Review Article

Humanities, Arts and Social Sciences Studies

https://so02.tci-thaijo.org/index.php/hasss
ISSN (Online): 2630-0079

VISUAL AESTHETICS OF
NARRATIVE ANIMATION OF 3D
COMPUTER GRAPHICS: FROM
BOTH REALIST AND EXPRESSIVE
POINTS OF VIEW
Mars Caroline Wibowo1, Sarwo Nugroho1, and Agus Wibowo2*
1
Faculty of Graphic Design, University of Science and Computer Technology (STEKOM
University), Indonesia
2
Faculty of Computer and Business, University of Science and Computer Technology (STEKOM
University), Indonesia

ABSTRACT
*
Corresponding author: The field of animation is a unique realm for artistic creativity to convey stories.
Agus Wibowo Animation is a technique in which images are manipulated to display moving visuals.
[email protected]
In traditional animation, images are painstakingly hand-drawn or painted on
transparent celluloid sheets, which are then photographed and showcased on film.
Received: 22 February 2023
Revised: 24 July 2023 The process of creating 3D animation is highly intricate and time-consuming.
Accepted: 25 July 2023 Animators must consider numerous factors to produce high-quality, visually stunning
Published: 30 April 2024 animation. The current study aligns with the ongoing development in computer
graphics, which are influenced by the hyper-realist ethos. The study delves into
Citation: animation aesthetics, computer graphics technology, and culture within the realm of
Wibowo, M. C., Nugroho, S., & 3D animation. For comparison, it also presents the findings of researchers and
Wibowo, A. (2024). Visual computer graphics experts, focusing on more expressive 3D narrative animations.
aesthetics of narrative
animation of 3D computer
This study merges research in art history, computer graphics, psychology, and
graphics: From both realist and expressive visual style, particularly their naturalistic attributes and emotional
expressive points of view. engagement. Regarding the potential for natural expression, this study draws upon
Humanities, Arts and Social two fundamental aspects of 3D technology: photorealistic rendering and one-point
Sciences Studies, 24(1),
241–255. 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.

Keywords: 3D animation; realism; aesthetic expressiveness; naturalism; photorealistic

1. INTRODUCTION

For over a century, animation has evolved into a highly captivating and intriguing art form. Presently,
artists from various artistic disciplines incorporate animation technology into their creations. The history of
3D animation is often traced back to early works like Humpty Dumpty Circus (see Figure 1), where characters
made from paper were manipulated to achieve movement. This pioneering work dates back to 1898 (Crafton,
1993). The first full-length feature film to prominently feature 3D animation elements is The Lost World,

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released in 1925 and directed by Willis O’Brien, who later gained acclaim for the 1933 film King Kong (Doyle,
1998; Morton, 2005). Both of these films utilized clay modeling and puppetry techniques to bring stop-motion
animated creatures to life (Morton, 2005). Ray Harryhausen drew inspiration from these early works and went
on to create his own influential pieces such as Mighty Joe Young in 1949 and Clash of the Titans in 1981 (Hankin,
2008). In the context of animation, the act of animating an object essentially means imbuing it with lifelike
movement. This definition has expanded in the realm of computer animation, where even stationary objects
can be considered part of animation. Static animation, characterized by the absence of motion, is employed
when a detailed introduction of an object is required for the audience’s comprehension. Given the capabilities
of television media and its technology to convey moving images depicting human, animal, and plant activities,
animation has become a popular form of entertainment that can be showcased on TV (Fielding, 1967).

Figure 1: Humpty Dumpty Circus

Source: Bark (n.d.)

Animation is preferred by viewers because of the accompanying motion element, compared to still
images or photos. The presence of moving images can evoke the audience's enthusiasm and emotions (Jou et
al., 2014). Audience preferences on the various forms of animation can differ greatly due to personal taste,
cultural backgrounds, and age groups (Ishii, 2013). Some viewers may gravitate towards traditional 2D hand-
drawn animation for its nostalgic charm and artistic craftsmanship. Others may prefer the sleek and realistic
visuals offered by 3D computer-generated imagery (CGI), which often provides a sense of immersion. Stop-
motion animation enthusiasts appreciate the tactile and tangible quality it brings, with its distinct character
and charm. Additionally, certain audiences may be drawn to specific animation genres such as anime, which
has a dedicated fanbase worldwide. Furthermore, the rise of innovative techniques like motion graphics and
mixed media animation has gained popularity among viewers seeking cutting-edge visuals and unique
storytelling approaches.
The utilization of 3D animation technology has become increasingly prevalent in various activities,
thanks to ongoing technological advancements that facilitate the enjoyment of animation at any time and place.
The evolution of 3D animation can be recognized as a cultural development, encompassing both its products
and cultural attitudes. Devices capable of displaying digital images, such as gadgets, also double as platforms
for animation. Currently, numerous promotional campaigns employ animation as a means of conveying
messages. In the 2000s, creators made concerted efforts to push the boundaries of 3D animation. However,
regrettably, not much progress was achieved in terms of storytelling and overall aesthetics in 3D animated
films. In contrast, 2D animation offers smoother movement and aesthetics. Consequently, a method emerged,
with most studios beginning to merge 3D and 2D animation. In this approach, characters are meticulously
designed to replicate real-life movements, enhancing the viewer's experience. To ensure effective
communication through animation, aesthetics must be integrated into the characters to enable clear message
conveyance to the audience. The incorporation of aesthetic elements adds beauty to the medium, making it
more appealing to a broader audience and facilitating information dissemination. As such, understanding the
role of aesthetic values in the communication process through animation media is essential.

