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Cel shading

Cel shading, also known as toon shading, is a non-photorealistic rendering (NPR) technique in computer graphics that emulates the flat, stylized appearance of traditional 2D hand-drawn animation by applying discrete bands of color to 3D models, often enhanced with bold black outlines to mimic comic book or cartoon aesthetics.^[1] This method contrasts with photorealistic rendering by prioritizing artistic simplicity over realistic light gradients, using algorithms to quantize shading into a limited number of tones—typically two to four—based on light intensity thresholds derived from the dot product of surface normals and light vectors.^[2]^[3] The technique draws its name from "cels," the transparent celluloid sheets used in classical animation to layer painted frames, adapting these principles to digital 3D environments for a hand-crafted look.^[3] Cel shading emerged as part of the broader NPR field, which gained traction in the 1990s with foundational work on edge detection and stylized contours, but its real-time application in interactive media began in the late 1990s.^[2] The first notable implementation appeared in the 1999 game Fear Effect, which used pre-rendered flat textures, followed by pioneering real-time cel shading in Jet Set Radio (2000) for the Sega Dreamcast, marking a shift toward dynamic, cartoonish visuals in video games.^[1] Key technical aspects include tone-based shading, where diffuse lighting is discretized via ramp textures or step functions to create hard-edged shadows, and edge detection for outlines, often achieved through object-space methods like back-face culling or image-space sobel filters.^[4]^[2] Texture-based variants apply 1D or 2D ramp maps to modulate colors by depth or incidence angle, enabling customizable styles while maintaining performance efficiency, particularly beneficial for real-time applications like gaming.^[4] This approach has been widely adopted in video games for its timeless visual appeal, as seen in titles like The Legend of Zelda: The Wind Waker (2002), and occasionally in films such as Appleseed (2004), where it blends 3D models with anime-inspired aesthetics.^[1] Despite its simplicity, cel shading can challenge complex geometry rendering, often favoring stylized subjects over intricate details.^[4]

Definition and History

Definition

Cel shading, also known as toon shading, is a non-photorealistic rendering technique in computer graphics designed to impart a stylized, cartoon-like appearance to 3D models by mimicking the flat color regions and bold outlines characteristic of traditional cel animation.^[5]^[4] The term "cel" originates from the transparent celluloid sheets historically used by animators to create layered, hand-painted frames.^[6] This technique produces distinct visual traits, including quantized color bands that eliminate smooth gradients in favor of discrete shading levels, sharp silhouette edges defined by prominent outlines, and minimal texture details to preserve a clean, 2D hand-drawn aesthetic.^[7]^[5]^[4] In contrast to photorealistic shading, which seeks lifelike illumination through continuous gradients and detailed interactions, cel shading emphasizes artistic stylization over realism by relying on simplified diffuse lighting models that often stylize or limit specular highlights and complex shadow computations.^[5]

Historical Development

The origins of cel shading trace back to the late 1980s and early 1990s within the field of non-photorealistic rendering (NPR), where researchers began exploring techniques to emulate artistic styles like illustration and animation in computer graphics. Early NPR work focused on abstract representations of surface geometries to achieve stylized effects, laying the groundwork for shading methods that prioritized flat colors and sharp edges over realism. These conceptual roots were influenced by traditional animation practices, with initial experiments emerging from academic and industry efforts to bridge hand-drawn aesthetics and digital rendering.^[8] Practical implementations of cel shading gained traction in the late 1990s, culminating in its debut as a real-time technique in video games. Sega's Jet Set Radio, released in June 2000 for the Dreamcast, marked the first commercial use of cel shading, employing it to create a dynamic, cartoon-inspired visual style that evoked urban graffiti and motion. This innovation was heavily shaped by Japanese game development's affinity for anime aesthetics, which emphasized bold outlines and limited color gradients to mimic hand-painted cels. Technological enablers, including advancements in GPU capabilities, facilitated real-time outline detection and shading, making the effect viable on consumer hardware for the first time.^[9]^[6]^[10] In the post-2000 era, cel shading expanded into Western media, with Nintendo's The Legend of Zelda: The Wind Waker (2002) integrating it to produce a whimsical, cel-shaded world that blended 3D exploration with 2D-like charm, further solidifying its mainstream adoption. By the 2020s, the technique has seen renewed trends in virtual reality (VR) and augmented reality (AR) stylization, where its stylized rendering reduces computational demands while enhancing immersive, non-realistic experiences. Examples include VR titles such as Hitman 3 VR: Reloaded (2024), which adopted cel shading for immersive stealth gameplay on Meta Quest 3.^[11]^[10]^[12]^[13]

