• Cartoon and Animation Studies
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• s.47
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• pp.103-123
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• 2017

In recent years, some of the brands of cosmetics in Korea have launched the BB Cream only for man. Cosmetics is not only necessary for woman and it has been accepted by the male. A programme hosted by 김기수 is aimed to teach the female how to make up. As a result, the comprehension of the gender and the development of the times have been combined closely. The understanding of gender has been developed from binary opposition to the diversity of gender. The movements that were aimed at advocating feminism caused by some events reminded us of that we should pay attention to the equalization of the gender. We can see that people want to liberate themselves from the sexual stereotype through these social phenomenons. Meanwhile, animation advertising has also experienced a transformation, which is from that to shape a role under sexual stereotype to that to pay more attention to the diversity of gender during the progress of shaping a role. During the initial stage of the animation advertising's prosperity, what it described was based on the male. The male was the permanent theme. On the contrary, the female only played a subordinate role. However, with the development of feminism, to realize self-worth of the female and to fight for the gender equality have been mentioned more and more frequently. All these factors have prompted the animation advertising to break the stereotype when shaping a new role and change the sexual stereotype in order to create new animation figures.

• Cartoon and Animation Studies
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• s.49
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• pp.169-202
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• 2017

In this thesis, we investigate the animation (2001) based on the three phases of the lyrical expression derived from Ye Weiqu's Mono no aware Aesthetic-a Japanese classical aesthetics' perspective, on the aspects of the perceptions of human, world, and nature. By analyzing each component of three phases of Mono no aware Aesthetic, the thesis illustrated that how (2001) utilized and expressed Japanese classical aesthetic and how Japanese classical aesthetics were widely utilized into modern Japanese animations. Moreover, the thesis also stated that Mono no aware Aesthetic has become a creative element in order to answer a development direction with future Japanese animations. Through integrating Japanese unique classical aesthetics into the animation elements, Satoshi Kon, the director of the animation, well carried and expressed the cultural content of Japanese nation, thus promoting a deep understanding of characteristics for Japanese animation which have a wide appeal. In his masterpiece -, the characters building, plot describing, theme expressing, cultural meaning could be analyzed respectively by means of Ye Weiqu's 3 phases of Mono no aware aesthetic, reflecting how inherited the legacy of Japanese classical aesthetics. Furthermore, based on the analysis method, the animation contributed tremendously to Japanese classical aesthetics and Mono no aware aesthetics. Tradition for classical aesthetics could play a role as a creative tool for contemporary and future animation.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.121-124
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• 2004

The Contemporary animation style based on technology become various within some categories and genres as recreating the importance and meaning of many formalities. According to the variation of the contemporary animation style, The computer animation that has affected on continuous development of science and its following broad-band culture takes charge of the important position in producing the contemporary visual art. On this thesis, I will research < Ani-matrix > which has 9 episode each for the different Matrix world focused on its animation style. I will analyze their forms of expression into the both aspects of esthetics viewpoint technologically and film making style traditionally regarding to the matter of reality and reemergence on a viewpoint of a realistically esthetics. Also I will analyze mutual connection among the reinterpretation for the reality, philosophical message, and animation style within < Ani-Matrix> suggested by influence of Post-modernism. Thus, I intend to prospect the formation of animation style followed by its esthetics construction and effect on computer animation of the film genre.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.

• Cartoon and Animation Studies
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• s.40
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• pp.109-137
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• 2015

As Digital technology developed, drawing animation, using traditional production method which expresses many feelings with drawn lines loses the youth group, the primary audience, to the realism of the digital cinema. Drawing animation, which drew attention of the youth by the spectacles in the film such as hectic pace, dynamics and punch, declined for a while. However, it has been developed a way to express pace and dynamics of its own by establishing an effective directing method, which combines digital technology as it is needed. This study has a purpose to investigate what causes the dynamics and feeling of fast movement of the character in Japanese limited animation. Though some action-animated films that heroes with supernatural powers take the leading role that feeling of velocity and dynamics are emphasized we compare the directing method before and after the introduction of the digital technology. This research reaches the conclusion by factoring each Bergson and McLuhan's discussion to the intervention of indexical signs and the audience's participation according to skipping technique. This study has a significance of researching the element of drawing animation that maximizes the expansion of the senses by defying the limitation of the law of physics through its unique way of directing together with growth of the hero films, which will continue.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.07a
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• pp.361-362
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• 2019

