scholarly journals Serenity: 3D Animation to Simulate Chinese Ink Painting

2021 ◽  
Author(s):  
◽  
Lili Shen
Keyword(s):  
New Media ◽  
Digital Media ◽  
Three Dimensional ◽  
Theoretical Research ◽  
Chinese Painting ◽  
3D Animation ◽  
Art Form ◽  
Commercial Market ◽  
Visual Style ◽  
Time And Energy

<p>Serenity is a computer generated ink-wash animated short in which the traditional aesthetics meets the new media. I combined theoretical research and physical experiment to convey a peaceful pleasant feeling with subtle movement.  The focus of this thesis is to assess the possibility and capability of digital instruments in simulating the traditional Chinese ink painting and further transplant to three-dimensional (3D) platform. This thesis presents a new approach to practice Chinese painting and to compose an animation by using 3D techniques and non-photorealistic rendering (NPR). The aim for the composition portion of this project is to produce a refreshing animated visual style and to introduce the traditional methods of Chinese painting not only to the west, but also to the new Chinese generation who usually devote their time and energy to the subjects that might guarantee a better university or job.  My research draws on the previous ink-wash animations and the visual reference on Chinese painting, and takes advantage of my personal experience in both traditional training and digital media design to exploit a potential path for ink-wash animation in the competitive commercial market. Expanding traditional ink painting into the digital field provides an opportunity for the archaic art form to be communicated and shared widely and efficiently worldwide.</p>

scholarly journals Serenity: 3D Animation to Simulate Chinese Ink Painting

2021 ◽  
Author(s):  
◽  
Lili Shen
Keyword(s):  
New Media ◽  
Digital Media ◽  
Three Dimensional ◽  
Theoretical Research ◽  
Chinese Painting ◽  
3D Animation ◽  
Art Form ◽  
Commercial Market ◽  
Visual Style ◽  
Time And Energy

<p>Serenity is a computer generated ink-wash animated short in which the traditional aesthetics meets the new media. I combined theoretical research and physical experiment to convey a peaceful pleasant feeling with subtle movement.  The focus of this thesis is to assess the possibility and capability of digital instruments in simulating the traditional Chinese ink painting and further transplant to three-dimensional (3D) platform. This thesis presents a new approach to practice Chinese painting and to compose an animation by using 3D techniques and non-photorealistic rendering (NPR). The aim for the composition portion of this project is to produce a refreshing animated visual style and to introduce the traditional methods of Chinese painting not only to the west, but also to the new Chinese generation who usually devote their time and energy to the subjects that might guarantee a better university or job.  My research draws on the previous ink-wash animations and the visual reference on Chinese painting, and takes advantage of my personal experience in both traditional training and digital media design to exploit a potential path for ink-wash animation in the competitive commercial market. Expanding traditional ink painting into the digital field provides an opportunity for the archaic art form to be communicated and shared widely and efficiently worldwide.</p>

Research on the Application of Cellular Algorithm in 3D Modeling of Cartoon Characters

2014 ◽  
Vol 513-517 ◽  
pp. 1744-1747
Author(s):  
Feng Liu
Keyword(s):  
Design Method ◽  
Three Dimensional ◽  
Production Costs ◽  
3D Animation ◽  
Design Concepts ◽  
Three Dimensional Modeling ◽  
Modeling Software ◽  
High Production ◽  
Cartoon Characters ◽  
Time And Energy

The traditional design method of 3D animation modelings, by which can obtain attractive and precise 3D animation modelings, is to use three-dimensional modeling software such as Maya or 3D Max to draw directly. However, this method is faced with many problems, for instance, the lack of creativity, long design circle, high production costs, etc. For the problem of the lack of creativity, the reason is that animation designers are often subject to the limitation of the existing modelings and design concepts in the design process, therefore, they can not design creative modelings which are attractive and unforgettable enough. [For the problem of long design circle and high production costs, the reason is that although the 3D animation software are powerful, to skillfully master them not only requires users to have knowledge of computer technology and aesthetics at the same time, but also need a long learning process of modeling. Moreover, it takes the designers a lot of time and energy to design, draw and complete each modeling, and this will undoubtedly extend the design circle and increase the costs to some extent. Therefore, how to quickly and automatically generate creative 3D animation modelings has become a research focus of the present computer-aided creative design.