Technical Aspects

Core Shading Process

The core shading process in cel shading, also known as toon shading, begins with computing the diffuse lighting on a 3D model's surface using the Lambertian reflectance model, which assumes ideal diffuse reflection where light scatters equally in all directions regardless of viewer position.^[14] The intensity is calculated as the dot product between the surface normal vector \mathbf{n} and the light direction vector \mathbf{l}, clamped to [0, 1] to represent the cosine of the angle between them: \text{diffuse} = \max(0, \dot{\mathbf{n}, \mathbf{l}}).^[15] This value is then quantized into a small number of discrete color bands, typically 2 to 4 levels, to produce the flat, stepped appearance characteristic of hand-drawn animation. The quantization is achieved through a thresholding function that maps the continuous diffuse intensity to stepped values, such as:

\text{quantized_color} = \frac{\lfloor \text{diffuse} \times \text{num_bands} \rfloor}{\text{num_bands}}

where

\text{num_bands}

defines the number of shading levels (e.g., 3 for light, medium, and dark).^[15] Each band is assigned a distinct color, often derived from a base material color multiplied by band-specific multipliers, ensuring sharp transitions rather than smooth gradients.^[4] Following quantization, texture mapping is applied using flat or posterized 2D images that emphasize bold, uniform colors without subtle gradients, aligning with the non-photorealistic aesthetic.^[4] These textures are sampled in the fragment shader and combined with the quantized diffuse term, while uniform base colors can be applied directly to surfaces lacking detailed textures for a simplified, illustrative look. This process assumes familiarity with a basic 3D rendering pipeline and is typically implemented via programmable shaders, such as vertex shaders for transforming normals and fragment shaders for per-pixel lighting calculations, in modern game engines like Unity or Unreal Engine.^[5] Shadows in cel shading are rendered as binary or stepped regions without soft penumbra edges, achieved by extending the quantization to areas where the diffuse term falls below a threshold (e.g., clamping to a single dark band for \text{diffuse} \leq 0).^[5] Ambient occlusion may be incorporated to add subtle depth cues, but it is constrained to align with cel boundaries, preventing it from introducing realistic softness that could undermine the stylized flatness.^[16] A common challenge in this process is maintaining consistent band edges across curved surfaces, where the continuous variation in normals can cause jagged or inconsistent shading transitions, often requiring additional smoothing techniques or higher tessellation to mitigate visual artifacts.^[4] For a complete cel-shaded effect, this interior shading is typically paired with outline generation, though the core process focuses solely on surface coloring.^[5]

Outline Generation Techniques

In cel shading, outlines play a crucial role in mimicking the bold ink lines of traditional hand-drawn animation, enhancing the separation of object silhouettes, creases, and material boundaries to achieve a flat, illustrative aesthetic. These lines are typically generated as a post-processing step after the core shading of surfaces, focusing on edge detection to identify discontinuities in geometry without altering the base color bands.^[17] One foundational method for outline generation employs the Sobel edge-detection operator, which convolves the image with kernels to compute gradients along horizontal and vertical directions. The kernels are defined as S_x = \begin{bmatrix} -1 & 0 & 1 \\ -2 & 0 & 2 \\ -1 & 0 & 1 \end{bmatrix} and S_y = \begin{bmatrix} -1 & -2 & -1 \\ 0 & 0 & 0 \\ 1 & 2 & 1 \end{bmatrix}, yielding gradients G_x and G_y; the edge strength is then approximated as |G_x| + |G_y|, which is thresholded to produce binary edge maps. This technique is applied to rendered buffers such as depth or normal maps to highlight sharp transitions, with early implementations using it on depth images for profile lines and internal edges.^[17]^[18] Z-buffer thresholding provides another key approach for detecting occlusions and silhouettes, by comparing depth values between adjacent pixels in the rendered depth buffer. If the absolute difference exceeds an adjustable threshold (e.g., tuned for line thickness), the pixel is marked as an edge, effectively capturing depth discontinuities without requiring geometric analysis. This method complements Sobel by focusing on object boundaries, often combined in a single pass over the buffer for efficiency.^[17]^[18] Outlines are integrated by rendering them in a separate post-shading pass, where detected edges are drawn as thick black lines and composited over the shaded model using alpha blending. GPU optimizations, such as fragment shaders for convolution and buffer access, enable real-time performance by leveraging hardware acceleration for multi-pass rendering. Historically, these techniques evolved from offline, software-based rendering in the 1990s—pioneered in image-space methods using depth differentials—to hardware-accelerated implementations in the 2000s with the advent of programmable GPUs.^[17]^[18]

