二维动画制作与设计

More and more animations are now based on original comics. For instance, some Japanese anime perfectly recreate the original comic drawings in their character expressions, including lines and symbols. However, when these symbols are played in comics, they remain in that scene. As Scott McCloud mentioned in his book Understanding Comics, the definitions of comics and animation differ. Therefore, we cannot stipulate that "sequential visual art" interprets comics or animation (p.7–9). This research uses the fluidity of the stream-of-consciousness concept to make experimental animations with flowing character expressions. It combines comic and animation techniques; if the characters" expressions remain the same, add comic symbols to change them. It also examines whether the audience appreciates that small details can change a character's mood. In other words, characters' expressions constantly change, but the symbols that express this do not change. What kind of experience will this bring? Alternatively, designers create new signs to express feelings and ascertain if the audience understands the character's emotions. Since the critical element is not the character's interactions but the character itself, this research would be helpful for researchers who want to examine a non-narrative, non-dialogue animation and benefit those interested in studying stream-of-consciousness animation techniques.

Generative AI-often discussed in Chinese contexts as AIGC-has begun to reshape 2D animation work by lowering iteration costs in pre-production, accelerating parts of asset creation, and enabling rapid multi-variant marketing outputs. Yet these productivity gains come with uneven labor impacts and heightened governance constraints. Tasks that are modular, repetitive, and evaluable at the frame or asset level are more exposed to automation and price compression, while roles requiring narrative judgment, performance timing, and cross-shot consistency are more likely to be “augmented” rather than replaced. At the same time, legal and policy developments increasingly make provenance, authorship control, and training-data questions practical constraints on commercial deployment-especially for studios seeking copyright protection and low-risk distribution. Drawing on a production-chain (“task chain”) framework, this paper analyzes where AIGC substitutes, where it augments, why it can narrow entry-level pathways while increasing demand for supervisory and pipeline roles, and what new opportunity pathways are emerging. It argues that AIGC functions less as a single replacement technology than as a value reallocation engine: competitive advantage shifts toward professionals who can translate creative intent into controllable workflows, enforce consistency, and document compliant production.

The visualization of cultural heritage through digital media has become an effective approach to preserving and disseminating historical narratives to a wider audience. However, the production of 2D animation for cultural heritage visualization often faces challenges related to inconsistent workflows, inefficiencies in production stages, and the lack of structured integration between storytelling and technical animation processes. This study aims to design and implement an integrated production pipeline for 2D animation that supports systematic, efficient, and reproducible development of cultural heritage visualization. The proposed pipeline is structured into three main stages: pre-production, production, and post-production, incorporating storytelling design, visual asset development, animation principles, and compositing techniques. The research adopts a design-based research approach, using a local cultural heritage case study as the implementation context. Data were collected through observation, documentation, and iterative development of animation assets, followed by qualitative evaluation of workflow effectiveness and production consistency. The results demonstrate that the integrated pipeline improves production efficiency, enhances visual coherence, and supports accurate representation of cultural narratives. The proposed framework provides a practical reference for animators, educators, and researchers in developing 2D animation-based cultural heritage visualization. This study contributes to the field of animation production systems by offering a structured pipeline model that bridges technical animation processes with cultural storytelling requirements.

Generative AI is a technology based on algorithms and models that generates content such as text, images, sound, video, and code. Unlike traditional AI's analytical functions, generative AI can learn and produce new content with logical coherence. In CG animation production, animators undertake extensive creative image work. Theoretically, integrating generative AI into CG animation by leveraging its characteristics can enhance traditional production efficiency. Therefore, this paper uses 2D CG animation as an example to explore the potential integration of generative AI across three phases: pre-production, mid-production, and post-production.

This research addresses the growing expectations of animation audiences by exploring the potential of Live2D technology in enhancing 2D animation. While traditional 2D animation is artistically diverse, it struggles with smooth movements and realistic depth. Live2D technology, successful in gaming and virtual broadcasting, offers a solution through a deformable layer system. This study identifies key gaps in Live2D's application in anime, particularly with rotational animations. The methodology involves creating a Live2D short film and gathering audience feedback via a five-point Likert scale questionnaire. Using tools like Live2D Cubism, SAI, PS, and AE, the production process highlights Live2D's potential. Comparative analysis with traditional 2D segments shows Live2D's superiority in smoothness and depth, enhancing the visual experience. Positive audience feedback confirms Live2D's aesthetic benefits. Despite limitations, this study paves the way for future research in various applications, broader demographics, and monitoring Live2D's development. It offers valuable insights for animators exploring innovative approaches in content creation, fostering creative and technological progress in the industry.

The animation industry, like many other sectors, experienced significant shifts during the pandemic. While 3D and CGI animation have dominated previous decades, the post-pandemic era has renewed interest in 2D animation. This thesis talks about the origin and evolution of animation from the 1920s, the rise of Disney, and the origin of feature-length animated movies. With this study, we can have a closer look at the production process of both 2D and 3D animation, by going through the traditional medium of animation with the use of hand-drawn images over celluloid to modern age 3D animated rendering. With the rise of 3D animation in the late 90s and its dominance in the industry for over two decades. The main focus of this study is to show the decline in the popularity of 3D animated movies and shows among wider audiences and the rise of 2d animation in more recent years. Animation is a medium used in many industries, but eventually, it has become one of the most important pillars of the entertainment industry. Animation has evolved and changed its form over time.

The concept of short story titled 'Colorful Mind' is written in the third person. Its plot was inspired by the fact that education still prioritizes logic over all else and hence dismisses creative thinking.  This stigma drives children to choose logic-based academic disciplines over creative subjects, even if this is not their true calling. Using this issue as the story's moral, the production of the film 'Colorful Mind' intends to encourage children of this generation to pursue their love and calling for art without getting swayed by society's old-fashioned stigma. The concept art for 'Colorful Mind' hopes to communicate successfully to its viewers through its visual features by employing solid research and theories, so that the message of the story may be easily grasped to its target of 7-8-year-old children.

Indonesia is rich in folklore from various provinces. One of these provinces is the province of West Java which is rich in folklore. However, among the folklore in the province of West Java, the fairy tale Nyi Anteh Sang Penunggu Bulan is still little known to the wider public, especially children. Folklore of Sang Penunggu Bulan should be introduced to children from an early age. Folklore characters do show compassion which is useful as a means of education and introspection in children. For example, the character Nyi Anteh has a very good personality. All the goodness contained in the character of Nyi Anteh can be presented to children in an interesting way thanks to information technology. One information technology that is currently developing rapidly and is able to attract the attention and interaction of people who see it is the field of 2D animation. The research method used is descriptive by collecting data through literature to describe the pre-production, production, and post-production stages. With animation, things that are difficult to express in words will become simple and easy to understand when listening to animated video content. Therefore, it is necessary to design a 2D animated character for Nyi Anteh that can convey the personality and traits inherent in Nyi Anteh through her facial expressions and body movements, so that she can be a role model for good behavior for children to follow every day.

Learning dance is an important aspect in the elementary school (SD) curriculum to develop creativity and appreciation of art in children. However, conventional learning methods are often less interesting and less motivating for students. This research uses a qualitative-based design and development approach. The sample in this study was class 4 of SD N 3 Kwarasan. The next stage is the production process, where dance learning videos using 2D animation techniques and live action are made. 2D animation techniques are used to illustrate dance movements and steps in a visual and interesting way, while live action is used to show the execution of a dancer who teaches dance movements directly.

Animation is one of the media that delivers creator’s messages to the viewer through narrative, character, background image, and others. The methods of animation production for the visualization of moving imagery have so many ways like a paper drawing, a puppet, a clay, an object, a cutout, a 2D, a 3D, and a VR, and so on. Although animation has many different styles of expressions, the main concepts for animation are the cognition of an ‘optical illusion’ and the production skill of ‘frame by frame’. It, however, is impossible to make a move without animation playing devices. Previous studies on the variation of animation technology can be discovered in a few papers that only deal with a brief illustration of the influence of digital technology on traditional animation such as 2D film animation (2D) for 3D CG and also VR animation. Therefore, it is necessary to investigate the influences of animation technologies by genealogical approach with remediation in terms of media transitivity. In this paper, a qualitative research method is used for a literature review to find the concept and the contents of animation and remediation in media. With the qualitative research, a literature review of the concepts and content of animation and remediation in media is conducted. The elements identified for the technological influence include four factors: partial, whole, implicitness, and explicitness. From old to new media, the influential intensity and range were investigated. The new terminology is briefly defined as PE (partial explicitness), WE (whole explicitness), PI (partial implicitness), and WI (whole implicitness). We suggest a new method to analyze the technological influence for animation by genealogical approach with remediation.

This paper explores the functionality of 2- dimensional animation as a visual informative tool that highlights the importance of the United Nations Sustainable Development Goal 14: Life Below Water. This paper details a production of an animated short film that incorporates advocacies of preserving marine life by showcasing endangered marine animals as characters. This paper details tools, approach and strategy in producing informative digital multimedia as a means of promoting advocacies. The framework of the development of an animated short film, using the stages of film development from preproduction, production, and postproduction. The film also utilizes the fundamentals of multimedia along with its principles, uses some literary devices including symbolism and allegory. The production sought for endorsement and substantiation to validate the use of this kind of informative media.

Yoruba folktales are endangered in the face of globalization, Westernization, and inter-ethnic interaction, with the few that are available not being competitive with foreign cartoons and movies. The purpose of this work is to develop a digital animation film using Yoruba folktale narrative as a case study with a view to providing a framework to enhance the production of animated folktales as well as supporting Africa's rich cultural heritage, using relevant technology resources. The resulting folktale animation was evaluated by both the target audience and multimedia experts. The formal digital animation system resulting from the study is useful for formal and informal children's education and enlightenment as well as a source of enlightenment for society on different sociocultural problems which invariably results in a more conscious and civilized society.

While 3D animation is constantly increasing its popularity, 2D is still largely in use in animation production. In fact, 2D has two main advantages. The first one is economic, as it is more rapid to produce, having a dimension less to consider. The second one is important for the artists, as 2D characters usually have highly distinctive traits, which are lost in a 3D transposition. An iconic example is Mickey Mouse, whom ears appear circular no matter which way he is facing.

The animated short film Finding a Dream highlights the artist's emotional relationship with his father through dream symbolism, using hybrid animation techniques that combine 2D and 3D elements to create a dynamic and aesthetic visual narrative. The creation process is carried out through three main stages: pre-production, production, and post-production. In the pre-production stage, story ideas are explored based on personal experiences, followed by creating storyboards and character designs. The production stage includes experiments combining 2D and 3D animation elements through key-posing, in between, modeling, and rendering techniques. Post-production involves refining visual and audio elements to ensure a cohesive narrative. As a result, this film successfully combines visual and audio elements harmoniously, showing aesthetic interactions between 2D characters and 3D environments. The hybrid animation technique provides creative flexibility in expressing complex symbolism while creating relevant visual innovation amidst the competitive global animation industry. Apart from being a personal expression of the creator, this work is also an important contribution to the development of hybrid animation in Indonesia, offering an inspiring creative alternative for further exploration in the future.

Animated films are not only a medium of entertainment but also an effective tool for delivering moral, social, and educational values through innovative storytelling and engaging visual styles. In Indonesia, although many animated films are broadcast on national television, only a limited number originate from domestic creators. This condition highlights the need to strengthen local creative content that reflects Indonesia’s cultural and environmental identity. The present design project aims to develop an alternative television program in the form of a 2D animated film that emphasizes the preservation of Mentilin, an endemic animal of Bangka Island, while simultaneously serving as an educational medium for the local community. The research and design process employed a qualitative approach, focusing on data collection through observation, interviews, and literature review to identify effective strategies for socialization and education. The animation production of Mentilin, The Tiny Tarsier was carried out in three main stages: pre-production, including concept development and storyboarding; production, involving character design, background creation, and animation; and post-production, which covered editing, sound design, and final rendering. The preliminary evaluation indicated that the animation successfully captured local cultural elements and delivered messages about environmental awareness in an engaging manner. This design is expected not only to provide a creative educational platform for the community but also to contribute to the broader efforts of environmental preservation and the development of Indonesia’s animation industry. Furthermore, the program has the potential to be expanded as a replicable model for other regions in promoting endemic species conservation through creative media.

The creative industry today, animation is one of the popular media used by many entertainment industries and to introduce the customs and culture of a region. Animation is a process in which an image or object is manipulated to create a predetermined movement flow. Merarik is the escape or kidnapping of a girl from the supervision of her guardian and her social environment has been formed as a cultural heritage that is passed down from generation to generation for the Sasak people in general and merarik has several stages that must be passed through to run it. The purpose of this design is where the designer wants to provide information about the meaning and stages in the design. The methodology used in this design is the pipeline method, which is a method that includes several stages (pre-production, production and post-production). The results of this design are in the form of animations of the stages in merarik which are designed with 2D techniques as a medium that explains the process of elopement (merarik) in Sasak culture. Animation is made with the limited animation genre which is usually done in Japanese animated films. The implications of the results of this study as a medium for learning and preserving the Merarik culture which has recently been rarely found among the Sasak people

As a traditional yet adaptable art form that resonates with the new era, the development of hand-drawn animation serves as a shortcut for the creation of new media animations continuously explored under digital technology. In the digital age, new media forms of animation are rapidly emerging and tending towards dominance, with 2D hand-drawn animation also widely adopting new production techniques. The digitization of traditional 2D hand-drawn animation significantly reduces production costs, enhances efficiency through internet file exchange and transmission, and greatly improves the quality of digitally drawn hand-drawn animation. This study primarily investigates the artistic form of representing 2D hand-drawn style animation using digital technology in the new media era, analyzes and summarizes the development characteristics of animation production in the digitalized way in the new media era, and discusses the characteristics and creative techniques of digitizing hand-drawn animation, representing a technological and aesthetic inheritance and promotion from paperless animation to traditional hand-drawn animation.

