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Journal articles on the topic 'Character animations'

Author: Grafiati

Published: 10 December 2022

Last updated: 31 July 2025

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1

Yang, Zhijun. "2D animation comic character action generation technology based on biomechanics simulation and artificial intelligence." Molecular & Cellular Biomechanics 21, no. 1 (2024): 338. http://dx.doi.org/10.62617/mcb.v21i1.338.

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AI can greatly improve the process of creating 2D character animations, especially for platformer games. The objective is to enhance visual effects quality and streamline production by incorporating biomechanics and AI-driven technology into the animation process. The current state of study shows that conventional 2D animation production has several problems, such as lengthy procedures, complicated technical requirements, and the requirement for human involvement. Both efficiency and innovation are limited by these limitations. To solve this problem, we suggest generating 2D character animatio

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Pelechano, Nuria, Bernhard Spanlang, and Alejandro Beacco. "Avatar Locomotion in Crowd Simulation." International Journal of Virtual Reality 10, no. 1 (2011): 13–19. http://dx.doi.org/10.20870/ijvr.2011.10.1.2796.

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This paper presents an Animation Planning Mediator (APM) designed to synthesize animations efficiently for virtual characters in real time crowd simulation. From a set of animation clips, the APM selects the most appropriate and modifies the skeletal configuration of each character to satisfy desired constraints (e.g. eliminating foot-sliding or restricting upper body torsion), while still providing natural looking animations. We use a hardware accelerated character animation library to blend animations increasing the number of possible locomotion types. The APM allows the crowd simulation mod

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Qiu, Shanhui. "Generative AI Processes for 2D Platformer Game Character Design and Animation." Lecture Notes in Education Psychology and Public Media 29, no. 1 (2023): 146–60. http://dx.doi.org/10.54254/2753-7048/29/20231440.

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AI has the potential to revolutionize the time-consuming and technically complex process of 2D animation production. This paper specifically focuses on creating 2D character animations for platformer games using AI. While AI has made significant contributions to video animations, its application in 2D gaming animation is largely unexplored. Existing AI applications for animation mostly target video animations and lack effective control over randomness. Therefore, this paper explores the role of generative AI in 2D gaming animation, from character design to full animation. Software tools like C

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Li, Xiangyi, and Soong Hyun Kim. "A Study on Character Development Strategy for 3D Animation Using Chinese Mythology IP : Focusing on the Animation <Ne Zha: Birth of the Demon Child>(2019)." Institute of Art & Design Research 27, no. 1 (2024): 145–54. http://dx.doi.org/10.59386/jadr.2024.27.1.145.

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『Ne Zha: Birth of the Demon Child』 is the first 3D animation based on the popular Chinese mythological IP, Ne Zha, and has achieved great success, giving hope to China's 3D animation market. This study aims to compare and analyze the character development process of the animation character based on the existing Ne Zha IP with the characters in 『Ne Zha: Birth of the Demon Child』 to understand how to utilize Chinese mythological IP in modern animation production. The research results show that the character of Ne Zha in 『Ne Zha: Birth of the Demon Child』 retains traditional features while modern

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Aroisi, Nawawel Sakti, and Rendya Adi Kurniawan. "Metode Desain Karakter Aaron Blaise dengan Penerapan Antropomorfisme dalam Animasi Lakontara sebagai Upaya Pelestarian Ketoprak." CITRAWIRA : Journal of Advertising and Visual Communication 4, no. 1 (2023): 63–78. http://dx.doi.org/10.33153/citrawira.v4i1.5093.

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The Marmalade team with their animation titled "Lakontara" has successfully won a gold medal in the GEMASTIK XV 2022 event. In their animation, Marmalade raises the issue of the low interest of the community in traditional Javanese theater (ketoprak) performances, and how ketoprak can remain relevant and compete with other modern entertainments. In the character design of Lakontara, it can be seen that the characters are predominantly non-human characters given human attributes and behaviors, indicating that the characters are designed using anthropomorphism. This is commonly found in popular

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Tabiszewski, Marek. "comparative analysis of transitions generated using the Unity game development platform." Journal of Computer Sciences Institute 30 (March 20, 2024): 47–52. http://dx.doi.org/10.35784/jcsi.5442.

