• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.213-214
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• 2019

본 연구는 한국인의 일본 애니메이션 시청이 일본방문의도 형성에 어떤 영향을 미치는지 알아보는 것이 목적이다. 연구결과 일본 애니메이션 선택속성 중 작품속성만이 시청만족도에 영향을 미치는 것으로 나타났으며, 시청만족도는 국가이미지 및 방문의도에 긍정적인 영향을 미치는 것으로 나타났다.

• Proceedings of the Korean Information Science Society Conference
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• 1999.10b
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• pp.622-624
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• 1999

모핑 애니메이션은 컴퓨터 그래픽스 및 많은 응용에서 이용되고 있다. 모핑 애니메이션에서는 대부분 이미지들을 동영상 편집기 등을 이용하므로 많은 저장 공간을 필요로 한다. 본 논문에서는 이를 해결하는 한 방법으로 프랙탈 기법을 사용한다. 예를 보이기 위해 두 개의 나무 모핑 애니메이션을 보인다.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.411-412
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• 2018

중국 수묵 애니메이션의 확대 발전을 위해서는 수묵 애니메이션의 퀄리티와 양적인 확대가 필요하다. 이를 위해 수묵화 이미지를 이용해 수묵 애니메이션 구현을 최적화하는 방법으로 애니메이션 장르를 다양화해 양적인 문제를 해결하는 방법을 찾으려 했다. 기술이 발달함에 따라 가상현실 콘텐츠로의 수묵 애니메이션 제작에 필요한 적용 방법을 기 제작된 수묵 애니메이션을 바탕으로 VR 확대 연구를 진행해 보았다.

• Cartoon and Animation Studies
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• s.14
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• pp.37-51
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• 2008

The computer has become an indispensable tool for animation works. However if you don't understand the characteristics of the computer and its software, you might not have the result satisfying your efforts. The incorrect understanding of image format sometimes causes it. Habitually image formats are selected usually for most of works but there is a distinct difference among those image formats while the efficient usages of them are different from each other. For your more efficient work therefore, you need to identify the characteristics of various kinds of image format used mostly for animation works. First I took a look at the theories of the lossy compression and lossless compression, which are two types of data compression widely used in the whole parts of computer world and the difference between bitmap method and vector method, which are respectably different in terms of the way of expressing images and finally the 24 bit true color and 8 bits alpha channel. Based on those characteristics, I have analyzed the functional difference among image formats used between various types of animation works such as 2D, 3D, composing and editing and also the benefits and weakness of them. Additionally I've proved it is wrong that the JPEG files consume a small space in computer work. In conclusion, I suggest the TIF format as the most efficient format for whatever it is editing, composing, 3D and 2D in considering capacity, function and image quality and also I'd like to recommend PSD format which has compatibility and excellent function, since the Adobe educational programs are used a lot for the school education. I hope this treatise to contribute to your right choice of image format in school education and practical works.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.49-50
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• 2018

본 논문은 깊이 이미지 이용한 페이셜 애니메이션 제작 방법을 소개한다. iPhone X의 true depth카메라를 사용하여 사람 얼굴의 심도를 정확하게 파악하고, 균등하게 분산된 도트를 통해 얼굴의 모든 표정변화를 모바일 데이터로 기록하여, 페이셜 애니메이션을 제작하는 제작한다. 본문에서의 방식은, 기존 페이셜 애니메이션 제작 과정에서의 rigging 부분을 생략하여, 기록된 얼굴 표정 데이터를 3D 모델링에 바로 전달할 수 있다. 이런 방식을 통해 전체 페이셜 애니메이션 제작 과정을 단축시켜, 제작 방법을 더욱 간단하고 효율적이게 하였다.

• Cartoon and Animation Studies
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• s.13
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• pp.211-221
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• 2008

Animation programs are regarded as bad genre in the aspect of advertisement revenues due to relative low viewing ratios. But programming of animation can be considered positively in the aspect of channel loyalty and preference. This study is based on the assumption that if the scheduling of animation genres could bring out the improvement of channel image of broadcasting stations in the long term, the terrestrial broadcasters could reconsider the increase of animation programs. The research questions of this study are as follows: 1. What is the relationship between the programming ratio of animation genres and the concentration of viewing patterns? 2. How has the increase of animation programming influenced the channel image of broadcasters? 3. Why is it necessary to increase of reinforce the programming of animation genre in the new media platforms? The teenagers aged from 8 to 14 can generally make a decision which program they want to watch. Likewise, the adult viewers aged from 30 to 40 can make a selection which commodity they want to buy. The results of this study indicate that the adult viewers have showed the strong preference for the same broadcasting stations which they have been exposed to in their teenages. This result implies that in the new media environment, animation genre can lead the viewers' loyally and preference for the broadcasting channel for a long period.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.125-135
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• 2010

This study analyzed the influences of human personalities and physiognomies on anthropomorphized animal characters and the relationship between the personalities and images of anthropomorphized animal characters and the associated images of real animals when animations expressed the animals. At first, the study classified animals who often appeared in animations, selected the representative characters whose personalities were well expressed, visualized them and rated them with words expressing personalities. Then, it rated personalities which were associated with the name of each animal(word) with words expressing personalities and analyzed the relationship the images and word association. The study results indicates that the similarity of two tests is very high and the images of animals which are perceived by human are anthropomorphized and expressed with familiar images for human. The study suggests expressing appropriate personalities when expressing anthropomorphized animal characters in animations.

• Proceedings of the Korea Multimedia Society Conference
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• 2004.05a
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• pp.679-683
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• 2004

흔히 애니메이션은 캐릭터의 표정이 얼굴에만 나타난다고 생각한다. 하지만 캐릭터의 몸도 얼굴만큼이나 풍부하게 감정을 표현할 수 있다. 이에 따라 본 논문에는 캐릭터 움직임에 따른 동작이 어떻게 변화되고, 생동감 있게 움직일 것인가에 대해 알아보고자 한다. 애니메이션의 기본 동작원리에는 스쿼시, 스트레치, 동작의 속도와 타이밍, 관성, 선행동작, 포물선 따라 움직이기, 인비트위닝 등 많은 것이 있다. 이들 기본동작들은 모두 애니메이션 성공에 크게 영향을 끼친다. 애니메이션에서 캐릭터의 연기는 보는 사람들로 하여금 필요한 동작을 통하여 어떤 표현을 전달할 수 있도록 올바른 타이밍을 가져야한다. 본 논문은 애니메이션 동작을 표현하기 위해 각각의 이미지들의 표현방법에서 감성위주의 느낌들을 어떻게 보여줘야 할 것인가에 대해 다양한 표현들로 나타내었다.

• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.