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Artigos de revistas sobre o tema "Painterly animation"

Autor: Grafiati

Publicado: 21 de setembro de 2024

Última modificação: 31 de julho de 2025

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1

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

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We propose a technique to enhance emotional expressiveness in games and animations. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Moreover, researchers have found that colors and line properties affect users' emotions. We propose using painterly rendering for character sequences in games and animations with a knowledge-based approach. This technique is especially useful for parametric facial sequences. We introduce two parametric authoring tools for animation and painterly rendering and a method to integrate them into a knowledge-based p

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

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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese

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3

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

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4

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

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

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

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

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

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8

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

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

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9

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

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

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10

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

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

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Wu, Tao. "Image-Guided Rendering with an Evolutionary Algorithm Based on Cloud Model." Computational Intelligence and Neuroscience 2018 (February 19, 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

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12

Rago Casanova, Mariano Joaquín. "Creative Integration for 3D Environments: From Modelling to Rendering." Land and Architecture 1 (December 30, 2022): 21. https://doi.org/10.56294/la202221.

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The rationale for the project was based on the use of three key tools: Blender, Substance Painter and Unreal Engine. Blender was selected for its free, open source nature and its large development community. This cross-platform software enabled modelling, sculpting, UV mapping, texturing, animation and video editing. Its dynamic and customisable interface, together with the use of shortcuts, facilitated the workflow. In addition, the modifiers and sculpting mode offered advantages in the efficient creation of models without altering the original mesh.Substance Painter was mainly used for textu

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13

Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.

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Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inn

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14

Davies, Halley, and Martin Hellmich. "Ode to Hubble: Inspiring Science through Art." Communicating Astronomy with the Public Journal 10, no. 2 (2016): 19–24. https://doi.org/10.5281/zenodo.14973594.

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In early 2015 ESA and NASA invited participants of all ages to create an art piece that would celebrate Hubble’s 25th anniversary in space. Contestants could use any form of art, with the final presentation being in video format. Throughout the competition animators, photographers, painters, songwriters, and many more shared their art and appreciation for Hubble. Martin and I had a special interest in stop-motion animation and we used this in our film, Hubble’s Universe, to illustrate some of the discoveries that had enhanced people’s interest in, and knowledge of, the Univer

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15

Uroskie, Andrew V. "Visual Music after Cage: Robert Breer, expanded cinema and Stockhausen's Originals (1964)." Organised Sound 17, no. 2 (2012): 163–69. http://dx.doi.org/10.1017/s135577181200009x.

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Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling o

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16

Zavgorodnyaya, S., Ju Zelenova, and O. Skachkov. "Implementation of Visual Content and Interface for the Game Project “Shamania”." Bulletin of Science and Practice 11, no. 7 (2025): 135–41. https://doi.org/10.33619/2414-2948/116/16.

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The article provides a detailed description of the process of creating visual content and user interfaces for the indie game project Shamania, developed as a cooperative survival RPG with role-playing elements and stylized graphics. The work addresses key challenges faced by indie developers: creating expressive 3D models, developing a stylistically cohesive asset set, integrating assets and interfaces into Unreal Engine 5, and optimizing performance without compromising visual quality. The full asset production pipeline is presented: from creating low-poly models in Blender to sculpting high-

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17

Kolotvina, Olga V. "Larionov’s Rayonism and Val del Omar’s Cinematic Technique “Tactile Vision”." Observatory of Culture 20, no. 2 (2023): 177–87. http://dx.doi.org/10.25281/2072-3156-2023-20-2-177-187.

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The article for the first time presents a comparative analysis of pictorial Rayonism by the Russian painter M. Larionov and the cinematic technique “tactile vision” by the Spanish film director J. Val del Omar. It also provides a theoretical foundation of using the artistic lighting techniques and features of their practical application. J. Val del Omar’s original lighting system “tactile vision” was analyzed by the example of his film “Fire in Castile” (1960), where he used it for animation of baroque religious sculptures. The concept of “tactile vision”, based on the understanding of vision

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18

Sechin, Alexander G. "The Morning of a Lady of the Manor as a Programme Work of Alexey Venetsianov. On the Issue of the Academic Method in the Artist’s Theory and Practices." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 649–73. http://dx.doi.org/10.21638/spbu15.2021.405.

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The Morning of a Lady of the Manor (1823) by Alexey Venetsianov embodies a veiled polemic of the artist with representatives of the academic school of painting concerning the academic method. The work demonstrates not only the painter’s credo, but also his possible steps on adjusting the educational system of the Imperial Academy of Arts. He occupied an intermediate position between the supporters of mindless copying of nature and the banal poses of classical statues. Here, he tried to prove the fruitfulness of the true academic method of creating a composition based on the characters (types)

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19

Menon, J. Yasodhara, Krishnavanie Shunmugam, and Selvajothi Ramalingam. "Intersemiotic Translation: Mat Dollah’s Batik Paintings of the Malay Folktale “Puteri Gunung Ledang”." Journal of Communication, Language and Culture 4, no. 2 (2024): 1–22. http://dx.doi.org/10.33093/jclc.2024.4.2.1.

