• Cartoon and Animation Studies
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• s.37
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• pp.221-245
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• 2014

With the success of the world's first 3D computer animated film, "Toy Story" in 1995, industrial development of 3D computer animation gained considerable momentum. Consequently, various 3D animations for TV were produced; in addition, high quality 3D computer animation games became common. To save a large amount of 3D animation production time and cost, technological development has been conducted actively, in accordance with the expansion of industrial demand in this field. Further, compared with the traditional approach of producing animations through hand-drawings, the efficiency of producing 3D computer animations is infinitely greater. In this study, an experiment and a comparative analysis of markerless motion capture systems for facial expression animation has been conducted that aims to improve the efficiency of 3D computer animation production. Faceware system, which is a product of Image Metrics, provides sophisticated production tools despite the complexity of motion capture recognition and application process. Faceshift system, which is a product of same-named Faceshift, though relatively less sophisticated, provides applications for rapid real-time motion recognition. It is hoped that the results of the comparative analysis presented in this paper become baseline data for selecting the appropriate motion capture and key frame animation method for the most efficient production of facial expression animation in accordance with production time and cost, and the degree of sophistication and media in use, when creating animation.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.186-192
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• 2009

In this paper, we represent the recognition method for human frontal upper body pose. In HCI(Human Computer Interaction) and HRI(Human Robot Interaction) when a interaction is established the human has usually frontal direction to the robot or computer and use hand gestures then we decide to focus on human frontal upper-body pose, The two main difficulties are firstly human pose is consist of many parts which cause high DOF(Degree Of Freedom) then the modeling of human pose is difficult. Secondly the matching between image features and modeling information is difficult. Then using Pictorial Model we model the human main poses which are mainly took the space of frontal upper-body poses and we recognize the main poses by making main pose database. using determined main pose we used the model parameters for particle filter which predicts the posterior distribution for pose parameters and can determine more specific pose by updating model parameters from the particle having the maximum likelihood. Therefore based on recognizing main poses and tracking the specific pose we recognize the human frontal upper body poses.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• The Korean Journal of Nuclear Medicine
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• v.32 no.3
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• pp.238-249
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• 1998

Purpose: To localize and compare the neural basis of verbal and visual human working memory, we performed functional activation study using $H_2^{15}O$ PET. Materials and Methods: Repeated $H_2^{15}O$ PET scans with one control and three different activation tasks were performed on six right-handed normal volunteers. Each activation task was composed of 13 match-ing trials. On each trial, four targets, a fixation dot and a probe were presented sequentially and subject's task was to press a response button to indicate whether or not the probe was one of the previous targets. Short meaningful Korean words, simple drawings and monochromic pictures of human faces were used as matching objects for verbal or visual memory. All the images were spatially normalized and the differences between control and activation states were statistically analyzed using SPM96. Results: Statistical analysis of verbal memory activation with short words showed activation in the left Broca's area, promoter cortex, cerebellum and right cingulate gyrus. In verbal memory with simple drawings, activation was shown in the larger regions including where activated with short words and left superior temporal cortex, basal ganglia, thalamus, prefrontal cortex, anterior portion of right superior temporal gyrus and right infero-lateral frontal cortex. On the other hand, the visual memory task activated predominantly right-sided structures, especially inferior frontal cortex, supplementary motor cortex and superior parietal cortex. Conclusion: The results are consistent with the hypothesis of the laterality and dissociation of the verbal and visual working memory from the invasive electrophysiological studies and emphasize the pivotal role of frontal cortex and cingulate gyrus in working memory system.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.6
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• pp.1961-1968
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• 2010

The Face Stimulus Assessment is an efficient projective drawing test developed by Betts. This paper categorizes scales which Betts suggested into the following five groups: accuracy of painting, color fit, perception of shape, precision of drawing, and space usage. In this paper, a computer algorithm which objectively evaluates these five scales is suggested. The proposed algorithm defines the areas of the lip, eyes, hair, etc. which take on significant roles in the evaluation of the FSA and based on these factors, it calculates the grade of each scale through the main color and color ratio. The consistency of evaluations between the computer algorithm and the art therapist is measured by the Quadratic Weighted Kappa. By providing objectivity and consistency, the computer algorithm is expected to solve the problem of uncertainty found in art therapists' evaluations of projective drawing tests caused by their subjective judgment, experience, and intuition.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.549-563
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• 2020

