Visual aesthetics of narrative animation of 3D computer graphics: From both realist and expressive points of view

Main Article Content

Mars Caroline Wibowo
Sarwo Nugrhono
Agus Wibowo

Abstract

The field of animation is a unique realm for artistic creativity to convey stories. Animation is a technique in which images are manipulated to display moving visuals. In traditional animation, images are painstakingly hand-drawn or painted on transparent celluloid sheets, which are then photographed and showcased on film. The process of creating 3D animation is highly intricate and time-consuming. Animators must consider numerous factors to produce high-quality, visually stunning animation. The current study aligns with the ongoing development in computer graphics, which are influenced by the hyper-realist ethos. The study delves into animation aesthetics, computer graphics technology, and culture within the realm of 3D animation. For comparison, it also presents the findings of researchers and computer graphics experts, focusing on more expressive 3D narrative animations. This study merges research in art history, computer graphics, psychology, and expressive visual style, particularly their naturalistic attributes and emotional engagement. Regarding the potential for natural expression, this study draws upon two fundamental aspects of 3D technology: photorealistic rendering and one-point perspective. It is expected that future technological advancements will further enhance the evolution of expressive aesthetics in 3D animation. In conclusion. this study emphasizes that future 3D animation creation should prioritize aesthetic expressiveness.

Downloads

Download data is not yet available.

Article Details

Section
Review Articles

References

Abdullah, A. O., Muhammed, F. K., Zheng, B., & Liu, Y. (2018). An overview of computer aided design/computer aided manufacturing (CAD/CAM) in restorative dentistry. Journal of Dental Materials & Techniques, 7(1), 1–10. https://doi.org/10.22038/jdmt.2017.26351.1213

Abrams, M. H. (1953). The mirror and the lamp: Romantic theory and the critical tradition. Oxford University Press.

Adamson, A. (Director), & Jenson, V. (Co-director). (2001). Shrek [Film]. DreamWorks Animation.

Ahearn, L. (2014). 3D game textures: Create professional game art using photoshop (4th ed.). CRC Press.

Alliez, P., Meyer, M., & Desbrun, M. (2002). Interactive geometry remeshing. ACM Transactions on Graphics, 21(3), 347–354. https://doi.org/10.1145/566654.566588

Bak, M. A. (n.d.) The humpty dumpty circus: Toward an expanded conception of toy cinema and cinema toys. https://www.meredithabak.com/the-humpty-dumpty-circus

Bancroft, T. (Director), & Cook, B. dir (Co-Director). (1998). Mulan [Film]. Walt Disney Pictures.

Beneš, J., Kelly, T., Děchtěrenko, F., Křivánek, J., & Müller, P. (2017). On realism of architectural procedural models. Computer Graphics Forum, 36(2), 225–234. https://doi.org/10.1111/cgf.13121

Benilov, P. (2015). Non photorealistic techniques with focus and context volume rendering [Doctoral dissertation, Trinity College Dublin]. https://publications.scss.tcd.ie/theses/diss/2015/TCD-SCSS-DISSERTATION-2015-071.pdf

Bericat, E. (2012). Emotions. Sociopedia.isa, 1–13.

Berisha-Shaqiri, A., & Berisha-Namani, M. (2015). Information technology and the digital economy. Mediterranean Journal of Social Sciences, 6(6), 78–83. https://doi.org/10.5901/mjss.2015.v6n6p78

Biehler, J., & Fane, B. (2014). 3D printing with autodesk: Create and print 3D objects with 123D, AutoCad and inventor. Que Publishing.