In the midst of the onslaught of spectacles from abroad towards Balinese children, Balinese children rarely know about the historical places in Bali. From an early age, most parents introduce their children to shows from abroad. If this continues, the Balinese people will not know the history of their own region. Therefore, this research aims to design information media introducing one of the historical places in Bali, namely Goa Gajah Temple, based on 2D animation for early childhood. 2D animation was chosen because, from interviews with children's parents, it was found that animation or cartoons were more popular with children. The data collection techniques used in this research are primary and secondary data collection techniques. The media realization stage consists of pre-production, production, and post-production. Testing of information media was carried out through questionnaires given to media experts, content experts, and early grade students in elementary schools. The results of media testing by media experts were good, with a score of 88. The results of media testing on content experts were very good, with a score of 95, while the results of media testing on students were very good, with a score of 95

For over a century, hand-drawn animation has provided entertainment across various demographics. However, since the seminal release of Toy Story in 1995, there has been a notable shift towards computer-generated 3D and 2D vector graphic animations. Consequently, traditional animation has become increasingly rare, particularly in feature-length films in the United States. Despite the capability of digital tools to replicate traditional techniques, there exists a distinct opportunity for computational innovation to synergize with highly skilled artists to revitalize this art form. This paper investigates the discrepancies between contemporary computational in-betweening techniques employed by computer scientists and traditional animation production methods, revealing inconsistencies and skewed outcomes. We propose an alternative methodology that offers a potentially novel approach to enhancing traditional animation, aiming to improve precision and quality. It is our aspiration that this research will contribute to the development of a tool that augments, rather than automates, the creative process in traditional animation.

As an art form that has existed since nearly a century ago, animation has birthed many different techniques of presenting visual motion to the audience, either in a more familiar, realistic representation or a stylistic visual choice that goes beyond imagination. Various elements such as characters, objects, environments and abstract constructs are combined into one cohesive shot and subsequently, several of these shots are compiled to create one scene in an animation production. Among these aspects of animation that have to be taken into consideration heavily by animators, is frame rates, or more commonly known and abbreviated as FPS (frames per seconds). The definition of frame rate is basically the amount of frames or images that are playing within one second exactly in a time-based work. There are several variations of frame rates that are used by different styles of animation, whether it is traditional hand-drawn 2D animation, fully computer-generated 3D animation, stop motion and even hybrids of these different methods. One such example of an animated work in recent years that has pioneered the usage of different frame rates in their production is the animated feature film by Sony Animation, Spiderman: Into the Spider-Verse, and its sequel which was newly released in theatres, Across the Spider-Verse, among other examples as well, but for this film in particular, the usage of different frame rates was intentional. In this article, how different frame rates are utilized in different forms of animation are studied by analyzing different existing examples that have been published for the general audience in movie theatres, online streaming and television, as well as exploring the function of different frame rates and the effect that they have towards the audience’s psychology as well as in the context of storytelling when it comes to presenting their characters’ personality and background.

Seneca Polytechnique, located in Toronto, Canada, first launched its three-year animation advanced diploma program in 2002 and regularly ranks as a global top-five program, producing or partnering on groundbreaking films like Chris Landreth's Ryan (2005, Oscar Winner), Subconscious Password (2013, Anney Grand Prix), and Aubry Mintz's Nothing to Say (2018, multiple awards). Graduates have been in high demand in production studios around the world. At the height of this success, the animation faculty proposed the unimaginable: scrap the program in its current form and start over. Originally, the program was based on a familiar template that emphasized foundational drawing skills with increasing specialization leading to a capstone project in which students demonstrated skills aligned with production studios’ needs. All students took two years of foundational instruction that focused on 2D animation production with classes in character animation, storyboarding, layout, character design, life drawing, acting and animation history. Toon Boom Harmony was introduced in second year, after a focus on paper flipping in year one. Students moving into the third year had the option choosing one of three specialization streams: 2D animation, 3D animation, and game art & animation. While regular curriculum maintenance enabled graduates to be competitive in the labour market, specialization pathways became less clear because more methods were becoming cross-disciplinary between 2D, 3D, gaming, visual development, and visual effects. The goal of the new program was to create a wholly new cross-disciplinary animation education model in recognition of the changing conditions of the industry. Our new program begins with a foundational year that develops student ability in animation art for any specialization. An example of this approach is a new first-year storyboard class, now named Film Language, which focuses on analytical assignments as opposed to creating storyboards for production. The related skills of boarding/previz are expanded upon in years two and three. We also increased digital workflows in our studios with specially designed animation desks that fit professional drawing tablets. In the new program, students choose a specialization stream in year two, selecting one of four options: 2D animation, 3D animation, game art animation, and visual development. “Horizontal learning”, in which students across all streams take common courses, promotes cross-disciplinary learning to enable practical awareness of other production modes. For example, students across all four streams continue to mix for life drawing classes. In year three, students continue in their specialization stream but will work on capstone projects that include team members across all streams. In this scenario, cross-disciplinary learning takes place in the collaboration of film projects rather than shared classes. Imagine a team of 2D students preparing their final-year film working with 3D students on some elements, game students to prepare real-time delivery of the final film in a game engine, and visual development students working concept art for the films of the 3D students. A “production weeklies” class in the final year enable the sharing of project concepts across all streams to stimulate self-organized collaboration. To support these changes, Seneca invested approximately $1.7 million to make significant enhancements in technology and facilities. This was required to accommodate many more students as the enrolment of the program will double from its original size. Upon full rollout of the new program in 2024, it will accommodate 450 students. Besides solid production and artistic skills, the faculty pre-defined the goals for student and graduate professional expectations. These soft skills, including ability to work in teams, were foundational guides for the development of all new curriculum. To support student success, they are enrolled in the following professional practices courses to strengthen soft skills in their first semester. This process was almost entirely faculty-driven and supported by college administration in the investment of new facilities that mirrored contemporary production studios.

: The rapid development of digital technology has brought about new expressions and opportunities for the creation of Piying animations. However, to do well in this area requires knowledge and unique understanding of a range of interdisciplinary elements including digital technology, shadow puppetry, animation media, etc. Taking Sun Wukong Thrice Foils Bai Gujing, a 2D digital animation as an example, this paper tries to reveal the link between the digital production of Piying animations and the ontological characteristics of animation, and to identify more possibilities and conditions for the creation of digital Piying animations in China by exploring the multifold connections and interactions among digital technology, animation, and shadow puppetry.

The world of The Bad Guys is an homage to illustration and our characters take inspiration from elements of hand-drawn 2D animation. In this talk we present various challenges of developing graphic characters with solutions that scale for feature production.

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The animated short film Sensual explores a novel workflow for hand-painted watercolor animation, blending traditional artistic methods with AI-based frame interpolation techniques. This paper highlights the advantages and disadvantages of different methods for interpolating 2D animation and proposes a new workflow developed during the production of the film. By combining traditional compositing tools with image interpolation using the Real-Time Intermediate Flow Estimation (RIFE) network, the approach significantly reduced production time while maintaining the unique hand-painted aesthetic. The presented work does not conflict with moral or ethical issues of AI technology and serves as a blueprint for enabling artists to fulfill their vision more effectively.

This article examines patriarchal dominance in animated works that won the Citra Award at the Indonesian Film Festival (FFI) from 2013 to 2024, through the lenses of social context, visual aesthetic development, and national identity representation. A descriptive qualitative approach is employed to analyze fourteen animated works using narrative and visual content analysis methods. The findings reveal that the themes of FFI-winning animations reflect socio-cultural issues relevant to their production periods, including social critique, gender, family values, and local mythology. Visual aesthetics evolved alongside advancements in animation technology in Indonesia, ranging from 2D techniques to complex 3D with increasingly cinematic quality. FFI jury appreciation tended to reward works that excelled technically while also incorporating national identity values through narrative, character, and cultural symbols. This includes patterns of gender representation, the roles of male and female characters, and the dominance reflected in the animations. The study’s findings indicate that the majority of animated works during this period remain framed within patriarchal structures, positioning men as the center of the narrative and agency, while female characters are depicted in limited, passive, or stereotypical roles. This research contributes to animation studies by integrating analyses of social context, gender, visual aesthetics, and national identity within a single theoretical framework. It also offers recommendations for strengthening creative strategies and animation industry policies that support gender equality.

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Ethnic musical instruments are cultural heritage that must be preserved. This is done so that the existence of these musical instruments is not extinct and can continue to be known to future generations. Aceh is an area that also has ethnic musical instruments of various kinds such as Serune Kalee and Rapai. During this time, the preservation of musical instruments was carried out through the performance of cultural arts in the form of stage performances or art exhibitions with a predetermined and limited schedule. Therefore, to be able to preserve these musical instruments, it is necessary to introduce these musical instruments so that they are known by the public, especially for early childhood. The method is the use of two-dimensional animated multimedia content so that people can learn these musical instruments in video and audio. The purpose of this study was to design an identification model of the Serunee Kale and Rapai ethnic musical instruments with interactive media based on two-dimensional animated multimedia content. This study produced an interactive multimedia application for the introduction of Serune Kale and Rapai ethnic musical instruments developed using Actionscript programming found on Macomedia Flash. In addition, products were also produced that provided information about ethnic Acehnese musical instruments Serune Kalee and Rapai.

: In recent years, the rapid advancement of Artificial Intelligence (AI) has transformed animation creation. AI supports efficient technical processes and introduces new artistic expressions through generative algorithms (e.g., generative adversarial networks), deep learning, and natural language processing. These advancements impact character design, dynamic scene generation, and narrative optimization. This study conducts case analyses of two representative AI - integrated animated works—Spider - Man: Across the Spider - Verse and Love, Death & Robots—to explore how AI - driven multi - dimensional innovation functions in the context of animation creation. The research establishes a qualitative analytical framework titled “Multi - Dimensional Innovation and Integration of AI in Animation Creation,” identifying five key characteristic dimensions: efficiency, intelligence, personalization, cultural integration, and diversity. The findings reveal that AI significantly enhances efficiency through automated animation generation and real - time optimization, while intelligent tools provide precise control over motion dynamics and emotional expressions. AI also enables personalized content creation, allowing for adaptive storytelling and audience engagement. Furthermore, AI fosters cross - cultural artistic fusion, expanding the boundaries of traditional animation. This study contributes to the growing discourse on AI - driven animation by offering insights into how AI technologies reshape the industry, driving innovation in artistic style and production workflows. The research suggests future directions, including enhancing human - AI collaboration, optimizing interactive storytelling through AI - driven narrative adaptation, and ensuring ethical AI deployment in animation creation. By integrating AI into the creative workflow, the animation industry can balance automation and artistic integrity while fostering a new era of digital storytelling.

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The distinctive style with which Japanese animation is rendered is what its audience have come to expect of anime, in terms of look, quality and content. Even when production began incorporating digital methods, anime made with 3D tools are invariably processed to look two-dimensional, and retained their unmistakably flat aesthetics. Being fundamentally technique-driven rather than technology-driven, locomotion and scalar relationships between elements in a moving image sequence are manipulated through compositing rather than composition. A micro-aesthetic analysis on highly dynamic action scenes from contemporaneous supernatural anime series manga adaptations, such as Dandadan and Jujutsu Kaisen, reveal the visual storytelling possibilities afforded by open compositing and limited animation in limited space. Ultimately, the portrayal of space is inextricably bound by the medium’s animetic capacity to induce viewers to haptically experience the effects of motion and movement in the multiplanar image. Finally, the paper reflects how such spatial framings and development of animation techne might enrich interdisciplinary discourse and creative practice.

Taking the latest production of the Shanghai Animation Film Studio (hereafter referred to as SAFS), Nobody, as a case study, this paper explores the innovative practice of nationalized comedy within the contemporary Chinese animation school. Building upon the creative experience of Yao-Chinese Folktales, the film employs a combination of two-dimensional ink wash hand-drawing and digital craftsmanship. Narratively, it deconstructs the classic Journey to the West motif from the perspective of “small demons,” transforming the grand narrative into a humorous expression of grassroots experience through the structural device of “pretending to join the pilgrimage—repeatedly being exposed.” The film’s comedic mechanisms emerge from a fusion of identity dislocation, trick deconstruction, and self-ridicule, where the humor relies not only on semantics but also on the interplay of audiovisual rhythm and the audience’s shared knowledge. On the aesthetic level, the integration of ink-wash blank space, rich color schemes, and operatic music turns nationalized style into an intrinsic emotional resource for narration. From a vertical comparative perspective, the film shifts the “hero-centered” focus toward the “ordinary condition,” thereby moving from “deification” to “humanization.” From a horizontal comparative perspective, it demonstrates how the SAFS comedy tradition is inherited while simultaneously infused with modern terms and social metaphors to enhance audience resonance. Furthermore, by paying tribute to SAFS’s own classics, the film links stylistic memory with contemporary sentiment. This study argues that Nobody continues the creative ethos of “neither repeating oneself nor imitating others,” and illustrates that the integration of national aesthetics with contemporary terms and comedic strategies represents a feasible pathway for the Chinese animation school to move toward a “new classic.”

The article examines the principles of using animation and video content on modern media websites. New methods of consuming media content are substantiated: today’s audience has developed a demand for visualization, which is represented by a set of animation tools and supplementing the text material with video. The study is based on the media-aesthetic model of G. Zettl, as well as on the functional features of using animation on websites, highlighted by A. A. Belyaev. The article proposes criteria for identifying distinctive features of animation tools and video content on federal and regional media websites in terms of media aesthetic perception. In the paper, this component is analyzed from the standpoint of two-dimensional and three-dimensional spaces, dynamics of the media website, and the presence of audio and video elements. As a result, the compatibility and harmonization of animation elements and video in the structure of modern media websites are considered, and the effectiveness of using animation and video format in the materials presented on media websites is determined. Their absence in most cases, as well as their incompatibility in website design, is revealed. Media aesthetic components of animation and video content are considered in media of different typological orientation. The choice of media websites for analysis is due to their demand among the audience - the most cited and read federal and regional media among the Russian audience. The findings are systematically presented in the table, the main criteria for identifying media aesthetic features of animation elements and video in the materials of media websites are outlined.