조선시대 반차도는 왕실 행차에 관한 배열을 나타낸 시각자료이다. 반차도는 구성요소를 평면적이고 간략하게 표현했기 때문에 전문적인 지식이 없는 일반 관람객이 왕실 행차의 내용을 파악하기는 쉽지 않았다. 기존 왕실 행차와 관련된 콘텐츠는 모니터 상에서 2D 이미지를 애니메이션으로 상영하거나 간단한 조작을 통해 3D 콘텐츠를 감상하는 방식으로 재현되었다. 그러나 공간적으로 한정된 모니터를 통해 관람해야 했기 때문에 행렬의 전체적인 모습을 충분히 전달하지 못하는 단점이 있었다. 본 논문에서는 3D 객체를 반차도에 직접 증강시킴으로써 기존 콘텐츠의 문제를 극복하고 왕실 행차에 관한 정확하고 구체적인 이미지를 전달하고자 한다. 이 연구를 통해 관람객에게 문화유산에 관한 높은 품질의 경험을 제공할 수 있을 것으로 기대한다.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.

• Journal of the Korea Computer Graphics Society
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• v.12 no.2
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• pp.1-7
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• 2006

블렌드 쉐입 기반 얼굴 애니메이션을 위해 기저 모델(Expression basis)을 생성하는 방법을 크게 두 가지로 구분하면, 애니메이터가 직접 모델링을 하여 생성하는 방법과 통계적 방법에 기초하여 모델링하는 방법이 있다. 그 중 애니메이터에 의한 수동 모델링 방법으로 생성된 기저 모델은 직관적으로 표정을 인식할 수 있다는 장점으로 인해 전통적인 키프레임 제어가 가능하다. 하지만, 표정 공간(Expression Space)의 일부분만을 커버하기 때문에 모션데이터로부터의 재복원 과정에서 많은 오차를 가지게 된다. 반면, 통계적 방법을 기반으로 한 기저모델 생성 방법은 거의 모든 표정공간을 커버하는 고유 얼굴 모델(Eigen Faces)을 생성하므로 재복원 과정에서 최소의 오차를 가지지만, 시각적으로 직관적이지 않은 표정 모델을 만들어 낸다. 따라서 본 논문에서는 수동으로 생성한 기저모델을 유사 고유 얼굴 모델(Quasi-Eigen Faces)로 변형하는 방법을 제시하고자 한다. 결과로 생성되는 기저 모델은 시각적으로 직관적인 얼굴 표정을 유지하면서도 통계적 방법에 의한 얼굴표정 공간의 커버 영역과 유사하도록 확장할 수 있다.

• Proceedings of the Korea Information Processing Society Conference
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• 2004.05a
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• pp.1615-1618
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• 2004

영화, 애니메이션, 게임 등 디지털 문화 컨텐츠에서 의상을 입은 캐릭터들의 사실성이 강조되는데, 디지털 의상 제작에 있어서 기존의 패션 CAD나 의상 애니메이션 소프트웨어들은 여러 단계의 작업을 거쳐야 하고 의상 디자인의 전문성을 요구한다. 특히, 최근 우리 문화 원형의 디지털 컨텐츠화로 디지털 한복의 수요가 증가하고 있으며, 한복은 재단이나 착용방식 등에서 양복과는 구성학적 차이점을 지님에도 불구하고 디지털 한복 제작을 위한 전문 시뮬레이션 도구는 전무하다. 따라서, 본 연구에서는 전통적인 한복의 제작에서 사용하는 신체 치수와 체형특징에 따른 옷본의 크기 조정 방법을 지식베이스로 구축하고, 이를 사용하여 한복에 대한 사전 지식이 없는 사용자들도 가상 캐릭터에 쉽게 한복을 착용시킬 수 있는 지식 기반 한복 드레이핑 시뮬레이션을 제안한다.