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Abstraction and Stylized Design in 3D Animated Films: Extrapolation of 2D

Animation Design

Chapter · July 2016

DOI: 10.1007/978-3-319-08234-9_58-1

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 Abstraction and Stylized Design in 3D Animated Films: an
Extrapolation of 2D Animation Design
Daniel N. Boulos
Assistant Professor, University of Hawai’i Manoa, (USA) boulos@hawaii.edu

Stylization is at the heart of 2D animation design and is only recently being more fully explored in
3D animated films. In the early days of 3D animation the push for realism in lighting, rendering
and deformations displaced a pursuit of stylization in the quest to expand the capabilities of
computer graphics technology. With those technical problems solved, 3D animation has more
recently embraced stylization in design and character movement. Stylization also can be
interpreted by some as playfulness, and, “play is at the heart of animation” (Powers 2013, p52).
Nature can be seen as an “abstract visual phenomenon” (Beckman, Ezawa 2012, p101) and the
portrayal of hyper realistic human characters in 3D animation can lead to the alienation of an
audience, as they may not accept them as being real” (Kaba 2013, p188). It is the ability of
animation to “break with naturalistic representation and visual realism” (Linsenmaier, 2011, p1)
that is observed as one of the strengths of the art. This paper discusses the implications of
stylized design and its use in 3D animated films, while drawing important references to traditional
hand-drawn animation stylization processes that pose a challenge to modern 3D animation
studios.

Keywords: animation, 3D animation, stylization, 2D animation

1 BACKGROUND
“Traditionally, computer graphics pursued the reproduction of real world. Consequently, many
efforts were devoted to the photorealistic approach of rendering and processing images”
(Sparavigna, Marazzato, p1). This observation is important as it identifies a fundamental
challenge of stylization in 3D animated feature films. Animated films are most often driven by the
concerns of narrative storytelling structure. Although some subject matter in narrative story may
benefit from a photorealistic approach to 3D imagery, the desired effect of many films is to
remove the audience from their daily experience and provide immersion into visualizations that
depart from realism. Sparavigna observes, “However, it is not obvious that a photorealistic
processing is always to be preferred…Hand drawn illustrations can better explain a scene than
photographic plates, because in illustrating complex phenomena, they can omit unnecessary
details and propose only fundamental objects” (Sparavigna, Marazzato, p1). One benefit of a
departure from photorealism is the ability to communicate effectively and efficiently. Visualization
in narrative film structure provides an opportunity to reinforce story points, clarify what is taking
place and also enhance the emotional context of the screen experience for the audience.

When examining the art of oil painting, where the design and construct of imagery is of equal
importance, the movements of Post Impressionism and Modernism exemplify this point. The
visual experience in Vincent Van Gogh’s Starry Night is entirely dependent upon his unique
interpretation of the observed phenomenon of the night sky. Without this process the work would
lose its visual identity and much of its emotional content. (Fig. 1)

Figure 1: Van Gogh’s Starry Night to Photo Comparison

In Marcel Duchamp’s Nude Descending a Staircase No 2 we observe the power of stylization in
communicating motion and once again emotional context. (Fig. 2)

Figure 2: DuChamp’s Nude Descending a Staircase No. 2 Photo Comparison

1.1 Definition of Style

The Oxford Dictionary offers the following definition for style, “A distinctive appearance, typically
determined by the principles according to which something is designed” (Oxford 2015). The term
“distinctive” is helpful, as one benefit of stylization is a unique visual identity. The term “designed”
implies intent the to implement a process leading to visual identity.

1.2 Stylization in the 2D Animation Feature Film Process

Stylization is at the heart of the animation industry. A photorealistic design of an animal such as a
bear cannot be easily registered for copyright, however a highly stylized interpretation of a bear
such as Hanna and Barbera’s Yogi Bear is copyrightable as a creative work. Such character
design copyright is at the foundation of animation merchandising. Stylized character designs are
highly profitable for animation studios often generating more returns than the initial film the design
appeared in.