Advanced Variations

One advanced variation of outline generation in cel shading involves the wireframe method, which extrudes mesh edges based on vertex normals to render thick lines, making it particularly suitable for low-poly models where edge definition is prominent.^[19] This technique uses a geometry shader to control line thickness, often computed as

\text{line_width} = \max(1, |\dot{\text{view_dir}, \text{edge_normal}}|)

, allowing dynamic adjustment based on viewing angle for more natural emphasis on silhouettes.^[20] Hybrid techniques extend cel shading by incorporating subtle gradients or particle effects to achieve "soft cel" aesthetics, blending sharp toon contrasts with smoother transitions for enhanced visual depth without losing the stylized look.^[10] In mobile games, these hybrids optimize performance by using low-cost gradients via color ramps for shading falloff and particle systems for dynamic highlights, enabling fluid animations on resource-constrained devices.^[21] Integrations with non-photorealistic rendering (NPR) further advance cel shading, such as combining it with painterly rendering to simulate brush strokes over toon bases or stippling for dotted tone mapping that conveys shading density.^[22] Performance considerations in advanced cel shading include level-of-detail (LOD) systems for outlines in large scenes, where distant edges use simplified geometry to reduce draw calls and maintain frame rates.^[23] Cross-platform challenges arise between consoles and PCs, as varying hardware capabilities demand shader optimizations—such as reduced outline passes on consoles—to ensure consistent rendering without aliasing or performance drops.^[24] Emerging trends feature AI-assisted cel shading for auto-stylization, where tools analyze input images to apply toon-like effects, including flat shading and bold edges, streamlining production workflows.^[25] As of 2024, Adobe Firefly's integration with Substance 3D enables generative AI to create stylized textures for 3D assets.^[26]

Applications in Media

Use in Video Games

Cel shading's adoption in video games was driven by its ability to deliver a stylized, comic-like aesthetic that emphasized artistic direction while minimizing hardware requirements compared to photorealistic rendering. The technique's simplified lighting models, which use discrete color bands instead of continuous gradients, reduce computational demands on GPUs, allowing developers to achieve visually striking results on lower-end systems. For instance, in the early 2000s, cel shading enabled performant gameplay on consoles like the Sega Dreamcast, where it facilitated smooth frame rates in dynamic environments without the overhead of complex texture mapping or ray tracing.^[10]^[9]^[27] From a design perspective, cel shading enhances readability during fast-paced action by employing bold outlines and flat colors that clearly delineate characters, enemies, and environments, reducing visual clutter in intense scenarios. This clarity aids player comprehension in combat or exploration sequences, where distinguishing elements quickly is crucial. The style also supports unique intellectual properties, such as urban skating adventures, by prioritizing exaggerated forms and vibrant palettes that align with thematic whimsy over realism.^[10]^[28]^[29] Technical adaptations for video games emphasize real-time constraints, leading to simplified shaders that approximate outline generation and banded lighting through ramp functions or threshold-based quantization, often implemented in a single rendering pass to maintain 60 FPS. Over time, these have evolved to accommodate multiplayer synchronization, where the deterministic nature of cel-shaded effects—relying on geometry and basic light vectors—facilitates consistent replication across clients with minimal bandwidth for lighting data. Core techniques like edge detection via inverted hulls or Sobel filters are streamlined for GPU efficiency, briefly referencing the shading process covered in technical aspects.^[30]^[31] Challenges in cel shading for 3D games include balancing stylization with essential depth cues, as flat shading and uniform colors can create a planar appearance that obscures spatial relationships in complex scenes. Developers address this by integrating subtle gradients or depth-based grouping of polygons, though defining optimal ranges for abstraction remains difficult to avoid a overly model-like result. The technique fits well in genres like adventure and fighting games, where clear silhouettes enhance navigation and combat legibility without needing intricate environmental details.^[32] Cel shading has significantly influenced indie development tools, democratizing access to stylized rendering and inspiring engine integrations that lower barriers for small teams. For example, engines like Godot have supported custom cel shaders through their spatial shader language since the early 2020s, enabling indie creators to implement toon effects natively without external plugins. This has broadened its use in experimental titles, fostering innovation in art-driven gameplay.^[33]