The arrival of the 5G era, along with the gradual acceleration of information technology development, makes all kinds of new media gradually integrated into all corners of people's life, work, and study. Communication systems are breaking the original boundaries and moving toward communion. “Convergence Media” is a general term of new media which is built on modern network technology and integrates various media forms. In this context, animation design not only is limited to two-dimensional or three-dimensional creation, but also formed a new form of animation expression, namely, MG animation. For MG animation, with its simple artistic modeling elements and flexible rhythm, people have gained new cognition. When the Internet information is transmitted, MG animation can output a large number of dynamic images and text to people in a very short time, which is similar to the current mode of new media communication. It can make information more attractive and appealing with the visual performance of MG animation. In order to improve the quality and efficiency of animation, convergence media technology is applied to the drawing and production of animation. The emergence and continuous improvement of software such as AE, PR, and PS and other software have a strong compatibility and can fully meet our various requirements for MG animation production, thus bringing the audience a different kind of animation experience. AE, a common software for video production, can create a variety of striking visual effects with high efficiency and precision, with powerful effects control and millions of plug-ins to achieve a wide range of animation effects. High-quality video rendering supports resolutions from 4 × 4 to 30,000 × 30,000 pixels including high-definition television (HDTV). Therefore, in terms of animation production, we can choose to mainly use AE for production and rendering. In terms of drawing tools, PS is the software of choice, with no delay in drawing, dithering correction, selection, and other features which are quite outstanding, and has a great advantage in drawing lines and coloring. Based on this, this paper mainly explores the design and production cases of MG 2D animation from the new media perspective using the intelligent design technology. The animation designed by the method in this paper can also be used for medical treatment management or lesion display in the medical field.

This paper conducts a systematic and in-depth study on the main simulation methods of Chinese ink painting based on interactive artificial intelligence, and analyze the characteristics of Chinese ink painting. Combined, no user interaction is required, and the evaluation accuracy is increased by 9.7%. On this basis, an image-based Chinese ink painting drawing method is proposed, which can automatically convert two-dimensional input pictures into works with traditional Chinese ink painting style visual art language, as well as the advantages, characteristics and feasibility of 3D virtual interactive technology, analyze and refine, conceive design and case production.

Visionary Studios took advantage of creating an approach to promoting and preserving these rich Philippine legends through a form of an interactive animation film. Mitolohiya adapts the story about the origin of The First Coconut Tree and the Creation of Man, using two-dimensionl characters with three-dimensional textured environments. Go through an epic adventure featuring Bathala; a god living on a deserted planet who seeks and desires to create the first life on Earth, Galangkalulua; a winged god who wanders the universe, and Ulilangkalulua; a serpent god ruling over the clouds. Along with bonus sequences of stories showing the legends of five other deities from Tagalog myths. Tala; the goddess of the stars, Hanan; the goddess of morning, Mayari; the goddess of the moon, Lakapati; the goddess of good harvest and Amanikable; the god of the sea. This animation film is created to promote and preserve Philippine myths about Tagalog gods & goddesses through an interactive hybrid animation format. Overall, the preliminary data shows that most of the participants were not familiar with the adapted Tagalog myth in the film however, after watching the interactive film, most of the respondents gave positive feedback to the overall film's animation, design, aesthetic, story, and website. According to the data, the animation and interactivity of the film makes it more engaging for the viewers which shows that the use of the interactive hybrid animation and website is effective in promoting Philippine Tagalog mythology. It is highly recommended to give further research about the different legends and stories within the Tagalog pantheon. Due to the large variety of characters, the possibility of creating numerous adaptations can also be suggested.

Perspective plays a very important role in animation production. Its combination with photography lens can not only improve the richness of the picture, but also reflect more technical content and aesthetic feeling. The use of perspective in two-dimensional space can enhance the depth and visual strength of the space, thus making the characters in the animation scene more vivid. Through the analysis of perspective relation, this paper helps scene perspective more and better applied in the animation production.

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Against the backdrop of global cultural digitization, the two-dimensional (2D) industry has emerged as a crucial dimension for measuring a country's cultural soft power. Based on industry data from 2013 to 2024, this study systematically evaluates the export competitiveness of China's 2D cultural products (including animation, games, and derivatives). The findings reveal that the industry is characterized by "strong foundations but structural imbalances": the domestic market has surpassed RMB 300 billion, yet exported content is notably "juvenile-oriented"; game exports have reached a scale of billions of U.S. dollars but are overly reliant on mobile platforms and markets in the United States, Japan, and South Korea; the derivatives sector has explored effective pathways through the Direct-to-Consumer (DTC) model. The study identifies five major bottlenecks: insufficient original creative capabilities and talent shortages, weak IP ecosystem operations, key technologies being constrained by external factors, inadequate intellectual property protection, and persistent cultural barriers. Through an in-depth analysis of the case of "Genshin Impact," a systematic improvement framework encompassing strategic leadership, technological support, and operational coordination is constructed, providing path guidance for the industry to achieve a critical leap from scale-based exports to value-based exports.

 Creatoon is a participatory two-dimensional animation that emphasizes creative storytelling. Fusing the words “Create” and “Cartoon”, the project encourages its viewers to participate in creating their own stories by watching an animated video. In lieu of providing dialogue and characters’ names, this project converts still images of a comic into a movable video. To move and change the positions of the characters, the video zooms in and out, shifts scale, and animates lip movement by using Adobe After Effects. In addition, the artist incorporates background music to assist the viewers, who are children ages five to twelve, in making their stories. Participants begin by watching the video clip and are then prompted to name the characters and imagine and write their own stories. The central objective is to provide children with a digital space in which their creativity can flourish and demonstrate how a single video has the potential to carry multiple stories. Furthermore, through participation, the project enables its viewers to immerse in innovation in the space of digital media. Creatoon challenges the passive nature of content common to digital media platforms such as YouTube, TikTok, and Instagram.

MiniX: The Little Warriors is a 2D pixel-art, action-adventure game developed using the Godot 4 game engine. the game plot is set in Rivertown, a tiny town where the main character, Commander X, is tasked with saving the town by combating the invasion of slimy enemy characters in various environments such as grasslands, deserts, and snow-covered territories. This article delves into the technical components of developing such a game, such as sprite animation, level design, and sound integration, as well as narrative-based aspects that add to user satisfaction. Godot's straightforward technologies, such as its powerful physics engine, modular scene structure, and scripting language GDScript, can be used to create accessible yet efficient procedures for two-dimensional games. This study demonstrates MiniX, which is built on these technologies to simplify complex gameplay while also providing entertaining experiences. Significantly, environmental storytelling, adaption challenges, and gamifying learning are all significant components of immersive experience design. By evaluating MiniX's design and development, this paper provides insights into the concepts of 2D-pixel art game development in Godot 4.

"Sasa Hadirkan Rasa untuk Indonesia" is one of Sasa's commercials shown using a two-dimensional method. Sasa's commercials contain multicultural concepts that are reflected in Japanese animation style, European MIDI music, and culinary culture content in Indonesia. This study used data collection methods in the form of interviews and literature studies. This research aims to: 1) analyze the incorporation of Indonesian cultural elements in typical Japanese animation styles and musical backgrounds with the use of European MIDI music; 2) analyze audience perception of three-cultural collaboration in Sasa advertising; 3) provide a reference in the form of innovation for the development of advertising in Indonesia. This study analyzed the Sasa animated advertising video version of "Sasa Hadirkan Rasa for Indonesia" which had been broadcast in 2021 through social media Youtube. Interviews were conducted on men and women aged 20-35 in Indonesia. To support research data, literature studies focus on audience perception, multicultural advertising, and advertising. Based on analysis it was found that Sasa's commercials were interesting because they reflected international multicultural culture in two-dimensional animation.

The animated film Wayang Beber Contest Kediri as an effort to increase public awareness, especially the younger generation, in caring for and maintaining the noble cultural tradition in order to remain sustainable. The publication media chosen is 2D Short Animated Film, because animation is an interesting medium and can be seen by all ages. The creation of the animated film "Sayembara Kediri" with the Two-Dimensional Technique uses the experimental method. The process of making Wayang Beber animation "Sayembara Kediri", namely: starting from the pre-production, production and post-production processes. The structure or personal technique in the creation of the Wayang Beber Animated Film “Sayembara Kediri” is; 1. Experiment (Media Research), 2. Contemplation (Inner Research); and Formation. The work of the Wayang Beber animation film needs to be of great interest to the public, especially the younger generation, so that they are able to become entrances in inculcating noble values and strengthening national identity and cultural resilience Keywords: 2D Animation, Wayang Beber, Kediri Contest

: Animation film is an important branch of film art. It has gone from the initial period of two-dimensional black and white silent film to the current era of three-dimensional stereo color animation through the stage of color two-dimensional animation. In this process of development and evolution, the innovation and development of color matching technology, as an indispensable element of animated films, is indispensable. The ingenious collocation and application of colors can enhance the scene viewing of animated films, and play a crucial role in the portrayal of film characters and the rendering of the plot. This paper attempts to explore the different forms of expression and artistic charm of color in the design of animated film scenes by analyzing the characteristics of different emotional expression and color application.

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Digital media art is increasingly utilised in contemporary museums. As a museum with collection, research, education, and communication functions, it can use new media communication methods such as film and television broadcasting, three-dimensional animation restoration, and interactive game design to clarify the complex historical background, analyse the multi-dimensional architectural structure, and restore the production and use of cultural relics, thereby improving the efficiency of information transmission. It has a crucial function in establishing the contact between cultural artefacts and people, and in enhancing the enjoyment of the audience. This paper uses the Nanjing City Wall Museum as an example, divides the digital media art used in the museum into three categories of animation, video recording, digital interaction, and two-dimensional animation, analyses the digital display methods applicable to different categories of cultural relics based on specific cases, and concludes with ideas for the application of new media digital art in museum exhibition design. To achieve complete transmission of cultural legacy, social value must be emphasised.

Visual perception is a very important aspect in animation because it will make it easier for viewers to identify and interpret visualizations and messages of each scene. One form of visual perception in animation that is interesting to study is spatial perception. For this reason, this study will be limited to the spatial perception aspect in 2D animation. The perception of space is essentially a three dimensional concept, because a real space is made up of three dimensions, namely the length or width of the space, the height of the space, and the depth of the space. While animation, especially 2D video animation, is only presented in two dimensions, namely the length or width of the video screen and the height of the video screen. This study aims to try to identify and inventory and also describe what visualization techniques can be applied to present the perception of the three dimensional space in animation. This study uses a descriptive research method, namely by describing a variety of visualization techniques that are able to produce the appearance of spatial perceptions in the animated display of the research sample. In general there are 6 visualization techniques which include overlapping, changing size and placement, linear perspective, relative hue and value, and atmospheric perspective, and also changing speed and time. In fact, in animation, almost none of the above techniques stand alone but are always in sync with other techniques simultaneously, which supports and reinforces the emergence of spatial perception.  

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This poster tells the story of the development of our community stop-motion animation stand and its use in anchoring the Animation-a-Thon, a recurring event that invites members of the Mount Holyoke College community to engage in an act of collaborative storytelling that has both physical and digital components, and a digital output. This ongoing community-engaged digital humanities effort has enabled access to and use of a form of technology that was previously unavailable or restricted to art studio majors on our campus. We will also highlight examples of the animation stand's use in various disciplines, with an emphasis on its applicability in an interdisciplinary First Year Seminar environment. Join us to explore how bringing in one new piece of technology can become a means of democratizing pedagogical and creative development across departments and communities. The audience of this poster will gain insight into the potentially outsized impact of a project with a small budget, while also cultivating an understanding of the creative potential that an analogue/digital hybrid animation stand can bring to a variety of courses.

With the development of modern educational technology, micro courses, a new type of educational resource, have been continuously developed in school teaching in China. However, the problems encountered by teachers in creating micro lessons have hindered their application and practice. At the same time, students have put forward higher requirements for the presentation form of micro lessons during the learning process. Therefore, it is particularly important to find a more suitable micro lesson production tool for teachers to use and present results that can meet students’ needs (Yulong [1]). Freeze frame animation, as an art form emerging from film art, is easy to produce with low entry requirements, and can reduce the difficulty of micro course design by presenting static images in dynamic effects. Combining the characteristics of various subject knowledge points, use freeze frame animation to create micro lessons to help teachers create micro lessons.

The animated short film Sensual explores a novel workflow for hand-painted watercolor animation, blending traditional artistic methods with AI-based frame interpolation techniques. By combining compositing with the Real-Time Intermediate Flow Estimation (RIFE) image interpolation network, we significantly reduced production time while maintaining the unique hand-painted aesthetic.

The study aimed at formalizing the animated elements and identifying perception dependencies on the frame elements. The properties of an animated frame is systematized. The influence of three factors is considered: composition, color scheme and stylization. The goal of the work is to establish how the animated frame elements effect of the information perception by the viewer. The object of the study is an animation frame. The subject of the study is graphic means of creating an animation frame. The author determined the most effective solutions for interaction with the viewer who watching a cartoon. The methodology for conducting the experiment using the eye tracking technology of differences in visual perception of animated frames with different properties is described. To conduct the experiment, appropriate stimulus material was developed. The task was formulated for the observers, which they solved during the experiment. When processing the data obtained during the experiment, statistical multivariate analysis of variance (ANOVA) was used. The 40 observers took part in the experiment. Based on the obtained data, graphs of the dependence of viewing parameters on the properties of frame elements were constructed, which are presented in the article. The results of experiment showed that composition affects the speed of information perception and the length of the gaze path depends on the color scheme, composition, and stylization. The results can be used in the development of animated frames. The novelty of the work lies in the complex analysis of the elements of the animation frame and identifying the influence of the elements of the frame on its visual appeal. Similar studies of the animated frame have not been conducted to date. This is actual for creating an expressive animation frames and immersing the viewer in the atmosphere of the cartoon.

This research is a creative project involving the production of an animated promotional advertisement for Universitas Potensi Utama using a soft-selling approach that emphasizes aesthetics and emotional resonance rather than explicit promotional messages. The creation process is based on Hannah Frank’s frame by frame theory, in which each frame is manually drawn to highlight smooth motion, visual expression, and cinematic nuance. The animation is designed using a looping technique in both visuals and audio, creating a seamless and uninterrupted repetition. The visual design employs a modern animation style with detailed shading and lighting techniques to evoke a warm and reflective atmosphere. A touch of artificial intelligence is incorporated through the use of SUNO AI to generate Lo-fi background music, enhancing the calm and repetitive mood of the animation. This study utilizes qualitative data collection techniques with a descriptive approach. The methods employed include participatory observation during the production process, semi-structured interviews with practitioners and target audiences, as well as visual analysis of the aesthetic and narrative elements within the work. The final result demonstrates that the frame by frame approach, supported by AI-generated music, successfully enhances the visual and emotional appeal of the animation, making it an effective yet subtle medium for educational institution promotion.

