To see the other types of publications on this topic, follow the link: Traditional animation.
Journal articles on the topic 'Traditional animation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Traditional animation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Tao, Yijun, and Weilin He. "Application of Fragmented Narrative in MG Music Animation—Taking Incognito as An Example." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3612–20. http://dx.doi.org/10.18001/trs.7.5.1.137.
Full textAbstract:
Fragmented narrative has the characteristics of postmodernism: no center, no depth, entertaining, and deconstructionist-center. It intersperses with the shots of text and pictures to change from montage to collage, which subverts the traditional audiovisual language with a strong personality. However, although the music animation video has a lot to express, the short length limits the expression’s completeness. Therefore, it is necessary to express the key points through a fragmented narrative, while the combination of fragmented information can engage the audience. Music animation, more conducive to publicity, combines short music videos and animations. It supplements the content that music cannot express with images. Incognito is an MG music animation produced around cyber-violence, which drives the picture narrative fragmentation with that of the music narrative by organizing the pictures around the music. Meanwhile, the animation produced in MG format adopts MG animation’s flexibility, bringing new audiovisual enjoyment to the audience.
2
Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.
Full textAbstract:
The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.
3
Zhang, Xiao, Jinhua Xu, and Wei Yang. "Application and Practice of 2D Animation in Chinese Traditional Elements Based on Deep Learning Model." Mobile Information Systems 2022 (August 24, 2022): 1–10. http://dx.doi.org/10.1155/2022/6453320.
Full textAbstract:
With the progress and development of science and technology, the development of the animation industry is also rapidly accelerating. The animation industry has an inseparable relationship with the development of computers. Chinese animation originated in the 1920s. Although after so many years of precipitation, there have been some excellent animation works rich in national characteristics and national culture in China, but Chinese animation still lacks professional talents and has a poor creative environment. The problem cannot leave a deep impact on people. China has a long history. How to perfectly combine traditional Chinese elements with animation production and develop our own national characteristics through animation is a problem we have to consider. The article introduces the background of animation development, describes how to combine traditional Chinese elements with animation production, and solves the problems of rough picture quality and high collision rate in animation production. The research results of the article show the following: (1) the detail roughness of the 7 traditional element animation scenes of the 2D animation system proposed in the article has been kept below 2%, and the image quality clarity is higher than 99%, which is the performance of the 3 systems. The highest one can also show that the system proposed in the article has the best control effect for different animation scene details. The 2D animation system proposed in the article presents a steady trend of fluctuations in the dynamic light and shadow of the scene details of the 7 traditional element animations, with good detail connectivity, and the system proposed in the article occupies the least memory and has the highest stability. (2) The waiting time of the 2D animation system is the lowest among the three systems. Only in a few cases, it needs to wait for 1 s, and the rest of the animation scenes are not delayed. The dynamic animation interaction system and the real-time character animation system have poor real-time operation , and there is a certain delay. The number of collisions of the 2D animation system is the least, almost negligible. Both the dynamic animation interaction system and the real-time character animation system have a certain degree of collision. The distortion rate of the 2D animation system is generally low and will not increase with the number of experiments. However, the other two systems have higher animation distortion rates, which cannot meet the needs of animation production.
4
Multimäki, Salla, Andreas Hall, and Paula Ahonen-Rainio. "Comparison of Temporally Classified and Unclassified Map Animations." Cartographic Perspectives, no. 82 (April 29, 2016): 5–14. http://dx.doi.org/10.14714/cp82.1296.
Full textAbstract:
While animation is a natural and, under certain circumstances, effective way to present spatio-temporal information, it has its limitations. Studying animations of large point datasets can be cognitively very demanding. Aiming to help users to comprehend such data, this study presents a new concept of temporal classification. A phenomenon is classified into periods of increasing, decreasing, and steady intensity, and each is assigned different colours in an animation. This concept was tested with a group of experts in the field of the phenomenon. The results suggest that this kind of classified animation, together with a traditional animation presenting the same dataset, supports users in their analysis process and adds to the impression they get of the phenomenon. It also seems that the viewing order of the animations matters: the full potential of the tested method is reached by viewing the traditional version first and temporally classified version after that.
5
Du, Min, Bozhang Shao, and Caixia Liu. "Application of Traditional Elements in Film and Television Animation Driven by Artificial Intelligence." International Journal of Ambient Computing and Intelligence 15, no. 1 (October 3, 2024): 1–17. http://dx.doi.org/10.4018/ijaci.356381.
Full textAbstract:
Traditional culture is gradually being forgotten in the process of modernization, leading to insufficient application of traditional elements in movies and animations, which in turn affects their artistic value and market performance. To avoid the dilemma of high and low development, Chinese film and animation production needs to find a healthier and more benign development path. Explored in this article is the application of traditional elements in AI driven film and television animations. To achieve this goal, in-depth research on element matching problems using a tensor canonical polyadic decomposition (CPD) model, sampling algorithm based on composite star structure, and maximum filtering method was conducted. Through these algorithms and models, a way to effectively utilize traditional elements in AI driven movies and TV animations can be found. This article provides new ideas and directions for the development of China's film and animation industry and offers new possibilities for the application of AI technology in the cultural realm.
6
Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (July 20, 2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.
Full textAbstract:
Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art and its relationship with contemporary animation art, so as to provide reference for the inheritance and development of Chinese traditional culture.
7
Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.
Full textAbstract:
Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.
8
Hutcheson, Tracy D., Richard F. Dillon, Chris M. Herdman, and Jo Wood. "To Animate or Not to Animate, that is the Question." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 1 (October 1997): 345–49. http://dx.doi.org/10.1177/107118139704100177.