Use in Film and Animation

Cel shading has been integrated into CGI pipelines for hybrid 2D/3D animated films, where 3D models are rendered to emulate traditional 2D animation aesthetics through flat color bands and bold outlines.^[34] This approach allows animators to leverage 3D modeling for complex scenes while achieving a hand-drawn appearance, as seen in production workflows that combine edge detection for contours and quantized shading for shadows.^[10] In these pipelines, software like Autodesk Maya or Blender applies non-photorealistic rendering (NPR) techniques to simplify light interactions, enabling seamless blending of 3D geometry with 2D-inspired visuals.^[34] The technique offers significant workflow benefits by reducing lighting complexity, as it eliminates the need for smooth gradients and multiple shadow layers, thereby accelerating rendering times compared to photorealistic methods.^[35] Tools such as Blender's NPR add-ons, including EEVEE's split shader and half-Lambert nodes introduced in 2018, facilitate cel effects by supporting toon shading directly in the viewport, minimizing post-production adjustments.^[36] This efficiency is particularly valuable in VFX-heavy productions, where cel shading cuts computational demands and enables faster iteration during animation blocking and compositing stages.^[10] Artistically, cel shading enhances emotional expressiveness in anime-inspired films by emphasizing bold contrasts and simplified forms that convey character intent more directly than subtle realism.^[6] However, it presents challenges in replicating the organic inconsistencies of hand-drawn animation, such as varying line weights or subtle color shifts, requiring careful shader tuning to avoid unnatural uniformity.^[12] Cel shading's evolution in film began with experimental shorts and features in the 2000s, evolving from niche applications to broader adoption in stylized productions by the 2010s.^[12] Early implementations, like those in 2004 anime films, demonstrated its potential for cost savings in CGI by streamlining shading processes over full traditional or realistic rendering.^[12] By the 2020s, advancements in image-based pipelines allowed for more coherent frame-to-frame shading in 2D cel-style animation, further reducing production overheads in VFX workflows.^[37] Despite these advantages, cel shading is less suited for hyper-realistic hybrids, where its flat aesthetics can clash with detailed textures or environmental lighting, making it ideal primarily for pure stylization.^[10] Its niche appeal limits versatility across genres, though it excels in evoking timeless, cartoon-like endurance without rapid visual aging.^[34]

