Thematische Bibliographien / Animation 2D

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Auswahl der wissenschaftlichen Literatur zum Thema „Animation 2D“

Autor: Grafiati

Veröffentlicht am 12. April 2025

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Zeitschriftenartikel zum Thema "Animation 2D"

Yang, Zhijun. „2D animation comic character action generation technology based on biomechanics simulation and artificial intelligence“. Molecular & Cellular Biomechanics 21, Nr. 1 (23.10.2024): 338. http://dx.doi.org/10.62617/mcb.v21i1.338.

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AI can greatly improve the process of creating 2D character animations, especially for platformer games. The objective is to enhance visual effects quality and streamline production by incorporating biomechanics and AI-driven technology into the animation process. The current state of study shows that conventional 2D animation production has several problems, such as lengthy procedures, complicated technical requirements, and the requirement for human involvement. Both efficiency and innovation are limited by these limitations. To solve this problem, we suggest generating 2D character animations using AI-driven generative methods and biomechanics simulation. Consistently high-quality outcomes can be achieved by automating aspects of animation design. Improving animation industry innovation, streamlining production workflows, and decreasing manual labor are crucial. The viability of 2D animations generated by AI has been demonstrated in preliminary studies. Artificial intelligence’s effects on animation’s expressiveness, realism, and aesthetics are covered in detail. Furthermore, it has presented challenges with training data, choosing the right model, and fine-tuning. Beyond the field of gaming, our research has wider implications. Several industries may benefit from the benefits of 2D animations enhanced with AI and biomechanics technology. These industries include advertising, entertainment, and education.

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Qiu, Shanhui. „Generative AI Processes for 2D Platformer Game Character Design and Animation“. Lecture Notes in Education Psychology and Public Media 29, Nr. 1 (07.12.2023): 146–60. http://dx.doi.org/10.54254/2753-7048/29/20231440.

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AI has the potential to revolutionize the time-consuming and technically complex process of 2D animation production. This paper specifically focuses on creating 2D character animations for platformer games using AI. While AI has made significant contributions to video animations, its application in 2D gaming animation is largely unexplored. Existing AI applications for animation mostly target video animations and lack effective control over randomness. Therefore, this paper explores the role of generative AI in 2D gaming animation, from character design to full animation. Software tools like ChatGPT, Midjourney, Stable Diffusion, and Unity are used to streamline the production process. The research aims to investigate the feasibility and potential of generative AI, with a focus on controlling randomness. By leveraging the unique features of each software, the study aims to enhance the production of 2D game animations. The final output will be an animated character in the Idle state, showcasing the potential of generative AI in 2D gaming animation.

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Wijanarko, Andang. „Implementasi Prinsip Animasi Straight Ahead Action pada Karakter Hewan Berbasis Animasi 2D“. JAMI: Jurnal Ahli Muda Indonesia 1, Nr. 1 (09.06.2020): 73–84. http://dx.doi.org/10.46510/jami.v1i1.20.

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Abstrak Objective. Rangkaian gerak animasi diwujudkan kedalam karakter-karakter animasi yang biasa dijumpai dalam bentuk apapun. Seorang animator harus memahami prinsip-prinsip dasar dan teknik-teknik tertentu dalam proses animasi sehingga karakter animasi yang dihasilkan memiliki kualitas gerak yang indah dan menarik. Penelitian ini membahas tentang salah satu metode atau prinsip animasi straight ahead action untuk menciptakan gerakan animasi hewan yang detail dan halus. Gerakan yang telah ditentukan untuk karakter hewan antara lain gerakan melompat, berlari, dan gerakan kepala dengan menggunakan karakter hewan kelinci. Materials and Methods. Metode straight ahead action digunakan untuk membuat dan menciptakan gerakan animasi dengan cara menggambar satu per satu (frame by frame) dari awal sampai akhir adegan oleh seorang animator. Perancangan animasi terdiri dari tiga tahap mulai dari pra produksi, produksi, dan pasca produksi, serta menggunakan aplikasi Adobe Animate CC 2018 untuk pembuatan objek animasi 2D. Results. Penelitian ini berhasil menerapkan gerakan animasi hewan dengan gerakan melompat, berlari dan menggerakkan kepala dengan menggunakan prinsip animasi straight ahead action dengan hasil animasi yang detail dan halus. Conclusion. Penelitian ini menghasilkan video animasi karakter hewan berbasis animasi 2D dengan kualitas gerakan animasi yang detail dan halus karena menerapkan prinsip animasi straight ahead action untuk seluruh proses animating-nya. Abstrak Objective. Animated movements are manifested into animated characters that are usually found in any form. An animator must understand the basic principles and certain techniques in the animating process so that the animated characters produce beautiful and interesting motion qualities. This research discusses the implementation of the principle of straight ahead action animation to create detailed and smooth animation movements. Materials and Methods. The straight ahead action method is used to make animated movements by drawing one by one (frame by frame) from the beginning to the end of the scene by an animator. The discussion of the method is carried out by implementing the movements of animals running, jumping, and moving the head, also using Adobe Animate CC 2018 for creating 2D animated objects. The design of animation consists of three stages starting from pre-production, production, and post-production. Results. This research succeeded in applying animal animation with jumping, running and moving the head using the principle of straight ahead action animation with detailed and smooth animation results. Conclusion. This research produces an animated video character of 2D-based animal animation with a detailed and smooth motion animation quality because it applies the principle of straight ahead action animation for the entire animating process.

