without and with occlusion respectively. The approach has been tested for coloring a prac

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Mahmudi, Mentar, Pawan Harish, Benoît Le Callennec, and Ronan Boulic. "Artist-oriented 3D character posing from 2D strokes." Computers & Graphics 57 (June 2016): 81–91. http://dx.doi.org/10.1016/j.cag.2016.03.008.

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Jian, JinFeng, HuanZhen Chen, and BaoHai Shi. "Numerical Simulation for 2D Sedimentation Model by an Upwind Discontinuous Galerkin Procedure." Mathematical Problems in Engineering 2017 (2017): 1–17. http://dx.doi.org/10.1155/2017/2487136.

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We reformulate the mathematical model for the 2D sedimentation in an estuary as a coupled nonlinear differential system. Combining the mass-conservation character of the discontinuous Galerkin method and the jump-capturing property of Lesaint-Raviart upwind technique, we design an upwind discontinuous Galerkin finite element method, which obeys the local mass conservation and possesses good stability. Our theoretical analysis shows that there exists a unique solution to the numerical procedure and the discrete solution permits O(hk+Δt) convergence rate. Numerical experiments are conducted to v

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Salim Rasheed, Ali, Rasool Hasan Finjan, Ahmed Abdulsahib Hashim, and Mustafa Murtdha Al-Saeedi. "3D face creation via 2D images within blender virtual environment." Indonesian Journal of Electrical Engineering and Computer Science 21, no. 1 (2021): 457. http://dx.doi.org/10.11591/ijeecs.v21.i1.pp457-464.

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<p><span>Animation and virtual reality movie-making technologies are still witnessing significant progress to this day. Building and stimulating virtual characters inside these applications is a goal. Build a 3D face via using some special tools inside the virtual world is the most important part of identifying a 3D animation. Keen Tools Face Builder add-on for Blender. Interested in creating a 3D face of a famous figure, artist or the general public by adopting several 2D images added to the virtual blinder software environment. The main problem facing these tools is that they dea

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Cho, KyeongSook. "Judiciary Elements of Originality in 2D Character Design - Focused on the Precedents of Copyright Infringement -." Journal of the Korean Society of Costume 66, no. 5 (2016): 33–48. http://dx.doi.org/10.7233/jksc.2016.66.5.033.

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Pratama, Ari Bakkas, Mahendradewa Suminto, and Andri Nur Patrio. "FILM ANIMASI 2 DIMENSI, “JACK THE CHICKEN!”." Journal of Animation and Games Studies 5, no. 2 (2019): 091–106. http://dx.doi.org/10.24821/jags.v5i2.2994.

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Animated movie “Jack The Chicken” tells story about a chicken named Jack that bored and ungrateful with anything that are given by his master. This animation tells the audiences about being grateful for everything they’ve got. This animation video has three minutes duration with simple character design. This animated movie setting and scenes are largely supported by its background and backsound because it has no dialogues. This movie was made with 2D technique where most of the creation processes were done digitally. These digital processes were done to make the works easier and shorten the du

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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.

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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium o

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Arifin, Abidin Syamsul, Arif Sulistiyono, and Mahendradewa Suminto. "Penciptaan Serial “AKURA-POPO” Episode “SAMPAH” Dengan Teknik Animasi Komputer 2D." Journal of Animation & Games Studies 3, no. 1 (2017): 57. http://dx.doi.org/10.24821/jags.v3i1.1717.

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Trash is actually not a new problem on the planet. However, the handling is still less effective in various places around the world. But at least how humans try to reduce the minimum amount of waste. It is the human hand that actually creates the waste itself.The serial animation "Akura-Popo Trash episode" wears the human hand-character design as a picture of the amount of chaos perpetrated by them. 2D computer animation techniques are applied to add artistic value and provide media variations of messengers to the general public Keywords: trash, 2D animation, environmentAbstrak Sampah sebenarn

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Xu, Zhi Xiang. "FE Modeling for Load Distribution Analysis of Multi-Bolt Composite Joints." Applied Mechanics and Materials 551 (May 2014): 104–7. http://dx.doi.org/10.4028/www.scientific.net/amm.551.104.

