Bibliografias temáticas / Painterly animation

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Literatura científica selecionada sobre o tema "Painterly animation"

Autor: Grafiati

Publicado: 21 de setembro de 2024

Última modificação: 19 de julho de 2025

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Artigos de revistas sobre o assunto "Painterly animation"

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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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.

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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

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Park, Youngsup, and Kyunghyun Yoon. "Painterly animation using motion maps." Graphical Models 70, no. 1-2 (2008): 1–15. http://dx.doi.org/10.1016/j.gmod.2007.06.001.

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O'Donovan, P., and A. Hertzmann. "AniPaint: Interactive Painterly Animation from Video." IEEE Transactions on Visualization and Computer Graphics 18, no. 3 (2012): 475–87. http://dx.doi.org/10.1109/tvcg.2011.51.

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Youngsup Park and YoonKyungHyun. "Motion Areas based Painterly Animation using Various Edges." Journal of the Korea Computer Graphics Society 14, no. 1 (2008): 1–10. http://dx.doi.org/10.15701/kcgs.2008.14.1.1.

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Bassett, Katie, Ilya Baran, Johannes Schmid, Markus Gross, and Robert W. Sumner. "Authoring and animating painterly characters." ACM Transactions on Graphics 32, no. 5 (2013): 1–12. http://dx.doi.org/10.1145/2484238.

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Pollak-Lewis, Barbara. "Interview with Nina Paley." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 5, no. 2 (2024): 337–48. https://doi.org/10.54103/2724-3346/27700.

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Nina Paley (NP) is an American cartoonist, animator, and free culture activist from Central Illinois, United States. She was the artist and often the writer of the comic strips Nina’s Adventures and Fluff, after which she has worked primarily in animation. She is best known for creating the 2008 animated feature film Sita Sings the Blues, based on the Ramayana, with parallels to her personal life. In 2018, she completed her second animated feature, Seder-Masochism, a retelling of the Book of Exodus as patriarchy emerging from goddess worship. Barbara Pollak-Lewis (BPL) is a painter, curator an

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Wu, Pei, and Sijie Chen. "A Study on the Relationship between Painter’s Psychology and Anime Creation Style Based on a Deep Neural Network." Computational Intelligence and Neuroscience 2022 (July 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/7761191.

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We conduct an in-depth study on the model construction of deep neural networks and design a model of painter’s psychology and anime creation style to realize the study of the relationship between painter’s psychology and anime creation style based on deep neural networks. This paper proposes an animation creation psychology classification algorithm that integrates human cognitive deep network structure optimization. The algorithm analyzes the connection between different convolutional layer features and animation characteristics through animation creation style CNN feature visualization. It in

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Cheng, Jun. "The Application of Storyboard in Animation." Computer Software and Media Applications 2, no. 1 (2019): 5. http://dx.doi.org/10.24294/csma.v2i1.1170.

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The design of animation storyboard is not only literary, but also based on simple painting. In the design process, it needs a variety of expression methods, which are arranged and combined. As a creative and expressive script, storyboard can drive the characters to perform more vividly. Animation storyboard can drive the narrative section and enhance the literary effect of animation. In a word, the storyboard of animation can let painters and other staff understand the style and narrative trend of animation in the process of editing and production, which is an indispensable step in the early s

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Kaptan Siray, Basak. "Concrete Abstract: Exploring Tactility in Abstract Animations from Early Avant-garde Films to Contemporary Artworks." International Journal of Film and Media Arts 6, no. 2 (2021): 28–41. http://dx.doi.org/10.24140/ijfma.v6.n2.02.

