• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.179-183
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• 2008

A variety of design processes from 2D graphic to 3D models are meeting improved consumers' confidence of modern clients. However, the current design methods are limited to meet consumers' needs and express a design concept what a designer wants to show. Therefore the study here tries a test of hybrid space simulation combined with previous models and digital media technology, which can be used for multiple contents. The study can contribute to suggesting virtual space simulation that can help clients' spatial understanding in this media era and deliver emotional language of designers as well by utilizing the strong point of multi-sensible media.

• Journal of the Korea Computer Graphics Society
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• v.2 no.2
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• pp.29-36
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• 1996

This paper presents animation techniques and issues involved in virtual environments where the participants interact with each other through a network. The state of the participant should be collected at each local site, and broadcasted to the other sites. Because information exchange is minimal, animation techniques are applied to convert the incoming low DOF parameters into high DOF joint angles that completely determine the configuration of the agents at each frame. As a case study, a software system VRLOCO is introduced, which has been developed by the author over the last five years.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.37-44
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• 2005

Currently, the space design has been expressed the space in kinetic design by digital technology. To look into the concept of digital design, there is the tendency to pursue the harmony of the nature. The digital space designer, Greg Lynn who has been paid attention by international researchers. To compared with the reputation of his works, the information about him has been limited to us. The purpose of this study was to investigate the Greg Lynn's digital design matrix toward the design process in his representative 11 works in his website; www.glform.com. The contents analyses methods were used in this study. Greg Lynn's internet website survey was carried out in the respects of thinking method, space formative language and animate form. The major results of this study are as follows: \circled1 Lynn's design concept and digital methodology were affected by Paolo Soleri and Peter Eisenman: natural architectural concept and digital animate form \circled2 Lynn's space formative languages were 10 items; blob, blob, fold, strand, shred, flower, skin, teeth, branch and lattice \circled3 Lynn's digital design matrix was divided into 3 types; MS(Mass + Structure), PC(Path + Circulation) and FD(Form + Detail) \circled4 According to the analysis of longitudinal, his works have been changed from the MS and PC to FD. This research will be a basic reference to understand digital space design.

• Cartoon and Animation Studies
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• s.33
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• pp.55-78
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• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.3C
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• pp.287-296
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• 2007

3D keyframe animation is used widely in 3D graphics for real-time animation. This is a method that registers the animated key values in the important several frames among the entire frames and generates the rest frame by interpolator using the registered key values. This paper proposed the watermarking for 3D keyframe animation using PositionInterpolator. The proposed algorithm selects randomly the embedding meshes, which are transform nodes among the entire hierarchical structure. Then the watermark is embedded into keyValues of PositionInterpolator in selected transform node. Experimental results verified that the proposed algorithm has the robustness against geometrical attacks and timeline attacks.

• Journal of the Korea Computer Graphics Society
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• v.10 no.2
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• pp.42-50
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• 2004

캐릭터 애니메이션 기술의 발달로 가상공간에 애니메이트되는 캐릭터의 수가 점점 증가되고 있으며, 캐릭터 자체 골격구조의 관절 개수와 캐릭터를 덮고 있는 메쉬의 폴리곤 개수도 점점 증가하는 추세이다. 따라서, 실시간 가상환경에서 다수의 캐릭터를 전처리 과정 없이 시뮬레이션할 경우 전체 군중시스템 성능의 저하가 예상된다. 본 논문에서는, 이러한 문제점을 해결하기 위해 모션 다단계(motion level-of-detail) 기법을 제시한다. 모션 단순화 기법은 캐릭터의 움직임을 제어하는 골격(관절)구조와 캐릭터의 형태를 시각적으로 표현하는 기하(메쉬)구조를 단순화 하는 방법으로 기존 동작과 단순화된 동작의 차이를 최소화 한다. 골격구조 단순화를 위한 JPC(joint posture clustering)방법은 특정 관절의 연속된 모션 시퀀스에서의 유사 자세 집단을 추출하여 하나의 자세로 표현하는 방법으로, 모션의 특성에 따라 동적으로 관절을 단순화하여 관절 시뮬레이션 시간을 줄이는 방법이다. JPC방법은 골격구조가 시간에 따라 동적으로 변형되기 때문에 골격구조의 계층구조를 재 구축할 시간이 필요하지만, 기존 동작과 유사성을 잃지 않는 단순화된 동작 생성이 가능하다. 유사 자세 집단을 추출하기 위해 전체 모션 시퀀스에서 관절의 프레임간 자세 차이를 수식화하여 테이블 형태로 구성하고 이를 통해 기존 동작의 유사성을 잃지 않으며 관절의 단순화 율을 최대화 할 수 있는 알고리즘을 제시한다. 또한, 실시간 군중 환경의 성능을 더욱 향상시키기 위해 시간에 따라 변형되는 캐릭터 메쉬의 단순화 기법을 적용한다. 실험결과 모션 다단계 기법은 실시간 군중환경에서 캐릭터의 수가 많고 복잡한 골격구조와 기하구조로 구성된 관절 궤적의 변화가 심하지 않은 동작에 대해 특히 효율적이다.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.