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Multi-bolt composite joints are widely used in the primary structures because of their advantages of high reliability, load carrying capability, and maintainability. Load distribution analyses, as the precondition of strength analysis and design of multi-bolt composite joints, have attracted extensive attention over decades. The conventional 2D FEM, new 2D FEM and 3D FEM were established to analyze the load distribution of a typical single-lap three-bolt composite joint. The effect of friction on the load distribution results of 3D FEM was investigated. Furthermore, the load distribution of th

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Dissertations / Theses on the topic "2D character design"

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Fredriksson, Emma. "Combining Shape, Color and Postures for Ambiguous Character Roles." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-327036.

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This study explores how character design guidelines can be combined and remixed to create characters whose motivations are ambiguous to the viewer. I investigate some common guidelines that character artists generally follow when designing characters; summarized in a literature review, and then I test various applications of these guidelines through online surveys. I analyze the qualitative data from these surveys to answer the question of how flexible these guidelines are and how far they can be stretched. The study includes the design guidelines for color, shape and posture of the character,

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Lindell, Tomas, and Wennergren Nils. "Is What You See What You Get? : A Study of the Elements that Influence and Distort a Player’s Perception of the Behavior of Digital Opponents." Thesis, Uppsala universitet, Institutionen för speldesign, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295541.

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As a bachelor’s degree project, the study examines elements that may affect or distort players’ perception of opponents’ behavior in games. More specifically in stationary character driven games such as Texas Hold ‘em Poker. Elements that were chosen as a focus in the study were visual character design and participants previous experiences, such as knowledge of games in general and familiarity with Texas Hold ‘em Poker. A game prototype was designed as a tool to use when examining the subject. In the game prototype, players were seated at a Texas Hold ‘em Poker table and faced two opponents. O

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Ross, Karen C. "“Awake:” An Animated Exploration of Self-Discovery Through Mindfulness." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471826821.

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Möller, Fredrik. "Step Into My Office!" Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-21995.

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People go to work and people go home. Playing out their roles and their lives, going in and out of character. We create our own characters depending on where we are and with who we are. In this project a set of characters having a “casual Friday” at work has been interpreted. Working with the office dress codes and breaking them down. The intention is to explore the relation between 2D-3D in garment and print, using distortion to create new silhouettes and characters. Inspiration is taken from 80´s movies set in the office space and 90´s casual wear. Working without restrictions when combining

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楊東岳. "Study of Character Design and 2D Computer Animation ：Chinese History Fantasy Time Machine." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/40064918785950533733.

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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術研究所<br>92<br>During the recent years of computer development in software and hardware, there is no doubt computers started the development of computer animation art. In Taiwan no matter in the field of study or business, are all concerning the development and influence of computer animation. Animation and comic are two industries that are combined together; each has its own method of presentation and esthetics, but the content has similarities. Designing characters directly influence the style and fondness of the viewer, that’s reason why it plays an important role in

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Books on the topic "2D character design"

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Digital beauties: 2D & 3D computer generated digital models, virtual idols and characters. Taschen, 2002.

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Digital Beauties: 2D & 3D Computer Generated Digital Models, Virtual Idols and Characters. Taschen, 2001.

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Wiedemann, Julius. Digital Beauties: 2D and 3D CG Digital Models. Taschen, 2002.

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Book chapters on the topic "2D character design"

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Poon, Stephen. "A Contagious Thrill: Identifying Experiential Factors for 2D Graphic Art Appeal Through Character Design for Video Games." In Reconceptualizing the Digital Humanities in Asia. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4642-6_10.

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"Character Design." In Producing Independent 2D Character Animation. Routledge, 2013. http://dx.doi.org/10.4324/9780080514956-18.

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"Music and Sound Design." In Producing Independent 2D Character Animation. Routledge, 2013. http://dx.doi.org/10.4324/9780080514956-48.

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Smart, Paul Richard, Tom Scutt, Katia Sycara, and Nigel R. Shadbolt. "Integrating ACT-R Cognitive Models with the Unity Game Engine." In Integrating Cognitive Architectures into Virtual Character Design. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0454-2.ch002.