Authoring compelling animations often requires artists to come up with creative high-level ideas and translate them into precise low-level spatial and temporal properties like position, orientation, scale, and frame timing. Traditional animation tools offer direct manipulation strategies to control these properties but lack support for implementing higher-level ideas. Alternatively, AI-based tools allow animation production using natural language prompts but lack the fine-grained control over properties required for professional workflows. To bridge this gap, we propose AniMate, a hand-drawn animation system that integrates direct manipulation and natural language interaction. Central to AniMate are narrative motion blocks, clip-like components located on a timeline that let animators specify animated behaviors with a combination of textual and manual input. Through an expert evaluation and the creation of short demonstrative animations, we show how focusing on intermediate-level actions provides a common representation for animators to work across both interaction modalities.

This study examines the use of enhanced trackable markings in semi-automatic animation rotoscoping with EbSynth, an open-source free software, to uncover new efficiencies and streamline the animation workflow. Unlike generative artificial intelligence (AI) applications such as Runway, Stable Diffusion and Sora, which use machine learning (ML) and neural network (NN) techniques, EbSynth uses example-based synthesis (EBS) algorithms to create images for animation sequences based on one or more keyframe inputs. This research examines how distinctive facial markings – dotted markers, contour lines and character-specific markings – affect the manual labour involved in frame-by-frame editing in semi-automatic rotoscoping, particularly in scenarios where the animated character’s design significantly deviates from the live-action actor’s facial features. Through a series of controlled experiments with an actress portraying various facial movements and expressions, we analysed the effectiveness of these markings in improving the accuracy and reducing the need for subsequent adjustments in rotoscoped sequences. This research addresses a gap in empirical studies regarding the practical application of semi-automatic tools in animation, particularly in optimizing the rotoscoping process. By detailing the impact of character-specific trackable markings, this study contributes to the academic field while also providing practical guidelines for animators seeking to integrate semi-automation technologies such as EbSynth into their creative processes.

The paper presents a creative into how artificial intelligence assist in stylising animation inspired by traditional Chinese ink painting. While generative tools offer novel efficiencies and changes workflow, their capacity to preserve and maintain cultural aesthetics remains underexplored. How those tools integrated with traditional hand-drawn practise influence the notion of artistic intent is still a question. Through hybrid method of combining traditionally drawn frames with AI-driven stylisation, this study examines how Chinese brushstroke tradition can be retained, or reinterpreted, within automated visual transformations. Rather than pursuing full automation, the paper focuses on frame-by-frame stylisation as a form of digital craftsmanship, positioning AI as a co-creative agent rather than a replacement for artistic control. The findings offer insight into how traditional aesthetics can be translated into new media contexts without compromising their visual or philosophical integrity by proposing a culturally and visually coherent workflow. The research contributes to ongoing discussion around the creative potential and ethical implications of generative AI in heritage-aware design and animation practices.

Abstract This paper reinterprets the botanical manuscripts of Leonardo da Vinci (1452–1519) through digital hand-drawn animation and AI-generated imagery. Against the backdrop of cultural heritage preservation, the project focuses on plant morphology, phyllotaxis (leaf arrangement), and branching structures, exploring how these elements can be visualised through both dynamic and generative media. Drawing on folio 33r of Manuscrit G and three botanical sketches from the Royal Collection Trust as primary visual sources, it compares frame-by-frame digital animation with text-driven AI-generated images and video, analysing how each responds to Leonardo da Vinci’s observational logic and visual aesthetics, and assessing their respective strengths and limitations in terms of control, accuracy, and creative expression. By integrating methods from botany, art history, and digital media, the project establishes a cross-disciplinary pathway for reactivating historical scientific imagery and articulates a practical framework for visual storytelling in cultural heritage, with potential applications in exhibition design, STEAM education, and digital heritage communication, thereby fostering broader public engagement with botanical knowledge. This study forms part of ongoing doctoral research in artistic practice, combining drawing and animation with interdisciplinary perspectives from botany and cultural heritage through the study of Leonardo da Vinci’s manuscripts. All videos were produced by the first author, and the outcomes are conceived for future application in exhibition and science communication.

Animation has gained significant interest in the recent film and TV industry. Despite the success of advanced video generation models like Sora, Kling, and CogVideoX in generating natural videos, they lack the same effectiveness in handling animation videos. Evaluating animation video generation is also a great challenge due to its unique artist styles, violating the laws of physics and exaggerated motions. In this paper, we present a comprehensive system, AniSora, designed for animation video generation, which includes a data processing pipeline, a controllable generation model, and an evaluation benchmark. Supported by the data processing pipeline with over 10M high-quality data, the generation model incorporates a spatiotemporal mask module to facilitate key animation production functions such as image-to-video generation, frame interpolation, and localized image-guided animation. We also collect an evaluation benchmark of 948 various animation videos, with specifically developed metrics for animation video generation. Our entire project is publicly available on https://github.com/bilibili/Index-anisora/tree/main.

This paper presents a framework for a phenomenology based on pure transcendental phenomenology that examines the nature of both the experience of viewing and creating animation. The technological innovation of film and cinema in general is based upon two overarching principles. The first is the phenomenon of the captured frame and the second is the spectator’s phenomenological experience of sequences of such captured frames. It is argued among animation and film theorists alike that the insights offered by the consideration of the phenomenon of the cinematic frame should form the nexus of all film theories. This paper argues that a complete theory of film and cinema should start by explaining this fundamental conceptual bedrock, and that the ‘already-created’ frame of film restricts insight into the phenomenology of cinema spectatorship. The article also shows how the practice of animation is instrumental to the proposition and elaboration of a phenomenology of animation.

This study is a critique of the work of renowned Japanese animation director Hayao Miyazaki, specifically the recurring motif of child labor in his works. First, the recurring images of labor in his works are conceptualized as motifs in the narrative sense. In particular, it is noted that motifs are typically constructed through the repetition of key acts, which combine with each other to form and reinforce themes, and serve as the central core of a plot, the principle that forms the constitutive events. In other words, the labor motif is a principle of narrative organization. Analytic frame is suggested by drawing on Aristotle's theory of character and the theory of agency, the ability of an entity to cause an event. Applying this frame to Hayao's early works, Kiki the Witch Courier and Spirited Away, child labor motif in terms of the self-creative agency in agency theory and the plot-intensive motif of motif theory are analyzed. Through this analysis, it is clear that the labor motif is not only the attraction of the characters in Hayao's works, but also the core and driving principle of the narrative. Finally, as the philosophical origin of the labor motif, Hayao's view of labor is interpreted by using utopian views of labor, such as Fourier's, which are often found in early socialist discussions, as a framework for interpretation.

The use of the traditional Twelve Principles of Animation in Atari-era video games and their transformation under the influence of interactive digital environments have been thoroughly examined in this article. Using in-depth analyses of classic games like Pac-Man, Space Invaders, Asteroids, and Donkey Kong, the research finds that certain concepts, like Appeal and Staging, remained in altered versions, while others, like Anticipation, Follow-Through, and Squash and Stretch, were mostly dropped. The research examines the creation of new animation principles particularly designed for early video games, going beyond just evaluating the survival or loss of old concepts. As creative responses to extreme technological limitations, especially low resolution and low frame rates, concepts like Frame Economy and Looping, Immediate Action, Visual Flashing Feedback, Silhouette Clarity, Iconic Abstraction, and Algorithmic Movement are put forth. These guidelines demonstrate how early developers overcame technology constraints to produce engaging interactive experiences. The study concludes that rather than being permanent universals, animation principles should be viewed as dynamic frameworks that adjust to the structural and experiential circumstances of their mediums. Thus, video games from the Atari period are positioned as creative starting points for the creation of interactive visual narrative aesthetics rather than only as transitory technology artefacts. Consequently, this study contributes to the fields of game studies and animation history by establishing a specific theoretical framework to analyze how interactive constraints reshape visual aesthetics, bridging the gap between classical animation theory and digital game design.

Current world is dealing with Artificial Intelligence. Artificial intelligence is as new as Media itself riding on the wave of Artificial Intelligence, the results of Artificial Intelligence is to show the new scope in Indian Media. The term Artificial Intelligence was coined in 1956, but in present time it becomes more popular and it is all because of the technology. A question pops up will Artificial intelligence (AI) impacts the animation industry? Technology is increasing day by day and replaced many jobs that ran to competition within the market, because of Artificial intelligence (AI), will the role of animator remain the same?Animation used to be a very difficult and time-consuming process. Cartoonists and animators had to draw each frame of a movie one by one. Is there a need to adopt new techniques to master the Media Production work with an Artificial Intelligence? Artificial intelligence (AI) is used in almost every field like the media industry, Cinema, cartoons, and animation, and many more. A question arises about how Artificial intelligence (AI) will be used in animation in the future. Whereas Disney is known for using Artificial intelligence (AI) to make storyboard animations just from text. Advancement in Technologies within the animation industry is a continuous process. Therefore, in this research paper researcher has discussed about the future of animation with Artificial Intelligence. Different methods of animations have been covered in this paper. It has been discussed how Artificial intelligence (AI) has affected animation and how modern animation differs from traditional animation. This paper has covered the main function of Artificial intelligence (AI) in animation.

Variable rate animation, or stepped animation, is the process of holding a frame of an animation performance between two or more frames, as opposed to keeping a consistent motion of performance through each and every frame. The art direction on Spider-Verse aimed to bring the look of the project closer to a comic book and hand drawn traditional animation. Using the variable rate animation method helped the project get closer to the desired style with some key differences. Using the variable rate animation technique contradicts the hard technical requirements for simulation tasks in modern CG animation, which needs evaluation on a constant per-frame basis for accurate results. This technical contradiction was only partially solved for Into the Spider-Verse, causing a lot of friction, communication overload and workflow difficulty between animation and downstream simulation departments. For the sequel, Across the Spider-Verse, we created a new dedicated end-to-end non-destructive pipeline layer that could fully solve this issue

In a sense, animation is considered a comprehensive art form that combines various genres such as painting, film, photography, and music. The image frame by frame is a component of animation, and the colors in the image give the image more vitality and expressiveness. Therefore, this article would study the PS correction of animation image colors, and the proposed method is to use the Morphing algorithm. This article also conducted an experimental comparison, in which some images with predetermined feature coordinates were selected and feature extraction and localization were performed on a regular feature analysis system in the control group and an analysis system assisted by the Morphing algorithm in the experimental group. After the two groups completed their work, their respective positioning coordinates were compared with the actual coordinates of the features, and the positioning deviation rate of the two groups was observed. The final experimental result showed that the deviation rate of the control group was 0.58%, while the deviation rate of the experimental group was 0.14%. It can be seen that the deviation rate of the experimental group is significantly lower than that of the control group. Therefore, based on the experimental results, this study found that the Morphing algorithm can extract and locate image features very accurately, and also has sufficient image analysis and color correction capabilities.

Abstract In this study, we first adopt the dynamic stereo vision spatial coordinate measurement method of non-zoom cameras, establish a coordinate measurement model based on differential GPS, and study the application of the spatial coordinates of dynamic stereo digital vision systems in animation design. Secondly, the internal and external parameters of the camera are defined as the static error of the dynamic stereo vision system so as to provide an easy and quick-to-use design tool for the teaching of animation film majors. Finally, a test sequence animation sample set is used to verify the teaching effect of digital visual space based on animation design. The results show that in the multi-comparison test of animation quality against pixel bit rate, the animation design samples were found to have frame rates in the range of 5-30 Fps. And under the condition of having extra bandwidth, the animation feature learning evaluation dimension is 2589, and increasing the animation visual frame rate can improve the output picture quality of animation more effectively. It shows that the integration of digital visual space in the context of digital media art can allow students to have enough project sources for learning and practicing so as to improve their professional ability.

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This article explores the ‘laborious aesthetics’ of the Spider-Verse films, a set of animation techniques that highlight and romanticize the laboriousness of the franchise’s animation style. These techniques, including hand-drawn effects, stylistic variation, single-frame aesthetics, and sequences of industrial reflexivity, create an impression of creative abundance that invites forensic levels of scrutiny – such as frame-by-frame analysis – from fans on social media platforms. This laborious appreciation of creative labor becomes especially significant in light of reports of unsustainable labor practices during the production of Spider-Man: Across the Spider-Verse (2023). The article argues that, by making the films’ abundance of creative labor seem completely visible, the Spider-Verse films’ laborious aesthetics function as a smokescreen for the actual exploitative conditions of the films’ production, the traces of which are not visible in the films’ spectacular images but instead stem from the deeper structures of computer animation production.

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From a niche subculture down to a globally acclaimed medium, the artistic and commercial success of anime gave rise to some of the most recognized studios like Studio Ghibli. This paper explores the evolution of Japanese animation, through the technological transformations in the industry down to the Studios production strategies. The paper first discusses the origin of anime, tracing back to an early era of silent films, to the gradual emergence of major studios like Toei Animation and Mushi Production, and finally garnering worldwide attraction through digital platforms like Crunchyroll. One focus of this research lies on Studio Ghiblis unique approach to animation and thematic depth. Through analyzing its traditional cel animation style, its adaption to digital methods such as the implementation of 3D Computer Graphics (3DCG), as well as the recurring themes present in Miyazakis films, this paper assesses how these elements influence audience reception and contribute to a global appeal. Lastly, the paper emphasizes the role of marketing strategies and decisions led by relevant industry figures like Toshio Suzuki to expanding Ghiblis name and influence. All in all, this research seeks to define the key elements to answer the question of what makes Studio Ghibli successful, through gathering historical data and a multitude of commercial and artistic perspectives and voices.

