• Cartoon and Animation Studies
• /
• s.33
• /
• pp.31-53
• /
• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2021.10a
• /
• pp.361-363
• /
• 2021

Digital character rigging is an important technology to improve animation vividness, and there are many kinds of complex ways of rigging system. To move naturally, the fish are tested for movement. Because 2,4 family role information although some, but the study of fish (0 family) action information is not much. As the diversity and complexity of fish production increases, inefficient time and capital are required. How to build a fish-like skeleton system depends on how to build an efficient and agile rigging program. The aim of this study is to compare the Advanced Skeleton-based animation process with Maya Rig, which can solve the high time-cost rigging problem, and to explore the best automatic plug-in based on the advantages of Advanced Skeleton, broadening the research scope of fish animation.

• Cartoon and Animation Studies
• /
• s.14
• /
• pp.83-99
• /
• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• Cartoon and Animation Studies
• /
• s.40
• /
• pp.55-81
• /
• 2015

Animation as a public visuals media have been expanding increasingly its social and cultural influences beyond the ages and nations on the basis of global consumption. However, animation increases the negative impact in modern popular culture, and in regard to this, 'the recovery of ethics' should be considered in a reflexive and educational perspectives for the social role of animation. Thus, the research addresses the animation films of Brigham Young University students which contain a ethical values and receive attention by New York Times, etc. as a successful educational model. To do this, firstly, literature has reviewed by focusing on the negative impact of animation, 1) violence, 2) excessive sensationalism, 3) confusion of cultural identity, 4) gender discrimination, and 5) distorted view of history. Secondly, the education system of animation course at Brigham Young University will be analysed. Thirdly, based on this, the case study will be conducted by focusing on the 13 animation films of students to reveal the characteristics of the way of film direction. Through this research, firstly, most of animation films are comic genre, consisting of children and animal characters, family-friendly and lyrical story style and deployment of coincidental and allegoric incident. Thirdly, the religious spirit and multidisciplinary methods of education in Brigham Young University has influenced to the ethical expression and technical perfection in animation filmmaking. In the light of this, the research and suggests the new paradigm is for the practical disciplines of animation in the restoration of the ethical perspective and explores how the animation production adopts the moral significance.

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

• Cartoon and Animation Studies
• /
• s.15
• /
• pp.237-249
• /
• 2009

Interest in and study on 3 dimensional pictures has been continued since visual media showing moving images was invented. From simple anaglyph wearing glasses to hologram making perfect 3 dimensional objects by recording phase data of reflected light, as well as amplitude and wave, speed and scope of technical development are quicker and wider, respectively. However, despite such development of technology, there is still lack of study on aesthetical, industrial and contents developing area, except for technology of 3 dimensional images. Unlike the interest in 3 dimensional images, even a theoretical frame for the approach to theoretical areas of 3 dimensional images has not been established. Especially, few experiment and study on directing aesthetics have been conducted, with exception of areas in entertainment documentaries for 3 dimensional feeling or some latest 3D animations. As a result, this study will try to find alternatives to directing aesthetics of realistic 3 dimensional movies to be developed in future by studying directing grammar and aesthetics of digital 3 dimensional movies and finding and analyzing difference between 3 dimensional images and 2 dimensional images drawn on the plane.

• Proceedings of the Korean Information Science Society Conference
• /
• 2000.10b
• /
• pp.511-513
• /
• 2000

최근 들어 WWW(World Wide Web) 환경을 이용한 각종 Entertainment 산업이 활성화되어 있다. WWW상의 실시간 아바타 애니메이션의 구현은 WWW를 이용한 Entertainment 산업 및 가상현실을 위한 중요한 원천기술 역할을 하리라 기대된다. 특히, 모션캡쳐를 통해 얻어진 모션데이터로 아바타의 애니메이션을 구현함으로써 보다 자연스러운 동작을 기대할 수 있다. 한편 일반적인 모션데이터로 Euler Angle로 나타나는데 반하여 VRML 환경하의 아바타에는 Euler Angle을 적용할 수 없다. 이는 VRML의 특성상 현재의 상태(State)를 저장할 수 없기 때문이다. VRML 환경하의 아바타에 적용 가능한 유일한 모션데이터 방식은 특정 축(Axis)과 이 축을 중심으로 한 회전각(Axis Angle)을 이용하는 것이다. 본 연구진은 이를 위하여 일반적인 모션데이터에 나타나는 Euler Angle을 특정 Axis와 Axis Angle로 변환해 주는 이론 및 모션데이터를 실시간으로 공급해주기 위한 JAVA Streaming Server를 직접 개발하였다. 본 논문에서는 이 시스템의 전체적인 구조를 설명하고자 한다.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.129-165
• /
• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.81-104
• /
• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Cartoon and Animation Studies
• /
• s.36
• /
• pp.45-74
• /
• 2014

We can anticipate that animations will form one of the axes and lead popular culture in our future visual age. Recently, research has been actively conducted, but it mainly focuses on their value in culture industry or technologies and methods of producing animations. Of course, research that deals with animation characters has constantly come out. This study focuses on the 'formative elements' of 3D animation characters and attempts differentiation from other research by inducing new logic theoretically. Being freed from the research on characters that has been merely focused on theoretical grounds, this study intends to figure out how audience that is consumers who actually get to watch and feel animations recognizes them and find out related problems and also solutions for them. In particular, this study intends to examine the formative characteristics of 3D animation characters with the characters appearing in , one of the animations that have achieved artistic value as well as commercial success. And for that, the study conducted not only literature review but various surveys and Delphi method as well. Also, the researcher devised an analysis frame to evaluate the formative elements through in-depth discussion with experts. And with this, the study created the forms such as the Elements of Form, Formation Methods of Form and Visual Recognition Elements of Form, examined how audience recognized 3D characters. The process of recognizing an image is influenced by socio-cultural environment or sex, age, and the level of knowledge differently. This was meant to investigate current visual culture and the public's perspective through characters in that represent the visual mode.