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2. NARRATIVE ANIMATION AND 3D COMPUTER GRAPHICS

According to Limano (2019), animation is a tangible medium that presents a sequence of images that
are rapidly and repeatedly displayed to create the illusion of eyesight. In the realm of 3D computer graphics
technology, 3D modeling involves the process of constructing mathematical representations of 3D objects,
which can be living or non-living, through the use of specialized software. The resulting creations are referred
to as 3D or three-dimensional models (Ahearn, 2014). Through an existing process called 3D rendering, these
images can be displayed as two-dimensional images. This process can also use computer simulations of
physical phenomena. To create realistic models of the environment, most systems use a combination of range
and image sensing. These systems address the problem of aligning 3D range data with 2D images by rigidly
attaching the camera and range sensor to the same platform, thus fixing their relative position and orientation
(Liu & Stamos, 2005).
Nevertheless, these explicit 3D representations inherently discretize continuous surfaces, and
modifying the morphologies frequently necessitates additional repair procedures such as remeshing (Alliez et
al., 2002). These discretized and manipulated 3D structures are unable to preserve geometry and appearance
details, resulting in unappealing novel views. In light of this, Wang et al. (2022) designed a new pipeline that
can recover continuous 3D scene geometry from only 2D views and enable object decomposition and
manipulation. In addition, they asserted that lighting factors are not decomposed and that edited objects
exhibit inconsistent illumination. Eventually, the development of 3D animation technology has been strongly
influenced by the ethos of art ideas that are realism and naturalism.
The term ‘realism’ in the context of animation has evolved into a complex and ongoing subject of
debate. Research investigating the connection between computer performance capture and the creation of a
genuinely realistic animation experience remains quite limited within the animation industry. These issues
extend far beyond aesthetics and artistic conventions as they encompass a wide array of questions related to
phenomenology, epistemology, and ontology, transcending the boundaries of mere aesthetics (Wagner & Jang,
2016). This perspective aligns with the views of historical figures, including Plato and Aristotle, who introduced
the concept of ‘mimesis’ and significantly contributed to the discourse on art. In addition to pragmatic,
objective, and expressive approaches to art analysis, Abrams (1953) included mimesis as a fundamental lens.
Mimesis, in a sociological context, can be considered a primary and vital guide for understanding art. The
theory of mimesis has given rise to numerous methods of art criticism. In memetic philosophy, the term
‘realism’ often serves as an honorary designation for art created in a familiar style or characterized by loyalty
to nature. However, its ontological significance within the realm of epistemology is neither ambiguous nor
challenging to discern.
Realism within the arts pertains to the choice of subject matter and the manner in which it is portrayed.
In the context of realistic art, the focus often leans toward representing lower social classes, the everyday
aspects of life, such as comics rather than tragic narratives, and the ordinary as opposed to mythical. In the
realm of realism, the nature of the image varies between different art forms. In traditional painting (non-
photographic) and animation, the artifice of the image is quite apparent. Conversely, lens-based art, as seen in
photography and cinema, produces images with distinct properties. The evolution of non-lens-based visual arts
has, over time, profoundly explored the denaturalization of themes and techniques. Photorealism plays a
dominant role in evoking emotional engagement with the audience. It transforms how characters are
perceived, enhancing the sense of presence within a physical space and contributing to enhanced visual appeal
(Zibrek et al., 2019).
Photorealism in computer graphics is the creation of images that closely mirror reality, simulating
scenes as if they were captured through photography (Joon, 2010). Within the realm of visual realism, the
standard for assessing it is commonly associated with naturalism, often perceived as a precursor to
photorealism (Rysiew, 2016). It is important to note that while realism and naturalism can coexist, they are
not one and the same. Realism typically focuses on portraying the harsh realities of human life, whereas
naturalism aims to depict subjects in harmony with or in accordance with nature. Realism in art means the
effort to present the subject in a work as it appears in everyday life without the addition of certain frills or
interpretations. In the context of art and animation, the terms realism and naturalism are frequently used
interchangeably, representing a visual style or audio-visual mimetic representation that aspires to achieve
photorealism or cinematism. Sheng (2018) has noted that the term ‘realism’ within the visual arts can be
perplexing, as it relates to what E. H. Gombrich argued, where naturalism embodies and reflects a more
generalized idea concerning the faithful representation of reality (verisimilitude) in artistic works, distinct
from the potentially ambiguous nature of language itself. Naturalism has indeed become a global and
interdisciplinary movement and genre, spreading across Europe and beyond (Dodworth, 2019). Both terms,
realism and naturalism, are suitable for research purposes, although naturalism is often favored for its ease of