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The screening of colour cel animation Why Is the Crow Black at the 1956 Venice Film Festival was seen as a pivotal moment in Chinese animation history. It is recorded that Why Is the Crow Black was misidentified as a Soviet animation by international judges, which made this film an epic failure. Frustrated Chinese animators, led by Te Wei, reflected on the imitation of the Soviet styles and commenced the exploration of a Chinese style. This ultimately led to the foundation of the Chinese School of Animation, marked by the release of Te Wei’s film The Conceited General in 1956. However, many of the widely believed ‘facts’ in this narrative are false. There is no evidence of an actual award, nor of the mis-identification of Why Is the Crow Black. A series of false assumptions have converged to form an entirely mistaken narrative of causality that the Crow’s reception transformed the production of the General. This narrative has become ingrained in Chinese animation historiography, and the doubters remain marginal. This article argues that the ‘Crow Incident’ was a 1980s fabrication, arising from transcultural misunderstandings, translation errors, and perhaps even deliberately misleading assertions. The alleged Crow Incident has been used to explain and justify the urgency and necessity of exploring the Chinese minzu style in the 1950s, yet it devalues the subjectivity, initiative and self-awareness of Chinese animators.

ABSTRACT A collaborative research project between the Getty Conservation Institute and the Walt Disney Animation Research Library investigated storage and conservation treatment strategies for animation cels. Animation cels are transparent plastic sheets inked on the front and painted on the reverse. Common damage observed on aged cels is cracking, loss of adhesion, dislocations, and losses of the paint. In practice, flaking paint of animation cels is often removed and repainted rather than consolidated. Being reverse painted, paint consolidation of animation cels adds another layer of complexity to established approaches to paint consolidation. One important component of this study has involved developing minimally invasive treatments for reattaching delaminating paints, which involved studying paint condition, characteristics, and properties. This paper presents recent innovations in paint reattachment that rely on the intrinsic hygroscopic properties of the cel paint formulations. The new treatment is a multi-step approach that manipulates paint properties by using precise levels of relative humidity, established within a humidity chamber, in order to reactivate the paint and reattach it. A major advantage of this method is that a consolidant is not necessary. Method development and a case study procedure are presented in depth. The method developed is effective for cel paints with the same or similar formulations.

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This paper explores the potential and limitations of artificial intelligence in animating and interpreting cultural heritage, focusing on the project Brosch AI – Distorted Dreams, an AI-animated short film based on the works of Austrian artist Klemens Brosch. The project utilizes AI technologies such as diffusion models and generative adversarial networks to transform archival drawings into animated visuals, balancing authentic reinterpretations with intentional artistic distortions. Through detailed analysis and practical experimentation, the paper highlights significant challenges in realistically animating figures and maintaining stylistic fidelity. Embracing these animation errors as artistic interventions, the project aligns with Brosch’s psychological themes and biographical context. The discussion critically addresses broader implications regarding authorship, originality, and technology’s role in cultural heritage preservation and creative interpretation, advocating for a nuanced understanding of digital heritage practices.

This paper explores the evolution process of image creation image creation in the context of media technology changes from the perspective of a visual image creator. It reviews the transition from cel animation to computer animation and, ultimately, to AI-generated imagery, analyzing how different media have influenced production techniques, aesthetic styles, and the role of the creator. As computing technology advanced, image creation shifted from handcrafted processes to digital workflows, while the rise of artificial intelligence further challenged the subjectivity of creators, leading image production into an era of algorithm- driven production. Incorporating media theory, technology philosophy, and cultural critique, this paper investigates how AI-generated imagery impacts authorship and explores potential responses from creators. In an age of AI and data-driven image production, the question of whether creativity still relies on human intuition and individual expression remains a critical issue for contemporary image creators.

A Russian animated film director Andrei Khrzhanovsky (b. 1939) has made a highly successful cinematic career spanning more than fifty years (his animation discussed in the monographs and articles of Maureen Furness, Laura Pontieri, Maya Balakirsky Katz, Sergei Kapkov, among others). Khrzhanovsky works in different cel animation techniques (drawn and cut-out animation) and is famous for the adaptation of classic prose and poetry through found images – the authors’ correspondence, diaries and drawings (The Pushkin Cycle, 1975–1987; A Cat and a Half, 2002). Frequently, the found images take the form of visual quotations from European art. In the animated films Glass Harmonica (1968), A Grey-Bearded Lion (1995, an adaptation of Tonino Guerra’s tale) and Long Journey (1997), Khrzhanovsky uses images of Italian art to shape atmospheric effects, which position an artist as “not belonging”. In Glass Harmonica appropriated images of Renaissance and surrealist art help to elaborate on the artist’s political nonconformism: “belonging” refers to the dominant narratives of state-sponsored ideology while “not belonging” (Mikhail Bakhtin’s position outside; Alexei Yurchak’s living ‘vnye’) – to different alternative truths of an outsider. In A Grey-Bearded Lion Khrzhanovsky adapts Tonino Guerra’s tale about an Italian circus, and in Long Journey repurposes auteur cinema images and drawings (Federico Fellini) to comment on other issues of the artistic journey and freedom. While erasing the significance of the political context in a more existential sense, Khrzhanovsky continues to use atmospheric effects to portray an artist as an outsider. This essay delves into different manipulations of the mise-en-scène and the movement, which influence the characters’ and the viewer’s “atmospheric feelings”. Focusing on four criteria from Hermann Schmitz’s “felt-bodily alphabet”, two associated with spaces (filled or empty, condensed or non-condensed) and the other two – with types of movement (centripetal or centrifugal; quite or excited), I will look at the dynamics of atmospheric effects in Khrzhanovsky’s animation that positions an artist as not belonging.

Brosch AI - Distorted Dreams explores the intersection of artificial intelligence, art, archives, and animation. The project transformsthe archive of Upper Austrian artist Klemens Brosch (1894– 1926) into an AI-animated film. While AI image-generation tools typicallyrely on online archives, museum collections often provide only lowquality digital reproductions. By utilizing high-resolution imagesfrom Brosch’s archive, this project investigates the potential of AI-driven animation while addressing challenges related to stylisticcontrol, and creative authenticity. The findings demonstrate that while AI can produce high-quality outputs, extensive refinementand iterative adjustments are necessary to preserve the essence of Brosch’s work. The project sparks critical discussions on authorship,originality, and the evolving role of technology in artistic creation.

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This article uses the walk cycle to simultaneously place movement in video games within the history of animation, and to show how the walk cycle has been adapted for the video game medium. Dating back to the pre-cinematic toys of the 19th century, the walk cycle is an animation technique that depicts a character’s walking animation as a self-contained, reusable loop. Video games import this technique into a new context with different affordances. A comparative analysis of the video games Prince of Persia (1989) and Ninja Gaiden (1988) explores different methods of implementing the walk cycle and reveals a trade-off between verisimilitude of movement and responsiveness to user input. Prince of Persia’s walk cycle, inspired by full cel animation, foregrounds fluid movement, while Ninja Gaiden utilizes limited animation techniques to prioritize responsiveness. Thus, this article argues that interactivity becomes a site of tension between movement and responsiveness, with video games drawing on older forms of animation to negotiate this tension.

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We present a modification to traditional ray tracing that stylistically renders a scene with cartoon and painterly styles. Previous methods rely on post-processing, materials, or textures to achieve a non-photorealistic look. Our method uses a ray tracer to combine cel animation art styles with complex lighting effects, such as reflections, refractions, and global illumination. The ray tracer collects information about objects and their properties to dynamically switch between cartoon and painterly rendering styles. The renderer generates the styles by shooting additional rays for each pixel and collecting information such as normals, distance, slope, object identifiers, and light gradients from neighboring areas of the image. The resulting algorithm produces images with visual and artistic characteristics that allow artists to take advantage of rendering techniques that are not commonly supported in production ray tracers.

In this paper, we confront the problem of deep learning's big labeled data requirements, offer a rule based strategy for extreme augmentation of small data sets and apply that strategy with the image to image translation model by Isola et al. (2016) to automate cel style cartoon coloring with very limited training data. While our experimental results using geometric rules and transformations demonstrate the performance of our methods on an image translation task with industry applications in art, design and animation, we also propose the use of rules on partial data sets as a generalizable small data strategy, potentially applicable across data types and domains.

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We present Follow-Your-Emoji, a diffusion-based framework for portrait animation, which animates a reference portrait with target landmark sequences. The main challenge of portrait animation is to preserve the identity of the reference portrait and transfer the target expression to this portrait while maintaining temporal consistency and fidelity. To address these challenges, Follow-Your-Emoji equipped the powerful Stable Diffusion model with two well-designed technologies. Specifically, we first adopt a new explicit motion signal, namely expression-aware landmark, to guide the animation process. We discover this landmark can not only ensure the accurate motion alignment between the reference portrait and target motion during inference but also increase the ability to portray exaggerated expressions (i.e., large pupil movements) and avoid identity leakage. Then, we propose a facial fine-grained loss to improve the model’s ability of subtle expression perception and reference portrait appearance reconstruction by using both expression and facial masks. Accordingly, our method demonstrates significant performance in controlling the expression of freestyle portraits, including real humans, cartoons, sculptures, and even animals. By leveraging a simple and effective progressive generation strategy, we extend our model to stable long-term animation, thus increasing its potential application value. To address the lack of a benchmark for this field, we introduce EmojiBench, a comprehensive benchmark comprising diverse portrait images, driving videos, and landmarks. We show extensive evaluations on EmojiBench to verify the superiority of Follow-Your-Emoji. The code, training dataset and benchmark will be found in https://github.com/mayuelala/FollowYourEmoji.

Navigating the challenges in the Nigerian animation industry required strategic collaboration, investment in talent development and fostering a supportive ecosystem to unlock its full potential. This research delves into the origin and intricate landscape of the Nigerian animation industry, highlighting its haphazard and somewhat accidental roots, the hurdles impeding its growth and the myriad opportunities waiting to be harnessed. Curiously, early signals of local animators grew from local content animation in television advertising. In no time, tens of personal talents in animation had emerged, leading to the big three: Komotion Studios, Orange VFX and 32AD Animation Studios, all based in Lagos, with pioneering efforts in full-length animation, but not without challenges. With comprehensive detail, the authors identify key challenges such as skill gaps, limited infrastructure and funding constraints. Their research proposes strategic interventions, collaborative initiatives, targeted talent development programmes and the creation of a conducive ecosystem for sustained industry growth. By addressing these challenges passionately, the authors foresee a transformative phase for the Nigerian animation industry, unlocking its untapped potential and positioning it as a thriving hub within the African and global animation landscape.

This article is a discussion of curation as a state method for the selection of animated films. Four ink painting animations produced at the historically important Shanghai Animation Film Studio (SAFS) are discussed, Ink Painting Animation Films (Shuimo donghuapian 水墨动画片, 1960), Little Swallow (Xiaoyanzi/小燕子, 1960), Where Is Mama? (Xiao kedou zhao mama/小蝌蚪找妈妈, 1960), and The Oxherd’s Flute (Mudi/牧笛, 1963). The early 1950s and 60s were a key period for cultural reform in the People’s Republic of China (PRC), notably in the Fine Arts and Film. Ink painting animation was at once an identifiable Chinese form, an historically significant form for the newly emergent PRC nation, and a controversial form in a field that was quickly shifting to socialist realism. This article attempts to tease out the way ink painting animation films were curated by state and citizen players at the time to represent a true national painting/guohua/国画/ form that represented Chinese culture. For commentators, and perhaps for the animators themselves, ink painting animation represented the ultimate sinification of Western film technology and cel animation technique. Three ink painting animations were completed by 1960. However, by 1963, the fourth ink painting animation would be banned, and the animators suffered political criticism. By reading this last early ink painting animation within the context of its production, possible meanings point to a deliberate attempt on the part of the animators to suggest a critique of top-down cultural production. To this day, SAFS productions have been curated around a small number of works. This article asks: Are there more classics?

Animation unlocks exciting creative opportunities to express one’s ideas and stories. However, creating animations with existing software or tangible interfaces is difficult and time-consuming. In this paper, we present Cartoonimator, a paper-based tangible kit for keyframe animation that enables novice animators to quickly create animations from illustrations on paper. The kit—comprising paper templates to draw scenes and characters on, and a mobile web app to capture keyframes and compile the animation—offers an engaging tangible interface for both children and adults to create versatile animations. We conducted system evaluations with adults and workshops with children to study their interaction with the tool and the kind of animations it enabled. Our findings reveal that Cartoonimator is an intuitive and expressive tool that lowers the barrier to animation and helps users learn about animation concepts.

This paper focuses on the study of the charm of camera language in film and animation, guiding the reader to feel the expression of camera language consciously in the future, and to concretize the abstract feeling of watching a film. A good film and television work, each of its images should have meaning, that is, the lens language. It is often ignored by the audience, but it does exist. In this paper, the author will analyze some clips from Akira Kurosawa's film Seven Samurai and a Chinese XIANXIA animation film, A Record of a Mortal's Journey to Immortality, and analyze the camera language hidden under the visual images through the layout of the images, the movement of the camera and the performance of the characters. In Seven Samurai, the author mainly analyze the general scenes, while in A Record of a Mortal is Journey to Immortality, the author will focus on the fight scenes.

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Batik, a cultural artifact full of philosophical values, is now seen as just a part of fashion style and a sweetening element. Many people, especially children, do not understand the symbolic meanings of the aesthetic elements of batik. This problem is commonplace in Indonesia, including Cirebon. As batik centers, only a few schools in Cirebon provide opportunities for their students to learn batik. If the meaning of batik is to be taught to the younger generation, then an approach using new media can be an alternative to introduce it persuasively. One medium that is close and has the potential to introduce batik to children is 2D animation. The research method that will be used is qualitative. The animation process starts with several stages, from collecting data about the batik we want to make into a story theme: Batik Sawat Pengantin Cirebon. Data collection was done by direct observation and interviews. After the data is collected, the next step is to search for story ideas, create scenarios, design visual concepts, and create storyboards. Then, the animation production process can be carried out. This research will focus on the storyboard design part, namely the clean-up storyboard and animatic storyboard, which will guide in making 2D animation.

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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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The “E-conte,” storyboard in English, is commonly referred to as the “blueprint” in Japanese animation (anime) production, consisting of scene illustrations, timing information, and textual descriptions. This paper introduces “Griffith,” a digital system for creating these storyboards. Due to its highly cultural and domain-specific nature, the tool design entailed an in-depth study of the E-conte process and a longitudinal collaboration with an experienced anime director and producers. The resulting system contributes not only domain knowledge, but also generalizable insights into a creativity support environment for visual storytelling, including the importance of vertical timelines and discrete yet integrated tools. To reflect on the interaction design, we presented Griffith to professionals with diverse roles in anime production. Our findings highlight the benefits of the Griffith user interface and the need for a socio-technical focus in designing creativity support tools.

