• Cartoon and Animation Studies
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• s.34
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• pp.45-79
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• 2014

The purpose of this study is to propose divergence from standardization of animation acting through working on investigating gestures comprising most principal exaggeration acting elements in animation acting. For this purpose, this study utilizes animation 12 principles and Laban's effort theory. This study respectively analyzes 2D and 3D animation gesture expressions that are standards for comedy silent film and derive commonness and difference from them. In the next, this study explores the possibility of how animation can utilize acting of comedy silent film. Charles Chaplin and Buster Keaton used to be important elements referring to early animation acting, but as the recent animation technology gets advanced, they are not treated significantly any more. However, as 3D animation turns out to be chief concerns and the roles that acting, dynamics and performance play become gradually important, the necessity is on the rise that Charles Chaplin and Buster Keaton's gesture performances should more prudently be reinterpreted.

• Journal of Korea Game Society
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• v.13 no.3
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• pp.131-140
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• 2013

The study analyzes how to create stereoscopic image in 3-dimension animation 'Yggdrasil', produced in Autodesk Maya(3D animation software), using Anaglyph method that is the oldest in 3-dimension stereoscopic video production. The anaglyph method help to produce stereoscopic images easily and to give effective 3D effect encoding each eye's image using filters of different colors. In addition, space direction applied visual perception theory expresses necessary distance, depth and speed effectively in 'Yggdrasil'

• Proceedings of the Korea Contents Association Conference
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• 2004.05a
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• pp.575-578
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• 2004

This paper will intend to find the artistic value of playing card and 3D animation that is having much skill and entertaining points through digital virtual3D card animation . And this paper will consider the popularity and explore the creative cooperation relation of skill and art.

• Cartoon and Animation Studies
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• s.10
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• pp.107-120
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• 2006

The movement of characters in ceil animation is the art that gives the feeling of movement. The movement expressed naturally and well done makes the scene more dramatic and interesting. The history of 3D animation is not fully riped yet but it has shown powerful impact. The genre of 3D has come closer to us, yet it has given freshness and problems at the same time. One of the problems is the awkwardness of movement. Overplaying, stretching and squashing of character, was extremely difficult to accomplish using the prior technique of 3D so! ftware. It was not very effective so animators have avoided doing it. However, advanced technique of 3D software, so to speak, ‘stretch and squash’, overcomes the limitation of movement. The new form of character animation can be accomplished. The theme of this paper is about the analysis and comparison of ‘stretch and squash’ in cell and 3D animation.

• Journal of KIISE:Computer Systems and Theory
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• v.32 no.1
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• pp.39-48
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• 2005

According to traditional 2D animation techniques, anticipation makes an animation much convincing and expressive. We present an automatic method for inserting anticipation effects to an existing facial animation. Our approach assumes that an anticipatory facial expression can be found within an existing facial animation if it is long enough. Vertices of the face model are classified into a set of components using principal components analysis directly from a given hey-framed and/or motion -captured facial animation data. The vortices in a single component will have similar directions of motion in the animation. For each component, the animation is examined to find an anticipation effect for the given facial expression. One of those anticipation effects is selected as the best anticipation effect, which preserves the topology of the face model. The best anticipation effect is automatically blended with the original facial animation while preserving the continuity and the entire duration of the animation. We show experimental results for given motion-captured and key-framed facial animations. This paper deals with a part of broad subject an application of the principles of traditional 2D animation techniques to 3D animation. We show how to incorporate anticipation into 3D facial animation. Animators can produce 3D facial animation with anticipation simply by selecting the facial expression in the animation.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.570-575
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• 2010

This paper designed 3D animation in consideration of human characteristics to stimulate their interest and to be more understandable to them. It was also confirmed that, using the 3D animation contents, general people came to recognize the problem of environment pollution and developed desirable attitude and behavior for protecting the environment. Furthermore, this paper suggested the direction of systematic environmental education and other general people education institutions using the developed 3D animation contents as a teaching material.

• Cartoon and Animation Studies
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• s.44
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• pp.163-181
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• 2016

The 3D animation is the trend of more and more as the years go by. 2016 works "red soil" of the works through the analysis of the new changes, and also in the interest of those factors, which play an important role, how to performance in the appropriate way of expression. according to the focus of work in the process of modeling design of meaning and symbol and character, action and expression of the meaning of understanding and appreciation of the works, the meaning of double the fun.

• Journal of Korea Multimedia Society
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• v.14 no.6
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• pp.813-823
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• 2011

This study is to suggest the facial animation methodology for that 3D character animators can use CGS system effectively during on their stage which they create ideas and use repeating a process of facial animation, it has suggested the CGS(Character Generation System) that is a creative idea generation methodology identified and complemented the problem of the existing computerized idea generation, in addition, this research being extended on the article vol.13, no.7, "CGS System based on Three-Dimensional Character Modeling II (Part2: About Digital Process)," on Korea Multimedia Society in July 2010 issue, Through the preceding study on 3D character facial expression according to character's feelings as an anatomical structure and the case study on character expressions of theatrical animation, this study is expected to have effectives as one method for maximization of facial animation and idea generation ability.

• Cartoon and Animation Studies
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• s.13
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• pp.199-210
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• 2008

Nous tentons ici d'une analyse esthetique sur le film d'animation francais "Renaissance". Le film d'animation est un genre du recit d'images. L'on no peut donc le traiter simplement comme les chaines des images sans I'histoire, ni comme I'histoire sans les images. Nous essaions de trouver dans notre etude, un meddle d'analyse sur le film d'animation. L'acces y est commece par expliquer le context du film et son resume de I'histoire. Ensuite, nous travaillons sur les caracteristiques produites par des images(noir et blanc) et des techniques(motion capture). Elles sont considerees comme les traits expressifs, ou les trails formels. Troisiement, on analysr des codes des genres et des sens implicites qui sont presentes dans le film. Apres aborder tous ces prises on comptes, nous les synthetisons dans ie principe d'esthetique. lci, celui-ci est figure comme un accord entre les caractedristiques formelless et les contenus traites. Mais le film n'arrive pas a cette concordance. L'avancee technique et le plaisir visuel que le film nous donne ne sont pourtant pas meprisable memo si I'objectif esthetique du film no s'acheve sur un echec. Notre etude est un peu large afin d'analyser les detailes du film. Nous laisssons cette faiblesss a un autre travail du futur, on etant content sur l'etude qui pout servir a analyser un film d'animation, mame un peu grossierement.