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This paper conducts a comparative analysis of transitions generated using the Unity engine. It selects fifteen animations featuring a humanoid character, introduces breaks in marker trajectories, and fills them with transitions generated by the game engine's animator. These transitions are then compared with the unmodified original character animation. The study compares animations by calculating the average deviation in bone rotation and position between the original and generated motion throughout the animation. The results show that the Unity engine excels in generating transitions for slow

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Iman Ariffin, Dhiya Qayyum, and Siti Nur Ain Abd Rahman. "Exploring Exaggeration in Animation: A Case Study of One Piece (2023)." International Journal of Art and Design 9, no. 1/SI (2025): 1–10. https://doi.org/10.24191/ijad.v9i1/si.3173.

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This research paper delves into the realm of animation, specifically focusing on exaggeration as a pivotal artistic tool in conveying emotions, enhancing storytelling, and shaping character dynamics. Employing a case study approach, the investigation centres around the renowned anime series "One Piece"(2023), known for its unique art style and expressive character animations. Through a meticulous analysis of selected episodes and character interactions, the study aims to uncover how exaggeration is employed as a narrative device and artistic technique in the animation industry. The research me

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Wang, Cheng Yao, Qian Zhou, George Fitzmaurice, and Fraser Anderson. "VideoPoseVR: authoring virtual reality character animations with online videos." Proceedings of the ACM on Human-Computer Interaction 6, ISS (2022): 448–67. http://dx.doi.org/10.1145/3567728.

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We present VideoPoseVR, a video-based animation authoring workflow using online videos to author character animations in VR. It leverages the state-of-the-art deep learning approach to reconstruct 3D motions from online videos, caption the motions, and store them in a motion dataset. Creators can import the videos, search in the dataset, modify the motion timeline, and combine multiple motions from videos to author character animations in VR. We implemented a proof-of-concept prototype and conducted a user study to evaluate the feasibility of the video-based authoring approach as well as gathe

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Huang, Zhihong. "Overview of the application of artificial intelligence in computer animation." Applied and Computational Engineering 40, no. 1 (2024): 1–6. http://dx.doi.org/10.54254/2755-2721/40/20230620.

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With the flourishing development of artificial intelligence and computer animation technologies, there has been an increasing intersection between these two. In the field of computer animation, the use of artificial intelligence significantly reduces the difficulties in design, production, and post-production processes, which has a massive impact on the entire field. The paper attempts to discuss the relationship between artificial intelligence and computer animation. Not only does the paper elaborate on the related applications of artificial intelligence in various subfields of computer anima

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Seifi, Hasti, Steve DiPaola, and Ali Arya. "Expressive Animated Character Sequences Using Knowledge-Based Painterly Rendering." International Journal of Computer Games Technology 2011 (2011): 1–7. http://dx.doi.org/10.1155/2011/164949.

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We propose a technique to enhance emotional expressiveness in games and animations. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Moreover, researchers have found that colors and line properties affect users' emotions. We propose using painterly rendering for character sequences in games and animations with a knowledge-based approach. This technique is especially useful for parametric facial sequences. We introduce two parametric authoring tools for animation and painterly rendering and a method to integrate them into a knowledge-based p

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Choi, Woong, Naoki Hashimoto, Ross Walker, Kozaburo Hachimura, and Makoto Sato. "Generation of Character Motion by Using Reactive Motion Capture System with Force Feedback." Journal of Advanced Computational Intelligence and Intelligent Informatics 12, no. 2 (2008): 116–24. http://dx.doi.org/10.20965/jaciii.2008.p0116.

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Creating reactive motions with conventional motion capture systems is difficult because of the different task environment required. To overcome this drawback, we developed a reactive motion capture system that combines conventional motion capture system with force feedback and a human-scale virtual environment. Our objective is to make animation with reactive motion data generated from the interaction with force feedback and the virtual environment, using the fact that a person’s motions in the real world can be represented by the reactions of the person to real objects. In this paper we prese

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Kim, Jin-Young. "Wang Yang-myeong's Unity of Knowledge and Conduct and Self-Reflection of Nezha, a Traditional Chinese Character: The 『Investiture of the Gads』, <Prince Nezha's Triumph Against Dragon King>, <Nezha: Birth of the Demon Child>." Academic Association of Global Cultural Contents 56 (August 31, 2023): 19–34. http://dx.doi.org/10.32611/jgcc.2023.8.56.19.