The main goal is to produce an output to convert the global real image into supported impressions (Animated Image). The concept of the paper is based on one-of-a-kind photos that are turned into an art shape akin to oil. This project would use an OpenCV package in Python to create the layout and a Deep Convolutional Generative Adversarial Network (DCGAN) to generate realistic-looking photos. The system is made up of three components: (a) a generative adversarial network that has been trained to generate comic characters, (b) a cartoon model that will generate edge animated images using OpenCV, and (c) an edge detects that takes input from portraits and then generates comic characters based on the resulting edge images

Artificial Intelligence (AI) capabilities significantly change the way creative actors in the production process work. Through a study of the impact of AI on the animation industry, this article highlights the shift of AI from basic automation to more complex roles. Multi-modal generative AI, such as Large Language Models (LLMs) and diffusion models, revolutionizes the animation workflow, changes the job description of animators, and creates new challenges and opportunities. The analysis is carried out on repetitive tasks such as in-betweening, rendering, and asset creation. Through the exploration of the application of diffusion models for the creation of image and video works, as well as the application of LLMs in the development of narratives and storyboards, animators are expected to focus more on conceptual aspects and increase their creativity. AI will be involved as an innovative partner. This partnership encourages various forms of new creative expression as well as collaborative and integrated workflows. It is undeniable that this leaves notes and challenges related to the potential shift in human resources and ethics. This article provides an explanation of the adaptations that must be made so that the integration of technology and humans can maximize human creativity, not to replace it.

With the development of China’s economy, people’s living standards continue improving. This makes the cultural industry flourished. As an important part of the cultural, the animation industry is entering a golden age of development. The rapid development of the animation industry has led to a large number of national comics of varying quality. Based on the cultural atmosphere of domestic animation is not strong, the originality of animation production is not strong, the animation industry chain needs to be improved and other problems. This paper analyzed the significant factors affecting animation ratings through multiple linear regression models to make some suggestions for the future development of domestic animation. The summary analysis shows that name, storyboard and protagonist have a significant positive influence on the score. From the results, China's animation industry should pay attention to plot development and character building. It is hoped that the findings of this paper can have some guiding significance for the development of national comics.

This paper discusses the development of two animated music videos, “Engkau Dalam SemuaPerjalanan” and “Caballero”, undertaken as part of a Final Year Project at the School of Creative Industry Management and Performing Arts (SCIMPA), Universiti Utara Malaysia. The main objective of this project was to integrate animation as a medium to enhance musical storytelling, while simultaneously strengthening the visual and artistic identity of the client’s band. The methodology adopted for the project followed a structured three-phase process comprising pre-production, production, and post-production. During the pre-production stage, activities such as conceptual planning, storyboarding, and character design were carried out to ensure consistency with the narrative and client expectations. The production stage emphasized animation processes, visual aesthetics, and synchronization of movement with the rhythm and mood of the music. The post-production phase involved refinement through editing, visual effects, and audience feedback to ensure overall cohesion and quality. The findings indicate that the use of animation in music videos significantly enhances audience engagement, effectively conveys the emotional tone of the songs, and provides a stronger platform for branding and artistic representation. Overall, this project demonstrates how the combination of animation and music can create a dynamic form of digital storytelling that contributes to both creative expression and industry practice.

This paper explores the integration of AI-driven technologies in storyboarding and animation to automate previsualization and animatics creation within contemporary media production. It highlights the potential of AI to streamline creative workflows, reduce production time, and enhance visual storytelling accuracy. The study investigates current AI applications, challenges, and future directions for automating pre-visualization processes. Emphasizing the need for further research, it aims to provide valuable insights into the evolving landscape of media production empowered by artificial intelligence.

Animation pre-production lays the foundation of an animated film by transforming initial concepts into a coherent blueprint across interdependent stages such as ideation, scripting, design, and storyboarding. While generative AI tools are increasingly adopted in this process, they remain isolated, requiring creators to juggle multiple systems without integrated workflow support. Our formative study with 12 professional creative directors and independent animators revealed key challenges in their current practice: Creators must manually coordinate fragmented outputs, manage large volumes of information, and struggle to maintain continuity and creative control between stages. Based on the insights, we present AnimAgents, a human-multi-agent collaborative system that coordinates complex, multi-stage workflows through a core agent and specialized agents, supported by dedicated boards for the four major stages of pre-production. AnimAgents enables stage-aware orchestration, stage-specific output management, and element-level refinement, providing an end-to-end workflow tailored to professional practice. In a within-subjects summative study with 16 professional creators, AnimAgents significantly outperformed a strong single-agent baseline that equipped with advanced parallel image generation in coordination, consistency, information management, and overall satisfaction (p<.01). A field deployment with 4 creators further demonstrated AnimAgents'effectiveness in real-world projects.

Abstract: This manuscript develops into the transformative role of artificial intelligence (AI) in the field of animation. Over the years, AI has revolutionized various industries including healthcare, banking, e-commerce, agriculture, manufacturing, and others., and animation is no exception. This paper provides an overview of the applications of AI in animation, including character creation, motion synthesis, scene generation, generating facial expressions and body language for characters, planning out scene layouts and camera movements, and generating backgrounds and environments and more. It discusses the challenges and ethical considerations associated with AI-driven animation and presents insights into the future directions of AI in the animation industry

The introduction explores the fascinating world of brush-style animation and Chinese ink painting, highlighting their unique artistic qualities and historical significance. and Experience the Nationalization of Chinese Animation. Brush-style animation involves techniques that emulate hand-painted brushwork in animation, offering fluid and organic movements. A notable example of this style is seen in "The Tale of Princess Kaguya," known for its captivating watercolor-like animation. In contrast, Chinese ink painting, deeply rooted in Chinese culture, employs black ink and shades of gray to create intricate compositions. Its origins can be traced to ancient China, with the Tang and Song Dynasties playing crucial roles in its development. The iconic "Along the River During the Qingming Festival" by Zhang Zeduan and Shen Zhou's expressive style are celebrated examples. Furthermore, the guide on creating ink brush style animation is outlined, emphasizing conceptualization, storyboarding, choice of tools (digital or traditional), keyframe creation, brushstroke techniques, optional coloring, animation, export, and post-production. The captivating fusion of traditional Chinese ink painting techniques with modern animation technology is exemplified by the acclaimed film "Big Fish & Begonia," directed by Xuan Liang and Chun Zhang, It showcases the visual brilliance and cultural richness of the Nationalization of Chinese Animation, which can be achieved through this unique animation style

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This article examines the collaborative use of animation and drawing in ethnographic research to explore the memories and imaginative worlds of people who have experienced the illegal crossing of the Mediterranean. Working with three Egyptian men in Italy, anthropologist Alexandra D’Onofrio and animator Francesca Cogni invited participants to engage in storytelling, photography, and participatory animation to reflect on their crossing experiences. A key methodological experiment was animating without a storyboard, enabling improvised drawing and the co-creation of narratives in real time. This approach encouraged participants to reimagine their past and represent their experiences as they unfolded, supported by the animator’s expertise in drawing and stop-motion techniques. The process foregrounded participants’ agency in shaping their own accounts while challenging conventional ethnographic methods. In this context, animation emerges as both a creative and ethical practice, offering anthropologists a dynamic tool for collaboration and generating new insights into the fluid ways in which memories and identities are formed.

This paper focuses on the original animated short film Glimmer, conducting an in-depth exploration of its artistic expression characteristics and the application boundaries of AIGC (Artificial Intelligence Generated Content) technology. Presented in a sketch style, the film creates unique visual effects and emotional atmospheres through techniques such as lines and light-dark contrast, demonstrating the distinctive charm of the sketch style in animation creation. Meanwhile, the paper reflects on the application of AIGC technology in animation creation, pointing out its optimization potential in aspects such as character expressions, scene design, storyboard scripts, and creative sound effects. The study emphasizes that although AIGC technology brings opportunities, issues related to originality and dependence on the technology (by creators) also need attention. This paper aims to provide theoretical references and practical guidance for animation education and creation, promote the integrated development of animation art and technology, and drive innovation and progress in the field of animation creation.

The National Centre for Computer Animation at Bournemouth University is developing a digital collection of historical assets arising from 30 years of pioneering work. These rare assets of late 20th and early 21st century animation include high quality digital and hardcopy storyboards, animatics and completely rendered scenes. This unique collection will be presented publicly at an exhibition at Poole Museum entitled ‘Once Upon A Time in Animation’. This paper will describe the creation of the archive and collection as well as the curatorial strategy of making it accessible to the public. What are the most relevant artefacts of 30 years of Animation at this world leading institution? What are the best strategies in making Animation accessible to future talents? How can we strengthen the role of the South West of England as one of the major hubs in Animation, VFX and the Creative Industries?

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This article focuses on the animation "Bocchi the Rock!" co-produced by Fangwen Publishing House and CloverWorks (CLW) to analyze its core strategies in media management. By analyzing the content incubation model of Fangwen Society and the refined production system of CLW, and combining the peripheral industry development logic of music-driven IPs, this paper deeply explores the core strategies for niche cultural products to break through the barriers of different circles. The research findings show that the work takes high-quality original music as its competitive core and builds a composite operation model through live performances by voice actor bands, immersive visual expression, and scenario-based derivative development (such as live house collaborations). At the same time, the SWOT model is used to reveal its shortcomings, such as insufficient depth of derivation and a single business form. In the expansion opportunities of the global pan-secondary dimension market, it still needs to deal with the challenges of homogeneous competition and cultural barriers. It also offers suggestions for optimizing the dissemination paths and strategic layouts of anime works, providing innovative references for the management and operation of 2D cultural products.

This study aimed to reveal the influence of teaching using the Midjourney artificial intelligence (AI)-based intelligence platform on developing the animation character design skills among students of the multimedia design course at the University of Jordan. The study used a quasi-experimental methodology with a sample of 60 male and female students of the Multimedia Design course from the Department of Visual Arts at the University of Jordan. The study participants were intentionally chosen and randomly divided into two groups: the experimental group, which consisted of 32 male and female students who utilized the educational application based on AI Midjourney, and the control group, which consisted of 28 male and female students who used the conventional method of studying. The findings indicated that there were statistically significant differences, at a significance level of (α = 0.05), in the average scores of the two groups regarding their post-performance in animation character design skills. The experimental group, which utilized the AI-based application Midjourney as a teaching method, demonstrated superior performance compared to the control group.

This paper aims to explore the relationship between animation character design and audience aesthetics, analyzing its historical evolution and influencing factors. With the continuous development of the animation industry, character design has become a crucial element in attracting audiences. First, the study reviews the history of animation character design, examining how technological advancements—from early hand-drawn animations to modern computer-generated imagery (CGI)—have influenced the shaping of character images. Second, the research focuses on the diversity of audiences and the evolution of their aesthetic preferences. Through surveys of audience groups across different ages and cultural backgrounds, the paper reveals variations in their preferences and expectations for character design. For instance, younger audiences may favor more exaggerated and personalized characters, while older audiences tend to prefer characters with traditional charm and complex emotions. Additionally, the rise of social media and online communities has provided audiences with feedback mechanisms, significantly increasing their influence on character design. Responding to such feedback has become an essential consideration for designers during the creative process. Finally, by analyzing case studies of classic and modern animation characters, the paper explores how these design elements drive industry innovation while meeting audience aesthetic standards. The study emphasizes that a deep understanding of the dynamic interaction between character design and audience preferences is vital for creators to succeed in a highly competitive market. The findings aim to provide theoretical support for animation industry practitioners and academia, encouraging further exploration of the evolving relationship between animation character design and audience aesthetics.

The lack of integration and cultural representation in Pingxiang Nuo masks can reduce the aesthetic appeal of the audience, which is a challenge for the industry. The dysconnectivity of the audience with no emotions toward Pingxiang Nuo mask characters is problematic for the industry on a large scale. The purpose of this research is to measure the impact of Pingxiang Nuo mask funny role and positive supporting role on cultural expressiveness with mediating impact of artist qualification. The study is designed to provide comprehensive insight into contributing more value to the culture's expressiveness. This study used a purposive sampling method to collect the data. This method was significant for sampling as students, teachers, professionals and audience of art design was population. A sample of 325 individuals, including students, teachers, professionals, and art design audiences, was collected. Smart PLS 4 was used for conducting statistical analysis with partial least square–structural equation modeling (PLS-SEM). The findings of this research contribute to the literature that the impact of Pingxiang Nuo masks funny role and a positive supporting role on cultural expressiveness is accepted. The study also confirmed that the effect of the Pingxiang Nuo influences the mediating role of artist qualification mask funny role and the positive supporting role of cultural expressiveness. The study asserts that the qualification of the artist is essential and significantly contributes to cultural expressiveness with the help of Pingxiang Nuo masks. In China, it is required to improve the cultural expressiveness with the help of Pingxiang Nuo mask that is required for cultural and historical representations. JEL Classification Codes: C10, C81, C87, C12.

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Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a research method that employed a content analysis approach using the SPSS software. Through the analysis of cross-distribution and Chi-Square, it was found that the criteria of physique, national characteristics, and colors in the students’ work showed similar characteristics to both local and foreign animations. Consequently, further studies should be conducted to comprehend why the students are inspired by Japanese and Western styles. These influences also raise the question of whether these cross-cultural forms lead to a new identity of Malaysian animation or only a trend.

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With the rapid development of generative AI technology, animation character creation is transitioning from traditional manual design to a “human-machine collaboration” model, where style transfer an essential application scenario, enables efficient conversion of diverse animation styles. This study focuses on the application of generative AI in animation character style transfer. First, it clarifies the principles of core technologies (GANs, Diffusion Models) and defines the compositional elements of animation character styles as well as style transfer design objectives. Then, it elaborates on specific application paths from three dimensions: data preparation, model selection (CycleGAN, Stable Diffusion), and process implementation. Practical cases validate the technology’ s feasibility and creative efficiency gains. Finally, optimization strategies (e.g., model fine-tuning for precise control, human-machine collaborative copyright compliance) are proposed. This study provides valuable reference for advancing the animation industry toward efficiency and personalization.