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Ying, Lee, Chih, und Li, Kun Chung. „AIGC-Assisted Instructional Design for the Self-Regulated Learning Course on "Implementing 2D Animation for the Ziyun Temple Stories"“. International Journal of Religion 5, Nr. 1 (01.02.2024): 580–91. http://dx.doi.org/10.61707/k556b110.

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The instructional design effectively utilizes generative AI to assist in the self-regulated learning course "2D Animation Implementation of Chiayi Temple Stories". It adopts 2D animation and the PPVIO teaching model, leveraging generative AI to create 2D animation scripts and 2D animations. This enhances and sharpens students' storytelling, 2D animation production, and the ability to use generative AI. It also promotes social care, communication, collaboration, and practical application skills. Within the domain of animation graphics, tools like Midjourney and other image-generating AIs are used, with animations completed using the Cartoon Animator 5 software. In this teaching design, teachers play a guiding and mentoring role, leading students to ask more precise prompts to make good use of ChatGPT, and guiding students to overcome the setbacks of self-regulated learning. With the assistance of AI generation tools, students can not only achieve cross-disciplinary learning objectives but, more importantly, reduce the time needed to learn drawing tools. This allows students, even those not specializing in IT, to enhance their digital capabilities in a shorter period. Two suggestions are put forth. Firstly, in the creative section, although the use of AI generation tools is convenient, once technical barriers are removed, the educational content should elevate the level of students' professional creation, such as emphasizing artistic styles. Secondly, regarding self-regulated learning, self-regulated learning should not be pursued for its own sake, nor should learning be for the mere act of learning. It's crucial to stress self-monitoring, self-regulation, and self-discipline to truly grasp the essence of self-regulated learning.

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Thifala, Anisa Zalfa, Mitra Istiar Wardhana und Arif Sutrisno. „Perancangan Animasi 2D Mengenai Upaya Pencegahan Penyakit Saat Musim Hujan“. JoLLA: Journal of Language, Literature, and Arts 1, Nr. 7 (31.07.2021): 995–1009. http://dx.doi.org/10.17977/um064v1i72021p995-1009.

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Abstract: The high cases of disease spread during the rainy season must be overcome quickly and in various ways. A lot of socialization has been carried out, but it has not been spread evenly. Therefore, the design of this animation helps to spread information quickly and easily. Design is the activity of compiling the manufacture of a product from the initial idea to the final product. This animation design uses 3 stages, namely pre-production, production, and post-production. Pre-production is done by collecting and analyzing data, creating concepts, scripts, and storyboards, designing characters, properties, and environments. Meanwhile, the production is conducted through layout, animation, dubbing & sound effects, and compositing. Finally, post-production is conducted through editing, rendering, and publishing. The results of this animation design are animations that describe the symptoms of disease and disease prevention efforts during the rainy season. This animation has a duration of about 3 minutes in an mp4 format. This animation was published on the youtube channel. Keywords: monsoon disease, design, animation Abstrak: Tingginya kasus penyebaran penyakit saat musim hujan harus dapat diatasi dengan cepat dan berbagai cara. Sudah banyak sosialisasi yang dijalankan, tetapi belum tersebar secara merata. Oleh karena itu perancangan animasi ini membantu menyebarkan informasi dengan cepat dan mudah. Perancangan adalah kegiatan menyusun pembuatan suatu produk mulai dari ide awal hingga hasil akhir produk. Perancangan animasi ini menggunakan 3 tahap, yaitu pra produksi, produksi dan pasca produksi. Pra produksi dilakukan dengan pengumpulan dan analisis data, pembuatan konsep, script dan storyboard, desain karakter, properti dan environment. Sedangkan produksi yaitu layout, animating, dubbing & sound effect, dan compositing. Terakhir yaitu pasca produksi, tahap pasca produksi yaitu editing, rendering dan publishing. Hasil dari perancangan animasi ini yaitu animasi yang menggambarkan gejala penyakit dan upaya pencegahan penyakit saat musim hujan. Animasi ini memiliki durasi sekitar 3 menit dalam sebuah format mp4. Animasi ini dipublikasikan melalui kanal youtube. Kata kunci: penyakit musim hujan, perancangan, animasi