Full textAbstract:
Animation presented together with voice narration in a computer presented tutorial did not facilitate learning when compared with a text and static graphics tutorial. The tutorials were the same except for the addition of simple animations and voice narration. Although there were no statistically significant differences there was a difference of 5 percent correct on quiz questions in favor of the animation group. Beyond statistical significance, is this 5 percent increase good justification for animations in computer-based training? The questions of how, when, and if, we should use animations becomes more important when we consider the resources that go into creating animations vs. traditional graphics. This 5 percent difference may be important when we consider that this difference was realized under a 20 minute computer tutorial There has been a lot of focus on animation in software development and training over the last decade and this study raises more questions for further research about animation in training.
9
R., Pranava Kumar, and Karna Maharajan K. "METAMORPHOSIS OF ANIMATION: COMPUTER AIDED OVER TRADITIONAL MODES OF ANIMATION." International Journal of Engineering Research and Modern Education ( 1, no. 2 (October 15, 2016): 127–36. https://doi.org/10.5281/zenodo.160940.
Full textAbstract:
<em>Animation as a technology is generic and as a discipline it has been growing leaps and bounds. Application of animation tools extends even to industry, education, trade and entertainment. In depth understanding of the concept needs a chronological development studies including the history and technological innovations. An attempt to trace the metamorphosis of animation from the stone- age till date so as to get a comprehensive knowledge and thereby analyze the difference between traditional and modern animation techniques is part of the research work, which is underway. Essentially this is an effort to pose a research question as to weigh the relative importance of traditional vis a vis computer-aided animation techniques. The process of finding an answer is central to this paper besides looking at the contours of animation and its application to various fields </em>
10
Jia, Shiyang, Stephanie Wang, Tzu-Mao Li, and Albert Chern. "Physical Cyclic Animations." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 3 (August 16, 2023): 1–18. http://dx.doi.org/10.1145/3606938.
Full textAbstract:
We address the problem of synthesizing physical animations that can loop seamlessly. We formulate a variational approach by deriving a physical law in a periodic time domain. The trajectory of the animation is represented as a parametric closed curve, and the physical law corresponds to minimizing the bending energy of the curve. Compared to traditional keyframe animation approaches, our formulation is constraint-free, which allows us to apply a standard Gauss--Newton solver. We further propose a fast projection method to efficiently generate an initial guess close to the desired animation. Our method can handle a variety of physical cyclic animations, including clothes, soft bodies with collisions, and N-body systems.
11
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 (August 31, 2024): 145–54. http://dx.doi.org/10.59386/jadr.2024.27.1.145.
Full textAbstract:
『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 modernizing to breathe new life into the character. Secondly, by adopting Disney's character design strategies and actively utilizing 3D graphic technology, the character's details were enhanced, breaking away from traditional character images. Thirdly, the traditional character was adapted to fit modern social backgrounds, providing audiences with a strong sense of immersion. It is hoped that this study will serve as a basic reference for creators and researchers who aim to produce animations based on traditional mythological IPs.
12
Lasseter, John. "Principles of traditional animation applied to 3D computer animation." ACM SIGGRAPH Computer Graphics 21, no. 4 (August 1987): 35–44. http://dx.doi.org/10.1145/37402.37407.
Full text
13
Shan, Qiaojuan, Yusrita Binti Mohd Yusoff, and Ariffin Bin Abdul Mutalib. "A comparative study of interactive animation and traditional animation." Journal of Computing and Electronic Information Management 12, no. 1 (February 28, 2024): 1–11. http://dx.doi.org/10.54097/mubvx0s0vl.
Full textAbstract:
The article conducted a comprehensive study on the development trends of animation. Through the collection of relevant literature on the subject, it examined the research's impact in various countries. The study utilized the CiteSpace analysis tool to conduct a detailed quantitative analysis of the evolution of the animation field in recent years, covering literature and academic publications from 1990 to 2022. In terms of analytical methods, the study employed various approaches, including visual network analysis, collaboration network analysis, keyword analysis, co-contribution network analysis, and co-citation network analysis. These methods were applied to detect visual networks within the animation field. Through these analytical techniques, the study showcased research hotspots, collaboration relationships, keyword trends, and academic contribution networks within the animation field. The findings revealed a steady increase in the number of publications and papers in the animation field in recent years, indicating that animation has become a highly researched topic. To delve deeper into the comparison between interactive animation and traditional animation, the study employed CiteSpace bibliometric technology and selected 4567 English-language and 1346 Chinese-language documents from the ScienceNet and China National Knowledge Infrastructure databases. Through a systematic evaluation, the study conducted a thorough analysis of the current status of interactive animation and traditional animation, highlighting their differences and projecting potential future trends for interactive animation. This comprehensive research provides a holistic perspective on academic studies in the animation field, contributing to a better understanding of the evolution and future directions of the animation industry.
14
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 (June 17, 2023): 63–78. http://dx.doi.org/10.33153/citrawira.v4i1.5093.
Full textAbstract:
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 animations such as Cars, Toy Story, and SpongeBob SquarePants. Anthropomorphism is claimed to make animations appear funnier and more appealing because it can bring something impossible in the real world into the animation.
15
Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.
Full textAbstract:
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 of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
16
Zhang, Chengwen, and Suebsiri Saelee. "Classic Ink Animation 1960-1988: Chinese traditional Aesthetics, Animation Design and Educational Function." International Journal of Education and Literacy Studies 12, no. 4 (October 30, 2024): 235–43. https://doi.org/10.7575/aiac.ijels.v.12n.4p.235.
Full textAbstract:
Classical ink animation arose in China from the 1960s to the 1980s and was a new animation art form created by the Shanghai Fine Arts Film Studio. Between 1960 and 1988, classic ink animation was the most representative type of animation. This study explores traditional Chinese aesthetics, animation design, and educational functions embodied in classic ink animation. Using qualitative research methods, this study explores the elements of traditional Chinese aesthetics and the characteristics of animation design by analyzing the research text and understanding the cultural connotation and educational significance of classic ink animation through the analysis of multiculturalism and animation symbols. It is found that classic ink animation not only reshapes traditional painting elements but also is closely linked to the cultural and socio-economic context in which it is embedded, embodying profound humanistic ideas. This study helps the audience and related people understand the artistic charm and cultural connotation of classic ink animation more profoundly, provides better references and inspiration for contemporary animation creation, and promotes the educational function of animation design.