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comprehension, particularly when representing 3D animation technology that demonstrates a strong internal
logic.
In the theory of artistic expression, the primary element of a work of art that holds the utmost
significance is not its physical form, but rather the thoughts, concepts, and ideas that flow from the artist. This
process enables art enthusiasts to connect with the artist's emotions and experiences (Tormey, 2015). The
quality of a work of art is often deemed excellent when the message and expression intended by the artist can
be effectively conveyed to the audience. Debates surrounding the theory of art as a form of expression have a
long history. According to Robinson (2017), expression is fundamentally an act carried out by an imagined
agent (such as the artist, narrator, or implied character), or it can be seen as something they are imagined to
do.
Character-based animated expressions play a crucial role in effectively conveying emotional messages
to the audience. The impact of art and painting on user’s emotions underscores the significance of visual style
in shaping emotional perceptions and responses. Numerous past psychological studies have demonstrated a
correlation between the rendering style and an individual's perception and emotional response to specific
objects. Additionally, various studies have explored the connection between color and emotion (Wilms &
Oberfeld, 2018). In 3D narrative animation, the favored expressive style is often linked to speech or dialectical
approaches. Creators in the realm of 3D animation frequently strive to cinematically mimic external realities
while infusing their work with expressive elements rooted in perception, emotion, and imagination. Film
theorists Vivian Sobchak and Laura Marks assert that the film experience encompasses a multisensory aspect,
involving touch and taste, beyond just visuals and cognitive elements (Noheden, 2013).
Based on the expressive style it embodies, the art of animation is often regarded as one of the most
compelling forms of visual art when compared to other art forms. However, in the realm of 3D animation, there
can be a preoccupation with the quantitative aspect over qualitative elements, as indicated by Fan et al. (2018).
This emphasis on quantity may be attributed to the prevalence of calculative and computer-based quantitative
analysis. Moreover, the central question to address revolves around how technology and culture, which
prioritize aesthetics, can be seamlessly integrated into creative and expressive works. The creation of a work
aims to provide value, and in this context, expressiveness often holds more advantages than realism. If the
primary objective of computer graphics technology is to achieve realism, these aspects are intrinsically tied to
completeness (Beneš et al., 2017). In simpler terms, the concepts of imperfection, incompleteness, and
subjectivity significantly influence interactive participation, enabling the fulfillment of expressive values.

3. PHOTOREALISM AND 3D COMPUTER GRAPHICS

An illusion of motion is achieved by presenting slightly different images in rapid succession. Animation
is the process of organizing and capturing still objects to produce the necessary images for creating this illusion
of movement (Güdükbay & Durupınar, 2008). In the realm of 3D computer graphics, the development of
animated works that adhere to a naturalist aesthetic is influenced by a confluence of historical, technical,
cultural, and commercial factors. The primary concept within computer graphics-based research is the
synthesis of images to enhance their realism (Thies et al., 2019). The pursuit of more realistic images has
spurred advancements in modeling, appearance algorithms, and rendering techniques in animation
technology. The discussion surrounding photorealism is inseparable from its core objective, which is to create
images that are indistinguishable from photographs of real scenes. Yet, a comprehensive and precise definition
of photorealism often leaves psychologists grappling for clarity in addressing this question. Their explanation
is often limited to the notion that photorealism pertains to the faithful reproduction of photometrically realistic
images.
An image is expected to evoke the same visual response as the subject it represents, even though the
energy emanating from the image object seen by the eye may differ from the original. The interplay between
applied science, research, and technological advancements significantly influences the objective evaluation of
a work compared to subjectivity. Technological reproduction, as seen in photography, painting, and recorded
music, enables art consumption in vastly different times and places from the original, potentially altering the
original meaning based on the context of its creation (Couto & Indrayuda, 2012). In the realm of art and
production design, both in graphics and animation, digital technology is progressively replacing analog
technology as it continues to advance (Berisha-Shaqiri & Berisha-Namani, 2015). Concurrently, 3D animation
has seen substantial development, driven by the ever-advancing capabilities of 3D computer graphics
technology.
Computer-aided design/computer-aided manufacturing (CAD/CAM) represents an evolution in
computer graphics technology, initially developed in the manufacturing industry (Wang & Bi, 2019). CAD was
conceived to drive technological advancements and streamline the work of drafters, animators and designers.

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The use of CAD/CAM for analysis allows for the real-time adjustment of parts in the resulting product during
use, akin to movement animation. The core function of CAD applications is to simplify the modeling of physical
objects and structures within a 3D space (Leen et al., 2017). The pivotal role of CAD/CAM systems has catalyzed
a remarkable surge in both products and procedures in recent decades, accompanied by a proliferation of
publications and research on the topic (Abdullah et al., 2018). CAD/CAM are widely adopted in diverse fields,
including car design, architectural design, military equipment, medical imagery in the healthcare sector, and
its integration into animated films, all of which fall under the purview of 3D computer graphics technology. One
prominent example of this technology is Autodesk Inc., the creator of Autodesk Inventor and AutoCAD, each
specializing in 3D object design. AutoCAD technology is tailored for creating architectural, civil, mechanical, and
electrical designs, while Autodesk Inventor is primarily geared towards mechanical designs (Biehler & Fane,
2014). The development of CAD systems continues to evolve, adapting solutions to cater to the demands of 3D
animation creation. This is evident through the availability of 3D applications like Studio Max (3DS Max) and
Maya.
Li (2021) examined the practical significance of artificial intelligence (AI) AlphaGd, highlighting its
powerful capabilities in enhancing the visual appeal of animations and driving innovation in animation
production technology. The author concluded that the utilization of AI AlphaGd in the creation of film and
television animation results in more lifelike and detailed character depictions, as well as enhanced visual
effects. These improvements contribute to a more enjoyable and immersive viewing experience for the
audience. Moreover, Gong (2021) observed that the rise and advancement of AI technology have led to its
gradual incorporation into the realm of digital media art creation using virtual reality technology. This
integration has resulted in enhanced convenience and improved services for digital media artists, thereby
stimulating the overall progress of the field of digital media art creation.
The adoption of visual effects technology in films is on the rise. Research by Michelle et al. (2017)
highlights that viewers increasingly desire realistic imagery in movies and are eager to embrace new
technologies that deliver these lifelike visuals. Beyond the film industry, there is a substantial and growing
demand for 3D mobile apps and games (Chen et al., 2015). The gaming sector, in particular, has witnessed a
surge in demand for 3D technology, primarily due to the impact it has on the player's experience. The
advancement of 3D stereoscopic gaming, facilitated by 3D animation technology, plays a pivotal role in driving
this industry forward. Figure 2 shows the global 3D animation market value from 2018 to 2029.