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Zhang, Xiao, Jinhua Xu und Wei Yang. „Application and Practice of 2D Animation in Chinese Traditional Elements Based on Deep Learning Model“. Mobile Information Systems 2022 (24.08.2022): 1–10. http://dx.doi.org/10.1155/2022/6453320.

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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.

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Park, Young-Woo. „360 2D Animation Making Research“. Korean Journal of animation 16, Nr. 3 (30.09.2020): 55–67. http://dx.doi.org/10.51467/asko.2020.09.16.3.55.

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Sun, Zhen Tao. „Animation Type Analysis after Using Computer 3D Animation Technology“. Advanced Materials Research 971-973 (Juni 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.971-973.1553.

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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.

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Mayasari, Candra Nur, M. Arief Soeleman und Pujiono Pujiono. „Deteksi Pornografi pada Karakter Animasi 2D dengan KNN (K-Nearest Neighbors) Menggunakan Fitur HSV“. COMSERVA Indonesian Jurnal of Community Services and Development 2, Nr. 08 (10.12.2022): 1236–50. http://dx.doi.org/10.59141/comserva.v2i08.462.

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The development of animation technology is very rapid, both in 2D and 3D forms. Most animators often create female animated characters for various fields such as games, commercials or other anime. Along with the development of animation, there are also negative and positive impacts, where the negative impact is the presence of symbols that lead to pornography. Most of the animations containing negative symbols are spread through the internet, which can be accessed easily by anyone, regardless of age. Which can result in addiction to viewing pornography to other negative behaviors. Artificial intelligence, which is currently developing rapidly, also allows this research to aim at early detection of animated characters that contain pornographic elements. By classifying 2D female animation using the KNN algorithm method with HSV feature extraction. The HSV feature is quite good at detecting complex colors in 2D animated characters. Where the HSV feature can distinguish skin color from other colors in 2D animation. The dataset used consists of 3 categories, namely pornographic images, semi-pornographic images, and non-pornographic images. Using the KNN method, it is possible to classify pornographic, semi-pornographic and non-pornographic images. In this study, the results of HSV feature extraction using the KNN classification method obtained the highest accuracy value of 63.16%.

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Mayasari, Candra Nur, M. Arief Soeleman und Pujiono Pujiono. „Deteksi Pornografi pada Karakter Animasi 2D dengan KNN (K-Nearest Neighbors) Menggunakan Fitur HSV“. COMSERVA : Jurnal Penelitian dan Pengabdian Masyarakat 2, Nr. 8 (10.12.2022): 1236–50. http://dx.doi.org/10.59141/comserva.v2i8.462.

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Dissertationen zum Thema "Animation 2D"

BEZERRA, HEDLENA MARIA DE ALMEIDA. „3D COLORIZING FOR 2D ANIMATION“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7715@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FINANCIADORA DE ESTUDOS E PROJETOS
Esta dissertação discute a aplicação de efeitos de colorização 3D a animações 2D produzidas pela técnica quadro-a-quadro. Utilizando algoritmos de processamento de imagens, desenhos 2D são preparados para receber técnicas de sombreamento evitando a transformação da cena para uma geometria 3D. Esta preparação se dá através da obtenção de mapas de normais que aproximam a geometria do desenho. O sombreamento é obtido através de um conjunto de técnicas de renderização foto-realistas e não-foto-realistas, que podem ser adaptadas para utilização de normais aproximadas. Visando amenizar o trabalho exaustivo de colorir cada desenho, um método baseado no relacionamento entre imagens é apresentado para colorir automaticamente cada quadro numa seqüência de desenhos. Este processo de colorização considera a necessidade de possíveis intervenções humanas para garantir a qualidade final de cada imagem da animação. Um estudo sobre aproximação de normais, técnicas de sombreamento, segmentação de imagens e rastreamento de objetos é amplamente discutido nesta dissertação.
This dissertation discusses the 3D colorization effects usage over a 2d animation, which has been produced through frame-by-frame techniques. Normal vector maps approximates the drawing geometry and provide the ability to perform shading effects by applying digital image processing algorithms, avoiding 3D geometry scene transformation. A set of photorealistic and non-photorealistic renderization techniques, which can be adapted to normal approximation usage, is proposed in the colorization process. Also, a method based on interframe dependence is presented, aiming to reduce the thoroughgoing effort of colorizing each individual frame within an animation. This colorization process considers possible human interventions to ensure image´s result quality. Finally, this dissertation provides a comprehensive study regarding several topics, such as normal approximations, shading techniques, image segmentation and object tracking.