The Monkey King, one of the most emblematic figures in Chinese mythology and literature, has played a vital role in shaping Chinese popular culture and visual storytelling for centuries. Since his first animated appearance in the early 20th century, this legendary character has been continuously reinvented to reflect the cultural, aesthetic, and technological transformations of each era. This study investigates the key determinants of the Monkey King’s character design in contemporary Chinese animation, focusing on how cultural heritage, aesthetic innovation, and technological advancement shape his visual representation. As a central figure in Chinese mythology and literature, the Monkey King has been continuously reinterpreted to resonate with evolving audience expectations and media forms. Drawing on a qualitative content analysis of selected animated works from 1941 to 2025, the research examines determinants including artistic style, cultural symbolism, and media technology. The findings indicate that the integration of traditional cultural motifs with modern digital design techniques has been crucial in maintaining both authenticity and audience appeal. This study provides insights into the interplay between cultural continuity and creative innovation, contributing to broader discussions on character design methodology in contemporary animation.

Animation captivates viewers with its visual storytelling, fostering creativity, delivering entertainment, and imparting knowledge. It influences culture, media and education, shaping our perception of the world. Animation films are popular for their engaging narratives, well-developed characters and cultural significance. Character design in animated films can embody a brand’s essence, transcend cultural boundaries and influence behavior. The rising prominence of animation in global media significantly impacts children’s learning and creativity. Japanese anime, in particular, has gained a strong foothold in various markets, including India, shaping the animation landscape. This study explores anime’s growing influence on character design among Indian animation students, assessing their character design process and awareness of Indian animation. Surveys and interviews with students, faculty and industry professionals reveal anime’s impact on students’ creative projects and the limited awareness of Indian animation. The study emphasizes the need for further research to understand anime’s influence on students’ artistic styles.

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This research aims to (1) synthesize the digital painting learning process by using mixed-reality technology to develop practical skills in character design for animation and (2) develop and evaluate digital painting learning models using mixed-reality technology to develop practical skills in character design for animation. This research was conducted by studying documentation and related research and designing digital painting learning models using mixed-reality technology to develop practical skills in character design for animation. Using a questionnaire, a total of 9 experts evaluated the model’s suitability. The statistics used in the research were the mean and standard deviation. The study found that a component of the digital painting learning process involves using mixed-reality technology to develop practical skills in character design for animation. It consists of the following four components: (1) input data, (2) the digital painting learning process, (3) output assessment, and (4) feedback. The expert’s evaluation of the model’s suitability found that the digital painting learning model using mixed-reality technology to develop practical skills in character design for animation was at the highest level (mean ± SD = 4.38 ± 0.21). This research is beneficial to faculty who teach character design and development for animation. The results of the study can be applied to teaching and learning.

The dynamic evolution of animation has positioned character design as a pivotal element in contemporary entertainment, necessitating adept animators skilled in both technical prowess and artistic comprehension. As the animation industry expands globally, higher education institutions face the challenge of aligning curricula with industry standards. This paper investigates character design education in animation, analyzing the balance between artistic expression, technological proficiency, and narrative coherence. It explores challenges faced by educators and learners, presenting insights for curriculum enhancement and instructional strategies. The literature review examines the role of character design, tracing its evolution and diverse teaching methods. The study introduces the ACG Animation Studio concept, merging animation, comics, and games, aiming to deepen students' understanding of the broader industry landscape. Through this pedagogical innovation, the curriculum reform augments learning enthusiasm, professional competence, enrollment competitiveness, and student employment prospects, fostering a new generation of animators adept at seamlessly blending creativity and technical skill for compelling character-driven animations

This article explores the significance of Balinese mythology-themed character design in animation as virtual entities, providing an in-depth analysis of their cultural signification and cultural implications, and their role in promoting social commentary and cultural preservation. Through the use of case studies, literature reviews and survey, the articles examines how various Balinese mythological figures including (Hanoman, Garuda, Barong, and Rangda) are portrayed in popular animated works and what cultural meanings are conveyed through their design choices. The article analysis reveals that Balinese mythology-themed character design in animation can reflect Bali cultural values, promote social commentary, beliefs, and traditions, serving as a means of preserving Balinese cultural heritage. Furthermore, the results demonstrate the importance of considering the cultural context in which mythology is presented in animation, as it can shape the interpretation of these virtual entities.  Keywords: Balinese mythology-themed, character design, signification, virtual entity

The modern character image in the mythological animated film is more in line with the aesthetic and value concept of the audience in the modern society, and easier to arouse the audience's resonance and emotional resonance. Through the modern character images in mythological animated films, the audience can better understand and recognize the traditional culture and mythological stories, but also better understand and reflect on the development and changes of contemporary society. However, the excessive dependence on Western culture, the low level of recurring character images and the loss of traditional national elements are the limitations of mythological animated films in presenting modern roles. Based on Chinese traditional national culture and role building, mythological animated films introduce new creative design and emphasize the emotional communication of characters.

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In the United States, the production of cartoons and animation as an indus-trial process dates back to the 1930s. Cartoons produced until this period were generally short and had limited narrative time. The introduction of feature-length productions led to significant changes in the character de-sign process for animators. The extension of the narrative allowed for the exploration of new dimensions in the structural forms and design stages of fictional characters. During this phase, Walt Disney Studios utilized refer-ence images in character design and divided the production stages of ani-mations into different segments, distributing these stages among various animators. The design of a character involves more than just an animator's drawing skills; it also requires the contribution of other artists who voice the character and provide references for the visual representation that will breathe life into the character. Walt Disney Studios became a pioneering production company by integrating various areas of expertise during these stages, thus producing groundbreaking fictional characters. Animators from different specializations within the animation department applied di-verse approaches to bring a character to life. Ultimately, the final decisions regarding the character were made in collaboration with the voice actor and reference image actress. This collaborative process highlighted the team-based nature of character design in animation.

With the increasing attention paid by the state to the cultural industry, animation, as an important part of this sector, has produced numerous quality works in recent years. Against this backdrop, animation designers have begun to extensively reference traditional patterns and motifs, a trend that reflects the growing recognition of these motifs in the contemporary cultural context. This paper provides an in-depth analysis of the current application of traditional patterns in animation art. Through the study of the character design in "Ne Zha's Magic Boy Haunts the Sea," it explores how traditional patterns can be integrated into the creation of modern animation in an era of technological advancement. The study aims to offer innovative ideas for the combination of tradition and modernity and to explore further possibilities for traditional Chinese patterns in the context of the new era, ensuring that they preserve the heritage of national art while showcasing the innovative vitality of modern design.

Dewi Sartika is an Indonesian education pioneer who fought for women’s right to education in the early 20th century. However, her values are gradually being forgotten, even at SD–SMP Dewi Sartika Bandung, which carries her educational legacy. The institution faces challenges such as weak identity, limited promotion, and low appeal to young audiences and tourists. This study focuses on designing 2D character concept art as part of a digital promotional strategy for the Living Museum Sakola Kaoetamaan Istri, in collaboration with Bandung Good Guide. The characters are designed as local tourists joining cultural walking tours, serving as visual representations that connect Dewi Sartika’s educational heritage with Bandung’s creative tourism. with design thinking approach, the research applies the empathize and define stages to understand audience behavior, and the ideate and prototype stages to visualize character designs using user persona–based character design approach within the framework of participatory design for character design. The results show that character-based storytelling supported by Bandung Good Guide’s media network is more effective than conventional methods in attracting young audiences and cultural tourists. This approach helps revitalize historical values while strengthening the museum’s role as a cultural heritage destination in Bandung.

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Wayang Kulit, Indonesia’s traditional shadow puppetry, has long been a cornerstone of the country’s artistic and cultural heritage. As digital entertainment evolves, its aesthetic, narrative, and symbolic elements have found new life in video game design, influencing both visual storytelling and interactive mechanics. This paper explores how Wayang Kulit’s stylized silhouettes, mythological themes, and moral dualities have been adapted into modern gaming, particularly within Indonesian indie game development and global game aesthetics. It examines case studies of games inspired by Wayang Kulit, the technical challenges of translating 2D puppetry into 3D animation, and the balancing act between cultural authenticity and mass-market appeal. Additionally, it discusses the potential for VR, AR, and AI-enhanced animation to expand Wayang Kulit’s role in digital storytelling, offering players immersive experiences rooted in traditional shadow play mechanics. As Indonesia’s game development industry continues to grow, the integration of Wayang Kulit into gaming presents both opportunities for cultural preservation and challenges in representation, reinforcing the need for ethical and well-informed adaptations. This research highlights the importance of culturally inspired game design, not just as an artistic expression but as a means of preserving and globalizing Indonesian heritage in the interactive media landscape.

: This paper explores the multifaceted relationship between artificial intelligence (AI) and animation character design, with a particular focus on efficiency, creativity, and interactivity. Adopting a interpretative phenomenological method, we delve into the understanding of these aspects by analyzing the application of AI in animation character design, providing a unique perspective to explore the perceptions and experiences of animators and audiences in this context. The comprehensive exploration comprises four main sections: an introduction to AI in animation character design, an overview of phenomenological hermeneutics, detailed analysis of efficiency, creativity, and interactivity cases, and finally, a discussion on the substitutable and irreplaceable aspects of AI in animation character design.

This creative research aims to re-design the set of characters from Navagraha or nine planets deities in Thai culture to a contemporary form of sci-fi animation characters and influence younger generation to interest in Thai art and culture. The research tool is content analysis and character design process model. The principles and theories used in this research are semiotics, design principle and psychological theories which support the design of physical and psychological structures of characters. The result of this research is a concept design of nine planets deities. The concept has two forms for each character: one is traditional dress and other form is in sci-fi look armor. The survey of this character development found the young generation are interested to the story and look forward to animated feature film, graphic novel, or game.

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This paper mainly discusses the technical application of Stable Diffusion technology in the animation character design, and analyzes how to use the diffusion model to generate innovative and diverse animation character design images. With the application of artificial intelligence in the creative design industry, Stable Diffusion software technology, as an image generation model, is able to generate images with high quality in the low-dimensional latent space. This study analyzes the model architecture of Stable Diffusion and the working principle of animation character design, and discusses its application in character design. Through experimental case analysis, the advantages of the technology in creative efficiency, design innovation, and support for designer work efficiency are evaluated, and the future application direction is expected. Research shows that Stable Diffusion can not only improve the design efficiency, but also bring more innovative design inspiration to the animation industry.

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The term "futuristic" is used to describe a perspective on the future or a vision for what the world will be like in the future. It is impossible to predict what the future will be like with absolute certainty; however, it is possible to experience it as it becomes increasingly apparent in various fields, such as technology, design, and socio-cultural thought. This concept can serve as a foundation for the design of animations that employ a future-oriented narrative, integrating factual elements from the present. Arka is a 2D animation that employs the theme of the future and discusses the issue of stunting that takes place in one of the cities in Indonesia. The roles of characters in animation are the key to representing and conveying the message of the story to the audience. The objective of this research is to ascertain the costume concept employed in the design of an animated character set in the future. The research method used is a descriptive qualitative method. This qualita-tive research employs a case study approach with a review design analysis based on the Manga Matrix theory to provide a more detailed picture of the research ob-ject. The findings of this research suggest that a variety of creative and imagina-tive things can be used in the development of animated character designs that tell stories about futuristics.

The traditional artistic modeling elements of China are rich and colorful. Their application in animated character design not only highlights the distinctive features of traditional artistic modeling elements but also promotes China's excellent traditional culture. This paper mainly discusses in detail the measures of applying traditional Chinese artistic modeling elements to animated character design. Animation character designers can pay attention to the reasonable application of traditional Chinese artistic modeling elements against the background of new media, highlighting traditional literature, fine arts, and philosophy in the design process. Only by doing this can diverse artistic forms be reflected through animated characters, making the design more valuable and promoting sustainable development of China's traditional animation industry.

Animating with multiples and smears is a technique of 2D animation dating roughly back to the 1940s, most notably on the Looney Tunes cartoons. We have seen an increase in the use of multiples and smear geometry as some 3D animation becomes more stylized and the computed motion blur is not enough to convey a more exaggerated motion or speed. DreamWorks first began the exploration starting with Peabody and Sherman and has since used different methods throughout the years. For The Boss Baby: Family Business, the DreamWorks A.C.M.E. Multilimb System is an end-to-end pipeline solution for achieving the traditional 2D multiples and smears that puts the control back into the hands of Animation.

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Abstract Digital media animation can better promote folk culture inheritance and innovation, and at the same time, folk culture also provides rich inspiration materials and cultural elements for the creation of digital media animation. In this paper, the mathematical structure of the threshold regression model is first sorted out, and the parameters of the model are estimated by using the search method and the smooth least squares method. Secondly, it analyzes the promotion effect of digital media animation on the dissemination of folk culture, takes the 2D animated short film “Red Bank” as a research example, and designs a questionnaire to obtain the research data. Finally, the benchmark regression model and threshold regression model were established with folk culture dissemination as the dependent variable, and benchmark regression, robustness test, and threshold effect verification were conducted. The results show that the audiovisual language, creation method, and display medium of digital media animation are significantly correlated with folk culture dissemination at 1% level, and its R2 fit value reaches 0.7439. The level of development of digital media technology has an obvious double-threshold effect on the dissemination of folk culture, and its double-threshold value is 1.028 and 2.251 respectively. Digital media animation can enhance the dissemination medium of folk culture, expand the dissemination medium, and improve the quality of folk culture. Communication media and enhance the influence of folk culture.

The Legend of Telaga Warna is one of the folk tales originating from the culture of West Java. However, this legend is notwidely known among teenagers in Bandung due to their lack of interest and the limited digital media presence of the story.Therefore, preservation efforts are needed to keep it relevant for future generations. One way to do this is through adaptingthe story into 2D animation. Existing adaptations have already existed, but mainly targeted children demographic, so there’sa need for a fresh adaptation that appeals to teenagers to trigger their interest in the legend of Telaga Warna. Hence, thewriter plans to design a 2D animation update of the Telaga Warna story as a means of preserving West Javanese culture.The designer will employ qualitative methods, collecting data through interviews with folklore experts, studying similaranimations, and reviewing literature. The aim is for this 2D animation design to captivate teenagers’ interest, encouragingthem to enjoy and learn about the legend of Telaga Warna, thus contributing to the preservation of West Javanese culture.

