Abstract

Animation is created from still images shown one after another fast enough for the eye to see motion. While that principle is universal, 2D animation styles differ around the world in how characters look, how movement is drawn and how cultural visuals are used. In Japan, for example, the style often emphasizes bold character design, expressive line-art and scenes drawn in “anime” style. In Europe the style might lean toward experimental art, visual texture, surreal backgrounds and a slower pace. In North America the style has often focused on simplified characters, clear acting and strong storytelling for wide audiences. This article explains terms such as “character design”, “line-art”, “in-betweening” and “key-frame”, then explores how regional traditions, audience expectations and production methods shape animation styles globally. Understanding these differences can help a high-school student deciding on a university animation program appreciate how “2D animation” isn’t a single look and may involve culture, technique and tools.

Keywords: 2D animation, anime style, European animation, character design, keyframe

Animation uses a sequence of individual images, called frames, shown fast enough that the viewer perceives movement. Key-frames are the major positions in an action. In-betweening refers to the drawings that go between those key-frames. A frame rate, often measured as “frames per second” (fps), affects how smooth the motion appears. These terms apply in all 2D animation workflows.

When you look at 2D animation from different parts of the world you see clear visual and technical differences. In Japan the term anime is used for many 2D works. Anime often features strong line-art, flat colour shading, expressive eyes and stylised backgrounds. The blog from Vitrina explains that Japanese 2D style uses expressive line art and flat colours. (Vitrina AI) Another source says that Japanese animation, or anime, is one of the styles and has a distinct aesthetic. (animationclub.school) Because of those visual patterns, students learning animation in a program may find that studying Japanese style includes character design basics, limited animation (where only parts move) and strong acting through poses.

In Europe 2D animation tends to use different approaches. According to a blog about global hotspots, Europe is known for its artistic and experimental approach to 2D animation, and France stands out with studios producing visually rich content. (vanas.ca) In Europe you may see more mixed media, texture, visual layers, and less of the bold “big eyes” style of anime. The staging may include theatre-like compositions or stylised backgrounds.

In North America too the style has its own traits. The article comparing Japanese and American animation discusses how American animation often emphasises clear acting and simplified character design for broad audiences. (incredimate.com) While those traits are shifting, they still influence how animation is taught and produced in university programmes.

These regional styles influence what you learn in animation programmes. If a university course emphasises anime-style 2D animation you may spend more time on line-art, limited animation techniques, and character expressions typical of Japanese production. If a course is European-oriented you may study more artistic layouts, visual experimentation and scene design. If it leans toward North American production you may focus on clear motion, strong narrative acting, and workflows suited for broadcast or streaming.

For students it helps to practise drawing and timing across styles. You might try a short sequence with big expressive poses and limited frames (more like anime), then another with more frames, full motion and textured backgrounds (more like European style). That gives you insight into how in-betweening and key-frames change the feel of motion and how character design ties to style.

When looking at university programmes, you might ask: “Which style does this programme emphasise?” Check the student films, the teaching staff’s backgrounds and whether classes include character design, layout, background art or motion studies. Ask whether the workflow covers traditional hand-drawn methods, digital 2D, or both. Styles around the world differ in visual aesthetic, workflow, and production context, but they are all part of the same global language of animation.