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In translation studies, intersemiotic translation, which is the transference of a verbal sign system to a non-verbal sign, vice-versa or between two non-verbal modes, is a dynamically creative form of translation often involving literary works. Intersemiotic translations make it possible for written source texts to be brought to life in various artistic ways; they can usurp the power of the written word to transfer sense and meaning through unforgettable images from one culture to another. Folktales, documented in writings, have been translated into many different forms, such as in performing

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20

Barroso, Nicolas, Amélie Fondevilla, and David Vanderhaeghe. "Automatic Inbetweening for Stroke‐Based Painterly Animation." Computer Graphics Forum, October 8, 2024. http://dx.doi.org/10.1111/cgf.15201.

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AbstractPainterly 2D animation, like the paint‐on‐glass technique, is a tedious task performed by skilled artists, primarily using traditional manual methods. Although CG tools can simplify the creation process, previous works often focus on temporal coherence, which typically results in the loss of the handmade look and feel. In contrast to cartoon animation, where regions are typically filled with smooth gradients, stroke‐based stylized 2D animation requires careful consideration of how shapes are filled, as each stroke may be perceived individually. We propose a method to generate intermedi

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21

"Bengal Scroll Painting: An Early Interpretation of Animation." Webology, 2021, 1399–406. http://dx.doi.org/10.29121/web/v18i1/20.

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The handmade scroll painting painted by hereditary painters (Patuas) is depicted for visualizing visual stories in Bengal of India. The painters appeared as an existential community to communicate their concern to the audience through scroll painting. The purpose of the study paper is to create a relation between the early animation approach and Bengal Scroll painting. This paper investigates that Bengal scroll painting is an early interpretation of animation and it has all attributions that early animation has. The study follows a theoretical framework with descriptive mannerism. The research

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22

Arantes, Igor Abrahão, Bernardo Giorni Abijaude Bracarense, Samuel Marinho Leidner, Humberto de Campos Rezende, and João Victor Boechat Gomide. "Fluxo de trabalho para uma animação com render em tempo real." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a199.

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This paper presents the workflow for developing an animated short film, Fio, using real-time rendering. Real-time rendering is a recently commercially available alternative and has drastically reduced rendering time.Rendering means graphically processing an image, or layers of images, so that it can be displayed after processing, immediately. It is a critical step in computer graphics and determines the quality of the final image and the time required for it to be available for display. Previously, rendering required many minutes for each image frame, with multiple and costly processors. Curre

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23

Slopek, Edward. "Shutter/Shudder to Think: Cinema after Cage." AVANCA | CINEMA, September 21, 2022, 214–23. http://dx.doi.org/10.37390/avancacinema.2022.a386.

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When invited by Martin Scorsese to compose an original soundtrack for Shutter Island, Robbie Robertson, The Band’s guitarist and Scorsese’s long-time collaborator, proposed a selection of works by modern composers instead. Among those were Root of an Unfocus (1944) and Music for Marcel Duchamp (1947) by the avant-garde composer John Cage. The first is a prepared piano piece conceived at a pivotal moment in Cage’s career as he moved away from composing for percussion orchestra; the second accompanied the color animation sequence in Dreams that Money Can Buy by the Dadaist painter and filmmaker

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24

Wansbrough, Aleksandr Andreas. "Subhuman Remainders: The Unbuilt Subject in Francis Bacon’s “Study of a Baboon”, Jan Švankmajer’s Darkness, Light, Darkness, and Patricia Piccinini’s “The Young Family”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1186.

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IntroductionAccording to Friedrich Nietzsche, the death of Man follows the death of God. Man as a concept must be overcome. Yet Nietzsche extends humanism’s jargon of creativity that privileges Man over animal. To truly overcome the notion of Man, one must undercome Man, in other words go below Man. Once undercome, creativity devolves into a type of building and unbuilding, affording art the ability to conceive of the subject emptied of divine creation. This article will examine how Man is unbuilt in three works by three different artists: Francis Bacon’s “Study of a Baboon” (1953), Jan Švankm

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25

Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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Lisle, Debbie. "The 'Potential Mobilities' of Photography." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.125.

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In the summer of 1944, American Sergeant Paul Dorsey was hired by the Naval Aviation Photography Unit (NAPU) to capture “the Marines’ bitter struggle against their determined foe” in the Pacific islands (Philips 43). Dorsey had been a photographer and photojournalist before enlisting in the Marines, and was thus well placed to fulfil the NAPU’s remit of creating positive images of American forces in the Pacific. Under the editorial and professional guidance of Edward Steichen, NAPU photographers like Dorsey provided epic images of battle (especially from the air and sea), and also showed Ameri

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