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Chin, Min-Zhi. „Naga: Combining 2D and 3D Animation“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.

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Naga is an animated short about a lively dragon that roams about the lands embracing it’s surroundings dearly. It discovered a barren land while out exploring and was saddened by the sight. After pondering for a while, it then realized it could revive the land with it’s ability to summon rain using it's dragon ball. The short blends traditional animation and computer animation, where the look is similar to 2D animation but the character and a few environment elements are done in 3D. Software utilized to complete the short were Autodesk Maya, Adobe Photoshop, Clip Studio Paint, Adobe After Effects, and Adobe Premiere Pro. The short showcases a stylized Chinese traditional ink painting style, key frame animation, and particle effects.

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Even, Melvin. „Animation 2D esquissée assistée par ordinateur“. Electronic Thesis or Diss., Bordeaux, 2024. http://www.theses.fr/2024BORD0457.

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

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Jurvanen, Christin. „Japansk 2D grafisk animation : uppkomst och influenser“. Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1490.

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

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Au, Kristin C. „Animation : 2D versus 3D and their combined effect“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/92640.

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Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2014.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 53-54).
This thesis studies the differences in the perception of space and character movement between 2D and 3D animation. 2D animation is defined by elements constructed in a 2D environment while 3D animation by elements constructed in a 3D environment. Modern day animated films have been seen to mix the two forms for the sake of artistic effect, expedited production, and general convenience. Though some modern animations combine the two in the explorative quest to discover new animation forms, few films directly compare the forms to visualize the differences in their perceived qualities. Noticeably, the two animation methods differ in level of detail, dimension, realism, and artistic expression. In terms of lighting, the science of illumination dictates the 3D environment whereas in the 2D environment, lighting is an illusion created by coloring conventions. This study looks specifically at lighting as the controlling factor delineating the two forms. Two short mixed media films were created. One film had a 3D base while the other a 2D base. A varied set of subjects were shown one of the two short films produced and asked to complete a survey. The survey measured the subject's understanding of space and character movement as seen the film. Results show that in 3D there is an enhanced understanding of spatial perception while in 2D there is a lower sensitivity to character movement.
by Kristin C. Au.
S.B.

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Pan, Junjun. „Sketch-based skeleton-driven 2D animation and motion capture“. Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/13990/.

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

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Albright, Laura Beth. „2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers“. The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.

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Albright, Laura Beth. „2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.

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Putri, Dian Kemala. „Comprehension of complex animation : cueing, segmentation and 2D / 3D presentations“. Phd thesis, Université de Bourgogne, 2011. http://tel.archives-ouvertes.fr/tel-00795026.

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The goal of our studies was to test the effect of segmentation, cueing, and 2D/3D presentations to foster complex animation rocessing. The material was an upright mechanical piano system. We used an eye tracking system which provides information about learners' attention direction during the animation processing. We analyzed the effect of the format presentations and the eye movements during learning. Based on animation and multimedia research background, four experiments were conducted. In the first experiment the effect of the presentation of simplified external representations on learning from complex animation was investigated. Experiment two and three aimed at studying the cognitive processes involved in learning to complex mechanism system with new cueing techniques with spatial-temporal colored tokens. In the fourth experiment, 2D and 3D presentation of the same animated content were compared. Results of these experiments showed that (1) the use of a dual format presentation is better for developing a dynamic mental model from the animation than a single format, (2) the signaling strategies using cued tokens of dual format can guide efficiently learner's building of mental model and can enhance learner's comprehension of complex system, (3) a sequential format presentation followed by an animation format presentation helps the learner to understand the key stages of a dynamic process and to create a high quality mental model, (4) 3D animation presentation is better than 2D animation presentation to direct attention on relevant component of the animation. For depth processing, comprehension with 3D animation presentation is better than 2D animation format. Eye tracking measures provided insights into how people understood and learned complex systems. The analysis of eye tracking also contributed to the understanding of the subject's perceptual processing during learning. Overall, results provide a significant contribution in the field of learning with complex animation. Recommendations in the ergonomics area for the design of animations are proposed.

