Bibliographies thématiques / Painterly animation

Littérature scientifique sur le sujet « Painterly animation »

Auteur : Grafiati

Publié le 21 septembre 2024

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Articles de revues sur le sujet "Painterly animation"

Seifi, Hasti, Steve DiPaola et Ali Arya. « Expressive Animated Character Sequences Using Knowledge-Based Painterly Rendering ». International Journal of Computer Games Technology 2011 (2011) : 1–7. http://dx.doi.org/10.1155/2011/164949.

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We propose a technique to enhance emotional expressiveness in games and animations. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Moreover, researchers have found that colors and line properties affect users' emotions. We propose using painterly rendering for character sequences in games and animations with a knowledge-based approach. This technique is especially useful for parametric facial sequences. We introduce two parametric authoring tools for animation and painterly rendering and a method to integrate them into a knowledge-based painterly rendering system. Furthermore, we present the results of a preliminary study on using this technique for facial expressions in still images. The results of the study show the effect of different color palettes on the intensity perceived for an emotion by users. The proposed technique can provide the animator with a depiction tool to enhance the emotional content of a character sequence in games and animations.

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Chen, Chen. « Painterly focused Chinese ink animation : Seeing through the cultural lens of the Xiang system ». Animation Practice, Process & ; Production 8, n^o 1 (1 décembre 2019) : 141–64. http://dx.doi.org/10.1386/ap3_00009_1.

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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.

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Park, Youngsup, et Kyunghyun Yoon. « Painterly animation using motion maps ». Graphical Models 70, n^o 1-2 (janvier 2008) : 1–15. http://dx.doi.org/10.1016/j.gmod.2007.06.001.

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O'Donovan, P., et A. Hertzmann. « AniPaint : Interactive Painterly Animation from Video ». IEEE Transactions on Visualization and Computer Graphics 18, n^o 3 (mars 2012) : 475–87. http://dx.doi.org/10.1109/tvcg.2011.51.

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Youngsup Park et YoonKyungHyun. « Motion Areas based Painterly Animation using Various Edges ». Journal of the Korea Computer Graphics Society 14, n^o 1 (mars 2008) : 1–10. http://dx.doi.org/10.15701/kcgs.2008.14.1.1.

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Bassett, Katie, Ilya Baran, Johannes Schmid, Markus Gross et Robert W. Sumner. « Authoring and animating painterly characters ». ACM Transactions on Graphics 32, n^o 5 (septembre 2013) : 1–12. http://dx.doi.org/10.1145/2484238.

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

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We conduct an in-depth study on the model construction of deep neural networks and design a model of painter’s psychology and anime creation style to realize the study of the relationship between painter’s psychology and anime creation style based on deep neural networks. This paper proposes an animation creation psychology classification algorithm that integrates human cognitive deep network structure optimization. The algorithm analyzes the connection between different convolutional layer features and animation characteristics through animation creation style CNN feature visualization. It interactively uses the knowledge of animation creation psychology expression techniques to optimize the network structure. This paper proposes a scene animation network based on spectral difference perception style. By analyzing the characteristics and differences in the spectrum between realistic and anime domain images, the generator is guided to learn the mapping relationships better to fit the style distribution of anime domain images. This paper uses a fully convolutional structure; the network is more lightweight and supports image inputs of arbitrary size, which can keep the semantic system of the background unchanged while highly deforming the five facial features, moving toward the goal of human-scene fusion for the animation task.

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Cheng, Jun. « The Application of Storyboard in Animation ». Computer Software and Media Applications 2, n^o 1 (14 mai 2019) : 5. http://dx.doi.org/10.24294/csma.v2i1.1170.

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

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Kaptan Siray, Basak. « Concrete Abstract : Exploring Tactility in Abstract Animations from Early Avant-garde Films to Contemporary Artworks ». International Journal of Film and Media Arts 6, n^o 2 (17 décembre 2021) : 28–41. http://dx.doi.org/10.24140/ijfma.v6.n2.02.

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After witnessing social chaos and the collapse of values at the beginning of the twentieth century, avant-garde artists insert new thought patterns and progressive aesthetic into the traditional perception of art. Being enthralled by the new film medium, former painters like Viking Eggeling, Walther Ruttman and Hans Richter start to experiment with light in two-dimensional film formats, they animate lines, stripes, basic shapes, play with the foreground and the background, and, most important of all, they construct a temporality within the visual order of the screen. Viking Eggeling’s Symphonie Diagonale (1921-24), Walther Ruttman’s Opus I (1921) and Hans Richter’s Rhythmus 21 (1921) show such temporality built in, which is caught by the idea of music as their titles suggest. These short abstract animation films attempt to discover the artistic possibilities of the new developing medium, film. Like the pioneer avant-garde abstract filmmakers, today’s artists still seek to stimulate a new perception for a possible embodiment that will activate the sense of touch in the audience. Tactility, enhanced by the material, opens up a new network of spatio-temporal relationships in the viewer's consciousness and subjecthood. This essay aims to bring a historical perspective to the abstract moving images of which the tactile or haptic experience is a defining characteristic. Through a selection of abstract animations, the materiality of the film image and the screening site will be elaborated upon according to the haptic features that are corporally embodied by the viewers. In the light of historical abstract animation, the aim is to dwell upon the dynamics of a continuous tendency to capture tactile instances to help bring forth the spatial resonances as well as visualize and reedify the rhythmic passing of time.