Figure 2: Global 3D animation market value

Source: Global 3D animation market size, trends and forecast to 2029 (2022).

Currently, the application of CAD has permeated various industries seeking more compelling media to
enhance their product marketing efforts (Kosmadoudi et al., 2013). Within the architecture and construction
sector, the demand for fast and visually captivating design animations has led to a substantial increase in the
adoption of 3D animation technology (Dib & Adamo-Villani, 2014). One of the most notable areas where 3D
animation finds extensive application is in the education sector. Here, the development of e-learning platforms,
training applications, and 3D animation products for learning, particularly in the creation of educational video
content, has proven highly appealing to students (Roopa et al., 2021). Numerous educational institutions,
ranging from elementary schools to universities, now offer sophisticated e-learning platforms. These variations
in market demand are influenced by historical, cultural, and technological factors. In the field of health and

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medicine, the use of computer-aided diagnosis technology is imperative for body image simulation, anatomical
studies, surgical planning, and patient communication (Ovunc et al., 2021). Computer-aided diagnosis employs
machine learning techniques to examine both imaging and non-imaging data derived from previous cases
within a patient population (Chan et al., 2020). This analysis enables the development of a model that links the
extracted information to specific disease outcomes. The use of computer-aided diagnosis as a secondary reader
has been proven to enhance the identification of early-stage breast cancer (Taylor & Potts, 2008). However,
the resulting higher rates of recalling patients for further evaluation and increased reading time have drawn
criticism.
Currently, software for computer graphics applications within the arts and entertainment industry
predominantly focus on three primary market segments: 3D games, various types of animated films
(comprising short films, advertisements, and feature-length productions), and the creation of special effects
(SFX) (Rahani et al., 2018; Tang & Ho, 2020). Each of these areas has its unique set of aesthetics. In the case of
the SFX industry, the emphasis is on achieving realism. A notable example of this is Disney's animated film
Encanto, which earned the 2022 Oscar in the Best Animated Feature. This film is deeply rooted in Colombian
culture. Disney's classic, The Lion King, is still regarded as one of the finest animated films ever created. Behind
the making, animators extensively studied wildlife documentaries to achieve realistic animal depictions. The
unique and iconic animation style of The Lion King resulted from months of careful observation by the
animators, who relied on numerous wildlife documentaries to capture realistic lion movements. The pursuit of
aesthetic excellence is an endeavor aimed at establishing a means of emotional communication that provides
satisfaction and comfort through beauty. While aesthetic awareness remains relatively constant, what changes
is people's interpretation of works that contain expressive values. The examination of expressive aspects gains
deeper significance when used to elucidate emotional reactions. The expression in a work of art adheres to
stringent rules and can be analyzed rationally, delving into various elements, including points, lines, planes,
proportion, scale, harmony, unity, function, and more. In the creation of art, emotion plays a paramount role in
realizing an idea in the desired visual form (Uhrig, 2018). Instinct, in addition to emotion, also significantly
contributes to the creative process. However, this does not imply that intellectual elements are entirely absent
from artistic activities. On the contrary, in various scientific disciplines, understanding aesthetics remains
closely connected to intellectual factors.

4. EMOTION AND AESTHETIC EXPRESSION

Emotional expression in art signifies emotions not through mere resemblance, physical connection,
habit, or convention, but rather through the use of special types of symbols. These symbols signify emotions by
invoking an interpreter—a state of perception that the observer may or may not directly experience— and this
state associates the expression with the conveyed emotion (Glazer, 2017). Artistic works are created with the
intent of delivering an aesthetic experience, setting them apart from other human-made physical objects. This
distinction arises from their structured organization and pleasing form. The impact of art and painting on the
user underscores the importance of visual style in shaping the user's emotional perception and response.
Several past psychological studies have indicated a correlation between the rendering technique's style and
the viewer's emotional response to a particular object (Duke et al., 2003). In the realm of natural aesthetics, it's
essential to distinguish the concept of an image from the psychological constructs developed by English and
German empiricists (Mikki, 2021). Animated art serves as an expression of the animators' creativity, employing
their unique visual language and the "aura of chaos," immaculate simplicity, or likeness (Sheng, 2018). The
expressiveness of artwork appears to directly convey emotions to the audience, profoundly evoking emotional
responses from viewers.
In his book The Principles of Art, Collingwood (1938) asserted that art is a product of imaginative
expression rooted in emotion. The notion of emotion appears to be fundamental in discerning something as
possessing an expressive quality. Perceiving the expressions in objects appears to necessitate a form of
emotional thought, specifically emotional thinking connected to visual perception. It seems imperative to
possess a concept of emotion to recognize a display as expressive. Lopes (2005) contended that the expression
of emotional connections is essential for distinguishing configurations from mere physical arrangements. The
relationship might be deemed non-perceptual, but its significance in the context of display-expression remains
somewhat unclear. Japan boasts a steadfast and well-preserved cultural tradition with distinct aesthetic values.
In contrast, American filmmaking has adapted in response to changes in production methods, evolving
audiences, and various industrial and commercial requirements. The Japanese aesthetic often veers toward the
supernatural and finds expression in the narrative and visual style of works like 'Ringu.’ However, the distinct
aesthetic of 'Ringu' is not solely emblematic of Japanese culture and draws inspiration from Hollywood's
approach to horror, as evident in the film's opening scenes and narrative development.