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In recent animations, the main character is not a fixed character who plays an exemplary role, but is expressed as a changing character who achieves self-reflection through frustration. And the work focuses on this process. If the change to a self-reflecting character is a character that the modern audience wants, this phenomenon will occur regardless of the East and the West. If the transition to a character that changes from both East and West animations to self-reflection is increasing, the character in the work is more likely to follow this trend. In order to find out if the main phenomeno

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Andito, Tegar. "PIXEL ART STYLE CHARACTER DESIGN FOR “PANJI TALES” GAME FROM CHARACTERS DEPICTED IN JAVANESE TEMPLES BAS RELIEF." Journal of Aesthetics, Design, and Art Management 3, no. 2 (2023): 104–12. http://dx.doi.org/10.58982/jadam.v3i2.528.

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Purpose: The purpose of this research is to design main characters for pixel graphics game entitled “Panji Tales” based on characters depicted in the scenes at Javanese temples’ bas relief. Research methods: General design methods is used for this research. This method consists of identification, analysis, synthesis, and evaluation. Findings: Result of this research are character design for four main characters of the game consist of turn around view for each character. Designed characters depicts their body shapes, clothing, jewelleries, and hairstyles derived from bas relief into

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Moser, Lucio, Chinyu Chien, Mark Williams, Jose Serra, Darren Hendler, and Doug Roble. "Semi-supervised video-driven facial animation transfer for production." ACM Transactions on Graphics 40, no. 6 (2021): 1–18. http://dx.doi.org/10.1145/3478513.3480515.

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We propose a simple algorithm for automatic transfer of facial expressions, from videos to a 3D character, as well as between distinct 3D characters through their rendered animations. Our method begins by learning a common, semantically-consistent latent representation for the different input image domains using an unsupervised image-to-image translation model. It subsequently learns, in a supervised manner, a linear mapping from the character images' encoded representation to the animation coefficients. At inference time, given the source domain (i.e., actor footage), it regresses the corresp

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Swatriani, Rinkapati. "KONSTRUKSI KARAKTER JABO DALAM ANIMASI BINEKON." Narada : Jurnal Desain dan Seni 7, no. 1 (2020): 31. http://dx.doi.org/10.22441/narada.2020.v7.i1.003.

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Animation in Indonesia has developed, this time there are many agencies starting designing animations,both 2 dimension ar 3 dimension, just call one of them is Belantara Studio which has made several animated series including Binekon which tells about 5 characters representing the culture of the archipelago. Each character has its own characteristic which is a representation of the archipelago's cultural community, the focus of this research will be on the character of Jabo in the Coconut episode, is described that he can help his friends in solving problems. Primary data in this study is the

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de Aguiar, Edilson, and Norimichi Ukita. "Representing mesh-based character animations." Computers & Graphics 38 (February 2014): 10–17. http://dx.doi.org/10.1016/j.cag.2013.07.007.

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Prikhod’ko, Violetta Victorovna. "Character’s Imagery in Russian Animation of 1990s." Journal of Flm Arts and Film Studies 6, no. 4 (2014): 61–71. http://dx.doi.org/10.17816/vgik6461-71.

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The article deals with the characters imagery evolution in Russian animation from 1992 to 1998. The imagery transformations are connected with sociocultural changes. This makes investigation of characters imagery evolution under transition from Soviet to Russian animation highly interesting. The chosen screen stuff is justified by the filmss genre and duration. The animations are classified according to the target audiencs age, production technology, the studio, where the film was created. These aspects influence on the characters imagery is explained on the basis not only of practical observa

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Prudhvi, Y., T. Adinarayana, T. Chandu, S. Musthak, and G. Sireesha. "Vocal Visage: Crafting Lifelike 3D Talking Faces from Static Images and Sound." International Journal of Innovative Research in Computer Science and Technology 11, no. 6 (2023): 13–17. http://dx.doi.org/10.55524/ijircst.2023.11.6.3.

