• 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.

• Cartoon and Animation Studies
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• s.37
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• pp.491-508
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• 2014

As number of making 3D feature animation films is increasing, 3D production pipeline become more complicated and more artists are needed than before. Major studios in foreign countries, in burden of producing high quality films with limited amount of budget and time, have been handling such difficulties by hiring technical directors in each department such as animation, rigging, cloth hair, and effect. Technical director is new occupation which appears after trend of producing animation is changed from 2D to 3D. Importance of technical director is increasing in respect to studios' needs which are related to complication in production time, manpower, budget, and production pipeline. This research is based on the researcher's work experience as an animation TD at Walt Diseny Animation Studio and Sony Pictures Imageworks, interview with working professionals, and related books and thesis. It focuses on the role of animation technical director in Disney's 3D feature animation film from two perspectives, 'Designing Production Pipeline' and 'Analyzing Problem of Shot'. Animation technical directors design and test production pipeline so that they can detect and solve problems that may arise in production process as early as possible. They not only analyze numerous problems of characters or shots limited to animation department but also in other departments such as modeling, mapping, character rigging, cloth, hair, lighting, rendering, software development in order to support artists to complete their shots according to the production schedule. In accordance with recent trend of increasing number of 3D feature animation film production in South Korea and collaboration with foreign studios outside of South Korea, it is vital to train animation technical directors who can develop production pipeline, analyze various problems of shots and characters to escalate efficiency in production.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.17 no.7
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• pp.1794-1806
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• 2023

This study presents a method for capturing photographs of users as input and converting them into 2D character animation sprites using a generative adversarial network-based artificial intelligence network. Traditionally, 2D character animations have been created by manually creating an entire sequence of sprite images, which incurs high development costs. To address this issue, this study proposes a technique that combines motion videos and sample 2D images. In the 2D sprite generation process that uses the proposed technique, a sequence of images is extracted from real-life images captured by the user, and these are combined with character images from within the game. Our research aims to leverage cutting-edge deep learning-based image manipulation techniques, such as the GAN-based motion transfer network (impersonator) and background noise removal (U² -Net), to generate a sequence of animation sprites from a single image. The proposed technique enables the creation of diverse animations and motions just one image. By utilizing these advancements, we focus on enhancing productivity in the game and animation industry through improved efficiency and streamlined production processes. By employing state-of-the-art techniques, our research enables the generation of 2D sprite images with various motions, offering significant potential for boosting productivity and creativity in the industry.

• Archives of design research
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• v.16 no.1
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• pp.127-136
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• 2003

Each country, each organization and individual have pursued their own identity, which require a unique design discriminated from other countries, cultures and people. As character related industries including character, cartoon, animation and CF appeared everywhere, development of character of mascot concept which can highlight individual personality has been required. This study is to meet these requirements and develop character of Korean subject as the concept of mascot or guard angel in order to develop the unique design with discriminative features from individual identity. For this, this study named it "Individual Character", analyzes the Korean traditional incantatory patterns and develops three patterns such as line art character, five-color 2D character and letter '||'&'||' picture 3D character as a form having individual character with the twelve gods of the earth through examination of materials of traditional patterns home and aborad. These three-typed characters seek strategies by types and are applied to calender, ceramic, metal, animation source, living goods and accessories. Application to commodities include line art and the products of 20 and 3D types based on re-design and add metal, paper, web and ceramic. Therefore this study finds that "Individual Character' using traditional incantatory patterns can discover the cultural identity and originality through Korean design creation and application of "Individual Character" to character industry can develop the pluralistic characters with a material and it can be extended to consumption goods.onsumption goods.

• Proceedings of the KIEE Conference
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• 1989.07a
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• pp.477-480
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• 1989

In this paper, we introduce the three-dimensional Korean character display by using 2D fonts and character depth. Character segments are designed by the set of vertex at run time. Character depth is applied for 3D visualization. And, the variation of eye-point and distance of object is used for 3D character animation.