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Costa, Paula Dornhofer Paro 1978. „Two-dimensional expressive speech animation = Animação 2D de fala expressiva“. [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/260903.

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

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Bücher zum Thema "Animation 2D"

Pardew, Les. Character emotion in 2d and 3d animation. Boston, MA: Thomson Course Technology, 2008.

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1941-, Roberts Steve, Hrsg. Character animation: 2D skills for better 3D. 2. Aufl. Oxford: Focal Press, 2007.

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O'Hailey, Tina. Hybrid animation: Integrating 2D and 3D assets. Burlington, MA: Focal Press, 2010.

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J, Parrott Clifford, Hrsg. Hollywood 2D digital animation: The new Flash production revolution. Boston, Mass: Thomson Course Technology, 2004.

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Jamie, Oliff, Hrsg. Thinking animation: Bridging the gap between 2D and CG. Boston, MA: Thomson Course Technology, 2007.

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Roberts, Steve. Jiao se dong hua ji chu: 2D he 3D jiao se dong hua zhi zuo quan jie xi = Character animation fundamentals. Beijing: Ren min you dian chu ban she, 2013.

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Huber, Thomas Claudius. Windows Presentation Foundation: [das umfassende Handbuch ; professionelle Benutzeroberflächen-Entwicklung mit der WPF ; aktuell zu .NET 4.0 und Visual Studio 2010 ; inkl. Einführung in XAML, 2D- und 3D-Grafiken, Multimedia, Animationen u. v. m. ; inkl. DVD-ROM mit Microsoft Visual Studio 2010 Express]. 2. Aufl. Bonn: Galileo Press, 2011.

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Animation: Grundlagen - 2D-Animation - 3D-Animation. Springer Berlin / Heidelberg, 2017.

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Creating 2D Animation. Delmar Cengage Learning, 2013.

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Blain, John M. Blender 2d Animation. Taylor & Francis Group, 2021.

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Buchteile zum Thema "Animation 2D"

Blain, John M. „Armatures in Animation“. In Blender 2D Animation, 135–43. New York: A K Peters/CRC Press, 2021. http://dx.doi.org/10.1201/9781003218135-13.

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MacLean, Dave, Satya Komatineni und Grant Allen. „Exploring 2D Animation“. In Pro Android 5, 373–404. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4302-4681-7_18.

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Komatineni, Satya, Dave MacLean und Sayed Y. Hashimi. „Exploring 2D Animation“. In Pro Android 3, 491–517. Berkeley, CA: Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-3223-0_16.

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Komatineni, Satya, und Dave MacLean. „Exploring 2D Animation“. In Pro Android 4, 555–98. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-3931-4_21.

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Hashimi, Sayed Y., Satya Komatineni und Dave MacLean. „Unveiling 2D Animation“. In Pro Android 2, 217–42. Berkeley, CA: Apress, 2010. http://dx.doi.org/10.1007/978-1-4302-2660-4_6.

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Blain, John M. „Navigate and Save“. In Blender 2D Animation, 151–63. New York: A K Peters/CRC Press, 2021. http://dx.doi.org/10.1201/9781003218135-15.

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Blain, John M. „Using a Drawing Tablet“. In Blender 2D Animation, 51–55. New York: A K Peters/CRC Press, 2021. http://dx.doi.org/10.1201/9781003218135-5.

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Blain, John M. „Grease Pencil Modeling“. In Blender 2D Animation, 183–96. New York: A K Peters/CRC Press, 2021. http://dx.doi.org/10.1201/9781003218135-18.

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Blain, John M. „Background Image Tracing“. In Blender 2D Animation, 87–90. New York: A K Peters/CRC Press, 2021. http://dx.doi.org/10.1201/9781003218135-8.

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Blain, John M. „Animating a Character“. In Blender 2D Animation, 121–33. New York: A K Peters/CRC Press, 2021. http://dx.doi.org/10.1201/9781003218135-12.