The production process of traditional 2D animated feature films leveraged stylization at many
points within the creation timeline. It was often highly stylized representations which first
visualized a story idea in the Visual Development phase of preproduction. Stylization was a
central part of the 2D Layout process where line drawings for each background painting were
carefully created. Following the instructions of an Art Director, specific stylization concepts would
be applied by layout artists as they would interpret the setting of the film, designing backgrounds
for all shots within the film. The Supervising Animators then applied stylization, as they began the
experimental animation that would set the tone for their characters’ performances. The final
design of the character was informed by the stylistic theme of the film. In these images from Walt
Disney’s 1959 feature Sleeping Beauty it is evident that stylistic choices created for the
background design in a shot flowed into the interpretation of line and form in the character design.
(Fig. 3)

Figure 3: Design Examples from Walt Disney Pictures Sleeping Beauty

The architectonic styling of the gothic-inspired backgrounds by stylist Eyvind Earle carry through
into the angular interpretation of the characters; a harmony is achieved between the stylization
applied to the props, set elements and the characters.

However the stylization process did not end with the look and feel of the character designs,
backgrounds and props. Stylization was central to movement in character animation; the
animation of the characters themselves provided a richly stylized experience of real-world motion
and timing, much in the same way a ballerina stylizes such mundane activities as walking or such
unreal activities as flying like a swan.

Finally stylization was also applied in the interpretation of natural phenomenon. This example
from Walt Disney’s Hercules shows a stylized approach to the effect of a smoke cloud. The
representation favors specific types of curvilinear treatments and angular oppositions. The visual
interpretation stands in marked contrast to the same event in the physical world (Fig. 4).

Figure 4: Walt Disney Picture’s Hercules to Photo Smoke Comparison

1.3 Realism in Early Computer Graphics

The value of computer generated imagery as a visual effects element for live-action film was
evident from its early use such as in the 1973 film West World and the 1977 film Star Wars
Episode IV. Throughout the 1980’s computer graphics played an ever-increasing role in live-
action visual effects. Animation that had traditionally been accomplished through stop-motion
techniques was soon replaced by 3D computer animated effects. Accordingly, 3D animation tools
evolved along a trajectory of photorealism. Lifelike portrayals of light and shadow as well as color
were necessary for seamless compositing with live action elements. The need for realistic
treatments influenced the evolutionary path of 3D technology during the same period when uses
for 3D graphics and animation were still being defined. After Pixar’s great achievement and
critical success with Toy Story in 1994, it was established that 3D animation could compose the
entirety of a film. Rather than a means to an end, as in the case of visual effects, 3D animation
had become a final product. It would take however several years, to break from the pursuit of
realism and implement stylization on a broad scale.

2 THE INFLUENCE OF TECHNOLOGY

2.1 Early Television
Early television broadcasts were of limited resolution with two alternating fields of horizontal lines
creating each final frame. The thin lines of hand-inked animation cells used in theatrical shorts did
not display well, and at certain tangents to the horizontal could be lost altogether during
broadcast. The use of thick ink lines in television animation produced a solution that was not only
functional but also a stylistic standard for the new medium. (Fig. 5)
 Figure 5: Example of Thick Ink Lines from Early Television Animation (1950’s)

2.2 Early Internet

Early web animation utilized Flash software and introduced the use of stylized thick ink lines to
vector animation. Flash vector animation populated the web of the 1990’s offering motion
graphics via the low-bandwidth internet connection common for that time. Flash software was
adapted for television production as it offered timesaving advantages previously impossible in the
limited animation repertoire. The characteristic use of line and shape from early web animations
found its way into many television shows of the last decade. A clear visual parallel can be seen in
the flat graphic character styling favored by early television animation of the 1950’s and the
Flash-influenced television designs of the last 15 years. (Fig. 6)

Figure 6: Examples of Flash Television Animation Styling (2000’s)

3 FILMMAKING
3.1 Stylization and Genre
Stylizations themselves can be seen to splinter through the prism of genre. For example the
stylistic conventions in Rocky & Bullwinkle contrast against the variations seen in Johnny Quest,
which was influenced by comic-book illustration (fig 7).