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The main aim of the chapter is to describe how cognitive models, developed using the ACT-R cognitive architecture, can be integrated with the Unity game engine in order to support the intelligent control of virtual characters in both 2D and 3D virtual environments. ACT-R is a cognitive architecture that has been widely used to model various aspects of human cognition, such as learning, memory, problem-solving, reasoning and so on. Unity, on the other hand, is a very popular game engine that can be used to develop 2D and 3D environments for both game and non-game purposes. The ability to integrate ACT-R cognitive models with the Unity game engine thus supports the effort to create virtual characters that incorporate at least some of the capabilities and constraints of the human cognitive system.

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Borovikov, Eugene, Ilya Zavorin, and Sergey Yershov. "On Vision-Based Human-Centric Virtual Character Design." In Integrating Cognitive Architectures into Virtual Character Design. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0454-2.ch001.

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Enabling cognition in a Virtual Character (VC) may be an exciting endeavor for its designer and for the character. A typical VC interacts primarily with its virtual world, but given some sensory capabilities (vision or hearing), it would be expected to explore some of the real world and interact with the intelligent beings there. Thus a virtual character should be equipped with some algorithms to localize and track humans (e.g. via 2D or 3D models), recognize them (e.g. by their faces) and communicate with them. Such perceptual capabilities prompt a sophisticated Cognitive Architecture (CA) to be integrated into the design of a virtual character, which should enable a VC to learn from intelligent beings and reason like one. To seem natural, this CA needs to be fairly seamless, reliable and adaptive. Hence a vision-based human-centric approach to the VC design is explored here.

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Borovikov, Eugene, Ilya Zavorin, and Sergey Yershov. "On Vision-Based Human-Centric Virtual Character Design." In Human Performance Technology. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8356-1.ch094.

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Enabling cognition in a Virtual Character (VC) may be an exciting endeavor for its designer and for the character. A typical VC interacts primarily with its virtual world, but given some sensory capabilities (vision or hearing), it would be expected to explore some of the real world and interact with the intelligent beings there. Thus a virtual character should be equipped with some algorithms to localize and track humans (e.g. via 2D or 3D models), recognize them (e.g. by their faces) and communicate with them. Such perceptual capabilities prompt a sophisticated Cognitive Architecture (CA) to be integrated into the design of a virtual character, which should enable a VC to learn from intelligent beings and reason like one. To seem natural, this CA needs to be fairly seamless, reliable and adaptive. Hence a vision-based human-centric approach to the VC design is explored here.

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Cohen, Michael, and Elizabeth M. Wenzel. "The Design of Multidimensional Sound Interfaces." In Virtual Environments and Advanced Interface Design. Oxford University Press, 1995. http://dx.doi.org/10.1093/oso/9780195075557.003.0017.

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Early computer terminals allowed only textual I/O. Because the user read and wrote vectors of character strings, this mode of I/O (character-based user interface, or “CUI”) could be thought of as one-dimensional, 1D. As terminal technology improved, users could manipulate graphical objects (via a graphical user interface, or “GUI”) in 2D. Although the I/O was no longer unidimensional, it was still limited to the planar dimensionality of a CRT or tablet. Now there exist 3D spatial pointers and 3D graphics devices; this latest phase of I/O devices (Blattner, 1992; Blattner and Dannenberg, 1992; Robinett, 1992) approaches the way that people deal with “the real world.” 3D audio (in which the sound has a spatial attribute, originating, virtually or actually, from an arbitrary point with respect to the listener) and more exotic spatial I/O modalities are under development. The evolution of I/O devices can be roughly grouped into generations that also correspond to the number of dimensions. Representative instances of each technology are shown in Table 8-1. This chapter focuses on the italicized entries in the third-generation aural sector. Audio alarms and signals of various types have been with us since long before there were computers, but even though music and visual arts are considered sibling muses, a disparity exists between the exploitation of sound and graphics in interfaces. (Most people think that it would be easier to be hearing- than sight-impaired, even though the incidence of disability-related cultural isolation is higher among the deaf than the blind.) For whatever reasons, the development of user interfaces has historically been focused more on visual modes than aural. This imbalance is especially striking in view of the increasing availability of sound in current technology platforms. Sound is frequently included and utilized to the limits of its availability or affordability in personal computers. However, computer-aided exploitation of audio bandwidth is only beginning to rival that of graphics. General sound capability is slowly being woven into the fabric of applications. Indeed, some of these programs are inherently dependent on sound—voicemail, or voice annotation to electronic mail, teleconferencing, audio archiving—while other applications use sound to complement their underlying functionality.