17
Sun, Zhen Tao. "Animation Type Analysis after Using Computer 3D Animation Technology." Advanced Materials Research 971-973 (June 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.1553.
Full textAbstract:
Type of computer animation using 3D technology can be divided under three seeds that mimic 2D animation, imitating traditional 3D animation, imitating real movie. Mimic 2D animation and imitating real movie are infinitely close with 2D animation and real film movie. Imitating traditional 3D animation is completely different from the traditional three-dimensional animation, which won the visual realism. "Visual realism" to get that 3D animation and real film movie stood on the same competition platform.
18
Tang, Jun, and Yu Lin Zeng. "Intelligent Traditional Chinese Hairstyle System in Computer Animation." Applied Mechanics and Materials 530-531 (February 2014): 915–18. http://dx.doi.org/10.4028/www.scientific.net/amm.530-531.915.
Full textAbstract:
Traditional Chinese hairstyle is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese hairstyle model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese hairstyle database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese hairstyle, this study develops an Intelligent Traditional Chinese Hairstyle System by MEL, which can display the condition of traditional Chinese hairstyle models in real time and change attributes related with models efficiently. The system is the combination among computer technology, animation art and traditional Chinese culture. It will improve the efficiency and quality in the computer animation creation.
19
Elling, Jan Mathis, and Hein De Vries. "Influence of Animation- Versus Text-Based Delivery of a Web-Based Computer-Tailored Smoking Cessation Intervention on User Perceptions." European Journal of Health Communication 2, no. 3 (July 28, 2021): 1–23. http://dx.doi.org/10.47368/ejhc.2021.301.
Full textAbstract:
Computer-tailored (CT) digital health interventions have shown to be effective in obtaining behaviour change. Yet, user perceptions of these interventions are often unsatisfactory. Traditional CT interventions rely mostly on text-based feedback messages. A way of presenting feedback messages in a more engaging manner may be the use of narrated animations instead of text. The goal of this study was to assess the effect of manipulating the mode of delivery (animation vs. text) in a smoking cessation intervention on user perceptions among smokers and non-smokers. Smokers and non-smokers (N = 181) were randomized into either the animation or text condition. Participants in the animation condition assessed the intervention as more effective (ηp2 = .035), more trustworthy (ηp2 = .048), more enjoyable (ηp2 = .022), more aesthetic (ηp2 = .233), and more engaging (ηp2 = .043) compared to participants in the text condition. Participants that received animations compared to text messages also reported to actively trust the intervention more (ηp2 = .039) and graded the intervention better (ηp2 = .056). These findings suggest that animation-based interventions are superior to text-based interventions with respect to user perceptions.
20
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.
Full textAbstract:
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 development techniques. Focusing on the emotional experience and educational significance of animation, which has shifted from "static" to "dynamic," it is crucial to explore the new value and path of domestic animation in resonating with the spirit of contemporary youth.
21
Liu, Yingjing. "Research on Computer Animation Action and Acceleration Technology based on Composition Editor." Journal of Physics: Conference Series 2023, no. 1 (September 1, 2021): 012026. http://dx.doi.org/10.1088/1742-6596/2023/1/012026.
Full textAbstract:
Abstract Traditional animation needs complex animation technology, which is mainly operated by hand. Therefore, traditional animation production needs a lot of work, which will lead to a variety of problems, such as long cycle, high rework rate, high cost and so on. With the development of computer technology, great changes have taken place in animation production, including speed, effect, etc., which has created a variety of methods in two-dimensional and three-dimensional animation production. Through computer-aided, the traditional manual animation technology has been gradually replaced by computer, which has become a key issue in animation art production. By combining the advantages of manual animation and computer animation, we can continuously improve the ability of animation industry. Through the synthesis editor, we can improve the animation action and accelerate technology research, which can achieve a new animation world. First of all, this paper analyzes the commonly used 3D animation production software. Then, this paper analyzes the animation action and acceleration technology.
22
Katsaridou, Maria Ilia, and Loukia Kostopoulou. "Introduction: Animation as semiosis and as meaning." Punctum. International Journal of Semiotics 10, no. 1 (2024): 5–12. https://doi.org/10.18680/hss.2024.0001.
Full textAbstract:
This special issue of Punctum investigates the semiotics of animation, focusing on its evolution as a dynamic medium at the intersection of art, technology, and culture. The articles examine animation’s role as a semiotic system, its historical redefinitions, and its integration with diverse visual forms, from traditional hand-drawn techniques to AI-generated imagery and virtual reality. Emphasizing animation as an “overarching category” that shapes and is shaped by contemporary audiovisual culture, this collection highlights its transformative potential. By bridging theoretical insights with practical applications, the contributions reveal animation’s ability to challenge conventional boundaries and foster interdisciplinary discourse.
23
Tang, Jun, and Yan Meng. "Research and Implementation of Intelligent Traditional Chinese Headdress System in Computer Animation." Applied Mechanics and Materials 519-520 (February 2014): 473–76. http://dx.doi.org/10.4028/www.scientific.net/amm.519-520.473.
Full textAbstract:
Traditional Chinese headdress is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese headdress model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese headdresses database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese headdress, this study develops an intelligent Traditional Chinese Headdress system by MEL, which can import models into the scene and change attributes related with models efficiently. The system is the combination among computer technology, animation art and traditional Chinese culture. It will improve the efficiency and quality in the computer animation creation.
24
Greenberg, Raz. "The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games." Animation 16, no. 1-2 (July 2021): 83–95. http://dx.doi.org/10.1177/17468477211025665.
Full textAbstract:
Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.