Use in Television and Other Media

Cel shading has proven particularly efficient for animated television series, where budget constraints and tight production schedules demand streamlined workflows. By integrating 3D models with cel shading techniques, producers can replace labor-intensive hand-drawn elements—such as complex machinery or backgrounds—with pre-rendered assets that maintain a consistent 2D aesthetic across multiple episodes. This approach significantly reduces animation time and costs, as seen in shows like Futurama, where the opening sequence employs fully cel-shaded 3D elements to blend seamlessly with traditional 2D animation, and The Simpsons and Family Guy, which use it for non-organic objects to enhance visual uniformity without increasing frame-by-frame drawing demands.^[1]^[10] Real-time previews enabled by cel shading shaders allow animators to iterate quickly during production, ensuring stylistic coherence in serialized formats. In other media, cel shading adapts well to shorter, non-traditional formats like web animations and commercials, where its simplified rendering supports rapid turnaround for digital distribution. For instance, web series on platforms like YouTube often leverage cel shading for its low computational overhead, enabling creators to produce stylized content with limited resources, as demonstrated in short-form animations that mimic traditional cel techniques for engaging, cartoon-like visuals. Similarly, in television commercials, the technique provides an eye-catching, artistic look with bold outlines and flat colors, facilitating efficient production of 15- to 30-second spots that stand out in fast-paced advertising environments.^[34]^[12] Technical adaptations for television emphasize episode-to-episode consistency through reusable shader presets that apply uniform flat tones based on object normals and lighting angles, minimizing variations in shading across scenes. These presets, often implemented in software like Blender, allow teams to lock in color palettes and outline styles early in production, streamlining asset management for ongoing series. Integration with motion capture for stylized characters has emerged in modern workflows, where mocap data is processed to exaggerate movements for a cartoonish feel, though it requires careful adjustment to avoid realistic stiffness that clashes with cel aesthetics.^[10]^[38]^[39] The broader impacts of cel shading in the 2020s include its role in democratizing access for small studios via free software tools like Blender, which offer robust toon shading capabilities without licensing fees, empowering independent creators to compete in streaming landscapes. Trends in streaming services, such as Netflix's Blue Eye Samurai (2023), highlight its use in diverse aesthetics for adult-oriented series, combining 3D models with custom cel shaders for dynamic, hybrid visuals that appeal to global audiences. This has fostered innovation in non-photorealistic rendering, making stylized animation more viable for episodic content on platforms prioritizing visual novelty over hyper-realism.^[34]^[40]^[10] Unique challenges in television applications include achieving broadcast-ready resolutions, where cel shading's flat colors must undergo precise color grading to ensure vibrancy and contrast under standard definitions like Rec. 709, preventing washed-out appearances on various screens. Additionally, maintaining a balance between the technique's simplicity and expressive depth is crucial, as overly rigid shading can result in stiff character designs that undermine the fluidity of animated storytelling.^[35]^[41]

Notable Examples

Video Games

Cel shading first gained prominence in video games during the early 2000s, with pioneering titles that leveraged the technique to create distinctive, cartoon-like visuals. Jet Set Radio (2000, Sega), an urban skating game, introduced bold cel-shaded aesthetics to emphasize its vibrant street art and graffiti themes, marking it as a stylistic breakthrough.^[42] Similarly, The Legend of Zelda: The Wind Waker (2002, Nintendo) employed cel shading to craft a whimsical oceanic adventure, where the technique enhanced the game's painterly, hand-drawn look across its vast seas and islands.^[43] The 2010s saw cel shading expand into more narrative-driven and stylized experiences, often blending it with other art influences. The Borderlands series (2009 onward, Gearbox Software) utilized cel shading to evoke a comic-book style, complementing its loot-shooter gameplay with sharp outlines and flat colors that amplified the chaotic, satirical world-building.^[43] Ni no Kuni (2010, Level-5) integrated cel shading with Studio Ghibli's hand-animated art, creating a seamless fusion in its fantasy RPG that highlighted emotional storytelling through soft, illustrative shading.^[44] In recent years, cel shading has become integral to expansive open-world and action titles, particularly from developers focusing on anime-inspired designs. Genshin Impact (2020, miHoYo) applies cel shading to its open-world exploration, giving characters and environments a dynamic, anime-like vibrancy that supports fluid combat and vast landscapes.^[45] Zenless Zone Zero (2024, miHoYo), an action RPG set in a post-apocalyptic urban fantasy, employs cel shading to achieve a polished, comic-influenced aesthetic that enhances its fast-paced battles and character interactions.^[46] Cel shading remains prevalent in action-adventure and RPG genres, where it fosters stylistic immersion by prioritizing expressive visuals over realism, allowing games to evoke timeless, illustrative worlds.^[44]