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In the field of computer graphics and animation, the challenge of generating lifelike and expressive talking face animations has historically necessitated extensive 3D data and complex facial motion capture systems. However, this project presents an innovative approach to tackle this challenge, with the primary goal of producing realistic 3D motion coefficients for stylized talking face animations driven by a single reference image synchronized with audio input. Leveraging state-of-the-art deep learning techniques, including generative models, image-to-image translation networks, and audio pro

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Ryu, SunJung. "A Study on Transmedia Storytelling Using the Character of ‘Puss in Boots." Academic Association of Global Cultural Contents 57 (November 30, 2023): 39–60. http://dx.doi.org/10.32611/jgcc.2023.11.57.39.

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In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in <Shrek2>, is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in <Puss in Boots1>, a spin-off of <Shrek2>. Subsequently, as <Puss in Boots1> achieved success, various transmedia content featuring

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Yang, Lingchen, Gaspard Zoss, Prashanth Chandran, et al. "Learning a Generalized Physical Face Model From Data." ACM Transactions on Graphics 43, no. 4 (2024): 1–14. http://dx.doi.org/10.1145/3658189.

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Physically-based simulation is a powerful approach for 3D facial animation as the resulting deformations are governed by physical constraints, allowing to easily resolve self-collisions, respond to external forces and perform realistic anatomy edits. Today's methods are data-driven, where the actuations for finite elements are inferred from captured skin geometry. Unfortunately, these approaches have not been widely adopted due to the complexity of initializing the material space and learning the deformation model for each character separately, which often requires a skilled artist followed by

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Baihaqi, Iqbal, Hafiz Aziz Ahmad, and Dana Waskita. "Adaptation of Historical Figures into Mobile Game Characters (Case Study: Hijikata Toshizo from Fate/Grand Order)." Journal of Games, Game Art, and Gamification 7, no. 2 (2023): 21–28. http://dx.doi.org/10.21512/jggag.v7i2.9113.

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Movies and animations widely liked usually have good character designs. The audience often encounters elevating historical figures as one of the characters in the designed media, so it is necessary to understand what things need to be present when visualizing these characters. Hijikata Toshizo in history is a famous samurai in Japan and is a historical figure and often appointed in entertainment media such as animation, games, and comics, so Hijikata Toshizo is very popular among lovers of Japanese culture and history. The visual changes from the Hijikata Toshizo character in Japanese history

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Wu, Jinlong. "Enhancing Character Design Education in Animation: Curriculum Reform and Industry Alignment." Pacific International Journal 6, no. 3 (2023): 183–87. http://dx.doi.org/10.55014/pij.v6i3.449.

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The dynamic evolution of animation has positioned character design as a pivotal element in contemporary entertainment, necessitating adept animators skilled in both technical prowess and artistic comprehension. As the animation industry expands globally, higher education institutions face the challenge of aligning curricula with industry standards. This paper investigates character design education in animation, analyzing the balance between artistic expression, technological proficiency, and narrative coherence. It explores challenges faced by educators and learners, presenting insights for c

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Putri, Tia Aprilianti. "Viewing Female Depiction in Frozen 2." Language Circle: Journal of Language and Literature 15, no. 2 (2021): 265–74. http://dx.doi.org/10.15294/lc.v15i2.26416.

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Disney is one of the biggest animation companies in the world. They have released many animations since then until now. One of the most popular animations is the princess series. Until 20202, Disney has released fourteen princesses from Snow White and the Seven Dwarfs to Frozen 2. Gender role depictions of the female character(s) were examined with a focus on their behavioral characteristics in the films. The English subtitle of Frozen 2 was used to find out the attitudinal expressions about the female characters. In order to make the research easier and more accurate, a concordance tool named

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Wang, Tianyi, and Shiguang Liu. "Hierarchical Neural Skinning Deformation with Self-supervised Training for Character Animation." Proceedings of the ACM on Computer Graphics and Interactive Techniques 8, no. 1 (2025): 1–20. https://doi.org/10.1145/3728300.

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We propose a self-supervised neural deformation method for character skin deformation animations, incorporating musculoskeletal and adipose tissue deformations driven by joint movements. This hierarchical approach combines two self-supervised neural emulators: the musculoskeletal neural emulator, based on a biomaterial musculoskeletal model, and the soft-tissue neural emulator, capturing soft secondary dynamics. The neural emulators achieve self-supervised learning through a loss function derived from physical principles, eliminating the need for ground-truth datasets. The musculoskeletal neur

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Jin, Chao, Thomas Fevens, and Sudhir Mudur. "Optimized keyframe extraction for 3D character animations." Computer Animation and Virtual Worlds 23, no. 6 (2012): 559–68. http://dx.doi.org/10.1002/cav.1471.