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It appears that many works of art aspire to elicit an aesthetic response. The theory of communicative
emotion posits that cognitive evaluations of situations have the potential to trigger emotions (Johnson-Laird &
Oatley, 2021). In psychology, emotions extend beyond mere feelings; they encompass a complex amalgamation
of actions, expressions, and internal changes. Emotions emerge as responses to the meanings constructed from
one's environment. According to Psychology Today, individuals experience emotions when specific aspects of
their current situation capture their attention. Emotions represent the somatic manifestations of an event's
importance within the natural or social world for the individual (Bericat, 2012). Emotions revolve around an
event, circumstance, or object deemed to hold potential significance for an individual's well-being (Shields &
Zawadzki, 2012). Art, by engaging with aesthetics, has a profound impact on us, instinctively triggering and
stimulating emotions, which are subsequently subjected to cognitive control and reflection.

5. CREATIVE EXPRESSIVENESS OF 3D ANIMATED WORKS

A work of art gains value and meaning when the artist optimally expresses it, taking into account
various factors that support its realization. Artwork often have the power to evoke profound experiences in
their audiences (Brinck, 2018). For instance, cultivating the right mood becomes a key element in realizing an
optimal and valuable work of art. According to Robinson (2005), successful artistic expression is achieved
when it elicits the intended emotions in the audience. A work of art gains value and meaning when the artist
optimally expresses it, taking various critical aspects into account.
The animated film genre is primarily crafted using CGI in computer graphics, offering a consistent
blend of form, style, and content. Most animated films target children and families, exemplified by Disney's
emotional character-rich production, Mulan, released in 1998 (Bancroft & Cook, 1998). The history of
animation has been significantly shaped by the evolution of digital technology. In the 1990s, pivotal changes
emerged with milestones such as Pixar Studio's introduction of Toy Story in 1993, the inaugural 3D animated
film lasting 1 hour and 21 minutes. This era also witnessed the creation of DreamWorks’ Shrek (Adamson &
Jenson, 2001), which clinched the first Academy Award for Best Animated Feature and a nomination for Best
Adapted Screenplay. Another CGI animated gem, Ice Age (2002), produced by Blue Sky Studios (20th Century
Fox), was recognized with an Academy Award nomination in the Best Animated Feature category.
The Lion King (2019) is a CGI adaptation of the Walt Disney animated film from the 1990s. In the
remake, director Jon Favreau aimed to fully harness the potential of virtual production technologies. During
discussions with journalists invited to the film set, Favreau revealed his plan to create a virtual space within
the Unity game engine and employ live-action techniques for shooting, effectively turning the production
process into a virtual one (Ha, 2019). Notably, the development of virtual production was significantly
influenced by the film Avatar (2009) (Glotov, 2022). Avatar skillfully blended computer-animated motion
capture images with a virtual camera system, allowing director James Cameron to visualize the CGI characters
while observing the actors in their motion capture suits. These films are the main focus of this study and other
works that fulfill the 3D aesthetic elements in the development of a better expressive style.
The animation industry still adheres to traditional animation methods, where the workload is
primarily handled by artists responsible for tasks ranging from creating character models and outlines to
establishing keyframe poses (Chen & Li, 2016). Julie Taymor, an American theater, opera, and film writer and
the visionary behind the film adaptation of The Lion King (1994), emphasized the artist's capacity to reshape
reality, making the cinematic experience more captivating. Taymor highlighted the expansive impact of an
expressive style on interactive relationships with art enthusiasts, evoking their aesthetic and imaginative
connections. Aesthetics have perennially been a focal point of both filmmakers and audiences, exerting a
significant influence on the art and entertainment industry.
The theory of art as expression places focus on within the realm of art and dedicates a significant
portion of its theoretical framework to describing and understanding the intricate relationships,
transformations, and consequences of emotions in art (Jacquette, 2014). Researchers acknowledge that
emotional experiences are inherently subjective, with unique emotional experiences exhibiting a rich
multidimensionality. Emotions, when intertwined with connotations that carry both metaphoric and
synesthetic resonance, can assume the role of a multimodal neural hyper-stimulus, effectively encapsulating
the essence of an entity within an aesthetic context. Understanding an artist's technique and visual aesthetics,
particularly when delving into the physical processes of the eyes and brain, poses an enduring challenge (Lam,
2014). An even greater challenge arises when attempting to replicate a specific painter's technique. This
endeavor necessitates the development of sophisticated models of visual representation within the visual
cortex, complemented by higher-order cognitive processes.
To somatically tag an image is to evoke visceral and automatic affective reactions closely tied to, rather
than merely caused by, the image itself. The response to naturalistic images and videos, along with their

