Littérature scientifique sur le sujet « Hand-drawn animation »
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Articles de revues sur le sujet "Hand-drawn animation"
Chen, Bing-Yu, Yutaka Ono et Tomoyuki Nishita. « Character animation creation using hand-drawn sketches ». Visual Computer 21, no 8-10 (31 août 2005) : 551–58. http://dx.doi.org/10.1007/s00371-005-0333-z.
Texte intégralLiu, Peng. « "Hand-drawn +3D" Disney Animation Film Artistic Adherence and Technological Innovation ». Highlights in Art and Design 4, no 3 (1 décembre 2023) : 17–18. http://dx.doi.org/10.54097/hiaad.v4i3.05.
Texte intégralThesen, Thomas P. « Reviewing and Updating the 12 Principles of Animation ». Animation 15, no 3 (novembre 2020) : 276–96. http://dx.doi.org/10.1177/1746847720969919.
Texte intégralXu, Jun, Xiang Li, Yangchun Ren et Weidong Geng. « Performance-driven animation of hand-drawn cartoon faces ». Computer Animation and Virtual Worlds 22, no 5 (14 mars 2011) : 471–83. http://dx.doi.org/10.1002/cav.372.
Texte intégralLing, Xufeng, Yu Zhu, Wei Liu, Jingxin Liang et Jie Yang. « The Generation of Articulatory Animations Based on Keypoint Detection and Motion Transfer Combined with Image Style Transfer ». Computers 12, no 8 (28 juillet 2023) : 150. http://dx.doi.org/10.3390/computers12080150.
Texte intégralFujita, Kyosuke, Yuki Morimoto et Mikako Tomotari. « blobby : Generation of Fluid Style Effects in Hand-drawn Animation ». Journal of the Society for Art and Science 20, no 1 (30 mars 2021) : 40–44. http://dx.doi.org/10.3756/artsci.20.40.
Texte intégralPoggiali, Jennifer. « Student responses to an animated character in information literacy instruction ». Library Hi Tech 36, no 1 (19 mars 2018) : 29–42. http://dx.doi.org/10.1108/lht-12-2016-0149.
Texte intégralGoss, Jacqueline. « Drawing Voices ». Animation 6, no 3 (novembre 2011) : 247–58. http://dx.doi.org/10.1177/1746847711416563.
Texte intégralHaswell, Helen. « To infinity and back again ». Alphaville : Journal of Film and Screen Media, no 8 (9 février 2015) : 24–40. http://dx.doi.org/10.33178/alpha.8.02.
Texte intégralZhe, Wang, et Hassan Alli. « CROSSOVER AND EXTENSION OF HAND-DRAWN MAP IN HERITAGE TOURISM : A CASE STUDY ». New Design Ideas 8, no 1 (6 avril 2024) : 169–83. http://dx.doi.org/10.62476/ndi81169.
Texte intégralThèses sur le sujet "Hand-drawn animation"
Williamson, Naomi, et 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.
Texte intégralNilsson, Morgan, et 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.
Texte intégralBen, 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.
Texte intégralMajor 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
CHANG, CHIH-CHIEH, et 張智捷. « Motion Interpolation for Hand-Drawn Animation ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3v8axs.
Texte intégral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.
Hung, Jui-Chieh, et 洪睿杰. « Applied the Existentialism in Hand-drawn Animation ». Thesis, 2014. http://ndltd.ncl.edu.tw/handle/07383099113231759564.
Texte intégralChen, Yi-Chi, et 陳奕奇. « Presenting Classical Allegory with Hand-drawn Character Animation ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/3854am.
Texte intégral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
Yu, Chia-Hui, et 余佳慧. « A Key-Frame Animation System for Hand-Drawn Image ». Thesis, 2007. http://ndltd.ncl.edu.tw/handle/05796392149556699389.
Texte intégral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.
ZONG-HAN, HE, et 何宗翰. « Flowing Time of Self-Consciousness : Hand-Drawn Animation Creation ». Thesis, 2014. http://ndltd.ncl.edu.tw/handle/aq5ep8.
Texte intégral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.
Lin, Yi-Hsiu, et 林怡秀. « The Artist Statement of the Hand-drawn Animation "Dream" ». Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49658237177679390026.
Texte intégral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.
CHENG, FO-YING, et 成佛影. « A Study of the Light Realism Hand-drawn Animation ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6w97m5.
Texte intégralLivres sur le sujet "Hand-drawn animation"
Dobson, Terence. “bump … bup … bup”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0005.