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Li, Yuhui, and Wenjing Zhuge. "Application of Animation Control Technology Based on Internet Technology in Digital Media Art." Mobile Information Systems 2022 (April 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/4009053.

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The advent of the Internet era has endowed artistic creation with new forms and connotations, and more and more digital media technologies have entered the stage of artistic creation and exhibition. At the same time, Internet technology has also provided more abundant artistic resources and art forms for digital media art for reference. With the development of animation control technology, various character animations present three-dimensional visual effects. Digital media art has emerged as a new concept in the field of multimedia applications and the integration and development of various te

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Wu, Yuhan, and Nobuyuki Umetani. "Two-Way Coupling of Skinning Transformations and Position Based Dynamics." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 3 (2023): 1–18. http://dx.doi.org/10.1145/3606930.

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Skinning transformations enable digital characters to be animated with minimal user input. Physics simulations can improve the detailed dynamic movement of an animated character; however, such details are typically added in the post-processing stage after the overall animation is specified. We propose a novel interactive framework that unifies skinning transformations and kinematic simulations using position-based dynamics (PBD). Our framework allows an arbitrarily skinned character to be partially manipulated by the user, and a kinematic physics solver automatically complements the behavior o

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Zhang, Weihua, and Sang-Bing Tsai. "A Corpus-Based and Complex Computing Digital Media System for 3D Animation." Wireless Communications and Mobile Computing 2021 (December 22, 2021): 1–12. http://dx.doi.org/10.1155/2021/7578957.

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In this paper, we design a corpus-based 3D animation digital media system to improve the accuracy of 3D animation generation and realize crossplatform animation display. The corpus module extracts high-precision data through web crawling, web cleaning, Chinese word separation, and text classification steps; the character animation generation module uses the semantic description method to expand the frame information description of the extracted data, calculates the object spatial 3D coordinates, and uses the built-in animation execution script to generate 3D character animation; the improved d

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Stres, Sinja, and Helena Gabrijelčič Tomc. "Analysis of emotion recognition through 2D micro-animations of an illustrated character's face." Journal of Graphic Engineering and Design 15, no. 4 (2024): 29–43. https://doi.org/10.24867/jged-2024-4-029.

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Emotions make up a large part of everyday communication. Humans learn to recognize emotions by observing others and by referencing their feelings with the emotions of other people. Also, in cartoons, commercials, posts, etc., it's important that the design of the characters keeps the recognition of emotions high. Expressed emotions provide a better connection between the character and the viewer, making the message more understandable and tangible. This study analyses the recognition of animated facial expressions depicting different emotions on the face of an illustrated character. The accura

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Mohd Khalis, Faryna, Syazliyati Ibrahim, Shafilla Subri, Nurul Atikah Adnan, and Abdullah Kula Ismail. "Japanese and Western Influences on the Local Animation Character Design Identity in Malaysia." Journal of Visual Art and Design 15, no. 2 (2024): 153–64. http://dx.doi.org/10.5614/j.vad.2023.15.2.5.

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Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a

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Rafzanjani Bintang, Muhammad Arizafa. "Penciptaan Karya Film Animasi “Sky Land” Dengan Teknik Dua Dimensi." Journal of Animation & Games Studies 3, no. 2 (2018): 151. http://dx.doi.org/10.24821/jags.v3i2.1857.

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Animasi bertemakan fantasi tidak hanya dalam bentuk cerita, namun dari segi karakter visual dan environment. Dari segi karakter ada yang berupa sesosok anak kecil hingga dewasa sampai dengan berbagai jenis monster, serta tak jarang terdapat karakter dan environment yang tidak dijumpai dimuka bumi.Animasi pendek “Sky Land” menceritakan Sena seorang gadis kecil pengumpul kayu yang menemukan sebuah kayu ajaib di sebuah hutan yang mampu mengeluarkan benda-benda ajaib, hingga membawanya ke negeri fantasi di atas awan dan membawanya berpetualang.Animasi pendek “Sky Land” ingin lebih memperlihatkan s

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Lee, Jimin, and Seung kwan No. "Directing Motion According to the Type of Animation Character - Based on Walt Disney Animations -." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 27, no. 1 (2021): 323–38. http://dx.doi.org/10.18208/ksdc.2020.27.1.323.