Figure 7: Example - Genre Stylistic Differences in Early Television Animation

Early Disney theatrical features, such as Bambi, can be seen in stylistic contrast to musically
derived works such as Fantasia (1940) or Make Mine Music (1946). In Bambi the soft edged
painted treatments by stylist Tryus Wong set the mood and look of the forest in which the highly
stylized design of the character Bambi, from animator Marc Davis, performed. In Make Mine
Music minimalized character and background treatments in the segment All the Cats Joined In
were a significant departure from more detailed human characters in the narrative plot driven
features. (Fig. 8)

Figure 8: Background and Character Comparison of Bambi and Make Mine Music

The music driven films were segmented into separate capsules more indicative of the animated
short format. Narrative driven features had the burden of clarifying complex character arcs,
staying onscreen for extended periods. More detailed facial treatments were dictated by these
genre-induced requirements. (Fig. 9)

Figure 9: Facial Detail Stylization – Comparison of Bambi and Make Mine Music

For example the white region of the eye is important in subtle facial expressions and a more
stylized treatment of an eye may not encompass the same expressive range.

3.2 The Role of Stylization in Storytelling

Stylization plays an important role in narrative story telling as seen in such early live-action films
as Murnau’s 1922 Nosferatu where the stylized uses of shadow and form set an eerie context, or
in animated sequences such as the stag fight near the end of the theatrical feature Bambi where
the stylistic treatments of color and form enhance the emotional drama of the battle (Fig10).

Figure 10: Stylization Examples from Nosferatu and Bambi

3.3 Design Principles and Screen Composition
Stylization is born of visual design principles and gains effect from their successful
implementation. The elements of visual design are the tools of the stylist as they interpret
objective visual facts, into their final subjective states. Shape, form, color, line and texture etc. are
manipulated in tangible ways, employing design concepts such as theme and variation, contrast
and harmony while enhancing rather than reducing a film’s context.

Students in art programs are taught as foundation, the importance of design principles and their
corresponding emotional impact on the viewer. Often through slight changes in the alignment of
forms in a visual field is balance achieved or such subtle linking through contour-continuation fully
realized. In their early years Walt Disney Studios was particularly sensitive to the relationship art
had to animation and endured great effort and expense to expose its employees to these
concepts via art classes and seminars. Transcripts from the 1930’s recorded artists in such
evening seminars isolating what are now taught as animation principles (Johnston, Thomas 1984,
p71-72).

Trained artists filled the majority of positions in 2D animated production pipelines. The effect of
this foundational integration of artists in the animation process led to the formation of visual
identities within animation studios, often around a handful of celebrated stylists. Maurice Noble
had a profound impact on what came widely recognizable as the “look” of a Warner Brothers
animated short. Similarly Mary Blair impacted the look of Disney features and short subjects
through multiple stylistic interpretations as can be seen in Saludos Amigos (1942), Johnny
Appleseed (1948) and Peter Pan (1953); three works that demonstrate a wide range of visual
interpretations.

4 CHARACTER ANIMATION – STYLIZED TIMING IN 3D FEATURES

Stylization in movement is the realm of the character animator. There have been notable
achievements and a new emphasis now placed on stylization in 3D character animation.

4.1 The Emergence of Stylization in 3D Character Animation

Many efforts were made toward stylization in the early history of 3D feature film production. Some
labors were rewarded more than others, however it can be clearly seen by the time of the Pixar
film The Incredibles (2004) the final technical hurdles had been overcome and stylization began
to enter with greater impact. Not only did this film achieve significant stylization in character
design but notably in character movement as well. The clarity and exaggeration of animation
poses became comparable to 2D animation. A break from realism is at the center of the appeal of
Mrs. Incredible whose body stretches to outrageous lengths in the hallway sequence as she tries
to find her husband. A comprehensive stylistic aesthetic carried over from development art into
prop-design, set elements and lighting.

Stylized character movement began to appear more consistently outside of Disney/Pixar films, as
is exemplified by the Sheriff Earl character in Sony Animation Studios’ film Cloudy With a Chance
of Meatballs (2009), as the sheriff bounces and flips rather than walks through a crowd. It was
clear that 3D animation directors were embracing non-literal forms of movement. The trend
continued in Cloudy With A Chance of Meatballs II where the fraudulent guru, Chester, twists,
slides and gyrates from pose-to-pose, devoid of literal movement that could have originated with
motion capture technology or other automated methods. The 2010 release Tangled from Walt
Disney Pictures stood in contrast to character movement in early 3D animation efforts as it
exhibited the strong clear poses and simplified exaggerated movements that had been indicative
of high quality 2D character animation. Finally, Walt Disney Pictures Wreck it Ralph (2012) is full
of stylistic motion intended to mimic the movement of pixel-graphic video games. Characters
move in multiple styles within single shots. One character may be devoid of animation principles
such as Arcs resulting in stiff and unnatural movement while the next character may follow the
standard principles of movement resulting in a natural screen presence. 3D character animation
success stories such as these, contrast with automated processes such as motion capture.
Motion capture is a process that conceives of 3D character animation as a copy of real world
movement, while keyframed 3D character animation builds on a foundation of 2D character
animation traditions such as exaggeration or simplification. Automated processes negate the
interpretive role of the animator as stylist, resulting in movements that are prepared rather than
designed.