25
Guangyuan Cao, Guangyuan Cao. "The Development Strategy of Nationalistic Derivatives in the Chinese Animated Film Industry." Northeast Asian Arts and Cultural Management Association 1, no. 1 (June 30, 2024): 59–67. http://dx.doi.org/10.69887/jnaacm.2024.1.1.59.
Full textAbstract:
Purpose – This study explores the utilization of Chinese traditional culture in animation, with a focus on film derivatives. The study analyzes recent growth and challenges in the Chinese animation industry and aims to effectively utilize Chinese culture in developing animation derivatives. Drawing insights from US and Japanese models, the initiative aims to develop a unique Chinese animation industry, with the goal of improving global competitiveness, cultural impact, and market expansion. Design/Methodology/Approach – This study adopts a research methodology primarily focused on deeply mining the rich resources of Chinese traditional culture, coupled with referencing the mature animation industry chains of the United States and Japan, to develop a more ethnically distinctive animation film industry chain in China. The main research methods involve literature review and case analysis, aiming to explore key issues and solutions in the development of ethnic-oriented animation film derivatives in the Chinese animation film industry. Findings – China’s animation industry is progressing, yet it faces challenges in derivative development, which hinders sustained growth. Leveraging its abundant traditional culture can provide a unique competitive advantage. Integrating insights from established US and Japanese animation industries with Chinese culture is crucial for fostering a more ethnically distinctive animation industry in China, which holds significant promise for future development. Research Implications – The proposal innovatively leverages China’s traditional culture for animation growth, providing insights for sustainable development. It highlights the significance of animation derivatives, guiding commercial exploration. By promoting Chinese culture, it enhances the global competitiveness of animation, facilitating international cultural exchange.
26
Gao, Chaomeng. "Contemporary Chinese Animation Design as a Reinterpretation of Traditional Cultural Connotations Based on Shadow Puppet Theater." Культура и искусство, no. 9 (September 2024): 121–36. http://dx.doi.org/10.7256/2454-0625.2024.9.71442.
Full textAbstract:
The object of the research is modern Chinese animation design and its evolution over the past 70 years. The subject of the research is the potential for rethinking traditional cultural connotations of Chinese shadow theater in modern animation design. The synthesis of the canonical principles of shadow theater with modern animation technologies enhances the expressiveness of cartoons and their ability to convey philosophical, ethical, artistic and technological values. The theoretical analysis of the problem and the practical development of innovative methods of animation design by the author using digital technologies open up new prospects for preserving cultural heritage and finding ways of innovative development of traditional culture. The article uses a comprehensive methodology of cultural studies, art history and computer technology to analyze the processes of rethinking the traditions of shadow puppet theater in modern Chinese animation design. The methods of comparative research, experimental design and expert exchange help to evaluate representative works of contemporary animation in terms of visual style, narrative structure and cultural narrative. The author argues that the processes of enriching contemporary animation with philosophical ideas and ethical imperatives of traditional Chinese culture on the one hand and rebranding traditional culture through animation on the other hand help to preserve the cultural identity of Chinese animated films and enhance their competitiveness in the global market. Careful reinterpretation of cultural connotations enables animated films to preserve and promote traditional virtues such as loyalty, filial piety and courage in figurative form. On the artistic level, Chinese animation design draws on the aesthetics of traditional art, classical painting and calligraphy, and humorous storytelling, combining them into a unique visual style. The latest technologies enrich animation design and open up new possibilities for a modern interpretation of traditional Chinese culture.
27
Zhang, Rong. "Using artificial intelligence assistant technology to develop animation games on IoT." Computer Science and Information Systems, no. 00 (2023): 21. http://dx.doi.org/10.2298/csis220719021z.
Full textAbstract:
This research proposes an XNA animation game system with AI technology for action animation games in mobile devices, based on an object-oriented modular concept. The animation game function with AI technology is encapsulated into independent objects, through the combination of objects to build repetition. It adds AI technology to the finite state machine, fuzzy state machine and neural network and attempts to combine the traditional rule-base system and learning adaptation system to increase the learning ability of traditional AI roles. The main contributions are compared with traditional methods and the AI animation game system is shown to have more reusability, design flexibility and expansibility of its AI system through the object composition approach. It adds AI technology to combine the traditional rule-base system and learning adaptation system to increase the learning ability of traditional AI roles. Therefore, AI animation game producers can accelerate their processes of developing animation games and reducing costs.
28
Li, Xiaoxia, Chen Zhang, and Yonghui Wu. "Deconstruction of Immersive Animation Image Interaction Design under Virtual Reality Technology." Wireless Communications and Mobile Computing 2022 (August 13, 2022): 1–11. http://dx.doi.org/10.1155/2022/2104633.
Full textAbstract:
With the increasing pressure of social life, people generally have different degrees of psychological problems, which brings serious troubles to people’s life and work. As one of the main forms of art, animation is a good medicine for breaking fantasy and returning to reality. Animation is one of the ways of art therapy, and animation art design is the soul of animation therapy. However, the art design of traditional animation cannot bring a strong sense of resonance and cannot arouse people’s inner emotions. Virtual reality can bring users an immersive experience, so it can really immerse the audience and release psychological pressure. The article firstly reoptimizes animation modeling technology and then combines it with art design, comprehensively uses art design and interactive technology to generate virtual space, and finally puts forward the concept of animation art design based on virtual reality technology. It aims to construct virtual animation from animation art design to help patients relieve psychological barriers. After repeated comparison experiments, it can be found that in the process of watching interactive animations on the virtual reality platform, if the overall style of the animation is more comfortable and warm, the user’s psychological perception will reach 78%, and the emotional fluctuation range will be less than 10%. When the animation style is relatively dark and depressing, the user’s psychological perception is only 45%, and the audience is very likely to think of a bad life experience, and the possibility of causing psychological disorders is 69.1%. This shows that the warm and comfortable animation art design can smooth people’s emotional fluctuations and relieve psychological obstacles.