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Tessler, Chen, Yunrong Guo, Ofir Nabati, Gal Chechik, and Xue Bin Peng. "MaskedMimic: Unified Physics-Based Character Control Through Masked Motion Inpainting." ACM Transactions on Graphics 43, no. 6 (2024): 1–21. http://dx.doi.org/10.1145/3687951.

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Crafting a single, versatile physics-based controller that can breathe life into interactive characters across a wide spectrum of scenarios represents an exciting frontier in character animation. An ideal controller should support diverse control modalities, such as sparse target keyframes, text instructions, and scene information. While previous works have proposed physically simulated, scene-aware control models, these systems have predominantly focused on developing controllers that each specializes in a narrow set of tasks and control modalities. This work presents MaskedMimic, a novel app

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Poggiali, Jennifer. "Student responses to an animated character in information literacy instruction." Library Hi Tech 36, no. 1 (2018): 29–42. http://dx.doi.org/10.1108/lht-12-2016-0149.

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Purpose This paper reports on a grant-funded project to create a hand-drawn, custom-made animated character named Jasmyn. Drawing on animation theory, the purpose of this paper is to use qualitative research to investigate student responses to the medium of animation, the character’s design, and three presentation strategies. Design/methodology/approach The researchers held three student focus groups to investigate the following research questions: Will students endorse animation as a medium for library instructional videos on the grounds of its entertaining, subversive, or playful qualities?

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Li, Cheng, Levi Fussell, and Taku Komura. "Multi-agent reinforcement learning for character control." Visual Computer 37, no. 12 (2021): 3115–23. http://dx.doi.org/10.1007/s00371-021-02269-1.

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AbstractSimultaneous control of multiple characters has been a research topic that has been extensively pursued for applications in computer games and computer animations, for applications such as crowd simulation, controlling two characters carrying objects or fighting with one another and controlling a team of characters playing collective sports. With the advance in deep learning and reinforcement learning, there is a growing interest in applying multi-agent reinforcement learning for intelligently controlling the characters to produce realistic movements. In this paper we will survey the s

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Fathoni, Ahmad Faisal Choiril Anam, and Jehezkiel Christian Ray. "Developing Intellectual Property Character for Games to Teach Music Theory by Using Batik Patterns Inspiration." Humaniora 11, no. 2 (2020): 137–44. http://dx.doi.org/10.21512/humaniora.v11i2.6477.

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The research aimed to apply batik motifs to strengthen the differentiation of characters in the form of adventure games that could be an interesting and effective learning medium for introducing music theory. In order to work towards achieving its objective, developing interest in music theory by using games and animations specifically to approach more people and make this project sustainable, these games were supposed to be aimed into intellectual property. Therefore to be able to make it competitive, strong differentiation was needed as so many IP characters emerged as competitors. One of th

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Brodt, Kirill, and Mikhail Bessmeltsev. "Skeleton-Driven Inbetweening of Bitmap Character Drawings." ACM Transactions on Graphics 43, no. 6 (2024): 1–19. http://dx.doi.org/10.1145/3687955.

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One of the primary reasons for the high cost of traditional animation is the inbetweening process, where artists manually draw each intermediate frame necessary for smooth motion. Making this process more efficient has been at the core of computer graphics research for years, yet the industry has adopted very few solutions. Most existing solutions either require vector input or resort to tight inbetweening; often, they attempt to fully automate the process. In industry, however, keyframes are often spaced far apart, drawn in raster format, and contain occlusions. Moreover, inbetweening is fund

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Durupinar, Funda, Kuan Wang, Ani Nenkova, and Norman Badler. "An Environment for Transforming Game Character Animations Based on Nationality and Profession Personality Stereotypes." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 12, no. 1 (2021): 155–61. http://dx.doi.org/10.1609/aiide.v12i1.12874.