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After witnessing social chaos and the collapse of values at the beginning of the twentieth century, avant-garde artists insert new thought patterns and progressive aesthetic into the traditional perception of art. Being enthralled by the new film medium, former painters like Viking Eggeling, Walther Ruttman and Hans Richter start to experiment with light in two-dimensional film formats, they animate lines, stripes, basic shapes, play with the foreground and the background, and, most important of all, they construct a temporality within the visual order of the screen. Viking Eggeling’s Symphoni

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Teses / dissertações sobre o assunto "Painterly animation"

Barroso, Nicolas. "Génération d'images intermédiaires pour la création d'animations 2D stylisées à base de marques." Electronic Thesis or Diss., Université de Toulouse (2023-....), 2024. http://www.theses.fr/2024TLSES083.

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Dans le cadre de ma thèse, je m'intéresse à la problématique de la création d'animations 2D traditionnelles, où toutes les images sont réalisées à la main. Je cherche à explorer comment l'ordinateur peut aider les artistes à produire de manière plus efficace sans pour autant empiéter sur le spectre de la création artistique. Pour répondre à ce problème, mes travaux se placent dans le domaine des méthodes automatiques, où l'animateur travaille de manière itérative avec l'ordinateur. Je propose une méthode qui, à partir de deux images clés et d'une série de champs vectoriels 2D décrivant le mouv

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Eldstål, Emil. "Generating Procedural Environments using Masks : Layered Image Document to Real-time environment." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74667.

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This paper will explore the possibilities of using an automated self-made procedural tool to create real-time environments based on simple image masks. The purpose of this is to enable a concept artist or level designer to quickly get out results in a game engine and to be able to explore ideas. The goal of this thesis was to better understand how you can break down simple ideas and shapes into more complex details and assets. In the first part of this thesis, I go over the traditional workflow of creating a real-time environment. I then go on and break down my tool, what it does and how it wo

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Langerman, Jorike. "Diek Grobler : an artists monograph with interactive catalogue." Diss., 2011. http://hdl.handle.net/10500/5138.

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This is a monograph on the South African artist Diek Grobler. The aim is to contextualise the artist‟s oeuvre up to 2009 and to explore the visual metaphors in his art. Grobler has a fascination for stories. He blends tales of traditional Western mythology, African mythology, Christian religion, folklore and magical realism into narrative artworks. Through visual metaphors the artist comments on the everyday human dramas that surround him – be they political, social, psychological or cultural. Furthermore, he adds an element of surprise to his sketches of human drama, by infusing them

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Livros sobre o assunto "Painterly animation"

Watkins, Adam, Jingtian Li, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unity, Substance Painter, and Maya: Models, Textures, Animation, and Code. Taylor & Francis Group, 2020.

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Watkins, Adam, Jingtian Li, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unity, Substance Painter, and Maya: Models, Textures, Animation, and Code. Taylor & Francis Group, 2020.

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Watkins, Adam, Jingtian Li, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unity, Substance Painter, and Maya: Models, Textures, Animation, and Code. Taylor & Francis Group, 2020.

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Watkins, Adam, Jingtian Li, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unity, Substance Painter, and Maya: Models, Textures, Animation, and Code. Taylor & Francis Group, 2020.

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Creating Games with Unreal Engine, Substance Painter, and Maya: Models, Textures, Animation, and Blueprint. Taylor & Francis Group, 2021.

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Li, Jingtian, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unreal Engine, Substance Painter, and Maya: Models, Textures, Animation, and Blueprint. Taylor & Francis Group, 2021.

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Li, Jingtian, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unreal Engine, Substance Painter, and Maya: Models, Textures, Animation, and Blueprint. Taylor & Francis Group, 2021.

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Li, Jingtian, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unreal Engine, Substance Painter, and Maya: Models, Textures, Animation, and Blueprint. Taylor & Francis Group, 2021.

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Capítulos de livros sobre o assunto "Painterly animation"

Lee, Hyo Keun, Young Sup Park, and Kyung Hyun Yoon. "A Study on the Dynamic Painterly Stroke Generation for 3D Animation." In Computational Science and Its Applications — ICCSA 2003. Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-44842-x_33.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "FPS Animations." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-14.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "FPS Animation in Maya." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-11.