29
Hou, Qunshan. "The Enlightenment and Influence of Chinese Painting on Animation Art." Journal of Education, Humanities and Social Sciences 46 (December 6, 2024): 117–23. https://doi.org/10.54097/ztj8s487.
Full textAbstract:
Chinese painting emphasizes "artistic conception" and "spiritual charm", and its expression is often implicit and poetic. This aesthetic concept, which focuses on emotional expression and spiritual connotation, has a profound influence on animation art. The application of Chinese painting has enriched the visual expressiveness of animation, enhanced emotional rendering and artistic conception, allowing animation works to display a unique Eastern aesthetic. The brush and ink techniques and line application in Chinese painting have been borrowed and innovated in animation, such as ink animation, which is directly inspired by Chinese painting techniques. By simulating the effects of ink painting, a unique animation style is created. It contains rich elements of traditional Chinese culture, such as myths and legends, historical stories, etc. The use of these elements in animation not only spreads Chinese traditional culture but also gives the animation works a profound cultural connotation. In modern animation creation, the elements and concepts of Chinese painting are continuously innovated and developed, constantly integrating modern technical means to present traditional Chinese painting elements in a new form, promoting the development of animation art. The enlightenment and influence of Chinese painting on animation art are all-round, enriching the artistic expression of animation and promoting cultural dissemination and artistic innovation.
30
Budi, Hutomo Setia, I. Wayan Adnyana, I. Wayan Swandi, and I. Nyoman Suardina. "Presentation of Traditional Folktale Through 3-Dimensional Animation Film in Gromore Studio YouTube Channel, A Study Case." Nirmana 24, no. 1 (January 29, 2024): 41–47. http://dx.doi.org/10.9744/nirmana.24.1.41-47.
Full textAbstract:
This research aimed to discover audience responses toward animation content that tells about folklore and is uploaded onto the Gromore Studio YouTube platform. It is designed based on interview data as well as observation of the view count, comments, and literature study. This research included cultural studies which studied social culture phenomena by using descriptive quantitative analysis methods with emphasis on discovering the comparison of positive and negative comments, and the comparison between like and dislike counts from the folklore video which was uploaded by Gromore Studio. The results of this research showed that the presentation of legendary folktales received outstanding responses from the audience with Indonesians as the majority. Comments given by the audience mostly showed positive feedback and support toward animation content produced by Gromore Studio which lifted the local cultures and stories, packed into interesting visual media. Through the positive responses in the comments, it can be concluded that the animations by Gromore Studio in traditional folktales became very welcomed by Indonesian audiences.
31
Xu, Jia. "A Brief Analysis of Animation Ontology in the Context of Artificial Intelligence." Communications in Humanities Research 66, no. 1 (May 6, 2025): 14–20. https://doi.org/10.54254/2753-7064/2025.22474.
Full textAbstract:
With the rapid advancement of artificial intelligence technology, its application in the field of animation production has become increasingly extensive and in-depth. This has not only significantly transformed traditional modes of animation creation but has also had a profound impact on animation ontology. This paper aims to explore the emerging changes and developmental trends in animation ontology within the context of artificial intelligence. Driven by the wave of digitalization and intelligent technologies, animation as a unique art form is undergoing unprecedented transformations. Leveraging its powerful capabilities in data processing, learning, and creativity, artificial intelligence offers entirely new possibilities and tools for animation creation. By analyzing practical applications of AI technology in animation production, this paper examines the challenges it poses to traditional animation ontology and how it reshapes the field, in hopes of providing new theoretical perspectives and practical guidance for the development of animation art.
32
Jianchao, Ren. "The influence of traditional culture on the role shaping of Chinese local film and television animation." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 164–69. http://dx.doi.org/10.31166/voprosyistorii202308statyi36.
Full textAbstract:
This article mainly summarizes the role building of Chinese local film and television animation, analyzes the influence of traditional culture on the role building of Chinese local film and television animation, and introduces in detail the application of traditional culture such as paper cutting art, ink painting art, costume art and opera art in the role building of film and television animation.
33
Huang, Xinyi, Abdul Razak Mohaideen, and Ahmad Kamal Basyah Sallehuddin. "From Little Tadpoles Looking for Mama to the Fusion of Traditional Ink Art and Modern Animation Techniques." International Journal of Research and Innovation in Social Science IX, no. II (2025): 815–19. https://doi.org/10.47772/ijriss.2025.9020065.
Full textAbstract:
This paper explores the integration of traditional Chinese ink art and modern animation technology through an analysis of the animated film Little Tadpoles Looking for Mama. As one of the earliest examples of Chinese ink animation, the film represents a unique blend of artistic tradition and innovative technology. The study examines how the film employs traditional water-based ink techniques, such as brush strokes, shading, and Chinese painting aesthetics, while also incorporating the dynamic visual effects and movement possibilities offered by contemporary animation technology. By using the theoretical framework of visual aesthetics and animation techniques, this paper analyzes the interaction between the two artistic forms, revealing how they enhance the overall narrative and artistic expression of the animation.
34
Tan, Shuqing. "Animation Image Art Design Mode Using 3D Modeling Technology." Wireless Communications and Mobile Computing 2022 (March 3, 2022): 1–9. http://dx.doi.org/10.1155/2022/6577461.
Full textAbstract:
This paper starts with the external visual performance of animation characters, discusses the design style of three-dimensional animation characters, and integrates with traditional art, and makes a new research and attempt from the combination of art and technology, so that nonprofessionals can easily design three-dimensional animation characters. Aiming at the problem of low recognition level of behavior control data points in traditional 3D virtual animation model method, a method of role modeling and behavior control in 3D virtual animation design is designed. Based on the physical engine, a dynamic model of the character skeleton is established, and the joint motion trajectory is simulated to complete the real-time rendering of the effect. Combined with the case analysis, it is discussed from the aspects of animation character modeling, user experience, and so on. Experimental results show that, compared with traditional methods, the data points collected by the proposed method in the process of character behavior control are more dense, the animation effect is more realistic, and it is highly effective and superior.