Boulos, D. N. (2016). Abstraction and stylized design in 3D animated films: Extrapolation of 2D animation design. In N. Lee (Ed.), Encyclopedia of computer graphics and games (pp. 1–11). Springer. https://doi.org/10.1007/978-3-319-08234-9_58-1

Brainerd, W., Foley, T., Kraemer, M., Moreton, H., & Nießner, M. (2016). Efficient GPU rendering of subdivision surfaces using adaptive quadtrees. ACM Transactions on Graphics, 35(4), Article 113. https://doi.org/10.1145/2897824.2925874

Brinck, I. (2018). Empathy, engagement, entrainment: The interaction dynamics of aesthetic experience. Cognitive Processing, 19(2), 201–213. https://doi.org/10.1007/s10339-017-0805-x

Chan, H.-P., Hadjiiski, L. M., & Samala, R. K. (2020). Computer‐aided diagnosis in the era of deep learning. Medical Physics, 47(5), e218–e227. https://doi.org/10.1002/mp.13764

Chen, L., & Li, L. (2016). Optimization of animation curve generation based on hermite spline interpolation. International Journal of Multimedia and Ubiquitous Engineering, 11(5), 337–344.

Chen, W.-M., Cheng, S.-W., Hsiu, P.-C., & Kuo, T.-W. (2015). A user-centric CPU-GPU governing framework for 3D games on mobile devices. In D. Rolf, D. Azadeh, & W. Yu (Eds.), 2015 IEEE/ACM International Conference on Computer-Aided Design, ICCAD 2015 (pp. 224–231). Institute of Electrical and Electronics Engineers Inc. https://doi.org/10.1109/ICCAD.2015.7372574

Collingwood, R. G. (1938). The principles of art. Clarendon Press.

Couto, N., & Indrayuda. (2012). Pengantar Sosiologi Seni [Introduction to the Sociology of Art]. UNP Press. [in Indonesian]

Crafton, D. (1993). Before Mickey: The animated film 1898-1928. University of Chicago Press.

Dib, H., & Adamo-Villani, N. (2014). Serious sustainability challenge game to promote teaching and learning of building sustainability. Journal of Computing in Civil Engineering, 28(5), Article A4014007. https://doi.org/10.1061/(ASCE)CP.1943-5487.0000357

Dodworth, C. (2019). Impressions on the evolution of naturalism: Interiority, exteriority, and the international/interdisciplinary nature of naturalism. Humanities, 8(3), Article 128. https://doi.org/10.3390/h8030128

Doyle, A. C. (1998). The lost world. Oxford University Press.

Duke, D. J., Barnard, P. J., Halper, N., & Mellin, M. (2003). Rendering and affect. Computer Graphics Forum, 22(3), 359–368. https://doi.org/10.1111/1467-8659.00683

Fan, S., Ng, T.-T., Koenig, B. L., Herberg, J. S., Jiang, M., Shen, Z., & Zhao, Q. (2018). Image visual realism: From human perception to machine computation. IEEE Transactions on Pattern Analysis and Machine Intelligence, 40(9), 2180–2193. https://doi.org/10.1109/TPAMI.2017.2747150

Fielding, R. (Ed.). (1967). A technological history of motion pictures and television: An anthology from the pages of the journal of the society of motion picture and television engineers. University of California Press.

Glazer, T. (2017). The semiotics of emotional expression. Transaction of the Charles S. Peirce Society, 53(2), 189–215. https://doi.org/10.2979/trancharpeirsoc.53.2.02

Global 3D animation market - trends, COVID-19 impact and growth forecasts to 2029. (2022, May 23). AgileIntel Research. https://www.agileintelresearch.com/reportdetails/Global-3D-Animation-Market/37

Glotov, S. (2022). Virtual production in The Lion King (2019): Formal and stylistics presentation. Novos Olhares, 11(2), 153–160. https://doi.org/10.11606/issn.2238-7714.no.2022.205340

Gong, Y. (2021). Application of virtual reality teaching method and artificial intelligence technology in digital media art creation. Ecological Informatics, 63, Article 101304. https://doi.org/10.1016/j.ecoinf.2021.101304