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imitations, involves a blend of expressive styles in animation. Rotoscoping technology offers intriguing
possibilities in animation. The decision to employ rotoscoping is driven by the pursuit of realistic human
movement rather than cost considerations. Although rotoscoping has been adopted by numerous studios over
the years, few openly acknowledge its use, as many in the animation industry view it as fraudulent and a
violation of the art of animation. Notably, Walt Disney Studios utilized the rotoscope technique in 1937 to craft
character movement in Snow White. An animator may choose to convey an expressive aesthetic in their work
through a variety of modalities, including music, dialogue, light effects, characters, settings, movements,
narrative dynamics, and complex isomorphic or metaphorical interactions between these modalities. This
choice is driven by multiple artistic considerations
The impact of expressiveness can be significantly altered by creating harmonies or pivotal moments
across various modalities, which may encompass the use of metaphors. Metaphors are imaginative
combinations of similarities and differences that provide insight into the creative capacity to merge different,
and at times even contrasting, phenomena. Metaphor stands as one of the neuroaesthetic principles, according
to Laverty (2004), who regards it as 'the most important' and a manifestation of the brain's capacity for cross-
model connectivity. Cross-modal metaphors and metonymic relationships enable the resonance of staccato
sounds with the sharp edges in an image or the evocation of particular emotions.
When expressiveness increases from low levels, it signifies a heightened engagement with the
experienced situation, leading to a greater potential for empathic and prosocial responses (Roberts & Strayer,
1996). Empathic responses are closely tied to the observation of others’ actions, and expressive and empathetic
traits are inherently interconnected. The emerging simulation theory incorporates mental models and
communicative emotions positing that viewers' perceptions generate iconic models of their emotional
experiences. When these models or processes simulate aspects of human emotions, audiences can also undergo
those emotions (Johnson-Laird & Oatley, 2021). This theory asserts that the quality of the artist's movements
during the creation of a work significantly impacts empathy engagement through active simulation.
Traditional animations, once created through stop-motion techniques, have been swiftly replaced by
the advancements of 3D computer technology-based animation effects (Boulos, 2016). In the realm of art,
expression entails the conveyance of emotions and sentiments during the creative process of producing an
artwork. Artistic expressiveness is the artist's channeling of their unique emotions, emotions that hold the
power to shape values and attitudes. This emotional surge is often catalyzed by the artist's interactions with
their surrounding environment. The artist's creative journey yields works of art distinguished by their sensory
beauty, capable of eliciting specific emotions in the viewer (Yunus, 2020). Pixar remains at the forefront of
technology development in the production of 3D computer graphics animation. Pixar's exploration of textures
represents a more expressive aesthetic than what has previously been achieved in digital animation (Haswell,
2014).
The film industry has witnessed significant advancements in production technology, enhancing its
appeal. One crucial breakthrough in this regard is the incorporation of special effects. In live-action animation,
the utilization of puppets has proven instrumental for filmmakers seeking to introduce a diverse array of
animated characters into their productions. Puppetry sparks the creativity of filmmakers, enabling the creation
of life-sized characters that appear as natural as possible. The movements and transitions between scenes in
puppetry can serve as a source of inspiration for the development of distinct animation and characters. This is
because both share a common essence as moving visual media. An illustrative example is the animated film Die
Abenteuer des Prinzen Achmed (1926), the oldest animated film by the German animator Lotte Reiniger. Despite
its age, the film stands out for the unique animation techniques employed by Reiniger. She employed black
silhouette characters set against a multicolored background. Each silhouette figure was meticulously cut out
by hand and animated frame by frame. Reiniger's animation drew its inspiration from the shadow theater
tradition that enjoyed popularity in China, Indonesia, and Turkey, making its way to Europe (especially France
and Italy), in modified form in the eighteenth century (Palfreyman, 2013).
Emotional realism differs from visual realism in the realm of computer technology. Visual realism
pertains to the degree to which an image appears to the viewer as a computer-generated photograph.
Establishing visual realism is a crucial and formidable task for computer graphics enthusiasts and the
visualization community. Image realism serves as a metric for assessing and evaluating images in computer
graphics and during the process of adjusting the level of realism using computer technology. Image realism can
also find applications in content-based image analysis and image forensics. The film The Blair Witch Project
succeeded in portraying fiction in a manner that engages the audience on an innate level. Achieving this
requires the abandonment of conventional cinematic techniques and the meanings they conventionally
represent. Prosumer aesthetics are employed as a criterion based on merit rather than focusing on emotional
realism or visual realism, signifying the quest for 'truth' and the viewer's commitment to investing in the
narrative's authenticity (Lam, 2014).

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Evidence of technological progress in computer graphics features is evident through the production of
3D animated films by renowned animation studio. Table 1 presents the key milestones for the top 10 animation
companies in the last decade. Walt Disney achieved a significant milestone with Big Hero 6 (2014), making the
first Marvel animated film to secure an Oscar win. Disney introduced its proprietary animation software,
Hyperion, with the aim of creating top-tier animated films. The producers at Walt Disney Animation opted for
cutting-edge software technology to craft the visual animation for Big Hero 6. Pixar Studio's Wall-E (2009) also
made waves in the industry, earning an Oscar nomination for sound and music, along with the ultimate prize
for Best Animated Feature. Meanwhile, DreamWorks released How to Train Your Dragon 2 (2014), which won
a Golden Globe Award for Best Animated Feature Film in the 2016 edition. Director Dean DeBlois highlighted
one key difference between old and new animation methods, such as the handling of arching eyebrows. In older
programs, animators had to select the eyebrows from a menu, specify the desired degree of curvature, and wait for
the rendering process to conclude. The advent of tools like Premo and Torch allowed animators to manipulate
characters in real-time using a stylus and a touch-screen monitor. However, it is essential to acknowledge that 3D
computer graphics possess a modular, object-oriented nature, which can introduce challenges and counterintuitive
aspects when dealing with 3D metamorphosis, numerical inversions, and distortion effects. In other words,
computer graphics technology lacks the simplicity of traditional pen and ink methods.

