Tesis sobre el tema "Hand-drawn animation"
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1
Williamson, Naomi y naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing". RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
Resumen
Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
2
Nilsson, Morgan y Andreas Lundmark. "2D Aesthetics with a 3D Pipeline : Achieving a 2D Aesthetic with 3D Geometry". Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324678.
Resumen
This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.
3
Ben, Nun Yaël. "Les dessins animés de Satoshi Kon : une esthétique du trompe-l’œil". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080056.
Resumen
Figure majeure de l’animation japonaise, le réalisateur Satoshi Kon (12/10/1963 – 24/08/2010) propose une œuvre unique qui interroge les conventions qui régissent les films d’animation. Par une analyse esthétique, qui tient compte des spécificités du dessin animé et du contexte socio-culturel de la production, cette recherche interroge les mécanismes au cœur de sa démarche. Par l’alliance d’une esthétique graphique et d’une esthétique de la prise de vues réelles, Satoshi Kon développe un ensemble de dispositifs qui questionnent l’idée de la représentation, notre rapport aux images et à la réalité. A ce titre, le cinéaste s’inscrit dans la tradition artistique du trompe-l’œil – notion employée initialement par le producteur Taro Maki. L’analyse approfondie de l’œuvre de Kon permet d’identifier les dispositifs qui forment les procédés de trompe-l’œil, structurant sa démarche. Ceux-ci, s’articulent autour de trois figures récurrentes dans son œuvre : 1) le miroir et les écrans, 2) les images mentales, 3) le monde du spectacle. Servant de lieux de contact entre la réalité et l’imaginaire dans ses films, ces figures multiplient les niveaux de représentation entre lesquels le réalisateur déplace le spectateur. Fréquentes dans le cinéma en prises de vues réelles, Kon les retravaille et les enrichie par le dessin animé. La puissance symbolique de ces images véhicule, de manière subtile, son discours sur la société japonaise contemporaine qui transparaît tant au niveau narratif que formel. Cette thèse offre ainsi une nouvelle lecture de l’œuvre de Satoshi Kon, tout en contribuant à une réflexion plus large sur le médium et sur sa relation avec le cinéma en prises de vues réellesMajor figure of Japanese animation, the filmmaker Satoshi Kon, offers a unique body ofwork that questions the conventions at the heart of the animation production. Through anaesthetic analysis that takes into account the characteristics of hand-drawn animation andthe socio-cultural context of the production, this research examines the mechanisms atthe core of Kon’s approach to filmmaking.By combining a graphic aesthetic with an aesthetic originated in live action films, SatoshiKon develops a set of devices that question the nature of visual representation, ourrelationship to images and to reality. Thus, his approach places him within the artistictradition of trompe-l’oeil– a term initially used to describe his films by producer TarôMaki.Through the detailed analysis of Kon’s films, it is possible to identify the devices formingthe methods of trompe-l’oeil that structure his approach. Built around three recurringfigures in his films: 1) mirror and screens, 2) mental images, 3) the world ofentertainment; these figures form spaces where the reality and the imaginary meet,multiplying the layers of representation through which the viewer is transported by thefilmmaker.Commonly depicted in live action films, Kon reshapes and enriches these figures throughthe art of hand-drawn animation. The powerful symbolism produced by these imagessubtly delivers Kon’s views on contemporary Japanese society, expressed both on anarrative and on a formal level. Therefore, this thesis offers a new interpretation of thework of Satoshi Kon, while contributing to a larger debate on the medium of animationand its relationship with live action cinema
4
CHANG, CHIH-CHIEH y 張智捷. "Motion Interpolation for Hand-Drawn Animation". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3v8axs.
Resumen
碩士玄奘大學
資訊管理學系碩士班
106
The Frame Rate Up Conversion that improves motion picture refresh rate and motion blur in order to display the good quality of motion picture. The Motion interpolation or motion-compensated frame interpolation (MCFI) is a form of video processing in which intermediate animation frames are generated between existing ones by means of interpolation, in an attempt to make animation more fluid and to compensate for display motion blur. The existing motion interpolation algorithm that has focus on video improvement, but it is not good enough for hand-drawn animation operation. The purpose of this study was to investigate hand-drawn animation of motion interpolation algorithm including : a.The hierarchical motion estimation to refinement of animation image vector. b.Search radius is automatically adjusted proportionally. c.Raise the limit value of the scene change detection to improve the fluency. After a large number of experimental comparisons, the conclusion was that the new algorithm not only improves hand-drawn animation image smoothly but also reduces artifacts impact. It also got more accurate matching blocks in the animation.