Güdükbay, U., & Durupınar, F. (2008). Three-dimensional scene representations: Modeling, animation, and rendering techniques. In H. M. Ozaktas & L. Onural (Eds.), Three-dimensional television: Capture, transmission, display (signals and communication technology) (pp. 165–200). Springer. https://doi.org/10.1007/978-3-540-72532-9_6

Ha, A. (2019, July 31). How the new ‘Lion King’ came to life. Behind the scenes of a ‘virtual’ movie production. TechCrunch. https://techcrunch.com/2019/07/30/lion-king-behind-the-scenes/

Hankin, M. (2008). Ray Harryhausen-Master of the Majicks vol. 2: The American films. Archive Editions.

Haswell, H. (2014). To infinity and back again: Hand-drawn aesthetics and affection for the past in Pixar’s pioneering animation. Journal of Film and Screen Media, 8, 24–40. https://doi.org/10.33178/alpha.8.02

Ishii, K. (2013). Nationalism and preferences for domestic and foreign animation programmes in China. International Communication Gazette, 75(2), 225–245. https://doi.org/10.1177/1748048512459148

Jacquette, D. (2014). Art, expression, perception and intentionality. Journal of Aesthetics and Phenomenology, 1(1), 63–90. https://doi.org/10.2752/20539339XX14005942183973

Johnson-Laird, P. N., & Oatley, K. (2021). Emotions, simulation, and abstract art. Art & Perception, 9(3), 260–292. https://doi.org/10.1163/22134913-bja10029

Joon, J. S. (2010). Principles of Photorealism to develop photorealistic visualisation for Interface Design: A review. In E. Banissi, M. Sarfraz, & L. M. Huang (Eds.), Proceedings - 2010 7th International Conference on Computer Graphics, Imaging and Visualization, CGIV 2010 (pp. 17–25). IEEE Computer Society. https://doi.org/10.1109/CGIV.2010.12

Jou, B., Bhattacharya, S., & Chang, S. F. (2014). Predicting viewer perceived emotions in animated GIFs. In J. Alejandro, S. Nicul, & B. Nozha (Eds.), Proceedings of the 2014 ACM Conference on Multimedia (pp. 213–216). Association for Computing Machinery. https://doi.org/10.1145/2647868.2656408

Kosmadoudi, Z., Lim, T., Ritchie, J., Louchart, S., Liu, Y., & Sung, R. (2013). Engineering design using game-enhanced CAD: The potential to augment the user experience with game elements. Computer-Aided Design, 45(3), 777–795. https://doi.org/10.1016/j.cad.2012.08.001

Kubrick, S. (Director). (1890). The Shining [Film]. Warner Bros.

Lam, C. (2014). Emotional realism and actuality: The function of prosumer aesthetics in film. IAFOR Journal of Media, Communication & Film, 2(1), 87–101.

Laverty, A. (Writer & Producer). (2004, September 30). Derek Tastes of Earwax (Season 41, Episode 13) [Television series episode]. In A. Laverty (Executive Producer), Horizon. BBC.

Leen, D., Ramakers, R., & Luyten, K. (2017). StrutModeling: A low-fidelity construction kit to iteratively model, test, and adapt 3D objects. In G. Krzysztof, M. Jennifer, & H. Chris (Eds.), UIST 2017 - Proceedings of the 30th Annual ACM Symposium on User Interface Software and Technology (pp. 471–479). Association for Computing Machinery, Inc. https://doi.org/10.1145/3126594.3126643

Li, Y. (2021). Film and TV animation production based on artificial intelligence AlphaGd. Mobile Information Systems, 2021, Article ID 1104248. https://doi.org/10.1155/2021/1104248

Limano, F. (2019). Realistic or iconic 3D animation (adaptation study with theory uncanny valley). In H. Rijal, R. Fransiska, & D. Njoo (Eds.), ICSECC 2019 - International Conference on Sustainable Engineering and Creative Computing: New Idea, New Innovation, Proceedings (pp. 36–41). Institute of Electrical and Electronics Engineers Inc. https://doi.org/10.1109/ICSECC.2019.8907103

