• Cartoon and Animation Studies
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• s.13
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• pp.199-210
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• 2008

Nous tentons ici d'une analyse esthetique sur le film d'animation francais "Renaissance". Le film d'animation est un genre du recit d'images. L'on no peut donc le traiter simplement comme les chaines des images sans I'histoire, ni comme I'histoire sans les images. Nous essaions de trouver dans notre etude, un meddle d'analyse sur le film d'animation. L'acces y est commece par expliquer le context du film et son resume de I'histoire. Ensuite, nous travaillons sur les caracteristiques produites par des images(noir et blanc) et des techniques(motion capture). Elles sont considerees comme les traits expressifs, ou les trails formels. Troisiement, on analysr des codes des genres et des sens implicites qui sont presentes dans le film. Apres aborder tous ces prises on comptes, nous les synthetisons dans ie principe d'esthetique. lci, celui-ci est figure comme un accord entre les caractedristiques formelless et les contenus traites. Mais le film n'arrive pas a cette concordance. L'avancee technique et le plaisir visuel que le film nous donne ne sont pourtant pas meprisable memo si I'objectif esthetique du film no s'acheve sur un echec. Notre etude est un peu large afin d'analyser les detailes du film. Nous laisssons cette faiblesss a un autre travail du futur, on etant content sur l'etude qui pout servir a analyser un film d'animation, mame un peu grossierement.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.42 no.5
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• pp.959-966
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• 2017

Currently, the market of digital contents such as e-books, cartoons and webtoons is growing up, but the copyrights infringement are serious issue due to their distribution through illegal ways. However, the technologies for copyright protection are not developed enough. Therefore, in this paper, we propose the NSS-based publication classification method for copyright protection. Using histogram calculated by NSS, we propose classification method for digital contents using SVM. The proposed algorithm will be useful for copyright protection because it lets us distinguish illegal distributed digital contents more easily.

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• Cartoon and Animation Studies
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• s.32
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• pp.43-61
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• 2013

The aberrant movement that Gilles Deleuze wanted to describe represents 'unclosed' or 'unlimited' possibility; it also means that a being has unlimited virtual power until it turns into a thing. In this paper, I analyzed and classified "Dialogue Factual,"one of the animation films by Jan Svankmajer, based on the logical grounds by Gilles Deleuze. First, as a result of analysis according to the seven characteristics in the experimental animation by Paul Wells, 'Dialogue Factual' has all of the features in the experimental animation, and, as I have found, the analysis through a comparison with Carl Dreyer's "The Passion of Joan Of Arc" indicates the works by Jan Svankmajer do not conform to Sensory-motor schemata. Such aberrant properties are involved with the time-image by Gilles Deleuze; by comparison with "Lavender Mist No. 1", one of the artworks by Jackson Pollock, it has been confirmed that "crystal image," the important concept of the time-image, is inherent in "Dialogue Factual". Lastly, the analysis of shots suggests that the movement-image and the time-image coexist in "Dialogue Factual". However, they are not to be classified by a clear-cut dichotomy.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.859-864
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• 2006

Mean shift 는 데이터의 특징을 잘 살려내는 None-parametric 방법으로, 특히 영상처리분야에서 많은 각광을 받아왔다. 하지만 좋은 결과를 보장하는 뛰어난 성능에도 불구하고, 높은 메모리소요와 긴 처리시간에 기인하여, 비디오처리 등의 분야에 적용하기엔 현실적인 제약점이 있다. 상기한 제약점을 극복하기 위해, 본 시스템은 비디오를 분석하여 전경과 후경으로 나눈다. 본 논문은 전경으로 분류된 부분에 대해 각 분리된 개체를구분하고, 좌표변환(coordinate shift)을 실행하여 연산을 할 비디오의 연산의 규모를 줄이는 방법론을 제시한다. 이러한 처리로 매우 많은 처리시간이 단축됨을 실험을 통해 알 수 있었다. 다음으로, 나뉘어진 전경에 3D mean shift를 적용하여 생성된 결과물에 대하여 3D cluster data structure 를 생성하고, 이를 이동하여 인터랙티브 에디팅이 가능하도록 하였다. 후경으로 나뉜 데이터는 이미지 한 장으로 축약이 되며, 2D mean shift 기반의 interactive cartooning system 을 통하여 만화화가 된다. 본 논문은 만화 특유의 단순한 톤을 표현하기 위해, 세밀한 분할이 필요한 부분과 그렇지 않은 부분을 따로 구분하여 처리하는 레이어처리방법을 제안한다. 위의 과정을 여러 실사이미지에 적용, 실험해본 결과 기존의 연구결과에 비해 매우 짧은 시간 내에 대상의 특징이 잘 나타낸 양질의 결과물이 생성되었다. 이러한 결과물은 출판, 영상편집분야 등 여러 분야에서 요긴하고 간편하게 사용될 수 있을 것으로 생각된다.

