• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.50-57
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• 2015

The fact that Disney studio produced several propaganda animations for the U. S. Government during World War II, is not widely known to the public. Der Fuehrer's Face that this essay centrally deals with totally includes the characteristics of signification and aesthetics in Disney animation. And, Der Fuehrer's face shows the tendency that represent the connotative theme of the work and myth to the audience, based on the typified character and the imagery of spaces in the work. Therefore, from this perspective, the semiotic studies on Der Fuehrer's Face is ultimately the approach to the characteristics of Disney animation's representation and communication that is established, through experimental trials and efforts.

• Journal of The Korean Association of Information Education
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• v.9 no.4
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• pp.673-684
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• 2005

In this research, we have developed a "computer tutor" that mimics the human tutor with animated tutoring dialog agent and the agent was integrated to teaching-learning material for elementary science subject. The developed system is a natural language based teaching-learning system using one-to-one dialogue. The developed pedagogical dialogue teaching-learning system analysis student's answer then provides appropriate answer or questions after comparing the student's answer with elementary school level achievement. When the agent gives either question or answer it uses the TTS(Text-to-Speech) function. Also the agent has an animated human tutor face for providing more human like feedback. The developed dialogue interface has been applied to 64 6th grade students. The test results show that the test group's average score is higher than the control group by 10.797. This shows that unlike conventional web courseware, our approach that "ask-answer" process and the animated character, which has human tutor's emotional expression, attracts students and helps to immerse to the courseware.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.8
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• pp.3670-3676
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• 2011

A cell animation is represented by one background cell, and there is much difference of images when its shot is changed. Also, it does not have a lot of colors since people themselves draw it. In order to effectively detect shot transitions of cell animations while fully considering their intrinsic characteristics, in this paper, we propose a animation shot boundary detection algorithm that utilizes color and block-based histograms step by step. The suggested algorithm first converts RGB color space into HSI color one, and coarsely decides if adjacent frames contains a shot transition by performing color difference operation between two images. If they are considered to have a shot transition candidate, we calculate color histograms for 9 sub-regions of the adjacent images and apply weights to them. Finally, we determine whether there is a real shot transition by analyzing the weighted sum of histogram values. In experiments, we show that our method is superior to others.

• Journal of the Korea Computer Graphics Society
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• v.21 no.1
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• pp.23-31
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• 2015

We present a method for creating realistic 2D stick figure animations easily and rapidly using captured motion data. Stick figure animations are typically created by drawing a single pose for each frame manually for the entire time interval. In contrast, our method allows the user to summarize an action (e.g. kick, jump) for an extended period of time into a single image in which one or more action lines are drawn over a stick figure to represent the moving directions of body parts. In order to synthesize a series of time-varying poses automatically from the given image, our system first builds a deformable character model that can make arbitrary deformations of the user's stick figure drawing in 2D plane. Then, the system searches for an optimal motion segment that best fits the given pose and action lines from pre-recorded motion database. Deforming the character model to imitate the retrieved motion segment produces the final stick figure animation. We demonstrate the usefulness of our method in creating interesting stick figure animations with little effort through experiments using a variety of stick figure styles and captured motion data.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Proceedings of the Korean Information Science Society Conference
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• 2001.10b
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• pp.523-525
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• 2001

본 논문은 많은 수의 rigid body 물체들을 물리학에 기반하여 실시간으로 애니메이션하는 방법을 제안한다 rigid body 물체들의 움직임을 생성해내는 과정은 상당한 시간이 소요되며 또한 물체의 수가 증가함에 따라 계산시간이 급증한다. 본 논문에서는 Timewarp rigid body 시뮬레이션 알고리즘을 실시간 애니메이션에 적용하기 위해 시간당 생성되는 프레임 수에 따른 다단계 롤백 범위 적용을 하는 방법을 제안하고 실험을 통하여 시뮬레이tus 시스템의 효율성을 보인다.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.1-9
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• 2010

Authoring tools for sketching the motion of characters to be animated have been studied. However the natural interface for sound editing has not been sufficiently studied. In this paper, I present a novel method that sound sample is selected by speaking sound-imitation words(onomatopoeia). Experiment with the method based on statistical models, which is generally used for pattern recognition, showed up to 97% in the accuracy of recognition. In addition, to address the difficulty of data collection for newly enrolled sound samples, the GLR Test based on only one sample of each sound-imitation word showed almost the same accuracy as the previous method.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.707-715
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• 2015

With the development of computer technology, the multimedia mediums that allow for animated videos, conversational illustrations are increasingly receiving attention for materials for educational purposes. Accordingly, there is a need to research whether multimedia resources and material is more effective compared to traditional educational material and resources. This study aims to compare traditional English reading and writing learning methods with learning methods using educational multimedia mediums such as illustrations or animation. Students were divided into a experimental group and a control group, and during 6 months the groups were exposed to different educational resources and on the basis of student evaluation feedback and grades, a new approach to English education is offered.

• Cartoon and Animation Studies
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• s.49
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• pp.651-676
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• 2017

Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

• Journal of the Korea Society for Simulation
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• v.17 no.1
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• pp.33-42
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• 2008

In general, simulation is to predict or evaluate some systems that are hard to be executed in real world, and so usually the target systems to be modeled are large and complex. Trying to observe the dynamics of the systems results in similar level of animation complexity, the model and animation has the same complexity as the system. Trying to display all the graphic objects representing the dynamics of the models being simulated, however, causes the distraction of focus, which results in solving the above listed problems difficult. The redundant graphic objects also increase the computer computation overhead. To solve the problem, a research about a hierarchical animation environment has been proposed a few years ago. In the research, the users can have better focus on the dynamics of system components by selectively choosing the hierarchical level and components within a level of the hierarchically structured model. However, the research has not a modeling methodology for modelers to describe systematically animation part corresponding to dynamics of simulation in a model. This research has defined the modeling methodology of DESHA and defined DESHA-C++, improving the previous research output, as an execution environment of DESHA models. In addition, to use hierarchical animation environment in various problems, this research proposed and developed the distributed simulation modeling environment that connects DESHA environment and HLA.