• Cartoon and Animation Studies
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• s.48
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• pp.1-22
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• 2017

Independent short animation was the expression method for young animation creators through creative and progressive representation. Since the birth of animation, independent short animation has become a driving force for qualitative development and diversification of animation. This has brought many works to the world that emphasize experimentation and challenges in the history of animation and in countries that have the rich animation resources such as France, Japan, and Canada, they recognize its importance and supports young creators in order to maintain the value of it. However, Korean animations are evaluated the quality of works by the popularity of the children, moreover, companies that focus on developing and selling products, including toys, rather than animation works themselves and public awareness that accepts them are formed throughout the Korean animation industry. Because of these points, Korean animation creators can not express the creative vision for the future and philosophical awareness of the problem and they are trapped in commercial animation markets. In order to re-leap and expand the Korean animation industry, which has reached the saturation level with infant animation, it is necessary to reestablish the value of independent short animations with challenging and experimental characteristics and requires the creative environment and support system for the diversity of Korean animation industries, including the achieving commercial goals through good planning, story development and technological innovation. For this purpose, this paper analyzes the current state of production, screening, distribution, and government support of independent short animation in Korea, and explores the structural problems and solutions.

• Cartoon and Animation Studies
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• s.9
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• pp.220-234
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• 2005

The article deals with the reality subject of animations. Animations are created on the basis of fantasy. Disney's introduction of the narratives and styles of live action film into the field of animation, which laid a foundation for the hyper-reality animation, has produced an unintended consequence of marginalizing other animation genres which have emphasized fantasy through free experimentations of various images. A combination of Disney's world view of hyper-reality with later-developed 3D computer animation technology has made fantastic figures and spaces much more real than the real ones, and succeeded in creating a matrix of simulacre, a world of mere copies without the original.

• Cartoon and Animation Studies
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• s.5
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• pp.447-451
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• 2001

실험 애니메이션의 성격을 지닌 스톱모션 애니메이션의 장르로서 상업성 애니메이션과 기존의 영화 애니메이션에서 탈피하여 작품성과 앞으로 개척해야 할 우리 애니메이션 학계의 당면 상황을 인식하고 작품제작에 중점을 두고 있다. 이 작품은 나의 길이라는 주제로 개인의 인생을 축으로 내가 살아온 과거와 현재 다가올 미래의 불확실성을 컨셉으로 하여 애니메이션을 전공하는 학생과 대중에게 쉽게 다가설 수 있는 있도록 하였다. 표현기법은 앞서 말한 바와 같이 스톱모션 방식으로 재즈와 모던 클래식을 바탕으로 큐시트 하였으며, 창의적인 상황에 부합되는 소싱(Sourcing)과 싱크(Sync)로 믹싱(Mixing) 작업을 하여 현대적이면서 감각적인 면을 강조하는 등 표현재료는 콘테와 색연필을 사용하여 애니메이션이 한 컷 한 컷의 작품이라는 예술의 개념적 문제에 접근 일러스트로 작품화하였다. 작품 내용으로는 객관적 세계에 대한 인식의 문제를 이야기하고 다양한 입장과 생각을 표현하였으며 또는 주체가 바라보는 대상을 통해 그 주체를 묘사하기도 한다. 따라서 대상에 비중을 두는가 하면 보는 주체에 비중을 두기도 하였다. 인간 개인이 걸어온 발자취를 형상화시켜 재해석하였으며, 이 작품을 통해 자신의 삶을 직${\cdot}$간접적으로 재해석하며, 관객이 자신을 되돌아볼 수 있고 미래를 직시하도록 꾸몄다.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.310-313
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• 2006

People have regarded animation as the subculture for childishness or children compared with other art fields. Although many such aspects changed, of course recently, animation has focused on the commercial side rather than the cultural or artistic side as usual. However, the animation of art using various experimental expression is also continuously manufactured among short animations. Therefore, the purposes of this study were to look at Quay brother's animation with an experimental and an authorial disposition rather than commercial side. And then it is going to analyze the grotesque of . Moreover, it is going to consider the meanings who are going to express with this animation through grotesque expression.