Table 1: Animation companies key milestones (2013–Present)

Key Milestones
Animation Company
2013–2018 2019–Present
Pixar Animation Studios Monsters University (2013) Onward (2020)
Inside Out (2015) Soul (2020)
Finding Dory (2016) Luca (2021)
Cars 3 (2017) Turning Red (2022)
Incredibles 2 (2018) Lightyear (2022)
Walt Disney Animation Studios Frozen (2013) Raya and the Last Dragon (2020)
Big Hero 6 (2014) Encanto (2021)
Zootopia (2016)
Moana (2016)
Frozen II (2018)
DreamWorks Animation The Croods (2013) How to Train Your Dragon: The Hidden
How to Train Your Dragon 2 (2014) World (2019)
Home (2015) Trolls World Tour (2020)
Kung Fu Panda 3 (2016) The Boss Baby: Family Business (2021)
The Boss Baby (2017)
Studio Ghibli The Wind Rises (2013) Ghibli Park (2020)
The Tale of the Princess Kaguya (2014) Earwig and the Witch (2021)
When Marnie Was There (2016)
Illumination Entertainment Despicable Me 2 (2013) The Secret Life of Pets 2 (2019)
Minions (2015) Minions: The Rise of Gru (2021)
The Secret Life of Pets (2016)
Despicable Me 3 (2017)
Blue Sky Studios (owned by Disney) Epic (2013) Spies in Disguise (2019)
Rio 2 (2014) The Ice Age Adventures of Buck Wild
The Peanuts Movie (2015) (2021)
Ferdinand (2017)
Aardman Animations Shaun the Sheep Movie (2015) A Shaun the Sheep Movie: Farmageddon
Early Man (2018) (2019)
Laika Studios The Boxtrolls (2014) Missing Link (2019)
Kubo and the Two Strings (2016)
Warner Bros. Animation The LEGO Movie (2014) Scoob! (2020)
Storks (2016) Tom and Jerry (2021)
The LEGO Batman Movie (2017)
Teen Titans Go! To the Movies (2018)
Cartoon Network Studios Regular Show: The Movie (2015) Steven Universe: The Movie (2019)
The Powerpuff Girls Movie (2016) Adventure Time: Distant Lands (2020–
2021)
Source: Compiled by authors from various internet databases

6. ONE-POINT PERSPECTIVE TECHNIQUE

The atmosphere of the animated scene, after corresponding technological processing, not only evokes
excitement but also effectively highlights the characters within the scene, enabling viewers to experience the

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animation with greater impact. In some animated sequences, fisheye lenses are employed to narrate the story.
Fisheye lenses provide ultra-wide-angle perspectives (Ni, 2020). All theories regarding perspective are artistic
techniques aimed at creating the illusion of three-dimensionality (depth and space) on two-dimensional (flat)
surfaces. This perspective is what imbues a painting with shape, depth, and a sense of being "real" (Nafsika &
Soeteja, 2021). Whether real or imagined, objects crafted by artists on a flat surface generate a sense of
perspective when viewed by an observer. This concept of perspective is employed to represent objects that are
relatively close to the viewer. When the viewpoint narrows, focusing on nearby objects, it results in these
objects converging at a single vanishing point. However, replicating such a perspective in 3D animation, akin
to painting on a 2-dimensional surface or paper, is a complex task. In this context, computer graphics
introduces the one-point perspective feature. One-point perspective facilitates the creation of 3D images with
ease and speed, where objects recede into the distance, mirroring real-life scenarios. This mathematical feature
substitutes a 3D image onto a 3D surface by employing intersecting lines that converge at a distant point. These
lines encompass the horizon line, a series of straight lines, and vanishing points. Artists can use these lines to
produce intricate and lifelike representations of 3D images through a few straightforward steps.
The first textbook elucidating the fundamentals of perspective was published in 1492. Prior to this
publication, several texts on the subject had been written. The art of drawing was considered a scientific
endeavor applied to elucidate the natural laws. Albrecht Dürer’s woodcuts include depictions of a drawing tool
referred to as the "Leonardo box", named after Leonardo da Vinci. This tool was a perspective device employing
a frame with a square grid to accurately depict a linear perspective when an artist worked on a surface
featuring the same grid. By utilizing this method, the artist could ensure that all drawn lines accurately
represented the object in the correct center perspective position. One-point perspective remains an abstract
style that is still frequently used when depicting scenes from a naturalistic viewpoint. Nevertheless,
experimental evidence suggests that cultural learning is not a prerequisite for understanding perspective
images (Ni, 2020). Conversely, the human visual system continues to rely on linear perspective as the primary
technique for representing 3D animated scenes.
Stanley Kubrick is a renowned film director and an expert in film composition. Kubrick skillfully
employs the compositional technique of one-point perspective in his work to elicit psychological reactions from
the audience and immerse them in uncomfortable situations, as exemplified in The Shining (1980) (Kubrick,
1890) (see Figure 3). Many of Kubrick's films delve into violent themes or subjects that demand a sense of
dramatic seriousness. By using one-point perspective and symmetry in numerous shots, Kubrick masterfully
enhances the gravity of the content. He excels in directing the audience's focus to a specific point during lulls
in the narrative, thus building anticipation and tension. In doing so, Kubrick creates an atmosphere of suspense
and eager anticipation.