• Journal of the Korea Computer Graphics Society
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• v.12 no.4
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• pp.17-22
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• 2006

We present the technique that automatically generates caricatures from input face images. We get the mean-shape of training images and extract input image's feature point using AAM(Active Appearance Model). From literature of caricature artists, we define exaggeration rules and apply our rules to input feature points, then we can get exaggerated feature points. To change our results into cartoon-like images, we apply some cartoon-stylizing method to input image and combine it with facial sketch. The input image is warped to exaggerated feature point for final results. Our method can automatically generate a caricature image while it minimizes user interaction.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.55-71
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• 2002

The purpose of this study was to identify a basic meaning of humor from the costume expressing cartoon image, to grasp the status of contemporary costume, and also to supply people with a database related to the sphere of costume design. This was done by analyzing and examining humor of the costume expressing cartoon image in post-industrial society. Consequently, the result of this study was summarized as follows; First, humor by parody of Pop Art is recognized as humorous expression that repulsed the main current culture and post-industrial society phenomenon. Second, humor by quotation tends to appear through cartoon character. Costume which quote cartoon character is against Kidult tastes and the pre-existing authoritative prejudices in post-industrial society. Third, humor by bricolage, making bricolage with silhouette, color, pattern item, is recognized as new creation of humor In other words, it is regarded as enlargement of new esthetic consciousness and humor about instrumented gender in post-industrial society. Lastly, humor by deformation expressed itself in deformation of body image of character and cloth silhouette by cartoon image. Deformation of cloth silhouette by cartoon image, being not conscious pre-existing concept of harmony of human and costume, is recognized as humor which have characteristic of play with introduction of new silhouette. In addition to, the result of this study showed that humor expressed in cartoon image of costume has been limited to the works of few designers because of characteristics of fashion designers who made use of popularity as subjects of the works and internal meanings which were related to the characteristics of post-industrial society.

• Cartoon and Animation Studies
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• s.5
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• pp.460-465
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• 2001

글과 그림 사이에서 진동하는 상호보완적 절층주의로부터 벗어나, 텍스트와 이미지의 벽을 넘어서서 신개념의 그래픽 문법으로 형성되는 ‘제3의 지지체(支持體, referance)'이길 바란다. 더 나아가서는 새로운 장르 개념의 ’참조들${\cdot}$frame work'이 조성되길 바라며 작업을 지속한다. 그 방버론의 적용으로는 보여지거나 인식되는 사물과 사태를 ‘서사적 조망${\cdot}$Narration View'으로 회유하여 서사묘${\cdot}$Narration Drawing, 혹은 서사회${\cdot}$Narration적 담론과 리사이틀의 체계를 구축하고자 한다. 따라서 나의 작업은 개념도 실재(행동)도 아닌 양자의 삼투막(?透幕)과도 같은 것으로 최소한의 표현, 그리고 그에 상응하는 선택과 결정이 주어지게 된다. 마치도 ’평면조건‘위에서 글도 아닌 도상적 스키마의 조그마한 끄나풀 하나를 붙들고 연명하는 미물의 절실함이 그것이리라. 또 한편에서는 글이기도 그림이기도한 한 ’이코노텍트성 Iconotextuality'의 보편적 열람성과 보존성의 현전의 세속적 희열과 자유로움을 느낀다. 일품 회화의 오리지날리티로 벗어나 ‘원고개념’을 전제한 작품제작의 출발은 A4 배상용지 위에서 실현된다. 끊임없이 증식되는 생물학적 상상력의 구축은 매카닉한 기계류의 반복과 중첩 이미지, 확대와 축소의 개념적 확산, 용품과 도구 tool character에 의한 드로잉의 산출 및 페인팅의 점착성으로 이어진다. 실제의 프레임과 패널, 액틀을 쓰지 않는 연유는 좀더 벽에 밀착하여 붙이기를 원하기 때문이다.

• The Transactions of the Korea Information Processing Society
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• v.13 no.9
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• pp.453-459
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• 2024

Recent advances in generative AI technologies using natural language processing have critically impacted text, image, and video production. Despite these innovations, we still need to improve the consistency and reusability of AI-generated outputs. These issues are critical in cartoon creation, where the inability to consistently replicate characters and specific objects can degrade the work's quality. We propose an integrated adaption of language analysis-based requirement engineering and cartoon engineering to solve this. The proposed method applies the linguistic frameworks of Chomsky and Fillmore to analyze natural language and utilizes UML sequence models for generating consistent 3D representations of object interactions. It systematically interprets the creator's intentions from textual inputs, ensuring that each character or object, once conceptualized, is accurately replicated across various panels and episodes to preserve visual and contextual integrity. This technique enhances the accuracy and consistency of character portrayals in animated contexts, aligning closely with the initial specifications. Consequently, this method holds potential applicability in other domains requiring the translation of complex textual descriptions into visual representations.