Texte intégralChapitres de livres sur le sujet "Hand-drawn animation"
Lescher, Mary E. « Traditional or Digital : It’s All Hand-Drawn (1989–1990) ». Dans The Disney Animation Renaissance, 47–70. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0003.
Texte intégralWhitaker, Harold, John Halas et Tom Sito. « Timing for a Hand-Drawn Film : Exposure Charts or Exposure Sheets ». Dans Timing for Animation, 40th Anniversary Edition, 23. 3e éd. CRC Press, 2021. http://dx.doi.org/10.1201/9781003139706-13.
Texte intégralLescher, Mary E. « Postscript ». Dans The Disney Animation Renaissance, 175–80. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0007.
Texte intégralLescher, Mary E. « Shutting Down the Studio (2000–2004) ». Dans The Disney Animation Renaissance, 133–74. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0006.
Texte intégralTamari, Tomoko. « Moving Images and Human Perception : Affect in Hand-Drawn Animation and Computer-Generated Imagery ». Dans Human Perception and Digital Information Technologies, 62–85. Bristol University Press, 2024. http://dx.doi.org/10.56687/9781529226201-008.
Texte intégralTamari, Tomoko. « Moving Images and Human Perception : Affect in Hand-Drawn Animation and Computer-Generated Imagery ». Dans Human Perception and Digital Information Technologies, 62–85. Bristol University Press, 2024. http://dx.doi.org/10.51952/9781529226201.ch003.
Texte intégralSmith, Todd L., et Scot Ransbottom. « Digital Video in Education ». Dans Distance Learning Technologies, 124–42. IGI Global, 2000. http://dx.doi.org/10.4018/978-1-878289-80-3.ch010.
Texte intégralActes de conférences sur le sujet "Hand-drawn animation"
Kaiser, Paul. « Hand-drawn spaces ». Dans ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA : ACM Press, 1998. http://dx.doi.org/10.1145/281388.281884.
Texte intégralBuck, Ian, Adam Finkelstein, Charles Jacobs, Allison Klein, David H. Salesin, Joshua Seims, Richard Szeliski et Kentaro Toyama. « Performance-driven hand-drawn animation ». Dans the first international symposium. New York, New York, USA : ACM Press, 2000. http://dx.doi.org/10.1145/340916.340929.
Texte intégralBuck, Ian, Adam Finkelstein, Charles Jacobs, Allison Klein, David H. Salesiny, Joshua Seims, Richard Szeliski et Kentaro Toyama. « Performance-driven hand-drawn animation ». Dans ACM SIGGRAPH 2006 Courses. New York, New York, USA : ACM Press, 2006. http://dx.doi.org/10.1145/1185657.1185865.
Texte intégralFujita, Masaki, et Suguru Saito. « Hand-drawn animation with self-shaped canvas ». Dans SIGGRAPH '17 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2017. http://dx.doi.org/10.1145/3102163.3102212.
Texte intégralFang, Liu. « The application of Flash in the hand-drawn animation ». Dans 2012 International Conference on Image Analysis and Signal Processing (IASP). IEEE, 2012. http://dx.doi.org/10.1109/iasp.2012.6425053.
Texte intégralKeech, Kim, Rachel Bibb, Brian Whited et Brett Achorn. « The role of hand-drawn animation in Disney's Moana ». Dans SIGGRAPH '17 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2017. http://dx.doi.org/10.1145/3084363.3085079.
Texte intégralLi, Shuzeng, Bing Liu et Xuefang He. « Prospect Analysis of Hand-drawn Animation under Digital Technology ». Dans Proceedings of the 2018 4th International Conference on Social Science and Higher Education (ICSSHE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icsshe-18.2018.183.
Texte intégralGupta, Heena, et Parag Chaudhuri. « SheetAnim - From Model Sheets to 2D Hand-drawn Character Animation ». Dans International Conference on Computer Graphics Theory and Applications. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0006514100170027.
Texte intégralWang, Qian. « Research on New Development of Hand-drawn Animation in New Media Era ». Dans 2nd International Conference on Electronics, Network and Computer Engineering (ICENCE 2016). Paris, France : Atlantis Press, 2016. http://dx.doi.org/10.2991/icence-16.2016.185.
Texte intégralDvorožňák, Marek, Saman Sepehri Nejad, Ondřej Jamriška, Alec Jacobson, Ladislav Kavan et Daniel Sýkora. « Seamless reconstruction of part-based high-relief models from hand-drawn images ». Dans 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/10.1145/3229147.3229153.
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