Figure 3: A scene from the movie The Shining featuring a horizon line (red), vanishing lines (yellow), and vertical lines
(blue) (Kubrick, 1890)

Alternative projection techniques are not limited to the realm of ancient and modern art; they have
also found their place in mainstream animation. These techniques can serve as both a distinctive artistic style
and a practical guide for creating various foreground and background characters in animation. Non-
photorealistic rendering (NPR) techniques are particularly valuable for bringing artistic visions to life in
animation, decoration, illustration, and other formal aesthetic expressions. The choice of animation style is

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typically influenced by factors such as the script, the theme of the work, and the director's artistic and
ideological vision. Animation styles are commonly categorized into three main types: comprehensive realistic,
cartoon and experimental types.
The creator of the Maya software tool and the R&D director for the groundbreaking film Ryan (2004),
Karan Singh, is known for his innovative contributions to the world of animation. Singh's work has focused on
developing interactive tools aimed at enhancing the creative process for animators and artists. His approach
centers around the individual artist and combines interactive methods for geometric modeling and animation.
One of Singh's significant achievements is the development of Maya as an interactive geometric model
deformation tool, which has become a fundamental tool for kinematic animation. This software allows
animation creators to more easily create, manipulate geometry, and interactively visualize their work.
Furthermore, to expand the capabilities for 3D sketching and visualization, Maya provides the ILoveSketch
system. This feature serves as a valuable source of inspiration for animation creators and artists, facilitating
innovative and creative modeling through various interfaces that leverage sketches, scaffold-based
construction, and guidance from drawings and 3D models.

7. NON-PHOTOREALISTIC RENDERING (NPR)

Rendering animation as we currently understand it, involves the three-dimensional rendering of

images using patterns or textures to achieve a realistic appearance. Several factors contribute to making the
rendering appear lifelike. The higher the level of detail in the rendered image, the closer it gets to pixel-perfect
realism. In the context of animation and games development, rendering needs to be efficient to yield maximum
accuracy quickly (Brainerd et al., 2016). However, striving for realism often requires a significant amount of
time. This is where NPR with a cartoon-style approach comes into play. NPR can save both time and money
while maintaining the essential aesthetics of the image, presenting a simpler yet visually engaging appearance
(Benilov, 2015). NPR is a field within computer graphics that explores various expressive styles for digital art,
drawing inspiration from traditional artistic styles like painting, freehand illustration, and cartoon animation.
The modeling process involves creating 3D models, whether they are character, objects, or entire
environments. This is the initial step in the development of NPR. In recent decades, the computer graphics
community has dedicated significant research efforts on NPR images and videos (Montesdeoca et al., 2018).
Many rendering algorithms have been explored and developed, and rendering software has incorporated
various techniques to produce the final image. Tracing every beam of light in a scene can be a laborious and
time-consuming task. However, dealing with the complexity of photorealistic rendering in 3D animation
presents another challenge. Researchers have been working to develop new techniques to improve rendering
efficiency and address this problem.
NPR algorithms with temporal coherence have broad applications in computer graphics and virtual
reality (VR) (Mills & Carter, 2017). Numerous NPR algorithms have been developed to enhance temporal
coherence. Some of these algorithms leverage the geometric data of the model to maintain coherence, while
others employ computer vision techniques to analyze the entire video sequence, achieving improved
coherence. In early NPR techniques for VR and augmented reality (AR), each frame was typically rendered
independently, without considering temporal coherence. This approach often resulted in flickering and
distracting visual effects. NPR draws inspiration from various artistic styles, such as paintings, sketches,
illustrations, and cartoon images, and applies them to movies and video games through techniques like toon
shaders. Beyond toon shaders, NPR encompasses other areas of computer graphics, methods for transforming
photographs into painting-like, sketches-like, and cartoon-style image, as well as caricature generation. When
discussing the applications of NPR, the focus is on creating more artistic environments. As stated by Patil and
Raman (2016), non-photorealistic images can be more effective in conveying information, more expressive, or
more aesthetically pleasing. Virtual objects should appear more convincing than merely realistic. Therefore,
expressive rendering must incorporate features that can enhance artistic effects, thereby presenting a
challenge for animators and artists to showcase more refined expressive style.

8. CONCLUSION

Animation has become ubiquitous in our modern world. It can be found on billboards, mobile phone
screens, and websites in the form of animated GIFs. Special effects driven by animation have become a staple
in action, sci-fi, and fantasy films. Stereoscopic filmmaking is no longer experimental but rather a common
practice. Interactive animation has thrived in the form of computer games. 3D technology in computing extends
far beyond animated films and games. It finds applications in various fields, including medical simulations for

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training, military aircraft operation, and educational simulations for processes in physics, chemistry, and
biology. Furthermore, 3D technology, like VR, allows individuals to experience an unreal world designed for
specific purposes. VR not only provides users with visual immersion but also creates the sensation of being
physically present within these artificial environments.
The realm of photorealism in painting sometimes intersects with a more expressive variant known as
hyperrealism, which can create terminology confusion. The style of illustration influenced by linear perspective
has strong ties to the culture of film animators. Animators from Asian countries, including Japan, China, and
Indonesia, often utilize oblique parallel projections in their works. The culture of naturalism has propelled the
growth of 3D animation, particularly with the advent of live-action animation that relies on SFX technology.
Production techniques using 3D computer graphics are currently highly adaptable and cost-effective. Hybrid
aesthetics, which combine digitally created 3D computer graphics with live action and other animation
techniques, provide a way to express animation visuals more dynamically. As technology advances, there is an
increasing focus on innovation, and CGI technology has emerged as a strong driver of this innovative concept.
However, numerous challenges and issues remain to be addressed in the pursuit of photorealism in CGI.
Looking ahead, technological developments will play a crucial role in the ongoing evolution of expressive
aesthetics in 3D animation.

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