Films

Cel shading emerged in feature films during the early 2000s as an experimental technique to blend photorealistic CGI with stylized, hand-drawn aesthetics. A Scanner Darkly (2006), directed by Richard Linklater, utilized interpolated rotoscoping to achieve a cel-shaded effect, tracing live-action footage with digital ink lines and flat color fills for a surreal, illustrative look that enhanced the film's themes of identity and paranoia.^[47] The technique, developed by animator Bob Sabiston, created sharp outlines and minimal gradients, evoking comic book artistry while maintaining a live-action foundation.^[1] In the 2010s, anime studios advanced cel shading through fully CGI implementations, particularly in action-oriented narratives. Promare (2019), directed by Hiroyuki Imaishi at Studio Trigger, employed comprehensive cel-shaded CGI to depict high-octane firefighting sequences, using bold flat colors, thick outlines, and dynamic 2D-3D hybrids to mimic traditional anime while enabling fluid mecha battles and explosive effects.^[48] This stylistic choice amplified the film's vibrant, over-the-top energy, with cel shading allowing seamless transitions between hand-drawn elements and 3D models for a cohesive, visually explosive aesthetic.^[49] Recent hybrid applications in the 2020s have integrated cel shading with comic-inspired stylization, expanding its role in mainstream Hollywood animation. Spider-Man: Into the Spider-Verse (2018), produced by Sony Pictures Animation and directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, incorporated partial cel shading alongside halftone patterns, offset printing effects, and procedural line work to replicate the tactile quality of printed comics, particularly in character movements and panel-like compositions.^[34] This innovative layering of toon shading on 3D rigs created a multiverse of visual styles, emphasizing Miles Morales' journey through bold, graphic silhouettes and shadow bands. These films have significantly elevated cel shading's integration into Hollywood VFX pipelines, promoting non-photorealistic rendering for efficiency and artistic expression in high-budget productions. By reducing computational demands compared to full realism—through flat shading and outline passes—cel techniques have streamlined workflows at studios like Sony and Netflix, influencing subsequent stylized projects and encouraging broader adoption of hybrid 2D-3D tools for diverse visual narratives.^[12]

Television Series

Cel shading has appeared in television series primarily through episodic experiments or hybrid styles in animated productions, particularly in the realm of 3D computer-generated imagery designed to emulate hand-drawn aesthetics. One early example is the Canadian animated series ReBoot (1994–2001), which featured cel shading in a fourth-season episode titled "My Two Bobs," where characters reboot into a game world rendered with flat colors and sharp outlines to mimic 2D animation styles.^[50] This marked an innovative use of the technique in broadcast television, highlighting its potential for stylistic variety within a predominantly 3D CGI framework. Modern streaming platforms have embraced cel shading more extensively in the 2010s and beyond, often in hybrid forms that combine 3D models with painterly textures. The Netflix series Arcane (2021–present), an adaptation of the League of Legends universe, utilizes a cel-hybrid approach where 3D character models receive cel shading for expressions and outlines, integrated with hand-painted 2D backgrounds to create a seamless, immersive world.^[51] Similarly, Love, Death & Robots (2019–present) incorporates cel shading in select episodes, such as those employing 2D-inspired cel-shaded animation for surreal, anthology-style storytelling, enhancing the bold visuals in its mature sci-fi narratives.^[52] Web and television hybrids have further popularized stylized cel shading for action-oriented content. RWBY (2013–present), produced by Rooster Teeth, relies on 3D models with cel shading to deliver fluid, anime-influenced fight scenes and character designs, evolving from its web series origins to broader streaming distribution.^[53] Internationally, the Japanese anime Kemono Jihen (2021) integrates cel-shaded CGI elements in its supernatural detective storyline, blending 3D effects with traditional animation for a distinctive, shadowy aesthetic in its 12-episode run. Overall, cel shading's application in television has trended toward increased adoption in adult-oriented animation since the 2010s, allowing creators to achieve striking, non-photorealistic visuals that support complex narratives and bold artistic choices without the labor intensity of full hand-drawn production.^[12] This shift is evident in streaming-era series, where the technique enables efficient rendering of dynamic scenes while maintaining a hand-crafted appearance.