5
Hung, Jui-Chieh y 洪睿杰. "Applied the Existentialism in Hand-drawn Animation". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/07383099113231759564.
6
Chen, Yi-Chi y 陳奕奇. "Presenting Classical Allegory with Hand-drawn Character Animation". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/3854am.
Resumen
碩士臺中技術學院
多媒體設計系碩士班
98
Original story and character are one of the attractive compositions in term of animation or interactive media. This situation can be verified from the popular game and comics which are produced by USA and Japan. However, when we examine the history of digital content development in our country, the design results of original story and character are not satisfactory. It is not to mention that we have never produced the popular game and animation with local culture. Therefore, this project is based on the design principle with “innovative style of classical elements” for drawing by hand-painted techniques to create characters and situations. The creation is emphasized on the manipulating of emotional and interesting elements to interpret Poetry and Fable. It is looking forward to highlight the characteristics and image of original character through impressive animation. In order to challenge the diverse character design, the variant human characteristics are performed, such as hammer, tolerance, graceful, simple, banal, petty, greedy, and cunning, etc. The subjects of serial creation were selected from classical Poetry-Guanju and Bringing in the Wine, and some of fables like the Monk Eating Shrimps, which have significantly different characteristics of protagonists. In the creation process the characteristics, appearance, action and inner character of a protagonist is analyzed firstly. The inner and external features of a character can be generalized as the basis for the character setting. Followed, it is integrated with the situation analysis of text and then developed the specific scenes and images of the animation. Finally, the characters are created in the abundant condition of subject. The animations of serial creation have been combined into the advanced learning content of Teaching Chinese as a Second Language. It can be used as the basic curriculum for learners to explore the Chinese culture. Therefore, it will reach the goal where the situations of literatures are presented and the classical cultures are inherited
7
Yu, Chia-Hui y 余佳慧. "A Key-Frame Animation System for Hand-Drawn Image". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/05796392149556699389.
Resumen
碩士國立花蓮教育大學
鄉土文化學系碩士班
95
Inbetweening is very important in animation and movies. The thesis constructs an automatic system based on Inbetweening technique. After analyzing and drawing the curves, we convert two hand-drawn images into a smooth animation with colored shape. It is very sensitive after thinning. In order to get an accurate traveling order, we develop a strong tracing algorithm to solve simple image’s matching problem. Moreover, we use Bézier to approximate these curves, and use least square error estimation to find a control point. Finally, we have completed an animation.
8
ZONG-HAN, HE y 何宗翰. "Flowing Time of Self-Consciousness: Hand-Drawn Animation Creation". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/aq5ep8.
Resumen
碩士實踐大學
時尚與媒體設計研究所
102
Time is an abstract phenomenon. As a result that people can not be sensible of any omen of time. But it was the state of existing in reality. We tried to invent various timekeepers until the flowing time could be under control. Because of this, people’s life were sticking on the suppositional way with instrument. And the behavior of observing time had become to a natural reaction for now. Time flies when you are having fun, and it drags whatever you don’t want. Perhaps time is not really precise that we imagined. And maybe it has more possibility or elasticity. In fact, we watched time not only for controlling the determination of life, but also for fearing the regrets in our life. In this project, I tried to use the mono-colored and hand-drawn style, my favorite technique of expression, to create a drastically flowing of time.
9
Lin, Yi-Hsiu y 林怡秀. "The Artist Statement of the Hand-drawn Animation "Dream"". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49658237177679390026.
Resumen
碩士國立交通大學
應用藝術研究所
103
This thesis describes the making of a hand-drawn animation〈Dream〉,which reveals five issues of dream with poetic words , scenes with imagination and bizarre storyline：The beginning of dream, the revealing of secrets, the implication, the relationship between me and dream, and the ending of dream. In the first chapter, core concept comes first：The importance of honesty and dream is to me, and the reason why I choose animation to express this topic. Then I explained how “Dream” was inspired by the three animations in form and visual style. After introducing the producing process, comparison chart helps to provide a full vision of the animation structure including act, scene and the copywriting, and lead to a full understanding by providing details of the ten scene which includes key elements and the symbolic meanings in chapter three. Next chapter is about the concept and implementation of the exhibition display. And the last chapter brings out what the author earned in this project.