• ETRI Journal
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• v.38 no.6
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• pp.1095-1103
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• 2016

We present a method for transferring deformation weights of a human character to three-dimensional (3D) scanned clothes. First, clothing vertices are projected onto a character skin. Their deformation weights are determined from the barycentric coordinates of the projection points. For more complicated parts, such as shoulders and armpits, continuously moving planes are constructed and employed as projection reference planes. Clothing vertices on a plane are projected onto the intersection curve of the plane with a character skin to achieve a smooth weight transfer. The proposed method produces an initial deformation for physically based clothing simulations. We demonstrated the effectiveness of our method through several deformation results for 3D scanned clothes.

• International journal of advanced smart convergence
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• v.10 no.3
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• pp.149-156
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• 2021

Today, 3D softwares have become an essential tool in all areas of Video, including Movies, Animations, CFs, Motion Graphics and Games. One of the most commonly used fields is the 3D character video part. However, these 3D character animations and motion graphics softwares are difficult to learn and too much to learn, making it difficult to learn them all in a university education with a limited time of four years. In this paper, many Inverse kinematics tools, which are essential in the 3D character animations and motion graphics field, compare and analyze the strengths and weaknesses of each tool, focusing on Bone, Character Studio, and Character Animation Toolkit, which are most commonly used in work fields. And use Delphi techniques for 3D experts to secure objectivity. Therefore, for universities that require large amounts of teaching in a limited time, I propose an analysis of which of the above three Inverse Kinetics tools is advantageous for students to select and focus on for efficient education.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.489-494
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• 2017

In spite of lots of differences in the production process of film animation, the animating method through computer is not much different between game animation and film animation. It is because the principles of film animation are also emphasized for the production of game animation. This study aims to consider the line of action showing the direction of movement and flow of energy among many considerations for the character pose work in case when producing game animation. Starting from the basic theory of drawing, the line of action plays a role of bible in the pose work including cell animation and 3D animation. After examining the theoretical background through preceding researches in order to understand the application of the line of action to the pose work of game characters, the poses of hero characters of a 3D online game 'Over Watch' were collected and then lines were directly drawn to analyze them. And as a result, the pose of characters with simple and clear 'Line of action' was good. This study aimed to consider the expression techniques of character pose in the production of game animation, which is expected to be used as an important reference for game animators at work.

• Cartoon and Animation Studies
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• s.41
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• pp.153-168
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• 2015

In Kyung-GI DO, An-sung, Each local autonomous entity developed the character design to inform the public relations and revitalize local economy and culture. consequently, These have got benefits with marketing local speciality related to their an-sung character; we call it name is arum, pung-mul, duck-bugi who korea traditional face characters. On the contrary, Most of old characters which have been fallen off their formative qualities became a reason that unfit (4D,3D) special film at local doom movie theater. This thesis aims to study on the character of 'namsadang' group what have been produced in ansung-si, that the show up to people about an-sung 4D Contents what local actually character and to make it more competitive through 3D,4D spacial character project developing process. It is need for new various characters, that (3D,4D-VFX) -Graphics of new an-sung'namsadang' group. that will be total different and new development. total VFX; 4-Dimantion visual graphics released in next an-sung local festival, Business prospects are bright and receiving benefits are increasing. As seen in the case of the character of in 2015, it can be a measure to earn benefits as a higher value-added business if it is managed in the local autonomous entities. In this thesis, I propose what the of character in the local special graphics; VFX style characters design. also I was show up to '4D contents character;' ; 'namsadang' group; creative processing including planing. It is possible to be ranged from special 4D series animation, a feature-length special effct cartoon film, character products, and even local doom Theme parks show up film. which are all expected high profits. These profits will be returned back to the an-sung local autonomous entity, who can use them to develop new contents, one of foundations in local economy. As a result, it is helpful to make local traits and effective tourist attractions.