35
Qin, Pei Yu, Li Guo, and Zhi Li Hu. "Physically Based Animation of Fluid Movement in a Periodic Domain." Applied Mechanics and Materials 373-375 (August 2013): 395–99. http://dx.doi.org/10.4028/www.scientific.net/amm.373-375.395.
Full textAbstract:
A physically based approach for simulating fluid movement is proposed. Realistic animation and real time simulation are two objectives. Traditional animation technique can obtain virtual movement, but it has difficulty for realistic movement. Compared with the traditional animation technique, physically based animation can represent realistic movement better. The incompressible Navier-Stokes equations are used in our model, and the operator splitting method including semi-Lagrangian scheme and fast Fourier transform is employed to split the model into external force term, advection term, diffusion term and projection term. Every step is stable , so the whole process is also stable. Thus, the big time step can be taken to ensure real time simulation. Compared with the traditional technique, this method can be taken for realistic animation and real time simulation of fluid movement in computer graphics applications.
36
Feng, Zhongqiang, and Yi Zhang. "The Teaching Mode Design and Effect Evaluation Method of Animation Course From the Perspective of Big Data." International Journal of Web-Based Learning and Teaching Technologies 19, no. 1 (May 16, 2024): 1–20. http://dx.doi.org/10.4018/ijwltt.343522.
Full textAbstract:
OBE concept is a new teaching mode which emphasizes the improvement of students' subjective initiative and professional practice ability. The teaching of animation course is based on drawing and computer, which requires teachers to understand the OBE mode of animation course, carry out targeted teaching innovation of animation course, and adjust the traditional teaching methods, teaching contents and teaching assessment methods. Based on the MOOC platform from the perspective of big data, this paper analyzes the teaching status and innovation process of animation course, and puts forward a hybrid animation course teaching method. Through the research of 686 primary and secondary school teachers, the results show that the hybrid animation course teaching based on OBE and MOOC from the perspective of big data has a better effect than the traditional teaching method, which improves students' initiative in learning animation courses and greatly enhances students' acceptability in learning animation courses.
37
Peng, Baoyi. "Ancient for the Present: Analyzing Traditional Cultural Elements and Unique Modernity in Contemporary Animation Films." Highlights in Art and Design 3, no. 3 (July 20, 2023): 32–37. http://dx.doi.org/10.54097/hiaad.v3i3.11184.
Full textAbstract:
Entering the 21st century, as global cultures entered a new stage of intermingling, Chinese animation also rode the fast train of the times into a new stage of development, in which Chinese animation pushed the boundaries, from characterization to the cultural core of the story background, Chinese animation emerged as modernity culture wrapped in traditional Chinese culture, the two complement each other and together contribute to the narrative of storytelling expression. This paper takes a typical Chinese animated film between 2016-2023 as the object of study, and conducts theoretical research on Chinese traditional culture and the unique culture of modernity in animation narrative.
38
Rashid, Nida, Nadira Khanum, and Fazil Rahim Khan. "The Effect of Animation as a Teaching Tool on Students’ Learning – an Experimental Study." Media Literacy and Academic Research 7, no. 1 (2024): 129–44. http://dx.doi.org/10.34135/10.34135/mlar-24-01-07.
Full textAbstract:
This study aims to explore the effect of animation on students’ learning process and compare the learning outcomes between animation-based and traditional teaching methods. The research questions hypothesize that animation enhances the learning process, attention, retention, reproduction and motivation in students. This study employed quantitative methodology by using an experiment involving two separate groups: the experimental group, which received instruction with animated videos, and the control group, which received a traditional teaching method. The sample size consisted of 170 students, with an equal distribution of male and female participants from grade levels 3 to 6, with 85 students in each group. The analysis of the data reveals that animation has a significant effect on the learning process. Students exposed to animation-based teaching methods exhibit higher levels of attention retention, better reproduction of learned material, and increased motivation compared to those following traditional teaching methods. These findings support the created research questions that animation positively influences students’ learning outcomes.
39
Xinyi, Huang, Abdul Razak Bin Haji Mohaideen, and Ahmad Kamal Basyah Sallehuddin. "The Application of Juxtaposition Arrangement in the Scene Design of the Chinese Animation "The Monkey King: Uproar in Heaven"." ISSRA Journal of Arts, Humanities, and Social Studies 3, no. 1 (February 20, 2024): 37–42. https://doi.org/10.5281/zenodo.10693442.
Full textAbstract:
<strong>Abstract: </strong>Chinese animation has a rich history and is known for its unique artistic style, often influenced by traditional Chinese painting techniques. One distinctive aspect of Chinese painting is the juxtaposed arrangement, which serves as a foundation for the portrayal of space and perspectives. However, in some instances, Chinese animation incorporates Western influences, resulting in a fusion of traditional and contemporary artistic techniques. This article examines the animated series "The Monkey King: Uproar In Heaven" as a case study to explore the interplay between traditional Chinese motifs and Western artistic techniques in Chinese animation. Specifically, it focuses on the portrayal of twisted Chinese clouds within a three-dimensional framework, showcasing the incorporation of true three-dimensionality and arrangement in 3D space. <strong>Keywords:</strong> Traditional Chinese Aesthetics, Chinese Animation, Space, Composition, Cultural Heritage
40
Zhao, Chunyang. "Innovative Visual Expression in Contemporary Chinese Animated Films: A Case Study of White Snake." Lecture Notes in Education Psychology and Public Media 72, no. 1 (November 15, 2024): 1–6. http://dx.doi.org/10.54254/2753-7048/72/2025nd0003.