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Li, Jingtian, Kassandra Arevalo, and Matthew Tovar. "FPS Animation in Maya." In Creating Games with Unreal Engine, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003053101-11.

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Ng, Yuk Lan. "Veiled Zen Journeys through Early Muromachi Flower-and-Bird Paintings." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0014.

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This essay largely explores early Muromachi flower-and-bird painting in Zen monastic context and examines how these works convey symbolic connotations related to Zen (Chan) Buddhism. The development of Zen Buddhism in 13<sup>th</sup> century Japan not only paved the way for the flourishing of Gozan culture, but also contributed to vigorous cultural exchange between Japan and China in the Muromachi period. The author analyzes the spiritual insights of the Zen priest-painters and their productions, which are a combination of art and poetry. The religious meanings of the flower-and-bird motifs are investigated according to the artistic and literary traditions of that time. The influence of Zen on other Japanese art forms are just as salient and the author concludes that the later development of 2-D art and contemporary 3-D installations of Buddhist art shows the continual development of the Zen spiritual journey.

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O'Meara, Simon. "The House as Dwelling." In The Ka'ba Orientations. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748699308.003.0007.

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This chapter continues the previous chapter’s inquiry into the housing function of the Kaʿba, looking at a little-known purpose of the black robe that covers the Kaʿba, the Kiswa. Referring to descriptions and depictions of the Kaʿba by travellers, pilgrims and miniature painters, the chapter argues that a particular way of hanging the Kiswa signals when within the House a divine presence is imagined to dwell. Divided into two parts, part one presents a history and description of the Kiswa and investigates its relationship to the Kaʿba, asking whether the Kiswa is integral to the Kaʿba or an afterthought and if it veils or reveals the Kaʿba. Part two analyses the dynamics of the Kiswa, showing how the different ways it is hung during the Islamic year serve either to animate the Kaʿba from without or to prompt the perception that the Kaʿba has been animated from within – quickened. The first type of animation is shown to be figurative only, the elevated Kiswa breaking up the otherwise unbroken solidity of the Kaʿba’s walls. The second type of animation is shown to verge on the literal, and at times cross into it.

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Villaverde, Cirilo. "I I." In Cecilia Valdés. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195143959.003.0002.

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Abstract A few years before, or better put, one or two years after the fall of the second brief constitutional period,6 in which a state of siege was declared against the island of Cuba and its Captain General, Don Francisco Dionisio Vives, a common sight in the streets of the district of El Angel was a youngster about twelve years old, who either because of her habit of wandering all about, or else because of other circumstances of which we shall speak in a moment, attracted everyone’s attention.Her face belonged to the same type as that of the virgins of the most renowned painters. For along with a high forehead, crowned with abundant naturally wavy black hair, she had very regular features, a straight nose descending from between her eyebrows and because it was rather short, raising her upper lip almost imperceptibly, baring two rows of little white teeth. Her eyebrows formed an arch and thus further shadowed her black almond eyes, which were all animation and fire.

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Ormstad, Ottar. "YELLOW FLOWER POWER." In Indian Electronic Literature Anthology: Volume I. Indian Institute of Technology Knowledge Sharing in Publishing - IIT KSHIP, 2023. http://dx.doi.org/10.57004/book1.n.

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YELLOW FLOWER POWER (2017) is the fifth film by Norwegian concrete poet Ottar Ormstad. Here again viewers encounter letter-carpets and a yellow y he identifies with. The work is based on slogans and song-titles from different countries at the end of the Sixties, presented in their original language, intentionally without translation. The texts are combined with photographs of sculptures from the Vigeland Park in Oslo/Norway, where Ormstad lives and shot the naked people exposed in stone and iron by sculptor Gustav Vigeland (1869–1943). This park is the largest in the world based on one artist and contains more than 200 works. The film also includes live video-footage of Charles Lloyd playing saxophone in front of a huge painting by Norwegian expressionist painter Edvard Munch (friend/enemy of Vigeland), as well as an unpublished photo of the young Mick Jagger, both shot in Oslo by Ormstad. Like in earlier works, Ormstad uses a strong sound in the very start for creating a period of silence at the beginning of the film. The animation is created in close collaboration between artist Margarida Paiva and Ormstad. YELLOW FLOWER POWER invites viewers for an individual experience dependant upon the viewer's language background and tolerance towards non-translation.