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A vast body of literature has dealt with the challenges of creating the impression of human appearance and human-like motion in the animation of game characters. In this paper, we further refine these efforts by creating a flexible environment for animating game characters endowed with personality, which is a core descriptor of stable characteristics of human behavior and which is often expressed in human movement. We base our work on the Big Five personality traits, also known as OCEAN (Openness, Conscientiousness, Extroversion, Agreeableness, Neuroticism). Our environment incorporates a proc

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Lungu-Stan, Vlad-Constantin, and Irina Georgiana Mocanu. "3D Character Animation and Asset Generation Using Deep Learning." Applied Sciences 14, no. 16 (2024): 7234. http://dx.doi.org/10.3390/app14167234.

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Besides video content, a significant part of entertainment is represented by computer games and animations such as cartoons. Creating such entertainment is based on two fundamental steps: asset generation and character animation. The main problem stems from its repetitive nature and the needed amounts of concentration and skill. The latest advances in deep learning and generative techniques have provided a set of powerful tools which can be used to alleviate these problems by facilitating the tasks of artists and engineers and providing a better workflow. In this work we explore practical solu

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Tang, Shirui. "Multidimensional Observation of the Development of Chinese Animation Works and the Spiritual Resonance of Youth." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 360–65. http://dx.doi.org/10.54097/ehss.v13i.8177.

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With the continuous development of modern technology and the rise of the digital entertainment industry, the influence of animation works among young people is increasing. Compared to traditional literary works, animation works attract more and more young audiences with their vivid images, unique artistic expressions, and rich worldviews. In this process, the adaptation of novels into animations not only enables the essence of the original works to be inherited but also provides viewers with more emotional resonance through the introduction of new elements and more in-depth character developme

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Suan, Stevie. "Anime’s Performativity: Diversity through Conventionality in a Global Media-Form." Animation 12, no. 1 (2017): 62–79. http://dx.doi.org/10.1177/1746847717691013.

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Anime is a globally prominent media-form with a multitude of styles, yet it maintains a relative uniformity to sustain a recognizable identity as a particular category of media. The performance of the recognizably ‘anime-esque’ is what distinguishes anime as a type of animation, allowing it to be sold and consumed as ‘anime’. Anime, and its recognizable identity, are performatively constituted by a series of anime-esque acts performed in animation, citing a system/database of conventionalized models in each iteration. What we recognize as ‘anime proper’ are not just ‘animations from Japan’, bu

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Waspada, Heri Priya, Ismanto Ismanto, and Firman Hidayah. "Penggunaan Hasil Motion Capture (Data Bvh) Untuk Menganimasikan Model Karakter 3d Agar Menghasilkan Animasi Yang Humanoid." JAMI: Jurnal Ahli Muda Indonesia 1, no. 2 (2020): 94–102. http://dx.doi.org/10.46510/jami.v1i2.34.

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Abstrak Objektif. Proses pemodelan karakter 3D memegang peranan penting dalam menghasilkan model karakter 3D yang baik. Proses ini merupakan proses awal yang harus dilalui oleh seorang desainer dalam membuat sebuah model karakter 3D. Setelah proses pemodelan dikerjakan dengan baik agar karakter tersebut bisa dibuat bergerak maka diperlukan proses rigging. Dengan proses pemodelan dan rigging tersebut model karakter 3D bisa digunakan untuk menghasilkan animasi sesuai dengan keinginan animator. Tentunya seorang animator akan memerlukan kerja keras untuk membuat suatu adegan gerakan apabila

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Abdulah Rosyidouddin El Islami and Charles De Haan. "Sistem Penulangan pada Karakter 3D dalam Film Animasi The Relativity Of Reality." Jurnal Riset Rumpun Seni, Desain dan Media 4, no. 1 (2025): 372–92. https://doi.org/10.55606/jurrsendem.v4i1.5764.

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Digital animation technology is increasingly advancing, as evidenced by the proliferation of animated films worldwide. This is also true in Indonesia, where the production of animated films has increased significantly due to the improvement and ease of digital animation technology. One of the most important parts of the animation process is the rigging process, which involves creating a skeleton for the character or object so that it can move and appear lifelike. The rigging process in the short animated film "The Relativity Of Reality" tells the story of Rei, a young boy who discovers advance

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Alsaggaf, Wafaa, Georgios Tsaramirsis, Norah Al-Malki, et al. "Association of Game Events with Facial Animations of Computer-Controlled Virtual Characters Based on Probabilistic Human Reaction Modeling." Applied Sciences 10, no. 16 (2020): 5636. http://dx.doi.org/10.3390/app10165636.

