• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1359-1371
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• 2011

The purpose of this paper is to compare two avatars made using direct and manual methods and to evaluate the fit and appearance of two virtual garments on the direct and manual avatars. In this study, two subjects were measured by $[TC]^2$ body scanner and the avatars and virtual garments were created by OptiTex software. The direct avatar was made by the direct importation of 3D body scan data and the manual avatar was made by manual input from extracted body measurement. Two virtual garments in a tank-top were evaluated by distance, transparency, and stretch maps. In the results of comparing difference of the direct and manual avatars, the bust and back of the manual avatar are protruded slightly more than that of the direct avatar and the manual avatar is slightly larger dimensions at the bust, waist, abdomen, and hip area in the side view in case of subject 1 and 2. In the results of comparing difference of the fit and appearance of two virtual garments on the direct and manual avatars, in case of subject 1 and 2, the back of the virtual garment on the manual avatar are protruded more than that of the direct avatar. Also, the ease in the bust area of the virtual garment on the manual avatar with a projected bust area was smaller than that of the virtual garment on the direct avatar and the stretch of that of the manual avatar was also high in the bust area. The results of this study are expected to be used as basic information in the apparel industry using virtual try-on technology.

• Journal of Korea Multimedia Society
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• v.17 no.9
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• pp.1076-1083
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• 2014

We propose an emotional facial avatar that portrays the user's facial expressions with an emotional emphasis, while achieving visual and behavioral realism. This is achieved by unifying automatic analysis of facial expressions and animation of realistic 3D faces with details such as facial hair and hairstyles. To augment facial appearance according to the user's emotions, we use emotional templates representing typical emotions in an artistic way, which can be easily combined with the skin texture of the 3D face at runtime. Hence, our interface gives the user vision-based control over facial animation of the emotional avatar, easily changing its moods.

• English Language & Literature Teaching
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• v.16 no.1
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• pp.233-257
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• 2009

The purpose of the present study was to examine the effect of 3D avatar-based Virtual Reality chatting on college students' English learning achievement. Forty college sophomore students participated at this study and the research lesson continued for 8 weeks. They were administered to take a pretest to evaluate their vocabulary knowledge and writing skills. Their progress was assessed on the basis of midterm. Finally, a post-questionnaire was administered to measure their interest and understanding toward their learning experience in 3D avatar-based Virtual chatting. The results of this study indicated that there was a statistically significant difference between the control group and experimental group with respect to their midterm scores and writing. The result of the post-survey indicated the interest of English was statistically higher than the understanding of English.

• Proceedings of the Korea Information Processing Society Conference
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• 2005.05a
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• pp.225-228
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• 2005

얼굴표정은 상대방에게 자신의 감정과 생각을 간접적으로 나타내는 중요한 의사소통의 표현이 되며 상대방에게 직접적인 표현방법의 수단이 되기도 한다. 이러한 표현 방법은 컴퓨터를 매개체로 하는 메신저간의 의사 전달에 있어서 얼굴표정을 사용함으로써 상대방의 감정을 문자로만 인식하는 것이 아니라 현재 상대방이 느끼는 내적인 감정까지 인식하여 대화할 수 있다. 본 논문은 3D 메시로 구성된 얼굴 모델을 이용하여 사용자가 입력한 한글 메시지의 한글 음절을 분석 추출 하고, 3D 얼굴 메시에 서 8개의 입술 제어점을 사용하여 입 모양의 변화를 보여주는 3D Avatar 아바타 메신저 시스템을 설계 및 구현 하였다.

• Journal of Korea Multimedia Society
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• v.12 no.6
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• pp.804-814
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• 2009

In this paper, a novel system for avatar motion controlling by tracking face is presented. The system is composed of three main parts: firstly, LCS (Local Cluster Searching) method based face feature detection algorithm, secondly, HMM based feature points recognition algorithm, and finally, avatar controlling and animation generation algorithm. In LCS method, face region can be divided into many small piece regions in horizontal and vertical direction. Then the method will judge each cross point that if it is an object point, edge point or the background point. The HMM method will distinguish the mouth, eyes, nose etc. from these feature points. Based on the detected facial feature points, the 3D avatar is controlled by two ways: avatar orientation and animation, the avatar orientation controlling information can be acquired by analyzing facial geometric information; avatar animation can be generated from the face feature points smoothly. And finally for evaluating performance of the developed system, we implement the system on Window XP OS, the results show that the system can have an excellent performance.

• Korea Multimedia Society
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• v.4 no.3
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• pp.22-33
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• 2000

• Journal of Fashion Business
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• v.18 no.6
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.137-145
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• 2010

Many research works are actively being done due to the 3D contents production technology for global competition through the world. In korea, many experts have taken notice of high quality 3D movies produced by Hollywood. Recently, 3D movie "Avatar" advanced 3D computer graphics based digital production technology is heavily influencing the contents industry in global market. Therefore, In this paper, the success factor of "Avatar"has to be analyzed. Also, the analysis of 3D contents production environment of the domestic and Hollywood is performed. Based on that, we analyzed the factors of threat and opportunity of the Korean 3D contents. Also, Based on the statistical data analysis of the korean film commission, favorable reactions of the korean movie and the government's powerful policy direction, we proposed the successful possibility of the korean 3D contents.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.6
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• pp.631-640
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• 2012

This research project investigates the differences of various body locations (between 3D body models) and drapes garments digitally onto 3D body models. Three different subject models will be given explication. It consisted of (1) data collection of three-dimensional scans (2) creation of 3D body representations (3) comparison of avatar shapes and measurements (4) visualization and assessment of 3D body models and their 3D virtual garments. The study tests a theory of impact by differences in avatars by pattern design. A visual inspection of avatars showed clear differences between the six avatar types (in the generating process); however, there was notably less difference between 3D garment simulations based upon the six avatars produced. This demonstrated that there was less influence on the 3D garments than was predicted after a visual inspection of the avatars.

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.122-132
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• 2005

CVE(Collaborative Virtual Environment) is the virtually shared area where people cannot come together physically, but wish to discuss, collaborate on, or even dispute certain matters. In CVEs, in habitants are usually represented by humanoid embodiments, generally referred to as avatars. But most current graphical CVE systems fail to reflect the natural relationship between the avatar's gesture and the conversation that is taking place. More than 65% of the information exchanged during a person to person conversation is carried on the nonverbal band. Therefore, it is expected to be beneficial to provide such communication channels in CVEs in some way. To address this issue, this study proposes a scheme to represent avatar's gestures that can support the CVE users' communication. In the first level, this study classifies the non-verbal communication forms that can be applicable to avatar gesture design. In the second level, this study categorizes the body language according to the types of interaction with verbal language. And in the third level, this study examines gestures with relevant verbal expressions according to the body parts-from head to feet. One bodily gesture can be analyzed in the description of gesture representation, the meaning of gesture and the possible expressions, which can be used in gestural situation.