10
CHENG, FO-YING y 成佛影. "A Study of the Light Realism Hand-drawn Animation". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6w97m5.
11
Hong, Yi Zhen y 洪逸蓁. "Creation Description of「The Big Cat」Animation and Study of Hand-drawn animation and Animation performing design". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/9k7gjk.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
101
The creative discourse focuses on the personal creation of the "big cats" video to explore the characteristics of hand-drawn animation, design and animation performances. Also explores the context of their own creation from the University of the creative process, and analysis of the principle of performance character animation, try computer animation with hand-drawn animation combined with integration, and thinking about the direction of Taiwan's development of film animation. 
12
Chung-Hsuan, Fan Chiang y 范姜仲萱. "Creation Descriptions of “No Biggie” and Aesthetics of Hand-drawn Animation". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/j4wse7.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
105
Although modern animation is vastly influenced by scientific and technological progress, traditional hand-drawn animation remains irreplaceable by digital media. This thesis describes the process and statement of animated short “No Biggie”, and discusses the expression and aesthetics of hand-drawn animation. In the first chapter, the author introduces the production process before and after studying at TNNUA, and general viewpoints of animation. Chapter two is the creation description, including the concept and expression of the artwork. The concept part analyzes works of female artists and female characters in moving pictures, talking about the connection between females and films, the application of its connotation and symbolism, and the creative process of “No Biggie”; the expression part emphasizes on styles and techniques of minimalism. Chapter three outlines the entire production process. Lastly, chapter four illustrates what the author learned from the production, the current state of the animation industry, and future prospects.
13
Pei-Shan, Huang y 黃蓓珊. "Animation short film《Clumsy Nose》research on children's illustration, hand drawn animation and educational element". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/y9fvz5.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
105
Our life is always faced with a lot of fear and pressure, but not necessarily know how to face it. This paper research on educational element in the animation, is based on psychological education, with child picture books and hand-drawn animation. Hope "Bibliotherapy" and a simple story experience, can make the mind to be bred and inspired, to explore the value of animation in education The first chapter is the author's learning and creative experience. The second chapter describes the production motive, and the "Bibliotherapy" can produce psychological effects of education, and elaborated the story of the creative process. The third chapter record art visual design, post-production,dubbing and music development process. The fourth chapter is the reflection and harvest of this creation. The final chapter is the conclusion and the future outlook.
14
Huang, Hung Chih y 黃鴻志. "Exploring the Style of Hand – Drawn Animation and Its Narrative Techniques by "Daily" Animation Creation". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/82xrbg.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
105
Narrative skills and hand-drawn animation styles are studied through the creation of “Daily” animation. In this work of narrative animation, the authors deliberately deviate from artistic practice of the past and create characters with “absurd” social behavior and values to explore the dark sides of human nature and to reflect on life. Their ultimate goal is to produce scripts on topics that are kin to the audience, and also to convey thoughts on social anomalies, which are worthy of discussion, through the use of fun animations.
15
Eisinger, Sarah Beth. "Applying Hand-Drawn Effects Design Principles to the Creation of 3D Effects". Thesis, 2013. http://hdl.handle.net/1969.1/149373.
Resumen
This thesis centers on the study of the design principles used in creating hand-drawn effects and how they can be applied to computer-generated 3D effects. By studying the rich history of hand-drawn effects animation, artists working on computer-generated films can enhance the emotional impact and visual appeal of their effects without devoting years to creating hand-drawn effects. From reference clips of animated effects and writings by artists, a list of aesthetic guidelines for the production of stylized effects is generated. A series of case study animations is created to demonstrate how these guidelines can be used to create effects in various styles and of various elements.
16
Lin, Shih-Chen y 林師丞. "“ Mammal Planet ” Research on 2D Hand-drawn Animation and its Characteristic Performance". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/06269626182145712549.
Resumen
碩士國立臺南藝術大學
音像動畫研究所
97
This elaboration mainly discusses about my reflection and experience of producing animation in graduate institute. I illustrate the conception of my creation and state experience of producing animation in the past years. Then I analyze my final project, “Mammal Planet,” which includes the process of this production: The inspiration, pre-production, production, digital effects, the storyline and analysis of the whole story. After that I evaluate the achievement of my final project and discuss the performance of 2D character animation. Last, I relate the introspection of my works and prospect of being a filmmaker in animation production environment in Taiwan.