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Computer-controlled virtual characters are essential parts of most virtual environments and especially computer games. Interaction between these virtual agents and human players has a direct impact on the believability of and immersion in the application. The facial animations of these characters are a key part of these interactions. The player expects the elements of the virtual world to act in a similar manner to the real world. For example, in a board game, if the human player wins, he/she would expect the computer-controlled character to be sad. However, the reactions, more specifically, t

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Riyana, Cepi. "THE DEVELOPMENT OF THREE DIMENSIONAL ANIMATION FILM FOR CHARACTER EDUCATION MEDIA IN ELEMENTARY SCHOOL." EDUTECH 14, no. 2 (2015): 218. http://dx.doi.org/10.17509/edutech.v14i2.1379.

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Abstract. The formation of character is one of the national education goals. Article 1 of the 2003 Education Law states that among the objectives of national education is to develop the potential of learners to have intelligence, personality and noble character. Currently karakterbangsa strengthening of the strategic priorities of national education progra, given the state of the nation must be returned to the characterization of identity bangsa.Berbagai efforts should be made to build character education, including through modeling (modeling) characters through 3D animations Fim impressions.

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Yılmaz, Emre. "İlkokulda Değerler Eğitimine Yönelik Çevrimiçi Bir Materyal: "Afacanların Hikâyesi" Animasyonları." Journal of Social Perspective Studies 2, no. 1 (2025): 34–47. https://doi.org/10.5281/zenodo.15133588.

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<strong>ÖZ</strong> Günümüzde bireyselleşen yaşam tarzı ve toplumsal yozlaşma sebebiyle okullarda değerler eğitiminin önemi artmıştır. Gelişen multimedya teknolojileriyle birlikte animasyonlar değerler eğitiminde etkili bir şekilde kullanılabilmektedir. Çünkü animasyonlar Bandura’nın sosyal öğrenme teorisi doğrultusunda hem görsel hem de sözel rol model almaya birlikte yer vermektedir. Çizgi animasyon izleyen bir çocuk öne çıkan karakter veya kahramanları kendine rol model almaktadır. Çocuklar video

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Langga, Fathin Hanifah, Hafiz Aziz Ahmad, and Alvanov Z. Mansoor. "Animated Web Series as Media for Islamic Education in Children." Halaqa: Islamic Education Journal 4, no. 2 (2020): 125–32. http://dx.doi.org/10.21070/halaqa.v4i2.982.

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Islamic education needs to be taught to everybody since an early age so they can understand, have moral and noble character which can be embedded since young. In the current era of technological development, the internet has an important role for communities, especially for parents in delivering Islamic education to children. Video-based social media called Youtube is the choice of entertainment and education media for children. Some of the shows on Youtube that are mostly chosen to deliver Islamic education to children are Nussa’s animated web series, Syamil Dodo and Kastari Senja. The purpos

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Liu, C. Karen, and Zoran Popović. "Synthesis of complex dynamic character motion from simple animations." ACM Transactions on Graphics 21, no. 3 (2002): 408–16. http://dx.doi.org/10.1145/566654.566596.

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Jeon, Hyo-Gyoung, and Dong-Min Cho. "How to Leverage AI for Retargeting 3D Character Animations." Cartoon and Animation Studies 74 (March 31, 2024): 239–53. http://dx.doi.org/10.7230/koscas.2024.74.239.

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Xie, Yuchen. "Performance of NeRF and its optimized models on generating images from 2D to 3D of animation or game character." Applied and Computational Engineering 6, no. 1 (2023): 910–18. http://dx.doi.org/10.54254/2755-2721/6/20230957.

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Neural Radiance Fields (NeRF) has recently emerged as a promising approach for single-image 3D scene reconstruction. Despite this, most studies on NeRF have focused on real-world data or items with established camera projection connections, rather than snapshots of video game characters that may not have a distinct camera projection connection. Although some research has been conducted on the use of animatable mannequins, the majority of these studies have used photographs of real people as their data source. To date, there has been limited research into the use of NeRF for animation or game c

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