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Wu, Tao. « Image-Guided Rendering with an Evolutionary Algorithm Based on Cloud Model ». Computational Intelligence and Neuroscience 2018 (19 février 2018) : 1–19. http://dx.doi.org/10.1155/2018/4518265.

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The process of creating nonphotorealistic rendering images and animations can be enjoyable if a useful method is involved. We use an evolutionary algorithm to generate painterly styles of images. Given an input image as the reference target, a cloud model-based evolutionary algorithm that will rerender the target image with nonphotorealistic effects is evolved. The resulting animations have an interesting characteristic in which the target slowly emerges from a set of strokes. A number of experiments are performed, as well as visual comparisons, quantitative comparisons, and user studies. The average scores in normalized feature similarity of standard pixel-wise peak signal-to-noise ratio, mean structural similarity, feature similarity, and gradient similarity based metric are 0.486, 0.628, 0.579, and 0.640, respectively. The average scores in normalized aesthetic measures of Benford’s law, fractal dimension, global contrast factor, and Shannon’s entropy are 0.630, 0.397, 0.418, and 0.708, respectively. Compared with those of similar method, the average score of the proposed method, except peak signal-to-noise ratio, is higher by approximately 10%. The results suggest that the proposed method can generate appealing images and animations with different styles by choosing different strokes, and it would inspire graphic designers who may be interested in computer-based evolutionary art.

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Thèses sur le sujet "Painterly animation"

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

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Dans le cadre de ma thèse, je m'intéresse à la problématique de la création d'animations 2D traditionnelles, où toutes les images sont réalisées à la main. Je cherche à explorer comment l'ordinateur peut aider les artistes à produire de manière plus efficace sans pour autant empiéter sur le spectre de la création artistique. Pour répondre à ce problème, mes travaux se placent dans le domaine des méthodes automatiques, où l'animateur travaille de manière itérative avec l'ordinateur. Je propose une méthode qui, à partir de deux images clés et d'une série de champs vectoriels 2D décrivant le mouvement dans l'espace image de l'animation, génère des images intermédiaires et reproduit le style donné en exemple. Ma méthode se situe à l'intersection de deux techniques manuelles d'animation : l'animation pose à pose et l'animation sous la caméra, et assure un contrôle fort en permettant d'éditer n'importe quelle image générée de la même manière que celles données en exemple. Mes travaux englobent plusieurs domaines, notamment l'analyse du mouvement, le contrôle de courbe 2D, le rendu à base de marques et la simulation de la peinture
As part of my thesis, I am interested in the issue of creating traditional 2D animations, where all the images are handcrafted. Specifically, I explore how computers can assist artists in producing animations efficiently without reducing the artistic creative process. To address this problem, my work falls within the scope of automatic methods, where the animator collaborates iteratively with the computer. I propose a method that takes two keyframe images and a series of 2D vector fields describing the motion in image space of the animation, and generates intermediate images while preserving the given style as an example. My method combines two manual animation techniques: pose-to-pose and frame-by-frame animation, providing strong control by allowing any generated image to be edited in the same way as the example images provided. My research covers several domains: motion analysis, 2D curve control, mark-based rendering, and paint simulation

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

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This paper will explore the possibilities of using an automated self-made procedural tool to create real-time environments based on simple image masks. The purpose of this is to enable a concept artist or level designer to quickly get out results in a game engine and to be able to explore ideas. The goal of this thesis was to better understand how you can break down simple ideas and shapes into more complex details and assets. In the first part of this thesis, I go over the traditional workflow of creating a real-time environment. I then go on and break down my tool, what it does and how it works. I start off with a Photoshop file, make tools in Houdini and then utilize those in Unreal for the end result. I also argument about the time-saving possibilities with these tools. From the work, I draw the conclusion that these kinds of tools save a lot of time for repeating tasks and the creation of similar environments.