17
Lin, Li-Wei y 林立偉. "Description of the Animation Short Film 《Red Lanterns》─Study on Hand-drawn Animation and It’s Visual Impact". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/07427992157558062387.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
99
This article is based on my personal short animation "Red Lanterns" which discusses about hand-drawn animation of visual impact. The first chapter is a self-examination to my past creation learning process and created cognition. And how TNNUA’s teachers improved my creation. The second chapter talks about my short film "Red Lanterns" including creation motive, visual design and the significance behind the stories. The third chapter is about development of my shot film. The fifth chapter discusses about hand-drawn animation of visual impact and techniques . And research attainment is a review about the film’s content and procedure. The final chapter talks the individual creation and the anticipation to my future career.
18
Guo, Yi-hua y 郭宜華. "The Creation Description of “Rotary Bakery” and Research on Animation with 2D Hand-drawn and Computer Animation". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/26387206527038424180.
Resumen
碩士國立雲林科技大學
視覺傳達設計系碩士班
101
The Rotary Bakery describes how others help a character with mental disability in learning dilemma to gain confidence and ability. Due to the innate disability of the character, he often encounters setbacks and challenges in the learning process, and their low confidence has triggered uncertainty and anxiety, thus needing more care and encouragement. This creation refers to the experiences of the researcher and analysis of literature concerning people with mental disability as the direction for the story plot. In this animation, 2D hand-drawing is used to present the main character, and paper-cutting animation is used to present other characters. Hand-drawing, collage, and computer graphics are used to create rich visual effect. The main setting, “the rotary kitchen” is created by 2.5D. The other settings are changed with the emotions of the characters, in order to convey their changes of mind. It is hoped that this animation can inspire the possibility of further self-creation, and allow more people to realize how to get along with people with mental disability, thus gaining encourage and having a positive view on life.
19
Feng, Jimmy y 馮偉中. "Creation Descriptions of 「MIRROR」and Researching a new style of hand-drawn animation". Thesis, 2001. http://ndltd.ncl.edu.tw/handle/92603199175576725570.
Resumen
碩士臺南藝術學院
音像動畫研究所
89
1.Based upon the “contradiction of humanity ” as the main proposition of this film, the psychological issue was extended to promote the connotation of the story. 2.Combining the traditional hands script and the computer-animated skills, I tried to create the new performances of the hand-script animation. 3.Using illusional art and contradictable graphs not only responded to the subject, but also strengthened the effects of vision and intensified the purpose of the surreal aura. 4.To attempt to change the art of facial make-ups in Chinese opera into other appearances, I regarded them as the animated characters.
20
Chang, Zheng Jie y 張正杰. "Discussion on “The Nose” and study on Hand-drawn animation with digital tools". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/33279872318559123311.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
101
“Nose” is a short animated film talking about a man who is not satisfied with his own body, and how he bears the pressure giving him from society. However, the pressure is accustomed in our own life, but maybe we could not think so. This article describes my animation creation experience. And it discusses the bodies, sexuality in relationship with the society. And to analysis how the digital tools impact on hand-drawn animation.
21
Hu, Shao-Tsung y 胡紹宗. "Description of《Return》and Study on the Expressive meaning of Hand-Drawn Animation". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/84737299599798391245.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
99
The animation of art in addition to giving the audience a rich visual.The image and symbolic language is becomimg to creators personal characteristics. Showing the pursuit of beauty of hand-drawn animation.The first chapter shows my creating experiences、impressions and developing of style.The second chapter discusses which the story developing and pre production.The third chapter analyzes the final project.the.Speak on story of the visual style and image design.The final chapter is a summary of environment of Taiwan animation and expectation of creating in the future.
22
Yu, Zong-Jyun y 余宗駿. "The Fantastic Wind and Water ─ Presenting Classical Chinese Poetry by Hand Drawn Animation". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/yr3394.