Based on Deleuze's body aesthetics and from the perspective of 'deterritoraliazation', this study makes an in-depth discussion on the modern fashion design modeling by four visual characteristics: hysteria, visualization, body segmentation and becoming animals. First, hysteria embodies the strong visual effect brought by the deformation and exaggeration of clothing. Second, visualization in fashion shows the elimination or ambiguity of faces, representing the weakening of identity and the prominence of clothing and body. Third, body segmentation represents the deconstruction and reorganization of clothing, and a new way of thinking, as well. Fourth, becoming-animals are manifested in the physical mutation caused by the heterogeneous connection between humans and animals, which brings about the possibility of rethinking the body.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.3
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• pp.333-340
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• 2022

The COVID-19 has made everyone anxious and people need to keep their distance. It is necessary to conduct collective assessment and screening of college students' mental health in the opening season of every year. This study uses and trains a multi-layer perceptron neural network model for deep learning to identify facial emotions. After the training, real pictures and videos were input for face detection. After detecting the positions of faces in the samples, emotions were classified, and the predicted emotional results of the samples were sent back and displayed on the pictures. The results show that the accuracy is 93.2% in the test set and 95.57% in practice. The recognition rate of Anger is 95%, Disgust is 97%, Happiness is 96%, Fear is 96%, Sadness is 97%, Surprise is 95%, Neutral is 93%, such efficient emotion recognition can provide objective data support for capturing negative. Deep learning emotion recognition system can cooperate with traditional psychological activities to provide more dimensions of psychological indicators for health.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1608-1618
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• 2008

This research was conducted to define the different conventional meanings of face painting, we can come across easily in recent days, in different times and different cultures. The conclusions of the research are as followed. First, the face painting was mainly done for the symbolic function. Second, in un-cultivated groups, face painting was one way of body art expression and in some cases, the color and the pattern was the tool to give a symbolic massage that was more powerful than a language. The characteristics of the patterning was that they adopted wide range of patterns include geriatrics, abstract, animals, plants and especially the abstract patterns have the groups unique symbolic meanings such as specific pattern appears guard god which was the effort of having a wholeness with the pattern. Third, it is known that in un-cultivated cultures, face painting has a symbolic function whereas in modern society, there is an emphasis on a decorative function. Lastly, the various expressions of modern body decorations are seen as a result of social/cultural states of the settlement ethnic culture and the modern life style of the people who want to have direct and active opinions and individualize and differentiate themselves.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2001.05a
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• pp.204-209
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• 2001

감성 연구의 생리, 심리, 동작 분석 등의 과정에서 발생하는 문서, 데이터, 화상, 그림, 그래픽 등의 자료 공유에 인터넷을 적용하는 것은 매우 유망하다, 본 연구에서는 현재의 인터넷 (또는 인트라넷) 환경을 고려하여 Ultra 2 DB 서버, Sun Solaris (UNIX) OS, UniSql DBMS, Apache Web 서버로 시스템을 구축하였다. 이 시스템을 이용하여 웹기반 감성데이터 베이스 시제품을 구축하여 각종 감성자료를 보급하는 체계를 1차 완료하였으며, 도메인(www.gamsung.or.kr)을 등록하여 서비스를 실시하고 있다. 이 시스템에는 1단계 감성공학기술개발 사업의 35개 연구보고서, 1단계 연구결과로서 생산한 262개 감성지표, 2단계(전반기) 연구사업의 78개 감성지표, 일본의 인간감각계측 및 응용기술개발 중심으로 생산하나 100개 감성지표, 음성데이터, 인체측정데이터, 얼굴표정데이터와 설문데이터 등의 감성데이터와 감성공학 연구자 인력, 국내제조업체 정보, 참고문헌, 감성 정보물 등을 DB화하여 인터넷을 통하여 조회, 검색할 수 있도록 하였다. 뿐만 아니라 현재 진행되고 있는 감성공학기술개발에 대한 각종 정보를 제공하고 있으며 감성공학의 기술 동향에 대해서도 소개하고 있다. 이는 한국인의 감성 연구에 적합한 감성공학 데이터 베이스 시스템 구축의 발판을 마련하였으며, 향후 소비자의 감성을 예측하고, 이를 시스템 설계에 반영할 수 있으므로 인간중심의 제품개발에 큰 기여를 할 것으로 기대된다.

• Archives of design research
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• v.21
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• pp.77-86
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• 1997

Modern society has created the age of mass media image. Advertising media strongly stimulate and influence the image contact and the frequency of receivers by visual communication media in everyday life. Until today no consciousness concerning the necessity of typographic visual image and it's selection for newspaper advertising has been developed. The necessity of headline typography visual image in newspaper advertising and it's selection should be considered a problem that must be solved by a more reasonable and logical approach, like it is done in the case of advertising copy, in order to increase the efficiency of advertising for the consumer.