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

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This is a monograph on the South African artist Diek Grobler. The aim is to contextualise the artist‟s oeuvre up to 2009 and to explore the visual metaphors in his art. Grobler has a fascination for stories. He blends tales of traditional Western mythology, African mythology, Christian religion, folklore and magical realism into narrative artworks. Through visual metaphors the artist comments on the everyday human dramas that surround him – be they political, social, psychological or cultural. Furthermore, he adds an element of surprise to his sketches of human drama, by infusing them with irony and humour. My research reflects the diverse nature of Grobler‟s oeuvre as it investigates works from various artistic genres such as painting, sculpture, illustration, performance art, avant-garde theatre and animation. It also examines a blend of different artistic media such as ceramics, oil paint, gouache, pastels, scraperboard, earthenware, 2D computer animation, puppetry, and stop-motion animation.
Art History, Visual Arts & Musicology
M.A. (Art History)

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Livres sur le sujet "Painterly animation"

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

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

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

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

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

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

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

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

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Chapitres de livres sur le sujet "Painterly animation"

Lee, Hyo Keun, Young Sup Park et Kyung Hyun Yoon. « A Study on the Dynamic Painterly Stroke Generation for 3D Animation ». Dans Computational Science and Its Applications — ICCSA 2003, 317–25. Berlin, Heidelberg : Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-44842-x_33.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo et Matthew Tovar. « FPS Animations ». Dans Creating Games with Unity, Substance Painter, & ; Maya, 501–31. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-14.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo et Matthew Tovar. « FPS Animation in Maya ». Dans Creating Games with Unity, Substance Painter, & ; Maya, 413–40. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-11.

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Li, Jingtian, Kassandra Arevalo et Matthew Tovar. « FPS Animation in Maya ». Dans Creating Games with Unreal Engine, Substance Painter, & ; Maya, 435–62. CRC Press, 2020. http://dx.doi.org/10.1201/9781003053101-11.

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Ng, Yuk Lan. « Veiled Zen Journeys through Early Muromachi Flower-and-Bird Paintings ». Dans Animating the Spirited, 240–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0014.

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

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O'Meara, Simon. « The House as Dwelling ». Dans The Ka'ba Orientations, 131–57. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748699308.003.0007.

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

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Villaverde, Cirilo. « I I ». Dans Cecilia Valdés, 12–18. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195143959.003.0002.

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

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Ormstad, Ottar. « YELLOW FLOWER POWER ». Dans Indian Electronic Literature Anthology : Volume I, 55–56. Indian Institute of Technology Knowledge Sharing in Publishing - IIT KSHIP, 2023. http://dx.doi.org/10.57004/book1.n.

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

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Herren, Graley. « Ekphrasis ». Dans The Edinburgh Companion to Don DeLillo and the Arts, 195–208. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474499903.003.0012.

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

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Actes de conférences sur le sujet "Painterly animation"

Meier, Barbara J. « Painterly rendering for animation ». Dans the 23rd annual conference. New York, New York, USA : ACM Press, 1996. http://dx.doi.org/10.1145/237170.237288.

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Hays, James, et Irfan Essa. « Image and video based painterly animation ». Dans the 3rd international symposium. New York, New York, USA : ACM Press, 2004. http://dx.doi.org/10.1145/987657.987676.

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

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

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

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

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E-learning has developed over the years into an crucial element of the modern teaching process, and the teaching methods have changed accordingly. In this context, animations and simulations play a significant role. As many students are mainly visuals learners, it is largely accepted that animations and simulations can help the student learning process, because they clarify more complicated concepts through visual means, complementing and simplifying the old-fashioned textual based presentation. In order to make the teaching content more attractive and interesting, E-learning authoring tools are used to integrate a large range of media in the course content. One of the most known and used unspecialized authoring tool is MS PowerPoint, a presentation software that has evolved significantly since his first edition in 1990. Through the years it has become the main technology platform in teaching, even though other options are presently available. The important role MS PowerPoint plays in developing course authoring is increased by the fact that many noteworthy professional course authoring tools use its structure. The latest editions of the MS PowerPoint allows the user to add audio and video clips in the presentation, and have enhanced animation capabilities, and these abilities can be enriched even more with the help of add-ons such as motion path add-on. The paper examines the new abilities of MS PowerPoint 2010, as it is and associated with some add-ons, to create animations that are used to increase the instruction level of the students. Besides the new improvements (the new Microsoft Office Backstage view, background removing capabilities, the ability to embed videos instead of linking them, new transition and animation options and the Animation Painter), some useful animating tools that do not appear in the latest version, such as flash once animation, are identified. Animations were developed for the Environmental protection course, a course usually regarded as challenging by textile chemistry students, and they were meant to transmit knowledge on processes that occur in wastewater treatment. To assess the students learning, graded quizzes (multiple choice) regarding the recently acquired knowledge have been created using iSping QuizMaker and inserted at the end of each presentation. Eventually, the students have been questioned in order to determine their opinions concerning computerized simulations and animations, and some advantages and drawbacks of this teaching method in higher education have been found. Changes in the students performance as a result of introducing animations and simulations into the Environmental protection course have been analyzed.

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Hawkes, Rycharde. « The painter ». Dans ACM SIGGRAPH 2004 Computer animation festival. New York, New York, USA : ACM Press, 2004. http://dx.doi.org/10.1145/1186015.1186090.

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Lu, Jingwan, Pedro V. Sander et Adam Finkelstein. « Interactive painterly stylization of images, videos and 3D animations ». Dans the 2010 ACM SIGGRAPH symposium. New York, New York, USA : ACM Press, 2010. http://dx.doi.org/10.1145/1730804.1730825.

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

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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.

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