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[PDF] An image-based shading pipeline for 2D animation - Hal-Inria
Oct 13, 2010 · The resulting shading pipeline can be easily applied to photorealistic and non-photorealistic 2D cel animation. In the proposed method, the ...
[39]
The Ultimate Cel-Shading Shader - Blender Artists
Oct 25, 2022 · Here is my Ultimate Cel-Shading Shader, free for anyone to use (attribution not required but appreciated). This is a compilation of my own work, as well as ...
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I Made This Stylized Animation In Under An Hour! - 3D ... - YouTube
Jul 8, 2024 · In this video, discover how to transform realistic motion capture (mocap motion) into stylized, cartoony animation in under an hour!Missing: cel shading
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Easy Cel Shading Tutorial for Cartoon in Blender Within 2 Minutes
Feb 10, 2025 · Fox Renderfarm is going to share a simple cel shading tutorial for cartoon in Blender and a way to give the cartoon border.
[42]
Understanding Color Grading for Broadcast Content - Medialooks
Color grading is the process of adjusting the colors, contrast, saturation, and overall tone of a video to achieve a specific visual style or mood.
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In praise of cel-shading | Eurogamer.net
Dec 5, 2018 · As I remember it, cel-shaded games burst into the public consciousness with Jet Set Radio all the way back in 2000. At the time it was so ...
[44]
What Cel-Shading Means (& What Famous Games Use It)
Nov 18, 2020 · Although Jet Set Radio is one of the oldest examples of cel-shading being used in video games, it's far from the last. Skipping over even ...
[45]
The Best Cel Shaded Video Games - TheGamer
The Best Cel Shaded Video Games · 1 Okami · 2 The Legend of Zelda: The Wind Waker · 3 Persona 5 · 4 Ni No Kuni · 5 Dragon Ball FighterZ · 6 Borderlands · 7 Jet Set ...
[46]
Genshin Impact & 9 Other Best Games With Cel-Shaded Graphics ...
Jan 6, 2021 · Genshin Impact features some beautiful cel-shaded graphics. Here's a look at 9 other games with awesome graphics, ranked.
[47]
style study (zenless zone zero) - ArtStation
Aug 27, 2025 · The style study experiments with anime proportions and cell shading, inspired by Zenless Zone Zero's fun look and Hoyo's cell shading.
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Lesson 02: CG Anime - Behind the Anime - WordPress.com
Nov 18, 2011 · ... Final Fantasy: The Spirits Within, 2001 ... It usually looks better with the cel-shading (when It actually looks like hand-drawn) with CGI ...
[49]
'A Scanner Darkly': An Animated Illusion | Animation World Network
Jul 7, 2006 · A Scanner Darkly brings Richard Linklater back to interpolated rotoscoping, the same animation technology he used in Waking Life.Missing: cel | Show results with:cel
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Promare - GKIDS Films
The first feature-length film from the acclaimed studio TRIGGER and director Hiroyuki Imaishi, Promare uses a bold cel-shaded visual style to tell a blisteringMissing: CGI | Show results with:CGI
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Review: "Promare" Challenges Animation's Constraints Through A ...
Oct 4, 2019 · The film uses a bold cel-shaded style to tell a spicy action-adventure story and is the aesthetic successor to director Imaishi's previous ...Missing: CGI | Show results with:CGI
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Why Netflix's Arcane looks so good: How Fortiche ramped up the ...
Dec 26, 2024 · Arcane combines 2D and 3D animation techniques together, resulting in a distinctive visual style characterized by hand-painted textures and ...
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Rapidly Reviewing ReBoot Episode 44: My Two Bobs - Retro Oasis
Jul 14, 2016 · The cel-shading used for the characters was nice for something different, and despite the battle coming down to just gross-out humor and ...
[54]
Xiaolin Showdown (Western Animation) - TV Tropes
An Emmy Award-winning Warner Bros. cartoon, Xiaolin Showdown (2003-2006) follows the adventures of four teens (well, three teens and one child)
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Best Episodes of 'Love, Death + Robots' - Netflix Tudum
May 15, 2025 · Its cel-shaded, 2D animation is also startlingly beautiful. ... Love, Death & Robots. 4 VolumesTV-MA2019. Terrifying creatures, wicked ...
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GUEST ROOM | Cel Shading, Framerates and The Dragon Prince
Sep 23, 2018 · You may have first seen Cel Shading in 2013 with the premiere of RWBY, an “American Anime” aimed at both American and Japanese anime fans.