• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Journal of Korea Game Society
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• v.10 no.6
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• pp.125-135
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• 2010

Body motions are commonly used to express emotions in virtual characters based on body parts, which are frequently employed in games. For this purpose, it is necessary to create different types of animations corresponding to the emotions shown by virtual characters. Therefore, a large of number of animations should be created for different gestures depending on the level of human emotion. In this paper, we propose a method for displaying gestures with various degrees of complexity on the basis of the level of emotion in virtual characters. In particular, this method can be used to display passive and exaggerated expressions by adding weighted values to the frames that rotate the characters to make them show different gestures depending on the level of emotion. To verify the effectiveness of the proposed method, we use the Emotional Animation Tool (EATool), with which body-weighted values can be applied to the actual or virtual characters. After assigning different emotions to walking motions in the newly developed environment, we apply different body-weighted values depending on the level of each emotion. The results of a comparative test reveal that a given type of walking motion differs with the level of emotion.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.141-152
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• 2015

If we look into genre movie, we can see that almost similar forms are repeated in a movie. Such similar elements are largely divided into three units from a mass of story to a very small camera angle. Those can be explained as Formula, Convention, and Iconography. Among those three, convention means custom and it is a structure or an incident in which one story can be divided into second one. Convention is an incident visualized in individual genre, and a movie director tunes audiences through the incident. The director leads a familiar story but all of a sudden, he transforms the familiar scene to a new story. As a product established from the beginning of movie history, movie convention helps communication between audiences and a director. Audiences familiarize themselves with movie convention through repeated activities of watching movies, and the director utilizes it to provide audiences with familiarity. Director Bong Joon-ho not only tunes audiences through traditional convention but also creates a new art work through transformation of convention. A study is conducted on how he used traditional convention and transformation to get a new idea and to engage in his work through his work .

• KIPS Transactions on Software and Data Engineering
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• v.7 no.4
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• pp.159-168
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• 2018

In recent, mobile augmented reality game which has been attracting high attention is considered to be an good approach to increase immersion. In conventional augmented reality-based games that recognize target objects using a mobile camera and show the matching game characters, touch-based interaction is mainly used. In this paper, we propose an intuitive interaction method which manipulates a deformable game object by moving a target image of augmented reality in order to enhacne the immersion of the game. In the proposed method, the deformable object is intuitively manipulated by calculating the distance and direction between the target images and by adjusting the external force applied to the deformable object using them. In this paper, we focus on the cloth deformable object which is widely used for natural object animation in game contents and implement natural cloth simulation interacting with game objects represented by wind and rigid objects. In the experiments, we compare the previous commercial cloth model with the proposed method and show the proposed method can represent cloth animation more realistically.

• Journal of Korea Game Society
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• v.14 no.2
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• pp.55-66
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• 2014

Image warping is a technology to transform input images to be suitable for given conditions and has been recently utilized in changing face shape of characters in the field of movies or animation. Mesh warping which is one of warping methods that change shapes based on the features of face forms warping images by forming rectangular mesh groups around the eyes, nose, and mouth and matching them 1:1. This method has a problem in the resultant images are distorted in the segments of boundaries between meshes when there are errors in mesh control points or when meshes have been formed as many small area meshes. This study proposes a triangle based image interpolation technique to minimize the occurrence of errors in the process of forming natural warping images of face and process accurate results with a small amount of arithmetic operation and a short time. First, feature points that represent the face are found and these points are connected to form basic triangle meshes. The fact that the proposed method can reduce errors occurring in the process of warping while reducing the amount of arithmetic operation and time is shown through experiments.

• Electronics and Telecommunications Trends
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• v.31 no.2
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• pp.41-50
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• 2016

언어나 문자를 대신하여 소통하고 감정을 전달하는 다양한 장르의 콘텐츠 중에 기호나 그림 등을 이용해 아이콘, 이모티콘, 스티커, 캐릭터 등으로 표현하는 디지털 형상들을 비주얼 감성콘텐츠라 할 수 있다. 초기 감성콘텐츠는 소통의 보조수단으로 간단한 이미지였으나, 현재에는 움직이고 소리 나는 영상에 이르기까지 수천 종류가 유통되고 있으며, 메신저 사업의 킬러 서비스로 부상하고 있다. 향후 감성콘텐츠는 언어나 문자로 표현하기 곤란한 사용자의 생각과 느낌을 주고받는 소통의 대체수단으로 정착될 전망이다. 또한, 변형과 편집이 가능한 감성콘텐츠가 개발되어 사용자는 간단한 조작만으로 다양한 감성을 표현할 수 있을 것으로 보인다. 이 논문은 대체소통으로서 비주얼 감성콘텐츠의 개념을 정립하고, 주요 감성콘텐츠의 추진내용과 사업동향 분석, 비즈니스 전략과 기술혁신 발전방향을 제시하고 있다.

• Journal of Korea Multimedia Society
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• v.18 no.3
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• pp.419-428
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• 2015

Stone is a hybrid genre movie in which two different film genres coexist; one is a gangster movie, the other Baduk movie. This film deals with a relationship between an old gangster boss and a young Baduk player. The coexistence of two different worlds becomes a reason for a unique ambiance of this film, because Stone is dynamic and brutal as much as static and meditative. Firstly, this article aims to analyze the narrative structure and characters of this film comparing with conventions of gangster movie genre, especially 'jopok film' of Korean cinema. Secondly, we examine characters of this film and their relationship. Since the economic crisis under the IMF structure, a great part of korean gangster movie has represented the weakness of the fatherhood and the disorganization of family. However, in Stone, the friendship between two heroes, Namhae and Minsu, turns to a father-son relationship. In this way, Stone transformed conventions of film genre.

• The KIPS Transactions:PartB
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• v.10B no.6
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• pp.647-656
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• 2003

This paper proposes the system to generate caricature (character's face) resembling human face using extracted facial features automatically. Since this system is vector-based, the generated character's face has no size limit and constraint. So it is available to transform the shape freely and to apply various facial expressions to 2D face. Moreover, owing to the vector file's advantage, it can be used in mobile environment as small file site.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.539-540
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• 2021

본 논문에서는 랜덤 생성 알고리즘을 도입한 디펜스 게임을 제안한다. 기존의 디펜스 게임은 지형물의 변형 및 확장이 불가능하다. 그것에 착안하여 지형물들의 위치가 랜덤으로 생성되는 시스템을 도입하였다. 본 게임은 지형물이 랜덤으로 생성되지만, 난이도에 따라 연속적으로 생성될 수 있는 지형물의 개수를 차별화하고, 사용자가 추가로 설치할 수 있는 지형물의 개수에 제한을 두었다. 또한 조작 가능한 캐릭터를 생성해 적을 공격할 수 있게 구현하여 사용자의 몰입도를 높여줄 것으로 기대한다.

• The KIPS Transactions:PartB
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• v.11B no.6
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• pp.683-690
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• 2004

Garment modeling and simulation is now one of the important elements in broad range of digital contents. Though there have been recent products on garment simulation, general users do not know well enough how to design a virtual costume that meets some requirements about its specific clothing pattern. In particular, Hanbok - the Korean traditional costume - has many different characteristics against western ones in the aspect of its pattern design and of draping. This paper presents a knowledge-driven approach for virtual Hanbok modeling without knowing how to make real Hanbok. First, parameterized knowledge for several fabric types art solicited using visual similarity assessment from simulated and real cloth. Secondly, based on the analysis of designer's knowledge, we defined multi-level adjustment processes of Hanbok measurements with regard to body shape features for different virtual actors. An experimental system is developed as the form of a Maya plug-in and the result shows the applicability of the proposed method.