Malay classic films are rich repositories of cultural values, traditional narratives, and artistic heritage. Malay classic cinema, rich in cultural values, traditional narratives, and artistic heritage, faces the challenge of staying relevant in an age dominated by digital media and animated content. As media consumption shifts towards digital formats and animated content gains popularity, 2D animation emerges as a compelling medium to preserve, reinterpret, and reintroduce these classics to new generations. This article explores the role of 2D animation in retelling Malay classic film narratives, focusing on how visual storytelling, cultural translation, and technological adaptation can breathe new life into cinematic heritage. It also highlights the challenges and creative opportunities involved in adapting live-action classics into animated form while retaining their original soul

The story of Sabeni, a martial artist from Tanah Abang, became famous in Betawi after defeating Macan Kemayoran and a Chinese kung fu expert presented by Dutch officials. The reason for choosing this story for a 2D animation is due to its moral message, which teaches the importance of not taking others' rights, helping selflessly, avoiding evil, and remaining determined in facing challenges. Promotional media plays a crucial role in modern marketing strategies, especially in the ever-evolving digital era. This research aims to analyze the effectiveness of various types of promotional media in increasing brand awareness and influencing consumer purchasing decisions. Using both qualitative and quantitative approaches, the study collected data through surveys and in-depth interviews with marketers and consumers. The results indicate that social media, digital advertising, and creative content significantly impact capturing audience attention and building stronger relationships with customers. Additionally, message consistency and appealing design were found to enhance customer loyalty. This research provides valuable insights for marketers in designing more effective and relevant promotional campaigns in today's market. The findings are e xpected to serve as a reference for further research in the field of promotional media and marketing.

In order to understand the research of computer "shadow" and "motion" art animation in shadow play art, a computer "shadow" and "motion" art animation research based on shadow play art has been proposed. Firstly, this paper analyzes the characteristics of traditional Chinese shadow puppetry art; Secondly, a thorough discussion was conducted on the combination of shadow puppetry art and 2D animation, as well as the combination of shadow puppetry art and 3D animation; Finally, the 3D simulation of traditional shadow puppetry character models was achieved using keyframe technology, from traditional artistic expression techniques to new forms of contemporary animation, fully proving the feasibility of combining shadow puppetry art and digital technology in technical application and artistic expression.

2D cartoon-style digital characters represent an important art form in games, animation, and virtual livestreaming. However, traditional 2D character creation workflows involve tedious manual layering, complex skeleton rigging, and professional animation skills, posing challenges for independent studios and non-professional users. While existing AI generation technologies can quickly create visual content, they typically produce non-layered, difficult-to-edit composite images that cannot be integrated into current workflows.This paper presents Spiritus, a semantic-driven 2D character generation framework. Unlike existing text-based AI animation workflows, Spiritus integrates mixed text and sketch inputs, achieving character image generation and automatic component segmentation through an open mask library and semantic matching. The system implements automatic skeleton rigging of character components through a shape-compatible mesh system and supports the export of Spine-compatible skeletal animations, enabling driving and rendering in web pages or game engines. We validated the system’s effectiveness in character generation freedom, character animation quality, and technical barrier reduction through comparative evaluation of user experiment results. Finally, we explored the possibilities of applying generated characters to various workflows and scenarios, including game development, animation production, and interactive illustrations.

Indonesia’s low literacy rate serves as the primary inspiration for the design of Spectrum Rise, an animation aimed at fostering reading interest among teenagers through engaging visual media. This final project report discusses the process of scriptwriting and background design in the animation, emphasizing the importance of cohesion between narrative and visual elements. The scriptwriting process employed a structured pipeline combined with improvisational techniques to produce natural dialogue and lively characters. Meanwhile, the background design followed the Multimedia Development Life Cycle (MDLC) approach and utilized digital painting techniques in Clip Studio Paint, supporting both flexibility and efficiency in visual production. The outcome of this design process includes a story script with a strong literacy message and background visuals that enhance mood and character development. The conclusion of this project highlights that integrating technical methods with creative approaches can result in an animation that is not only aesthetically pleasing but also educational. This report is intended to serve as a reference for animators and background designers in developing animation works that convey social messages.  

This study examines the challenges of preserving, inheriting, and innovating traditional She ethnic embroidery in southern Fujian during modernization, proposing systematic digital solutions. Through literature review and field research, it systematically traces the historical origins, cultural significance, and technical characteristics of She embroidery while revealing regional distribution disparities and inheritance risks. The research innovatively employs 3D scanning, virtual reality (VR), embroidery robots, and 2D animation technologies to establish a digital archive and develop interactive platforms, achieving precise preservation and dynamic dissemination of She embroidery patterns and techniques. By integrating modern design elements, it expands product lines through innovative practices in fashion, home decor, and cultural tourism sectors. Results demonstrate that digital approaches not only provide permanent preservation pathways for endangered crafts but also facilitate technological empowerment to integrate traditional craftsmanship with modern industries, offering a crucial model for sustainable intangible cultural heritage transmission and cultural diversity protection.

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For this submission titled Animated Space, artists Anna Tow and Melody Li propose to reimagine and rework their existing multi-screen, collaborative animation originally created for the Design for All the Senses performance. To further express original themes of creative possibilities and life-centered connection, the reworking of the animation for the theme Creative Organic Spaces will take existing animation elements and combine them with additional digital 2d and 3d procedural and abstract animation assets. The artists will explore intuitive, spontaneous animation processes that rely on poetic responses from a selected artist-collaborator. The collaborator's responses will then translate into new animation iterations, using the process of making as described above. The intention is to create a thought-provoking artwork, where the evolving abstract animations are projected onto multiple screens and accompanied by the collaborators’ spoken word responses. When the audience enters the installation, they will experience a changeable, meaningful, and mediative space.

From an asset creation perspective, Pixar’s first long formseries, Win or Lose, had a daunting number of featured characters. In addition to the large scope of the project, the design pushed further into the stylistic trend of somerecent Pixar films - favoring graphic shape language infacial expressions. The methodology that was so successful in those projects simply wouldn’t scale to the number of characters we needed to deliver. In terms of articulation, we knew that one thing that made wide, round mouths difficult was maintaining smooth surfaces as the topology skewed and distorted around the nose and cheeks. That insight prompted the question: “What if they weren’t connected?” While we pursued this idea with a focus on the advantages in asset creation, when those assets were put in the hands of animators, we found that the approach yielded an unexpected quality to the animation: combining the graphic nature of 2D design in a 3D environment.

. The development of ways and patterns of music consumption towards digital poses risks that are also developing. One of these risks is that digital music piracy becomes easier. The idea of this scientific work is how music video clips based on 2D animation can be used as a medium of visual communication or to convey certain messages, which in this case is the message against music piracy. The song in use is titled 'Gluttony' which belongs to a hardcore underground music group called Nightfall from Pekalongan, Central Java. The background of this band was chosen considering the character of the underground music scene which is not too big but militant and strong in supporting one another. This work is categorized as applied research which is to provide practical solutions to certain problems, not focusing on developing an idea, theory, or notion, but focusing more on its application to problems in everyday life. The method used is Eric Karjaluoto's design method and is supported by qualitative data collection methods, SWOT analysis methods and 2D animation design methods. The video that has been produced is then shown and analyzed by the community's response to it and then draws conclusions.

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Abstract This paper aims to promote the integration of animation design and cultural and creative industries. The shape gradient algorithm is used to analyze the features of the animated shapes. The corresponding interval distance of anime shapes is determined by calculating the curve sampling points of anime feature points. The deformation framework is created, and a sequence of anime shapes is generated using the linear interpolation method. In the deformation of anime design, the role of three algorithms, namely image segmentation module, association map of attributes, and mathematical description of EMD, on its generation is focused on the analysis. The results show that anime users from post-00 and post-10 are more inclined to anime peripherals, accounting for 30% and 35%, respectively. The annual growth rate of anime peripheral is 90.2%, and the annual growth rate of the overseas anime market is also gradually increasing, reaching a growth rate of 103.1%. A successful anime IP will certainly influence the development of its anime and cultural creation industry. The research in this paper is conducive to promoting better integration of animation design and cultural and creative industries and promoting the development of an innovation economy.

We introduce a training-free framework specifically designed to bring real-world static paintings to life through image-to-video (I2V) synthesis, addressing the persistent challenge of aligning these motions with textual guidance while preserving fidelity to the original artworks. Existing I2V methods, primarily trained on natural video datasets, often struggle to generate dynamic outputs from static paintings. It remains challenging to generate motion while maintaining visual consistency with real-world paintings. This results in two distinct failure modes: either static outputs due to limited text-based motion interpretation or distorted dynamics caused by inadequate alignment with real-world artistic styles. We leverage the advanced text-image alignment capabilities of pre-trained image models to guide the animation process. Our approach introduces synthetic proxy images through two key innovations: (1) Dual-path score distillation: We employ a dual-path architecture to distill motion priors from both real and synthetic data, preserving static details from the original painting while learning dynamic characteristics from synthetic frames. (2) Hybrid latent fusion: We integrate hybrid features extracted from real paintings and synthetic proxy images via spherical linear interpolation in the latent space, ensuring smooth transitions and enhancing temporal consistency. Experimental evaluations confirm that our approach significantly improves semantic alignment with text prompts while faithfully preserving the unique characteristics and integrity of the original paintings. Crucially, by achieving enhanced dynamic effects without requiring any model training or learnable parameters, our framework enables plug-and-play integration with existing I2V methods, making it an ideal solution for animating real-world paintings. More animated examples can be found on our project website.

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In the dynamics centred on East Asian cultural output, a special place is occupied by Japan’s production (namely, comics and animation, or manga and anime respectively) and the distribution and widespread consumption of this vast output around the world. Despite the interpolations many anime series or films faced when exported, a specificity of the medium was/is usually recognised by foreign audiences. However, issues often unfold in the reception of anime’s visual codes, which entail problematical aspects in the grasping of the narratives and an underlying dimension of what I shall here call “graphic politics”. Today, the visual-narrative logics of anime characters’ physiognomies, and therefore, the motivations and intentions of their creators, are still largely misinterpreted based on culturally-inflected interpretations; this gives us clues on what the audiences of anime are, what they expect and draw from anime’s stories, and what this means for a global politics of anime as a medium of expression and a creative output. In this article, through the description of visual examples and established, or, at times controversial, scholarship in the field, I discuss the persistence of wide misunderstandings in the cultural politics of anime’s design and its impact on the reception of anime’s intentions globally. Among the collateral effects of this misunderstanding, a technical and moral justification to call (or imply as) “anime” animations designed and produced outside of Japan by non-Japanese authors seems to be emerging in the global discourse, thus privileging a fabricated idea of anime as just a “form” over anime as also and mainly a Japanese cultural artefact, in a momentous process of progressive dilution of the Japan-embedded characteristics of the animations made in Japan.

With the advancement of generative artificial intelligence, previous studies have achieved the task of generating aesthetic images from hand-drawn sketches, fulfilling the public's needs for drawing. However, these methods are limited to static image generation and cannot control video animation synthesis via hand-drawn sketches. Moreover, the few sketch-guided video approaches often rely on concrete edge maps, placing high demands on users' drawing skills and raising the barrier to entry. To address these two key challenges, we propose VidSketch-an early attempt at one of the first methods capable of generating high-quality video animations directly from any number of hand-drawn sketches and simple text prompts. VidSketch bridges the gap between amateur users and professional artists in video content creation. Specifically, we design a Sketch Interpolation Strategy that expands any user-provided sketch sequence into a full set of video frames, offering greater input flexibility. Furthermore, we introduce a Level-Based Sketch Control Strategy that dynamically adjusts sketch guidance strength during generation to accommodate users with varying drawing proficiency. Experimental results show that VidSketch outperforms baseline methods on most VBench metrics, demonstrating superior performance and generalizability. Additional examples of generated animations are available at https://csfufu.github.io/vid_sketch/.

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Sketch animations offer a powerful medium for visual storytelling, from simple flip-book doodles to professional studio productions. While traditional animation requires teams of skilled artists to draw key frames and in-between frames, existing automation attempts still demand significant artistic effort through precise motion paths or keyframe specification. We present FlipSketch, a system that brings back the magic of flip-book animation – just draw your idea and describe how you want it to move! Our approach harnesses motion priors from text-to-video diffusion models, adapting them to generate sketch animations through three key innovations: (i) fine-tuning for sketch-style frame generation, (ii) a reference frame mechanism that preserves visual integrity of input sketch through noise refinement, and (iii) a dual-attention composition that enables fluid motion without losing visual consistency. Unlike constrained vector animations, our raster frames support dynamic sketch transformations, capturing the expressive freedom of traditional animation. The result is an intuitive system that makes sketch animation as simple as doodling and describing, while maintaining the artistic essence of hand-drawn animation.

Line art colorization plays a crucial role in hand-drawn animation production, where digital artists manually colorize segments using a paint bucket tool, guided by RGB values from character color design sheets. This process, often called paint bucket colorization, involves two main tasks: keyframe colorization, where colors are applied according to the character's color design sheet, and consecutive frame colorization, where these colors are replicated across adjacent frames. Current automated colorization methods primarily focus on reference-based and segment-matching approaches. However, reference-based methods often fail to accurately assign specific colors to each region, while matching-based methods are limited to consecutive frame colorization and struggle with issues like significant deformation and occlusion. In this work, we introduce inclusion matching, which allows the network to understand the inclusion relationships between segments, rather than relying solely on direct visual correspondences. By integrating this approach with segment parsing and color warping modules, our inclusion matching pipeline significantly improves performance in both keyframe colorization and consecutive frame colorization. To support our network's training, we have developed a unique dataset named PaintBucket-Character, which includes rendered line arts alongside their colorized versions and shading annotations for various 3D characters. To replicate industry animation data formats, we also created color design sheets for each character, with semantic information for each color and standard pose reference images. Experiments highlight the superiority of our method, demonstrating accurate and consistent colorization across both our proposed benchmarks and hand-drawn animations.

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