Liu, L., & Stamos, I. (2005). Automatic 3D to 2D registration for the photorealistic rendering of urban scenes. In C. Schmid & S. C. Soatto (Eds.), Proceedings - 2005 IEEE Computer Society Conference on Computer Vision and Pattern Recognition, CVPR 2005: Vol. II (pp. 137–143). IEEE Computer Society. https://doi.org/10.1109/CVPR.2005.80

Lopes, D. M. (2005). Sight and sensibility: Evaluating pictures. Oxford University Press.

Michelle, C., Davis, C. H., Hight, C., & Hardy, A. L. (2017). The Hobbit hyperreality paradox: Polarization among audiences for a 3D high frame rate film. Convergence, 23(3), 229–250. https://doi.org/10.1177/1354856515584880

Mikki, S. (2021). Aesthetic theory and the philosophy of nature. Philosophies, 6(3), Article 56. https://doi.org/10.3390/philosophies6030056

Mills, P., & Carter, J. (2017). Unreal realities: Non-photorealistic rendering in virtual reality. In G. Tony, E. Seth, D.-B. Daniel, & P. Dale (Eds.), Proceedings of CreateWorld 2017 (pp. 1–7). AUC.

Minkoff, R. (Director), & Allers, R. (Co-director). (1994). The Lion King [Film]. Buena Vista Pictures Distribution.

Montesdeoca, S. E., Seah, H. S., Semmo, A., Bénard, P., Vergne, R., Thollot, J., & Benvenuti, D. (2018). MNPR: A framework for real-time expressive non-photorealistic rendering of 3D computer graphics. Expressive '18: Proceedings of the Joint Symposium on Computational Aesthetics and Sketch-Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering, No 9. https://doi.org/10.1145/3229147.3229162

Morton, R. (2005). King Kong: The history of a movie icon from Fay Wray to Peter Jackson. Applause Theatre & Cinema Books.

Nafsika, S. S., & Soeteja, Z. S. (2021). Learning innovation of constructive drawing in one point perspective subject. In Y. Sukmayadi, Z. S. Soeteja, T. Narawati, J. Masunah, R. Milyartini, & T. Nugraheni (Eds.), Proceedings of the 3rd International Conference on Arts and Design Education (ICADE 2020) (pp. 174–180). Atlantis Press. https://doi.org/10.2991/assehr.k.210203.037

Nathanson, J. (Writer), & Favreau, J. (Director). (2019, July 19). The Lion King. In wdsmediafile.com. Walt Disney Studios Motion Pictures.

Ni, B. (2020). Study on the Role of Scene Perspective in Animation Production. In G. Lukina, I. Rumbal, & Y. Zhang (Eds.), Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) (pp. 504–507). Atlantis Press. https://doi.org/10.2991/assehr.k.200907.089

Noheden, K. (2013). The imagination of touch: Surrealist tactility in the films of Jan Švankmajer. Journal of Aesthetics & Culture, 5(1), Article 21111. https://doi.org/10.3402/jac.v5i0.21111

Ovunc, S. S., Yolcu, M. B., Emre, S., Elicevik, M., & Celayir, S. (2021). Using immersive technologies to develop medical education materials. Cureus, 13(1), Article e12647. https://doi.org/10.7759/cureus.12647

Palfreyman, R. (2013). Animal magic: Shape-shifting bodies in Lotte Reiniger's Die Abenteuer des Prinzen Achmed. University of Nottingham.

