• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• 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.

• The KIPS Transactions:PartB
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• v.14B no.4
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• pp.311-320
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• 2007

This paper presents vision-based 3D facial expression animation technique and system which provide the robust 3D head pose estimation and real-time facial expression control. Many researches of 3D face animation have been done for the facial expression control itself rather than focusing on 3D head motion tracking. However, the head motion tracking is one of critical issues to be solved for developing realistic facial animation. In this research, we developed an integrated animation system that includes 3D head motion tracking and facial expression control at the same time. The proposed system consists of three major phases: face detection, 3D head motion tracking, and facial expression control. For face detection, with the non-parametric HT skin color model and template matching, we can detect the facial region efficiently from video frame. For 3D head motion tracking, we exploit the cylindrical head model that is projected to the initial head motion template. Given an initial reference template of the face image and the corresponding head motion, the cylindrical head model is created and the foil head motion is traced based on the optical flow method. For the facial expression cloning we utilize the feature-based method, The major facial feature points are detected by the geometry of information of the face with template matching and traced by optical flow. Since the locations of varying feature points are composed of head motion and facial expression information, the animation parameters which describe the variation of the facial features are acquired from geometrically transformed frontal head pose image. Finally, the facial expression cloning is done by two fitting process. The control points of the 3D model are varied applying the animation parameters to the face model, and the non-feature points around the control points are changed by use of Radial Basis Function(RBF). From the experiment, we can prove that the developed vision-based animation system can create realistic facial animation with robust head pose estimation and facial variation from input video image.

• Proceedings of the Korea Multimedia Society Conference
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• 2000.04a
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• pp.433-436
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• 2000

학교의 상징인 독수리를 근거로 하여 13학부를 나타내는 13마리의 독수리 가족 (가족명 : 즈믄수리) 의3차원 캐릭터와 애니메이션을 제작했다. 각 학부의 구성원들에게 특징이 되는 사물과 색깔 등을 설문조사하여 자료를 수집하고 학교의 대표 성격인 벤처정신으로 나타내도록 독수리 가족을 디자인하고 Soft Image 로 모델링하여 애니메이션 작업을 수행했다. 즈믄수리 ; 천(1000)을 뜻하는 '즈믄'과 독수리를 뜻하는 '수리'의 합성어로 '새천년에 태어난 독수리'라는 뜻을 가지고 있다. 새로운 천년에 태어나 호서대학교의 희망과 비전을 상징하는 이름이다. 13개 학부 캐릭터 모두를 통칭하는 가족의 이름으로 불린다.

• Proceedings of the Korea Contents Association Conference
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• 2004.05a
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• pp.109-120
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• 2004

As the Korea history have developed and media have changed, Korea commercial animation assumes different aspects, formative and technical image from production method. But, both will advance suit each characters base on good point and characteristic of Korea commercial animation.

• Cartoon and Animation Studies
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• s.36
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• pp.75-89
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• 2014

Since the first animated Chinese commercial titled directed by Wan Three Brothers in 1926, Chinese animation commercials are steadily increasing every year. The proportion of animation commercials in Advertisement industry increases gradually, animation becomes one of the direct means of rising commodity value. In this premise, this paper researches the history and characteristics of animated commercials, compare and analyze commercial samples from two world advertisement festivals and four Chinese advertisement festivals. Compared the world animation-advertisement market, Chinese animation-advertisement market is relatively limited under its particular status. Under the condition, this paper will analyze the current situation of Chinese animation advertisement through the samples from advertising festivals. Finally, the paper concludes finding out ways of development and effective marketing of animation commercial industry in China by checking out animation advertisement in industrial classification between Chinese and world's advertisement market.

• Digital Contents
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• no.10 s.125
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• pp.90-101
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• 2003

급격한 정보화 사회로의 발전과정에서 디지털 스토리텔링은 게임, 애니메이션, 디지털영화, 웹 에듀테인먼트, 웹 홍보 등 광범위한 영역으로 확산되고 있다. 이 같은 디지털 스토리텔링은 디지털 미디어의 특징에 힘입어 과거 헐리우드 영화와 같은 아날로그 스토리텔링의 문화적 제국주의를 극복하는 민주적, 평등적 속성을 안고 있다. 디지털콘텐츠의 제작, 육성을 국가적 비전으로 삼아야 할 이때, 디지털 스토리텔링은 디지털콘텐츠의 질적 향상을 위한 시대적인 요청이라 할 수 있다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.57-58
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• 2019

SF&액션 장르 애니메이션 주제가 가사를 메시지의 유형에 따라 분류하고 Song form 별 가사의 역할과 내포된 활동성 표현 포함 비율의 서열을 생성했다. 3가지 세부 장르의 주제, 소재, 캐릭터 유형, 주제가의 유의미한 상관성을 도출하고 장르의 영향력 안에서 자유로울 수 없는 주제가의 제한적 창작형태를 확인하였다.

• Journal of Korea Multimedia Society
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• v.11 no.1
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• pp.96-105
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• 2008

The introduction of the digital media changed 21 century at time of database paradigm and the database paradigm called forth a big change in production process and industry of the animation. One of the characteristics of animation is that it has to newly produce all of the images. But due to the introduction of digital technology, the original copy of those images produced for animation can be saved. Also, those permanently saved data can easily produce new images through modification and composition. Therefore, this assignment will be focused on the usage of digital base and how it has made a difference in animation creative skills. In order to achieve the goal, I will be reviewing some examples and discuss about the future of animation for the next generation.

• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.94-100
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• 2008

These days, there are a lot of digital images, which are using to communicate with each other people, can make a liberal and creative media. In this environment, the studies on the digital animation would play a leading role of the aesthetic and technology developments for creative digital images. Digital animation images have their own aesthetics, and characteristics. They should be considered as a part of technology expansions. In particular, hyperrealistic digital animation should be more concentrated in the mutual relation between technology and aesthetic, because hyperrealistic digital animation has not only an appartus feature as a side of aesthetics, but a technology feature as a post modernistic media. Therefore the technology of digital animation as a the possibility of future growth for media should adhere strictly the peculiarity of digital aesthetics.