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Carpio de los Pinos, Carmen, and Arturo Galán González. "Facilitating Accessibility: A Study on Innovative Didactic Materials to Generate Emotional Interactions with Pictorial Art." In The Science of Emotional Intelligence. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.97796.

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This research has been undertaken to establish criteria for the construction of didactic materials to be experienced through touch (using a three-dimensional model) and hearing (through the provision of an audio description of the chosen painting) to provide learning and emotions. Eleven experts examined the didactic tools in which the scene of the painting had been depicted, through the use of white plastic figures modeled using a 3D printer. The models had been positioned to accurately correspond with the reference painting, with an explanatory narration supplied as an audio recording. Each of the experts involved were asked the same open questions in interviews that were audio-recorded and later transcribed. This feedback was analyzed and eleven concerns for consideration were determined: 1. How the figures felt to touch 2. Modeling and placement of the figure, 3. Position of the character, 4. Size, 5. The accurate 3D depiction of the 2D image, 6. Perspectives or visual points of view of the scene, 7. Enough representation of the painting in the model, 8. Distribution of visual components within the scene, 9. Perceptual appraisals, 10. Size of the model, 11. Touch of the whole model. The results indicated that the size of the model and the figurines was appropriate for their function. The figurines felt pleasant to handle and adequately described the postures and placement. Suggestions for further improvements were including more figurines in the model and adding color (omitted in the test model) to belong an inclusive design.

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Conference papers on the topic "2D character design"

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Gerdroodbary, M. Barzegar, A. M. Goudarzi, Misagh Imani, K. Sedighi, and D. D. Ganji. "Influence of Opposing Jet on an Aerodisk Nose Cone at Hypersonic Flow." In ASME 2014 12th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/esda2014-20450.

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When flying at hypersonic speeds, it is a fundamental requirement to reduce the high drag resulting from a blunt nose cone in the ascent stage to increase the payload weight on the one hand and decrease the amount of energy needed to overcome the Earth’s gravity on the other. However, an aerospike can be attached on the front of the nose cone to obtain a high drag and heat load reduction. This study describes novel technique of an active flow control concepton nose cone with aerodisk that uses counterflowing jets to significantly modify external flowfields. In fact, this method strongly disper

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Li, Sha, Jibin Wang, Xiang Meng, and Boliang Ji. "A Contrastive Analysis on Effect Evaluation of 3D-to-2D Rendering Technologies for Animated Characters." In 2020 International Conference on Innovation Design and Digital Technology (ICIDDT). IEEE, 2020. http://dx.doi.org/10.1109/iciddt52279.2020.00077.

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Benra, Friedrich-Karl, Hans Josef Dohmen, and Marcel Zwingenberg. "Comparison of Experimental and Numerical Obtained Velocity Fields in a Single-Blade Centrifugal Pump." In ASME 2006 2nd Joint U.S.-European Fluids Engineering Summer Meeting Collocated With the 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/fedsm2006-98351.

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The development of a pressure and a suction surface of a single-blade pump impeller leads to a strong asymmetric pressure distribution at the perimeter of the rotor outlet. The interaction of the impeller flow with the pump casing produces a flow field which is periodic with the impeller turning. In a numerical approach the transient flow in a complete single-blade centrifugal pump has been calculated by solving the 3-dimensional time dependent Reynolds averaged Navier-Stokes equations (URANS) with a commercial CFD code for a wide range of pump operation. A strong dependence from the impeller

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Wolfrum, Nina, Patrick Bechlars, Maximilian Beck, Christian Frey, and Daniel Schlüß. "On the Formulation of Nonreflecting Boundary Conditions for Turbomachinery Configurations: Part II — Application and Analysis." In ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-15358.

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Abstract The flow in turbomachinery components is complex due to the relative motion of rotating and non-rotating elements. A proper design and prediction of physical phenomena requires reliable CFD tools. One important aspect is the incorporation of sophisticated algorithms at the boundaries of the computational domain. For inviscid, one-dimensional and two-dimensional Euler-flows there exist analytical solutions for the formulation of a boundary condition. Realistic applications, however, are viscous and consist of a complex three-dimensional character. Nevertheless, the analytical 2D nonref

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