• 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.

• Journal of Digital Convergence
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• v.10 no.7
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• pp.253-259
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• 2012

In this study, the dialog syntax-based video content production flow for the character set, 'Form Noah' chart using the mouse, lip-sync Animation been making 3D characters were applying. Vertex Animation Morphing techniques by expressing the natural shape of the mouth for the characters engaging and the transmission of visual information for the viewers to be able to get a high intelligibility is considered.

• Cartoon and Animation Studies
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• s.37
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• pp.1-24
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• 2014

The advancement of computer technology has blurred the border in image expression between live-action films and 3D animation to an indistinguishable extent. Despite the ever-evolving image expression, it has been found that animation properly incorporating abstractive expression receives more positive responses from the audience than the animation closely akin to live-action films. This indicates that animation-specific abstractive expression can exert more significant effects than that of live-action expression as proved in Dr. Mori Masahiro's 'Uncanny Valley.' Also, such effects apply only to characters, whilst the technology capable of live-action expression is acknowledged only for the background of 3D animation. Without doubt, animation has its own infinite world of expression, and thus more effective methods for its expression can no longer be considered a matter of technology. The present study analyzes the abstractive expression of 3D animation in terms of characters and backgrounds and explores a more effective method to apply the current technology of image expression to 3D animation with a view to proposing a direction for more appropriate application of 3D animation technology to future animation.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.7
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• pp.861-868
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• 2021

With the development of technology for visualizing big-data, tasks such as intuitively analyzing a lot of data, detecting errors, and deriving meaning are actively progressing. In this paper, we describe the design and implementation of a 3D analysis that collects and stores the writing data in Chinese characters provided by the Korean Classical Database of the Korean Classics Translation Institute, stores and progress the data, and visualizes the writing information in a 3D network diagram. It solves the problem when a large amount of data is expressed in 2D, intuitive that analysis, error detection, meaningful data extraction such as characteristics, similarity, differences, etc. and user convenience can be provided. In this paper, we improved the problems of analyzing Chosun dynasty poetry in Chinese characters using 2D visualization conducted in previous studies.

• 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.

• Korean Journal of Plant Taxonomy
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• v.52 no.3
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• pp.144-155
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• 2022

Daphne kiusiana is an evergreen shrub with dense head-like umbels of white flowers distributed in southern Korea, Japan, China, and Taiwan. Plants in China and Taiwan are recognized as var. atrocaulis by having a dark purple stem, elliptic leaves, and persistent bracts. Recently, plants on Jejudo Island were segregated as a separate species, D. jejudoensis, given their elliptic leaves with an acuminate apex, a long hypanthium and sepals, and a glabrous hypanthium. Morphological variations of three closely related taxa, the D. kiusiana complex, were investigated across the distributional range to clarify the taxonomic delimitation of members of the complex. Twelve characters of the leaf and flower were measured from digitized herbarium specimens using the image analysis program ImageJ and were included in a morphometric analysis, the results of which indicate that the level of variation in the characters is very high. The results of a principal component analysis weakly separated D. jejudoensis from D. kiusiana according to their floral characteristics, such as a longer, glabrous hypanthium, and larger sepals. However, some individuals of D. kiusiana, particularly those from Bigeumdo Island, were included in D. jejudoensis. Recognition of D. kiusiana var. atrocaulis based on the leaf shape was not supported in the analysis, and D. jejudoensis may be recognized as a variety of D. kiusiana. Our morphometric analysis shows that digitized images of herbarium specimens could be useful and an additional method by which to investigate more diverse specimens.

• Journal of the Korea Computer Industry Society
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• v.7 no.5
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• pp.573-582
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• 2006

The game is in progress according to the game story with the text, graphic, animation, motion picture, music, etc. Also the result of the game varies depending on the strategy and tactics of the player. For the development of the game, this paper describes the task of the game planner, game programmer, and game graphic designer. Game graphic designers are classified into 4 parts such as the art director, original picture designer, 2D designer, and 3D designer. Among these, the 3D designer makes the 3D game characters with the use of 3D tools. This paper presents the method that 3D designers and beginners can develop 3D characters easily and quickly, Also, this paper shows the method for making preparations of SourceModel which includes 150 polygons. The SourceModel is made up of between five life size and eight life size. In addition, Character Primitives Interface is made to use SourceModel in MaxScript. Accordingly 3D designers have the free use of SourceModel and they will be able to save time.

• Cartoon and Animation Studies
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• s.42
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• pp.53-79
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• 2016

The public interest and popularity of animation has already forecasted the value of animation as the leader of pop culture and cultural industry. The trend in animation changed from 2D to 3D animation, a new genre that appeared in the 1990s with the development of computer technology and innovative changes in media, and 3D animation secured its position in the 2000s. Researches on 3D animation are conducted in various ways. Integrating the area it shares with film and the area it shares with design, it is produced and consumed. This study focused on 'formativeness(design)', the basis of character design, and tried to find out how it is recognized by the audience, who actually watch and feel it. Also, it approached basic theory and tried to deduce logic that is easy to understand and can analyze design or formativeness which keeps changing. Lastly, this study regards the parts that viewers are not satisfied with as problems, and tries to find out a developmental direction. Among the animations for theaters that were big hits in 2015, this study focused on the characters of and . It reviewed errors and what was lacking in the previous studies, collected experts' opinions and made adjustment. Using the frame prepared through this process, it conducted a survey on study participants, the viewers, to see how it is perceived by them. Finally, it tried to find out the reasons why the audience felt that way through theoretical reviews and applications.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.314-320
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• 2023

This paper examines how the design of female characters in Disney animations is evolving over time, and explores whether these changes are related to the social status of women in modern society. We analyze in detail how Disney's female character design has undergone changes in form, characteristics, and personality with the transition from 2D animation to 3D animation, and show that the change in perception of women in modern society is behind this change. It shows. It deals with changes in the design and personality of female characters, focusing on major Disney animation works before and after 2010. Starting with the movie <Rapunzel>, released in 2010, female characters showed stronger and more active characteristics and changed from traditional Disney princesses. Disney is bringing about this social change by breaking away from the image of an independent woman and showing the growth process of overcoming hardships based on one's abilities and the support of one's family, as well as the increasing number of female characters of various races and appearances. The conclusion was reached that it shows a conscious and active willingness to accept it.

• Journal of Korea Game Society
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• v.8 no.1
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• pp.91-101
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• 2008

Most designers use professional 3D animation tools such as 3DS MAX to manually create animation. This manual method requires a great deal of time and efforts, and does not allow animation characters to interact with one another. In this paper, we design an AI middleware of form as 3DS MAX plug-in to solve these issues. We present an AI expression structure and internal processing method for this middleware, and the method for creating AI character's structure. It creates AI character's structure by drawing figures and lines for representing AI elements. For experiment, we have produced same animations with the traditional method and our method, and measured the task volume in both methods. This result verifies that the task volume is similar or higher than the traditional method in small-scale tasks, but up to 43% of the task volume is reduced in large-scale tasks. Using the method proposed in this paper, we see that characters in an animation interact each other, and task volume in large-scale tasks are reduced.