Patil, A. G., & Raman, S. (2016). Automatic Content-aware Non-Photorealistic Rendering of Images. ArXiv, arXiv:1604.01962. https://doi.org/10.48550/ARXIV.1604.01962

Rahani, V. K., Vard, A., & Najafi, M. (2018). Claustrophobia game: Design and development of a new virtual reality game for treatment of claustrophobia. Journal of Medical Signals and Sensors, 8(4), 231–237. https://doi.org/10.4103/jmss.JMSS_27_18

Roberts, W., & Strayer, J. (1996). Empathy, emotional expressiveness, and prosocial behavior. Child Development, 67(2), 449–470. https://doi.org/10.2307/1131826

Robinson, J. (2005). Deeper than reason: Emotion and its role in literature, music, and art. Oxford University Press.

Robinson, J. (2017). The missing person found. Part I: Expressing emotions in pictures. British Journal of Aesthetics, 57(3), 249–267. https://doi.org/10.1093/aesthj/ayw076

Roopa, D., Prabha, R., & Senthil, G. A. (2021). Revolutionizing education system with interactive augmented reality for quality education. Materials Today: Proceedings, 46(9), 3860–3863. https://doi.org/10.1016/j.matpr.2021.02.294

Rysiew, P. (2016). Naturalism in epistemology. Stanford Encyclopedia of Philosophy.

Sheng, W. (2018). Research on the beauty of art animation. In G. Yongliang & L. Peidong (Eds.), Proceedings of the 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017) (Vol. 185, pp. 220–226). Atlantis Press. https://doi.org/10.2991/SSEHR-17.2018.52.

Shields, S. A., & Zawadzki, M. J. (2012). History of emotion theory. In R. W. Rieber (Ed.), Encyclopedia of the history of psychological theories, Part 19, 1088–1105. Springer. DOI: 10.1007/978-1-4419-0463-8_162

Tang, Y. M., & Ho, H. L. (2020). 3D modeling and computer graphics in virtual reality. In B. Sobota & D. Cvetković (Eds.), Mixed reality and three-dimensional computer graphics (pp. 69–76). IntechOpen. https://doi.org/10.5772/intechopen.91443

Taylor, P., & Potts, H. W. (2008). Computer aids and human second reading as interventions in screening mammography: Two systematic reviews to compare effects on cancer detection and recall rate. European Journal of Cancer, 44(6), 798–807. https://doi.org/10.1016/j.ejca.2008.02.016

Thies, J., Zollhöfer, M., & Nießner, M. (2019). Deferred neural rendering: Image synthesis using neural textures. Acm Transactions on Graphics, 38(4), 1–12.

Tormey, A. (2015). The concept of expression: A study in philosophical psychology and aesthetics. Princeton University Press.

Uhrig, M. (Ed.). (2018). Emotion in animated films. Routledge.

Wagner, K. B., & Jang, I. (2016). The 3-D animated codescape: Imperfection and digital labor zones in Wall-E (2008) and Wreck-It Ralph (2012). Animation: An Interdisciplinary Journal, 11(2), 130–145.

Wang, B., Chen, L., & Yang, B. (2022, August 15). DM-NeRF: 3D scene geometry decomposition and manipulation from 2D images. Cornell University. https://arxiv.org/abs/2208.07227

Wang, X., & Bi, Z. (2019). New CAD/CAM course framework in digital manufacturing. Computer Applications in Engineering Education, 27(1), 128–144.

Wedge, C. (Director), & Saldanha, C. (Co-director). (2002). Ice Age [Film]. 20th Century Fox.

Wilms, L., & Oberfeld, D. (2018). Color and emotion: Effects of hue, saturation, and brightness. Psychological Research, 82(5), 896–914. https://doi.org/10.1007/s00426-017-0880-8

Yunus, P. P. (2020). Aesthetic expressive communication of artworks. Journal of Media and Communication Science, 3(2), 70–77. https://doi.org/10.29303/JCOMMSCI.V3I2.77 [in Indonesian]

Zibrek, K., Martin, S., & McDonnel, R. (2019). Is photorealism important for perception of expressive virtual humans in virtual reality? ACM Transactions on Applied Perception, 16(3), Article 14.