Full textAbstract:
Abstract: In recent years, Chinese animation films have begun to move towards revival, and a large number of domestic animation works with traditional styles have been loved by audiences. These animated film works integrate contemporary expression on the basis of traditional aesthetic style, which makes Chinese animated films gain recognition again. In the process of the development of domestic animation films, one should think about how to reflect contemporary spiritual values with excellent national elements. This paper discusses the innovative expression of Chinese traditional art style in animated films from three aspects. By studying the audiovisual approach of the animated film White Snake released in 2019, this paper finds that the films unique national characteristics of picture expression inherits and carries forward the essence of traditional culture on the basis of traditional aesthetic style. It concludes that Chinese animation films should adhere to the road of innovation and development in the future creative process, and organically combine traditional culture with contemporary aesthetics.
41
Alfatra, Febri Faizin, Mahendradewa Suminto, and Pandan Pareanom Purwacandra. "Penciptaan Film Animasi “Chase!” Dengan Teknik “Digital Drawing”." Journal of Animation and Games Studies 5, no. 1 (July 23, 2019): 033–56. http://dx.doi.org/10.24821/jags.v5i1.2799.
Full textAbstract:
A short animation that combines several personal experiences and surroundings into a simple yet entertaining story. Although the story is presented simply, visualization is made unique and flexible with digital two-dimensional animation techniques. This animated film is titled “CHASE!” Which means chasing, taken from the core of the film which tells the story of a young man who chases a mysterious woman who turns out to be a transvestite.The animated film “CHASE!” Lenght 3 minutes 45 seconds, make the story made shorter and directly to the point at the core of what will be delivered. The number of shots reached 45 shots with a total of 5400 frames of HDTV 1920 x 1080 px 24 fps (frames per second). In the process of making this film also applied 12 principles of animation. Making an animated film “CHASE!” uses a digital process in it. For animating, 2D drawing frame by frame technique are used digitally by using computers, background images are also digitally created without leaving the artistic value of traditional drawing techniques using hands.Keywords: Film, 2D Animation, Personal Experience, Digital
42
Limano, Ferric. "Barong Bali Performing Arts: A Study Case of Dance Motion Pattern." Humaniora 13, no. 1 (February 15, 2022): 1–7. http://dx.doi.org/10.21512/humaniora.v13i1.7344.
Full textAbstract:
The research aimed to save the traditional Balinese Barong dance motion patterns and convert them into digital animation. Using the mask was a uniqueness and as one of the characteristics of the traditional dance. Some problems arose in today's global situation: the challenge of eroding local society cultures to be replaced by global cultures. Another factor was the new generation, who loved technology and digitization. The research showed how to make traditional art that had recommendations in new digital media 3D animation. This was necessary to increase interest for the new generation about traditional culture and the creation of digital archives that were easily accessible to learn and develop in this traditional culture. The method was applied qualitatively through approach practice-led research by making experimental data on the dance motion pattern of the head of Barong Bali. Then observations were made and described in animation science, resulting in an academic understanding of motion and 3D digital media production. The results of the research consist of Barong Bali motion pattern in 3D, descriptive explanation of movement patterns, and the process of creating 3D animation digital archives. All of this is expected as recommendations for ways to produce digital archives 3D Animation of another Indonesian traditional culture.
43
Wang, Shuang, Jing Sui, and Xiaoshi Li. "Research on the design of animation design System based on visual communication." Advances in Engineering Technology Research 1, no. 3 (February 9, 2023): 1031. http://dx.doi.org/10.56028/aetr.3.1.1031.
Full textAbstract:
In order to scientifically solve the problems existing in the application of traditional advertising animation design, researchers put forward to optimize the advertising animation design system with visual communication as the core in their research, which can not only solve the problems existing in the traditional visual communication design, but also provide multiple application functions for the system users. In this paper, on the basis of understanding the visual communication technology and the research status of the animation design system, using IE8-Chromel mainstream controller, image encoder, processing chip, etc., to optimize the hardware structure of the advertising animation design system configuration, gradually improve the advertising animation remote design processing port, to ensure the stability and effectiveness of the system operation. At the same time, according to the principle of visual communication, the steps of advertising animation design are simplified, the three-dimensional coordinates of advertising animation are accurately calculated, and the advertising animation is effectively designed. The final results show that the advertising animation design system with visual communication as the core has a high smoothness, which meets the needs of practical research.
44
Wang, Chenyi. "Analysis of the Chinese-style elements in the Chinese animation “Five Elements of Misty Mountains”." Highlights in Art and Design 2, no. 2 (March 20, 2023): 1–3. http://dx.doi.org/10.54097/hiaad.v2i2.6146.
Full textAbstract:
"Five Elements of Misty Mountain" is a domestic anime to be released on the Internet in the summer of 2020, with the cooperation of the production team led by Lin Hun. The work is to explore the Chinese elements of "Five Elements of Misty Mountain" and their significance to the future development and innovation of Chinese animation. The work conducts a specific study on the Chinese elements of "Five Elements of Misty Mountain", analyzing and extracting the details of Chinese martial arts and fighting in the battle scenes, analyzing the ink and wash style of painting in the animation, and discovering Chinese elements in the character settings of the animation. Finally, the work argues that the animation film "Five Elements of Misty Mountains" shows that implementing the connotation of Chinese traditional culture, driving the development of Chinese excellent traditional culture, constantly updating the technology and style of Chinese animation, bringing contemporary expressions, leading the public to aggravate the deep understanding of Chinese traditional culture by enjoying Chinese animation, and thinking deeply about how to meet the spiritual needs and social demands of the current audience in order to achieve a breakthrough and make Chinese animation truly go to the field of the world.
45
Jia, Haoran. "The application and impact of artificial intelligence in the field of animation as well as the existing disadvantage." Transactions on Computer Science and Intelligent Systems Research 5 (August 12, 2024): 660–71. http://dx.doi.org/10.62051/xcknvf87.