Resumen
碩士國立臺中科技大學
多媒體設計系碩士班
100
In the field of digital content, animation can be used to deliver a distinctive cultural diversity and cultural exchange purpose. In addition, it can become a broadcast media for the commercial event, and even be profitable in the global entertainment market. Therefore, the animation can be regarded as the product of the times of a national cultural development. At the same time, it also plays the promoter of contemporary culture. The creation is issued on the situation and cultural aesthetics of classical Chinese poetry. The author hopes to convey the classical literature to foreigners through multimedia learning content. Readers can enhance the knowledge awareness by the visual media in the process of learning advanced Chinese. Simultaneously, they will bring up the ability of savoring the cultural aesthetic feeling of Chinese poetry in gradual. Accordingly, the creation first set the Su Shi ─ Shuidiaogetou, Prelude to Family-The Mid-autumn Festival, as the theme for the hand-painted character animation. It tries to figure out the complex mind of the poetry protagonist who was demoted and missed the brotherhood. Secondly, the theme Liu Yu-xi ─ Wuyi Lane is combine the scenes with shadows and multi-level of dynamic graphs, describe the change of the time about the Wuyi Lane from prosperous to impoverished, through cherish the memory of past and present that inspire the deep reflection in human life. Finally , the theme Fan Chung-yen ─ Yujiaao is describe the toil of the soldiers who tenaciously stick to the frontier, and drown their homesick and depressing in drink. In the creation process, the author referred to exiting poetry appreciation through literature review with analysis, induction and extraction methods. Then, the author applied the situated analysis on the works of historical background, ancient cultural life, and the experience of literati to develop the situated elements and storyboard. After the definition and visual design of roles, objects an scenes, the animation of intuitive situation representation was implemented by 2D and 3D graphics technique. Eventually, the multimedia were done in post-production and combined with the text of learning content. The results are able to present the integration of traditional and modern cultural elements, which can help second language students to comprehend and feel the situation and aesthetic feeling of classical poetry when they communicate with Chinese.
23
Chen, Yu-Ling y 陳昱伶. "An investigation of the animation "The Forest Unseen" and the use of hand drawn and mix technique animation". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/35848121616999194112.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
104
The study is based on author’s creative process and personal learning experience. Following her previous creative works, “The Forest Unseen” again focuses on the relationship between human and nature. “The Forest Unseen” starts with the story of a disappeared island, and finally explores the factor which is caused by human development. In the way of combining Chinese ink style figure painting techniques, pencil drawing and stop motion form its poetic atmosphere. The first chapter is the introduction of author’s background of arts learning process and previous works. The Second chapter is the explanation of the story and the creation. The third chapter is the exploration of hands-on experiences, art design, different mediums and sound in the work. The fourth chapter is the investigation of the particularity of "straight ahead" animation, to explore its particularity, freedom and flexibility. The last chapter is the conclusion. To conclude the results of the whole production study procedure with personal reflection and future expectations.
24
Hsu, Fang-Ju y 徐芳如. "Discussion Of A hand drawn animation《A-May》and Technical using for Character expression". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/40224792630611484031.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
104
《A-May》is a fusion of hand-drawn animation and digital computer’s personal autobiographical animation, tells the story in the cold approach about the antagonistic relationship between mother and daughter. Paper will briefly personal creative experience and the master of the creative process, from the pursuit of the image presented to think the story connotation, and discuss Eastern and Western cultural family emotion and mental illness in the visual arts performance, and talk about the process of drawing , art design. The last chapter, for the reflections of the《A-May》short animation production, influence in the 3D digital technology impact on traditional 2D hand-drawn, and the future creative expectations.
25
鄭宜芳. "The Animation of Poetry—Exploring the Application of "Poetic Association in Thinking Process" During Creating Hand-drawn Experimental Animation". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/53687580670991872385.
Resumen
碩士國立臺灣師範大學
設計研究所
96
This research applies the “poetic thought” process to the play writing and the visual expressions in experimental animation. Intermedia intertextuality was often seen between the text of poetry and the text of images. The nature of animation is closely related to poetry. For example, the poetic animation has—strong subjectivity from the author’s personal style, image which has its unique imagery, image symbols in Symbolism, and the surrealistic techniques. All of these are the same with the characteristic of poetry. The relationships among poetry, the poetic sentiment, and the animation are as follow: "Poetry," the dominant component of the script, expresses the subjective thinking of the animation creator; "the image (frame content)" is the work of the animation creator; "the poetic sentiment" is the visual feeling and the aesthetic psychology of the audience.Since animation is a big combination of different artistic domains, and there is high degree of freedom in how to apply techniques and materials, any idea could be put into practice. Therefore, we should emphasize the creativity and the aesthetic value in the content of animation. Poetry is related to thinking in nature, and is the power source for creators to express their thoughts and to create. While referring to the intertextuality phenomenon between animation and poetry, we should ground in the essence of poetic language. Therefore, the author applied "the Associative Tree", which was proposed by the poet Bai-Ling, as the "poetic thinking" method during the process of play writing and creative performance. Through the special characteristics of the poetic language, the author transformed the abstract human mood into concrete image and then the script of the poem. Moreover, the author used both realistic and abstract visual element in the animation, and united the highly painterly hand-drawn animation with personal sensitive style to visualize the poetic script, making every effort to unfold experimental animation in the artistic way.