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Herren, Graley. "Ekphrasis." In The Edinburgh Companion to Don DeLillo and the Arts. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474499903.003.0012.

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A long literary tradition of using language to describe a non-verbal artwork or object, real or imagined, ekphrasis stages conflicts between words and images, movement and stasis, speech and silence, life and death. These tensions are often implicitly or explicitly gendered. Don DeLillo is a word-painter who frequently includes ekphrasis as a model for engagement and competition between the verbal and the visual. This chapter focuses on the central animating force of ekphrasis in three DeLillo novels. In the photo shoot scene of Mao II, DeLillo reverses the typical genders of ekphrasis, featuring the photographer Brita Nilsson capturing the novelist Bill Gray in her predatory gaze. DeLillo employs ekphrasis in Falling Man to compose a counternarrative to the terrorist attacks on 9/11 and their post-traumatic aftermath, with Lianne Glenn as the primary ekphrastic subject in the novel. In Zero K, the Convergence doubles as both cryonics facility and avant-garde museum. Jeff Lockhart is highly attuned to the authoritarian agenda of the Convergence to transform human subjects into mindless, powerless objects, yet he is largely blind to his own tendencies for objectifying women. DeLillo exposes, critiques and even parodies the male gaze through his depiction of Jeff.

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Trabalhos de conferências sobre o assunto "Painterly animation"

Meier, Barbara J. "Painterly rendering for animation." In the 23rd annual conference. ACM Press, 1996. http://dx.doi.org/10.1145/237170.237288.

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Hays, James, and Irfan Essa. "Image and video based painterly animation." In the 3rd international symposium. ACM Press, 2004. http://dx.doi.org/10.1145/987657.987676.

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Shukla, Umesh. ""Still I Rise" painterly animation off the shelf." In ACM SIGGRAPH 2002 conference abstracts and applications. ACM Press, 2002. http://dx.doi.org/10.1145/1242073.1242266.

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Lin, Liang, Kun Zeng, Han Lv, Yizhou Wang, Yingqing Xu, and Song-Chun Zhu. "Painterly animation using video semantics and feature correspondence." In the 8th International Symposium. ACM Press, 2010. http://dx.doi.org/10.1145/1809939.1809948.

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Castaneda, Saif, and Ergun Akleman. "Shading with painterly filtered layers." In Expressive '17: The joint symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. ACM, 2017. http://dx.doi.org/10.1145/3092907.3122800.

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Bertea, Armand. "USE OF NEW FEATURES AND ADD-ONS IN POWERPOINT TO CREATE ANIMATIONS THAT STIMULATE LEARNING." In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-068.

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E-learning has developed over the years into an crucial element of the modern teaching process, and the teaching methods have changed accordingly. In this context, animations and simulations play a significant role. As many students are mainly visuals learners, it is largely accepted that animations and simulations can help the student learning process, because they clarify more complicated concepts through visual means, complementing and simplifying the old-fashioned textual based presentation. In order to make the teaching content more attractive and interesting, E-learning authoring tools a

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Hawkes, Rycharde. "The painter." In ACM SIGGRAPH 2004 Computer animation festival. ACM Press, 2004. http://dx.doi.org/10.1145/1186015.1186090.

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Lu, Jingwan, Pedro V. Sander, and Adam Finkelstein. "Interactive painterly stylization of images, videos and 3D animations." In the 2010 ACM SIGGRAPH symposium. ACM Press, 2010. http://dx.doi.org/10.1145/1730804.1730825.

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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.

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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this

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