• Journal of the Korea Society of Computer and Information
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• v.16 no.10
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• pp.93-100
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• 2011

The necessity of research on extracting information of face and facial components in animation characters have been increasing since they can effectively express the emotion and personality of characters. In this paper, we introduce a method to extract face and facial components of animation characters by defining a mesh model adequate for characters and by using dominant colors. The suggested algorithm first generates a mesh model for animation characters, and extracts dominant colors for face and facial components by adapting the mesh model to the face of a model character. Then, using the dominant colors, we extract candidate areas of the face and facial components from input images and verify if the extracted areas are real face or facial components by means of color similarity measure. The experimental results show that our method can reliably detect face and facial components of animation characters.

• Archives of design research
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• v.16 no.4
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• pp.121-128
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• 2003

This is the research to find out which one is the best for using manual among the 3 kinds of methods such as 'Text manual' and 'Animation I' and 'Animation II' which is made by Virtual Realities. Three kinds of methods have been experimented respectively. The manual for 'Animation I' adopt the motion video with basis sound and the additional comment and sound is added on the 'Animation II'. Every 3 manual has been studied and estimated by T-test and additional subjective estimation respectively, and the conclusions are as follows. The 1st answer is that 'Animation manual' is more easier than 'text manual', and the 2nd answer is that 'Animation II' is easier than 'Animation I'. Through post-interview and test, It is known that the animation manuals, which has been showing the multimedia, is more attractive than text manual.

• Journal of KIISE:Computer Systems and Theory
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• v.34 no.3
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• pp.124-131
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• 2007

Research field on crowd animation can be classified into two major categories. One is to offer realism of the crowd motion and the other is to improve speed of the animation. For the last decade, a lot of research on realism and behavior of crowd have been presented. But lately, research on improving speed seems like more interesting. Therefore, in this paper, we conducted an experiment to analyze what is the main bottleneck of crowd animation. As the result, we find out one of the most important bottleneck is the number of joints transformed in each animation frame. In order to resolve this problem we propose a novel level-of-detail technique 'motion level-of-detail', which is a joint-reduction technique operated in the pre-processing time. We used a non-linear optimization, SQP (sequential quadric programming), to generate the low detailed motions.

• Cartoon and Animation Studies
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• s.48
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• pp.23-44
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• 2017

This study explored aspect and intermedial characteristics at the beginning of the abstract animation and the semiotic meaning of abstract animation. Abstract animation was formed by arbangaridist, and there was an abstract painting on its foundations. The abstract painting belong to 'symbol sign' and do not represent specific objects. The abstract animation loses its object and we knew that the abstract animation itself to be object. Abstract animation is a category of ' media combination ' that combines abstract painting and music with intermediality. Abstract animation began based on abstract paintings, but was combined with music and time, and evolved into new media. The abstract animation was started by avant-gardists such as Walter Ruttman, Viking Eggeling and Hans Richter. They set aside their own time of abstract animation based on music. Oskar Fischinger was influenced by Walter Ruttman who completed abstract animation and went to America to continue his work. After Oskar Fischinger, John Whitney continued his genealogy using computer graphics. The abstract animation was faithful to the underlying meaning of the medium in the absence of the object for representation.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.461-465
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• 2005

How to express movement in animation is one of the most important elements which form a work. An Interaction of the expression of a movement and the timing is a basic element which we need to understand and create an animation as a visual art. At this point the timing is an amount of the time required to move object or characters. This paper clears up the fundamental principle of the timing in stop-motion animations and shows Ideal timing methods by comparisons and experiments of the timings which change on a camera's angles.

• Journal of the Korea Society of Computer and Information
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• v.16 no.8
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• pp.49-56
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• 2011

Recently, animation contents has become extensively available along with the development of cultural industry. In this paper, we propose a method to analyze a face of animation character and extract 3D rotational information of the face. The suggested method first generates a dominant color model of a face by learning the face image of animation character. Our system then detects the face and its components with the model, and establishes two coordinate systems: base coordinate system and target coordinate system. Our system estimates three dimensional rotational information of the animation character face using the geometric relationship of the two coordinate systems. Finally, in order to visually represent the extracted 3D information, a 3D face model in which the rotation information is reflected is displayed. In experiments, we show that our method can extract 3D rotation information of a character face reasonably.