Full textAbstract:
This paper provides an in-depth look at the application and impact of Artificial Intelligence (AI) in the animation industry, while also pointing out the existing limitations. In recent decades, AI has been seamlessly integrated into all aspects of life, and the field of animation creation is no exception.AI has not only automated tedious tasks, increased efficiency, and lowered costs, but also revolutionized the traditional animation ecosystem by providing animators with entirely new ways of expression. With the rapid advancement of digital technology, AI has become a key driver of innovation and change, especially in creative industries. In the animation industry, the introduction of AI technology has not only reinvigorated the traditional craft, but also opened up unprecedented creative possibilities. This paper explores the specific applications of AI in animation production, such as automatically rendering the texture of animation to help animators complete repetitive tasks. Or the use of algorithms to assist in the production of special effects and color modification. Through the animation creator's description to complete the modeling, or through deep learning, machine learning generated large models to assist the character's behavioral design and so on. While AI brings many opportunities to the field of animation, it also comes with the challenge of ethical considerations and the risk of possible substitution of traditional technologies. the application of AI in animation has pushed the industry in the direction of greater efficiency, innovation, and personalization, and has also prompted us to think deeply about the combination of creativity and technology.
46
Xinyi, Huang, Abdul Razak Bin Haji Mohaideen, and Ahmad Kamal Basyah Sallehuddin. "From Havoc in Heaven to Big Fish and Begonia: The Fusion of Tradition and Modernity in Chinese Animation." International Journal of Religion 5, no. 12 (December 3, 2024): 1693–98. https://doi.org/10.61707/j7pyd786.
Full textAbstract:
Chinese animation has experienced the evolution from tradition to modernity in its development course. As a classic animation work, "Havoc in Heaven" has laid the foundation of Chinese animation. Its rich cultural connotation and unique artistic style make it become a representative of national animation. And "Big Fish & Begonia" is a successful attempt of modern animation, reflecting the progress of contemporary animation production technology and narrative techniques. This paper will discuss how these two works integrate the expression form and narrative skills of modern animation under the framework of Chinese traditional culture, and show the balance between inheritance and innovation of Chinese animation.
47
Xu, Yi. "“Ne Zha 2” Classical Chinese Aesthetics and Modern Visual Presentation of Character Design: Taking Traditional Patterns as an Entry Point." Journal of Management and Social Development 2, no. 1 (February 2025): 111–15. https://doi.org/10.62517/jmsd.202512118.
Full textAbstract:
With the increasing attention paid by the state to the cultural industry, animation, as an important part of this sector, has produced numerous quality works in recent years. Against this backdrop, animation designers have begun to extensively reference traditional patterns and motifs, a trend that reflects the growing recognition of these motifs in the contemporary cultural context. This paper provides an in-depth analysis of the current application of traditional patterns in animation art. Through the study of the character design in "Ne Zha's Magic Boy Haunts the Sea," it explores how traditional patterns can be integrated into the creation of modern animation in an era of technological advancement. The study aims to offer innovative ideas for the combination of tradition and modernity and to explore further possibilities for traditional Chinese patterns in the context of the new era, ensuring that they preserve the heritage of national art while showcasing the innovative vitality of modern design.
48
Sun, Hanqiu. "Hand interface in traditional modeling and animation tasks." Journal of Computer Science and Technology 11, no. 3 (May 1996): 286–95. http://dx.doi.org/10.1007/bf02943135.
Full text
49
Iwasa, Janet. "Crafting a career in molecular animation." Molecular Biology of the Cell 25, no. 19 (October 2014): 2891–93. http://dx.doi.org/10.1091/mbc.e14-01-0699.
Full textAbstract:
When I first set out on a path to becoming a cell biologist, I would have never imagined that it would lead to a career in molecular animation. I had always thought I would follow a more traditional route. What happened? In this essay, I will describe the experiences that led to my decision to forge a career as an academic molecular animator, and how my work has evolved over the years. I will also provide some resources and advice for those who may be considering following a similar route.
50
Alzahrani, Faisal Mousa. "Effectiveness of animation as a learning tool in applied medical sciences education: A comparative cross-sectional study among university students." Pakistan Journal of Medical Sciences 41, no. 4 (March 28, 2025): 1116–20. https://doi.org/10.12669/pjms.41.4.11204.
Full textAbstract:
Background & Objectives: This study investigates the effectiveness of animation compared to traditional lecture methods on student performance, cognitive outcomes, and knowledge retention among Applied Medical Sciences University students. Methods: In this cross-sectional comparative study, a total of 110 students from the College of Applied Medical Sciences (CAMS), Imam Abdulrahman bin Faisal University participated in the study conducted between 1st April to 30th June 2024. Participants were divided into two groups: one receiving traditional lecture-based instruction and the other receiving animated instructional content. Quizzes were structured into two components to evaluate knowledge retention and cognitive skills. The study further analyzed performance, gender differences, and academic year to assess the efficacy of animation. Results: The animation group outperformed the traditional group in overall scores of 72.48±10.13 vs. 61.16±12.30, (p=0.001), and the passing rate scaled were 60% and 80%. Largely significant differences were seen in male students (p=0.002) and fourth-year students (p=0.001) in the animation group. Knowledge and cognitive assessments showed statistically significant gains in the animation group compared to traditional methods (p< 0.05). Conclusion: Animation-based learning significantly enhances student performance, particularly in cognitive tasks, and is especially beneficial for fourth-year students. This highlights the effectiveness of animation as a teaching tool. Incorporating it can enhance learning outcomes and academic success in applied medical sciences education. doi: https://doi.org/10.12669/pjms.41.4.11204 How to cite this: Alzahrani FM. Effectiveness of animation as a learning tool in applied medical sciences education: A comparative cross-sectional study among university students. Pak J Med Sci. 2025;41(4):1116-1120. doi: https://doi.org/10.12669/pjms.41.4.11204 This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.