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Konferenzberichte zum Thema "Animation 2D"

Li, Ran, und Jiangyuan Qi. „Building 2D skeletal animation for body control in unity with machine learning“. In Fourth International Conference on Computer Vision and Pattern Analysis (ICCPA 2024), herausgegeben von Ji Zhao und Yonghui Yang, 20. SPIE, 2024. http://dx.doi.org/10.1117/12.3037823.

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Li, Caihong, und Chunjing Wang. „The Application and Research of PAD-BOPPPS Blended Teaching Model under the AIGC Perspective in the Course of "2D Animation Production"“. In 2024 14th International Conference on Information Technology in Medicine and Education (ITME), 778–82. IEEE, 2024. https://doi.org/10.1109/itme63426.2024.00157.

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Toledano-Dueñas, Juan Manuel, Celia Piquer-Martinez, María Puche-Juárez, María José Zarzuelo-Romero, José María Gálvez-Navas, María Isabel Valverde-Merino, Javier Diaz-Castro, Fernando Martínez-Martínez, Julio José Ochoa-Herrera und Jorge Moreno-Fernandez. „DESIGN AND USE OF 2D ANIMATIONS FOR TEACHING PURPOSES FOR THE HANDLING OF SPECIALTY PHARMACEUTICALS“. In 17th annual International Conference of Education, Research and Innovation, 5221–25. IATED, 2024. https://doi.org/10.21125/iceri.2024.1279.

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Paolini, Marco. „Creating 2D animation“. In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.313587.

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Vegh, Ladislav, und Jozsef Udvaros. „POSSIBILITIES OF CREATING INTERACTIVE 2D ANIMATIONS FOR EDUCATION USING HTML5 CANVAS JAVASCRIPT LIBRARIES“. In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-119.

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Using animations and visualizations can help students to better understand different concepts in a shorter time than using textual or graphical representations of the same concepts. However, prior researches showed that not every animation and visualization is educationally effective. In the first part of this paper, we summarize, what features an animation should have to be successfully used in education. We briefly mention Mayer's principles of multimedia learning and the importance of interactivity in educational animations. In the next part of the paper, we describe how an interactive web-bases 2D animation can be created. In the past, there were various technologies to create web animations, like Microsoft Silverlight or Adobe Flash. However, after the introduction of HTML5, Silverlight and Flash were gradually replaced by JavaScript, which is nowadays the most used technology for creating web-based interactive content. Even though, that creating interactive animations using the HTML5 and JavaScript languages needs good programming knowledge, there are several external libraries available on the internet to help the developers' work. In the main part of this article, we compare two of these libraries, the Konva and Fabric JS. These two libraries are nowadays probably the most popular libraries for creating 2D interactive web-based animations. To compare these libraries in practice, we created the same educational web-based animation, a simple river crossing puzzle, with both of these libraries. According to our research, both of these libraries can be successfully used for creating educational web-based 2D animations. In the last part of this paper, we summarize the pros and cons of the reviewed JavaScript libraries and we draw our conclusions.

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Liu, Hao, Songmao Zhang und Ruqian Lu. „Automatic 2D animation generation“. In 2014 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2014. http://dx.doi.org/10.1109/icalip.2014.7009868.

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Nogueira, João Vitor Santiago, und Leonardo de Oliveira Carvalho. „Animation Frame Colorization with GANs“. In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/sibgrapi.est.2023.27465.

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This research paper presents an innovative approach to alleviate the labor-intensive nature of traditional 2D handmade animation utilizing artificial intelligence techniques. Specifically, we focus on refining the process of image colorization for 2D animations by employing Generative Adversarial Networks (GANs). The proposed method involves leveraging the power of GANs to paint a sequence of black and white frames in a manner that emulates the colors present in a single colored example.

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Hudon, Matis, Rafael Pagés, Mairéad Grogan, Jan Ondřej und Aljoša Smolić. „2D shading for cel animation“. In Expressive '18: Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3229147.3229148.

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Grover, Divyanshu, und Parag Chaudhuri. „Data-driven 2D effects animation“. In the Tenth Indian Conference. New York, New York, USA: ACM Press, 2016. http://dx.doi.org/10.1145/3009977.3010000.

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Willett, Nora S., Wilmot Li, Jovan Popovic, Floraine Berthouzoz und Adam Finkelstein. „Secondary Motion for Performed 2D Animation“. In UIST '17: The 30th Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3126594.3126641.

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