4.2 The Influence of 2D Animators on the 3D Pipeline

These 3D stylistic trends can be associated with the arrival of many traditional 2D animation
artists who have joined the ranks of 3D studios. Many animation artists were displaced by the
closure of 2D feature animation production at Disney Studios in 2005 (Forum.rottentomatoes.com
2005), as well as DreamWorks and Warner Brothers. The resulting talent migrations had an
impact on several 3D animated feature productions.

In the case of The Incredibles it was the first full 3D feature animation effort for director Brad Bird
who had been brought to Pixar by John Lasseter. The Incredibles production saw the arrival of
animation director Tony Fucile who had been a supervising animator on the 2D film The Lion King
before working as animation supervisor under Brad Bird on the mixed 2D-3D features at Warner
Brothers. In the case of Cloudy With a Chance of Meatballs, Sony Pictures had been on a course
of introducing 2D talent within their 3D ranks as Roger Allers and Jill Culton, co directors for Open
Season (2006), and Chris Buck and Ash Brannon, co-directors for Surfs Up (2007), all had their
roots in 2D feature animation. Finally co-directors Jim Reardon and Rich Moore (Wreck it Ralph,
2012) were graduates of the Character Animation Department at Cal Arts and also had their roots
in 2D animation techniques.

5 CHALLENGES IN THE 3D FEATURE FILM PIPELINE

There is no one-size-fits-all approach to stylization, nor should there be, in the quest for visual
identity amongst the scores of animated features released each year. Although stylization is
widely addressed in 3D animated features today, often it is not fully realized particularly in scene
design and screen composition, leaving many 3D features with a similar look, lacking visual
appeal.

Stylization is a key ingredient in film, affecting qualitatively the dialog with the audience and
enhancing the narrative. It should be fully implemented in animated film, where it is most readily
available. It is unfortunate to see many 3D animated feature films offer little stylization and
routinely forgo the advantages that stylization brings. This phenomenon can be examined from
several perspectives but here it is seen through a close look at the 3D pipeline and the hundreds
of workers that create the final films.

5.1 Compartmentalization – Disintegration of the Design Process

As was explored earlier the 2D animated feature film pipeline relegated the bulk of stylistic control
to relatively few artists. All of it was found in pre-production or early in the production phase of the
film. The Art Director and key Development Artists along with Supervising Animators and the
Layout Department determined the bulk of stylistic integration before the majority of the people
involved in production would begin their work. In their early and concentrated efforts most
consequential decisions were made determining the final use of color, form and directionality in
screen composition.

However the 3D pipeline presents a more complex and compartmentalized process. Although
most 3D feature films have the benefit of both development artists and art directors the difficulty is
in the component processes collectively resulting in the final color and composition of each shot.
The work of the 3D development artist gives way to the modeling artist who first visualizes the
characters, props and set elements in 3D geometry. The texture artist further contributes in ways
that directly impact stylization. The composition of the scene falls to a set decorator or shot
composer then continues on to layout artists who block in the camera movement affecting each
scene’s composition. The animator follows with the keyframing of character elements, working
primarily in the rough-hewn visual context of low-polygon models. In a subsequent step further
animation is added through automated simulations and dynamic options and processes. Final
lighting is then applied to the scene, only beginning to address the integral role of shadow and
light in screen composition, at a very late stage in the process. It is when each frame is finally
rendered that the shot design and composition arrive at their final state.

Implementation of stylization in the 3D pipeline involves many departments, beginning early in

preproduction and ending with final render. By comparison the 2D stylization process was in the
hands of few artists, heavily weighted toward the pre-production phase of the film process. The
length and complexity of the production of the 3D imagery as it moves from concept to completion
poses many challenges to stylization in 3D film. Even with the efforts of a dedicated production
stylist, visual influence is diluted as stage-by-stage a single shot is completed over a long period
of time.

