• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.235-237
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• 2006

Non-photorealistic Rendering(NPR) is a method that can be used to simulate a wide range of materials used in visual arts. Currently, there is lack of availability for oriental-style rendering in 3D animation in contrast to the commonly available western-style rendering. In this paper, we combine the wash drawing technique and NPR to create an oriental-style shader for 3D animation. Our approach makes use of the Maya Embeded Language(MEL) to implement this new technique.

• Journal of the Korea Computer Graphics Society
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• v.9 no.1
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• pp.1-2
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• 2003

본 논문에서는 액체와 기체가 상호작용 하는 현상들에 대한 새로운 유체 애니메이션 기법을 액체 속 공기방울의 예를 사용하여 제시한다. 기존의 자유표면 시뮬레이션 기법들과는 달리 액체와 기체를 함께 시뮬레이션 할 경우에는 기체의 유동과 액체의 유동을 동시에 다루어야 하며 비중 차에 의한 부력과 경계면에서의 표면장력 등을 추가적으로 고려해야 한다. 유체의 토폴로지 변화를 쉽게 다루면서도 수치적 분산을 막기 위하여 유체 역학 분야의 VOF (Volume of Fluid) 기법과 프론트 추적 (Front-tracking) 기법을 혼합하여 사용하였다. 액체와 기체의 경계면은 마칭 큐브즈 알고리즘을 사용하여 폴리곤으로 복원된 후 버텍스 쉐이더 기술들을 사용하여 액체-기체 경계면의 광학적인 특성을 표현할 수 있었다.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.142-151
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• 2007

The rapid development of 3D computer graphics makes traditional cell-animations expressed by several digital techniques and makes traditional cell-animations expand their own area through several continuous tries. There are two types in rendering method. The one is Photorealistic rendering to realize accurate images like photos and the other is Non-photorealistic rendering to realize human's flair and artistry. This paper examines applications of cartoon rendering techniques among several Non-photorealistic rendering techniques. This paper analyzes production cases and examines features of cartoon rendering techniques in the latest movies, games and advertisements of image contents. And this paper will be able to help making more sensual, familiar and in-depth products, as understanding applications, merits and demerits of the latest cartoon rendering techniques through these investigations.

• Archives of design research
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• v.18 no.3 s.61
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• pp.209-218
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• 2005

Consciously or not, producers have to make many aesthetic choices in creative process of video production. If there are general acceptable aesthetic principles to make right choice it would be guideline of aesthetic decision to somewhat reduce mistakes and errors in the process. This paper proposes a theoretical approach on establishing the media aesthetic principle of 3D animation camera working, which is the most suitable for animation production context. We describe the Herbert Zettl's applied media aesthetics related directly to the camera, which is about the two-Dimensional field focusing on aspect radio and forces within the screen, three-dimensional field focusing on depth, volume, and four-dimensional field focusing on time and motion. In order to have theoretical approach we made an analysis on comparing a camera working of movie with 3D computer animation's one, and reconstructed these basic principles to be suited for the 3D animation production. When applied media aesthetics of the traditional camera working are applied to the 3D animation production, it could be an efficient guideline for it. Futhermore, if we develop the research for the relationship with various visual languages with the basis of these principles, the theory of creative picture composition method for the 3D animation production will be logically and systematically established.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.67-75
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• 2011

We propose a novel non-photorealistic rendering technique which generates a cutout animation from a video for UCC. Our method consists of four parts. First, we construct an interactive system to build an articulated character. Second, we extract motions from an input video. Third, we transform motions of a character in order to reflect characteristics of cutout animations. Fourth, we render the extracted or transformed components in cutout animation style. We developed a unified system for a user to easily create a cutout animation from an input video and showed the system generated a cutout animation efficiently.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.521-524
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• 2006

Mobile industry has been progressed rapidly with new mobile technique develpment. The mobile is a communication device for the young generation and give great additional images through animations and characters. It is expected that the mobile industry would elevate greatly in means of the animation characters that is connected directly, closely, and amicably to the sense of humane beings. Of those animations, 3D animation is a high communication technique that rinks to directly the expression of person in way of a sense of space, three dimension, and reality. Surely the new 3D animation will be developed constantly and in various way. It is consideralbe that the manufacture of 3D mobile animation links closely to cartoon that forms concerns of people.

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.458-465
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• 2019

Experimental animation is an independent art animation and a visual art that is integrated with the spirit of experimentation. Norman McLaren pursues original beauty in each piece through scientific exploration of visual expression technology and experiment that transcends common sense with great creativity and sensitivity, and the aesthetic value of animation is very high as the master of experimental animation that has brought innovation of real image media today. Therefore, it is meaningful to analyze the experimental expressions of Norman McLaren, who expanded the field of experimental animation by challenging various techniques and carried out a ceaseless search for motion creation between each frame, and to study the expressions of movement he focused on. The most significant feature of his movement expression was analyzed as repetition of motion and repetition of metamorphosis. I hope that this derivation will be understood as experimental animation of experimental method which requires more specific type of inquiry than simple question about experimental method. Also, I hope that it will be meaningful as a preliminary study to deeply explore the possibility and direction of animation creation in university education.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• Annual Conference on Human and Language Technology
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• 2001.10d
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• pp.509-515
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• 2001

현재 인터넷을 통하여 제공되고 있는 멀티동화는 텍스트 형태의 동화와 함께 이와 관련된 애니메이션 음성 정보를 사전에 제작한 뒤에 사용자에게 제시하는 방법을 택하고 있다. 본 논문에서는 자연언어처리 기법을 이용하여 텍스트 형태의 한국어 동화를 실시간으로 분석한 뒤 그 내용을 삼차원 애니메이션으로 제시하는 멀티 동화 제작 시스템을 소개한다. 이 시스템은 줄거리가 완성된 동화뿐만 아니라 사용자가 변경한 줄거리를 가지는 동화에 대해서도 이에 따른 삼차원 애니메이션을 제시하여 보다 사용자 친화적인 인터페이스를 제공할 뿐만 아니라 사용자가 묘사하는 텍스트 형태의 내용을 입력받아 이에 맞는 애니메이션을 제시하여야 하는 많은 분야에서 응용될 수 있다. 본 논문에서는 이와 같은 실시간 멀티 동화 제작 시스템을 구현할 때 해결하여야 하는 문제점들을 알아보고 이에 해결 방안과 구현에 대하여 논의한다.