Postspatial, Postcolonial

Social Text ◽  
2020 ◽  
Vol 38 (3) ◽  
pp. 55-82
Author(s):  
Meryem Kamil
Keyword(s):  
New Media ◽  
Digital Divide ◽  
Digital Media ◽  
Postcolonial Studies ◽  
Three Dimensional ◽  
Resource Extraction ◽  
Political Practice ◽  
Al Jazeera ◽  
Grassroots Organization ◽  
East Jerusalem

This article centers two new media projects that imagine Palestinian decolonization, given the occupation of Palestinian land: news site Al Jazeera English’s 360-degree video tour of al-Aqsa compound in East Jerusalem and Palestinian grassroots organization Udna’s three-dimensional rendering of destroyed village Mi’ar. These digital texts reimagine Palestinian access to land as a community-driven and intergenerational project. In this analysis, access is formulated as a term that invokes the following: new-media analyses of the digital divide (or differential resources for obtaining new media across lines of race, nation, gender, etc.); disability studies’ notions of access as intimately tied to political power and infrastructure; and postcolonial studies’ criticisms of colonial access in tourism and resource extraction of the global South. The article brings together these discursive nodes to formulate an understanding of space that imagines decolonial futurity. This future-oriented political practice works toward a vision of Palestine determined by Palestinians, as opposed to limiting pragmatic wars of maneuver. This inquiry therefore is centrally concerned with the ways activists for Palestine employ immersive digital media to formulate and work toward an attachment to decolonial futurity that is both practical and utopian.

scholarly journals Study of Digital Painting Media Art Based on Wireless Network

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Mengxue Zhong
Keyword(s):  
New Media ◽  
Digital Media ◽  
Wireless Network ◽  
Skills Training ◽  
Chinese Painting ◽  
Media Art ◽  
Virtual Technology ◽  
Media Environment ◽  
Digital Painting

Digital media art mainly studies the methods and techniques of using information technology for artistic processing and creation. Through theoretical study, professional skills training, etc., people can master the use of digital media software and have the ability to use digital technology to perform artistic processing on various types of works. This article is aimed at studying the art analysis of digital painting media based on wireless networks. In the past few years, as the country pays more and more attention to it, the level of science and technology in our country is constantly improving. At this stage, it has entered a new media environment using digital media. In the method part, this article proposes wireless network technology. It is believed that digital painting and traditional painting are very different in expression form and artistic concept. Digital painting transforms the static expression of traditional painting into digital form, so that they are no longer limited to the static expression of the plane. In the algorithm part, this article uses the algorithm of virtual technology to make a long-term plan for the development of digital painting media art. The experimental results of this paper show that the proportions of digital media art materials in practical technology, visual experience, and Chinese painting are 50%, 61%, and 73%, respectively, and their proportions are constantly increasing, occupying an important role in the field of digital media art.

Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics

Leonardo ◽  
2020 ◽  
Vol 53 (1) ◽  
pp. 25-30
Author(s):  
Keung Hung ◽  
Jean M. Ippolito
Keyword(s):  
New Media ◽  
Digital Media ◽  
Contemporary Art ◽  
Chinese Painting ◽  
Time And Space ◽  
Time Space ◽  
Chinese Aesthetics ◽  
Traditional Chinese Painting

The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.