5.2 Demographics of the Production Team

The evolution of computer generated technology was so strenuously focused on photo-realistic
achievement for such a long period that stylization developed little momentum, often weakly
integrated or entirely absent. As 3D animated features quickly supplanted the 2D animated
format, the balance of production personnel changed in a dramatic way. In the typical 2D
animated feature film more than 80% of the pre-production and production team came from an art
background. The 2D production team required 300-500 people most of who had to be able to
paint or draw well. As a result most crewmembers had attended art programs within universities
or colleges before contributing to the film. By contrast 3D animated films require a more diverse
range of skills. Computer technology is central to all the elements in each shot of a 3D film. As a
result technologists are as numerous as artists on many 3D features. While a 3D character
animator will graduate from an art program a character technical director will graduate from a
computer science background. The table below clarifies the proportional difference between the
two respective production teams. The example compares individuals listed in both the Visual
Effects and Animation categories in the film credits for Inside Out (2015), the 3D example and
The Little Mermaid (1989), the 2D example. (Table 1) The crew totals for each film are much
higher; the sample was limited to the personnel involved in the production process for the two
listed categories. It should be understood that the 43 people in the technical processes for 2D
animation would have contributed most of their efforts in post-production after the hands of the
307 artists have already touched the film.
Inside Out (2015) 3D Animation The Little Mermaid (1989) 2D Animation
Animator or Character Designer: 25 Animator, Painter, Character Design,
Layout, 2D Effects: 307
Software, Simulation or Technical: 17 Xerographic or Technical: 43
Percentage of Sample that are Artists: Percentage of Sample that are Artists:

59% 87%
Table 1: Demographic Shift in the constituency of Feature Animation Production Units
(Data retrieved from IMDB.com)

The 3D film process is challenged by this change in balance, as the production team moves away
from a common background in art to one pulling heavily toward digital technology. Thus the
largely artistic process of stylization has not only been spread across a much broader span of
production time, but amongst a different set of contributors. Without a common artistic
background rooted in design principles and aesthetics, the understanding of stylization and what
constitutes successful implementation may be a point of conflict within 3D production teams.
 6 CONCLUSION
6.1 The Need for Visual Identity
Animated feature films are more abundant today than at any other time in the history of film. The
vast majority of these films are 3D animated features.

6.2 Restructuring the 3D Pipeline

It may be advisable to revisit the 3D pipeline in an effort to identify alternate methods for gaining
the control necessary for significant and successful stylization. There must be an effort to simplify
the pipeline or further empower the art director over component parts of the process. It may be
that one art director alone will not be able to track the myriad simultaneous decisions, which are
the standard for efficient 3D production. Perhaps there will be room to experiment with the art
director as a team or creative unit rather than a sole individual. This team could be as many as 20
or more persons; thereby an art director fro the team would be able to monitor each shot through
every stage of the pipeline.

It is further advisable that other methods such as the stop-motion animation pipeline be examined
as possible influences for change. Perhaps one day final lighting and texturing will precede
character animation in much the same way shaded layout drawings set the stage before the 2D
animator ever set pencil to paper. As many times as the 3D pipeline is repeated it ought to be
reimagined; such a young set of processes should be ripe with experimentation. These
experiments should be guided by design principles and stylization ideals, which ultimately trump
technology as a film seeks its emotional connection with the audience.

6.3 Education and Training

It would be equally advisable to educate 3D production teams in artistic processes in an
aggressive and meaningful way, with a desire to learn how such processes were employed in 2D
animation units. Educating the team, and developing a common core design philosophy would
help assure that stylization goals are met at all stages of production.

It is very hopeful that stylization will be fully realized in the future of 3D animated films, as the
existing tools and processes are capable of far greater results in this quest.

REFERENCES
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Journal of Play, 5(1), 22-54
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[3] Kaba, F. (2013). Hyper-Realistic Characters and the Existence of the Uncanny Valley in Animation
Films, International Review of Social Sciences and Humanities, 4(2), 188-195
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http://journal.animationstudies.org/nea-ehrlich-animated-documentaries-as-masking/
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[8] Forum.rottentomatoes.com, (2005). Forum Posting on Closure of Disney Animation Australia –
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[10] IMDB.com, (2015), Database Retrieval - Credit List for The Little Mermaid, From web, 09/12/2015,
http://www.imdb.com/title/tt0097757/fullcredits/

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