26
Chang, Hui-Shan y 張橞姍. "Description of the Animation Film 《User's Guide for Human Beings》and Study on Visual Language for Hand-drawn Animation". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/54660149226577217775.
Resumen
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
100
Each development of animation, from 2D to 3D and from hand to computer, has reflected the advance of technology. Many animation creators seek the highest of computer-made animations. However, some still insist on doing it by hands. This essay explores the nature of hand-drawn animation. Since the creation of animation, the characteristic of visual art of hand-drawn animation have been applied, and the animation language has exerted imagination and sense of humor in the works. Through my work “User’s Guide for Human Beings”, I discuss the visual language for hand-drawn animation and the procedure of making this film.
27
WEI, CHEN KANG y 陳岡緯. "The synopsis statement of 『Backyard』 and the new discover of hand-drawn animation with commercial act". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/67766523396886912826.
Resumen
碩士國立臺南藝術大學
音像動畫研究所
93
The synopsis statement mainly focus on the combination of traditional hand-drawn animation skill and the use of digital computer technique by the experience of making graduate production animated film 【Backyard】 and also four years of making film and art pieces experiences. From the story concept of the animated film 【The man of The Hour】, this graduate production film 【Backyard】 has the same story structure but different direction; this film analyses how people deal with the conflict between work and life in the society. By the limited sources, material and the digital equipment, the independent film maker tried to show the perfect hand-drawn animation aesthetics, besides, the film combined with digital computer technique, so then the film developed a new look of hand-drawn animation with commercial act.
28
鍾侑軒. "Creation Descriptions of “The Experiment” and Research on Animation with 2D Hand-drawn and CGI Techniques". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/48248849380579391576.
29
Murphy, Arlene. "The use of medical imagery in hand drawn animation artworks: William Kentridge's History of the Main Complaint and other works". Thesis, 2009. http://hdl.handle.net/10539/7027.
Resumen
Abstract:
In this research I examine two of William Kentridge’s hand-drawn animation artworks, History of the Main Complaint (1996) and Weighing and Wanting (1998), in which medical imagery is utilized to investigate forms of self narration. In these animation artworks Kentridge’s choice of medical imagery focuses particularly on technologies used to reflect the interior of the body, such as X-rays, sonar scans and Magnetic Resonance imaging (MRI) scans. He correlates such forms of looking into the human body with ideas of excavating history and revealing personal introspection. Medical imagery is thus used as a form of metaphoric expression of autobiography as the scrutinizing of the interior of the body comes to represent a probing into repressed memories. Kentridge has developed a particular method of animation in which he shapes single charcoal drawings into sequences on film. His technique of drawing images over previously erased ones is strongly associative of memory function and the imagery he uses exhibits highly personal reflections on history and memory related to post-apartheid South Africa.
Drawing on ideas about the self from various disciplines, I formulate a workable definition that will better enable me to illustrate how the self is narrated in Kentridge’s work. I go on to show how medical scans provide him with a means to visualize the interior of the human form where the physical interior can come to stand for psychological states of which memory is a key component. I thus consider how Kentridge can be seen to view the interior of the body as a site for memory and briefly touch on current medical findings that suggest that memories are not only stored in the brain but also in the cells of other body parts. I further examine how Kentridge uses the analogy between landscape and memory to create a form of autobiographical and personal documentary and consider how his drawing process can be regarded as a form of self narration by way of its capturing of the passing of time and its speaking of how an image is made autobiographical. I finally discuss my own practical work which similarly explores how the self might be narrated through medical imagery and in my chosen media: stop frame animation, painting and printmaking.