More Than a Portrait: Framing the Photograph as Sculpture and Video Animation

2018 ◽  
pp. 48-55
Author(s):  
Karin Becker ◽  
Geska Helena Brečević
Keyword(s):  
New Media ◽  
Public Space ◽  
Mexico City ◽  
Three Dimensional ◽  
Early 20Th Century ◽  
The Public ◽  
New Media Art ◽  
Art Form ◽  
Vernacular Photography ◽  
Rural Mexico

This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart

scholarly journals Hypermodels: An Exploration of New Media Environments and Expansive Representation of Architecture

2017 ◽  
Author(s):  
Sedef Erdoǧan Ford ◽  
Keyword(s):  
New Media ◽  
Digital Media ◽  
Mixed Reality ◽  
Three Dimensional ◽  
Physical World ◽  
Media Technologies ◽  
Architectural Production ◽  
Architectural Representation ◽  
Representation Of Architecture ◽  
Media Environments

With the advent of new digital media technologies offering immersive virtual environments have emerged new modes of architectural representation. How, in turn, can these technologies shape the less visible, and visual, aspects of architectural production? This paper considers such digital, immersive technologies as Mixed, Virtual, and Augmented Reality within the historical and theoretical context of digital media to better understand their function in charting a frontier for the three dimensional representation of architecture. I propose the notion of the hypermodel, a “hypertext version” of digital models that contains and “opens up” to more than the physical parts of a building. Hyper model is a connector of digital space and the physical world— represented via multiple forms of media—revealing the temporal expanse and informational depth of the virtual beyond the bounds of an architectural artifact. In this sense, the new medium also hints at and allows for novel collaborative methods. The new language of design and communication at work in the mixed reality medium is itself interconnected — it reflects and reinforces the inter-disciplinary and inter-media nature of architectural production today.

Pushing the frontiers of Nigeria’s cultural communication through digital media practice

2020 ◽  
Vol 10 (2) ◽  
pp. 175-190 ◽  
Author(s):  
Trevor Vermont Morgan
Keyword(s):  
Digital Media ◽  
Three Dimensional ◽  
3D Animation ◽  
Media Technology ◽  
Cultural Elements ◽  
Visual Elements ◽  
Indigenous Groups ◽  
The Right ◽  
Contemporary Practice ◽  
Digital Media Technology

This article uses the example of a digital Nigeria visualization and animation project to provide an insight into the kind of technological, cultural and communication possibilities available for indigenous groups of Africa, and Nigeria in particular. This follows the nascent dispersal of the digital three-dimensional media production experiences in Nigeria. The project has used digital media technology to capture visual elements of different cultural elements amongst the Igbo of Nigeria as a means of promoting identity and cultural longevity. An overview of the development of digital 3D animation in Nigeria has been used to locate the project in the stream of contemporary practice so as to provide the right context for its appreciation.

Motions Blur Effects in the Process of Three-Dimensional Animation Technology Research

2014 ◽  
Vol 687-691 ◽  
pp. 1170-1173
Author(s):  
Shen Wang
Keyword(s):  
Three Dimensional ◽  
Computer Software ◽  
Motion Blur ◽  
Computer Hardware ◽  
3D Animation ◽  
Basic Principles ◽  
Real Effects ◽  
Process Implementation ◽  
2D Animation ◽  
Visual Style

Three-dimensional animation is an emerging technology and animation technology with the development of computer hardware and software generated. Compared to traditional 2D animation is concerned, 3D animation has more fluid camera movement, mice richer, more delicate visual style, more stunning visual effects. Attributed to computer software to simulate the real effects in terms of the characteristics of three-dimensional animation has the advantage of a great extent, and one of the important effects that simulate real motion blur effect. According to the technical differences between the three-dimensional animation of the various stages of the process, implementation and effects of different motion blur effects are not the same. Based on the study of the basic principles of motion blur effects of the above, and analysis focuses on the different stages of its technology in animation and in effect differences.

Digital and Technical Developments in the Amblyopia Therapy

2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner
Keyword(s):  
New Media ◽  
Digital Media ◽  
Technical Progress ◽  
Therapy Monitoring ◽  
Everyday Lives ◽  
Technical Developments ◽  
The Future

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.

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