• Journal of the Korea Society of Computer and Information
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• v.12 no.1 s.45
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• pp.25-32
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• 2007

In this paper, the abstract layer for motion capture system is designed and implemented to meet the various hardware and different capturing method. The abstract layer can offer the unified programming by providing device independent API(Application Programming Interface). The device drivers of the optical system and mechanical system are emulated to verify the designed abstract layer. The optical system employs the AOA Ole while the mechanical system uses BVH file. An application program is written to call the abstract layer functions to drive both optical and mechanical drivers and receive the frame data, simulated motion data, that are displayed sequentially on the computer screen by utilizing Direct3D.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Cartoon and Animation Studies
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• s.45
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• pp.75-99
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• 2016

Unlike the other media, the animation has its unique aesthetic characteristics. First, one of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. Next the animation image which is created through metamorphosis obtain new space-time by unique motility. This paper treats of two parts of space and time in animation. One is the metamorphosis image of animation and the other is the motility. To concrete this, this paper analyzed Georges Schwizgebel's Works. They are very interesting that the structural characteristics of the animation. Especially, , < La course ${\grave{a}}$ $l^{\prime}ab{\hat{i}}me$ > directed by Georges Schwizgebel are a good text for analyzing space-time of animation in that it combines various metamorphosis and motility with his expressions. The images of his works are continuously maintained transformational stream by his main expressions of metamorphosis and motility etc. This study focuses on analyzing the way of metamorphosis and motility function to make meaning in this texts. His works consist with metamorphosis and motility, and various moving images to let audience feel the characteristics of space and time in animation. We can experience numerous dual structures like space and time, freeze-frame and motility, rhythm and repetition, two dimension and three dimension, dissolution and reconstitution, abstract shape and concrete form etc from these cases. One of the main apparat is the emphasis of metamorphosis and motility by independent space of animation.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.586-597
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• 2014

In this paper, we describe a symbolization analysis of a Diamond World Mandala animation. The mandala means the basic idea of the esoteric Buddhism. The Diamond World Mandala has a very high value as cultural archetype due to have better specific meaning and aesthetic quality than other mandalas. Most researches of Buddhist cultural contents have focused on cultural assets restoration and abstract discussion on contents industrialization until now. However researches on contents directly delivering Buddhism scriptures' meanings are insufficient. Therefore, in this paper, we analyze concept of mandala and symbolical meaning of appeared elements in mandala rather than theoretical development appropriateness of mandalas' contents, then implement a prototype of a mandala animation. The animation is made of intangible culture such as an intellectual legacy of mankind, and its applications are as follows; education service for Buddhist doctrines, and cultural services through easy accessibility of Buddhist culture, etc.

• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.134-141
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• 2011

This study attempts interpretation of the elements of transcendental fantasy appeared in animation. It is about the characteristics of the different spaces from the reality appeared in animation created out of imagination. In regard to the reason why such aspects of fantasy elements appeared in the whole work appear, it presents the three structures including divisional, fantasy and comprehensive structures and characteristics of spatial images of imagination presented in Gilbert Durand's "Les Strutures anthropologiques de l'Imaginaire", through visual nature, depth, and maldistribution. Thus, this study examines the elements in animation . Transcendental fantasy elements give abstract concepts to certain images as it specifically describes them in reality. The fantasy elements operate when it is viewed through the sensibility of the characters. This study attempts to closely approach the issues on how fantasy elements operate in animation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.255-266
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• 2019

This paper examines the ink on paper technique that is being used in the animation works by the Canadian filmmaker Michēle Cournoyner from the National Film Board of Canada. It also discusses how in her animated film "Soif"(2013) this technique has been applied to compose the narrative significance and symbols through the use of metamorphosis as a form of artistic expression. Cournoyner had used the ink of paper technique as a means to abandon realistic representations of movement, and in "Soif" through expressive use of metamorphosis, portrayed changes of images in character and object not through chronological order of narrative flow, but through the body of the female character, which had been represented by the improvisation of the ink on paper technique in order to express the surrealistic and unconscious state of mind in animation. Also, the use of Surrealist automatism had been incorporated to evoke the film towards a form of abstract and metaphysical expression, which in terms of expression and technique connects with the character in the animation to give emphasis to its relevancy with the subject matter of the work.

• Journal of KIISE:Computer Systems and Theory
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• v.26 no.9
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• pp.1031-1041
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• 1999

기존의 한글에 대한 입술 애니메이션 방법은 음소의 입모양을 몇 개의 입모양으로 정의하고 이들을 보간하여 입술을 애니메이션하였다. 하지만 발음하는 동안의 실제 입술 움직임은 선형함수나 단순한 비선형함수가 아니기 때문에 보간방법에 의해 중간 움직임을 생성하는 방법으로는 음소의 입술 움직임을 효과적으로 생성할 수 없다. 또 이 방법은 동시조음도 고려하지 않아 음소들간에 변화하는 입술 움직임도 표현할 수 없었다. 본 논문에서는 동시조음을 고려하여 한글을 자연스럽게 발음하는 입술 애니메이션 방법을 제안한다. 비디오 카메라로 발음하는 동안의 음소의 움직임들을 측정하고 입술 움직임 제어 파라미터들을 추출한다. 각각의 제어 파라미터들은 L fqvist의 스피치 생성 제스처 이론(speech production gesture theory)을 이용하여 실제 음소의 입술 움직임에 근사한 움직임인 지배함수(dominance function)들로 정의되고 입술 움직임을 애니메이션할 때 사용된다. 또, 각 지배함수들은 혼합함수(blending function)와 반음절에 의한 한글 합성 규칙을 사용하여 결합하고 동시조음이 적용된 한글을 발음하게 된다. 따라서 스피치 생성 제스처 이론을 이용하여 입술 움직임 모델을 구현한 방법은 기존의 보간에 의해 중간 움직임을 생성한 방법보다 실제 움직임에 근사한 움직임을 생성하고 동시조음도 고려한 움직임을 보여준다.Abstract The existing lip animation method of Hangul classifies the shape of lips with a few shapes and implements the lip animation with interpolating them. However it doesn't represent natural lip animation because the function of the real motion of lips, during articulation, isn't linear or simple non-linear function. It doesn't also represent the motion of lips varying among phonemes because it doesn't consider coarticulation. In this paper we present a new coarticulation model for the natural lip animation of Hangul. Using two video cameras, we film the speaker's lips and extract the lip control parameters. Each lip control parameter is defined as dominance function by using L fqvist's speech production gesture theory. This dominance function approximates to the real lip animation of a phoneme during articulation of one and is used when lip animation is implemented. Each dominance function combines into blending function by using Hangul composition rule based on demi-syllable. Then the lip animation of our coarticulation model represents natural motion of lips. Therefore our coarticulation model approximates to real lip motion rather than the existing model and represents the natural lip motion considered coarticulation.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.484-492
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• 2016

Role of music in an image can be divided into a supplementary function to express narrative of image and an independent function to become the subject of music and to lead the image. To perceive sound through hearing and then, to make it visualized is called visual music. Since the 19th century, image synchronization of music through colored hearing has been continuously attempted by artists in their works. Also in the 20th century, many artists could attempt time-wise concept of movement passing the bounds of three-dimensional expression due to development of cinema. In such a process, artists with strong experimental spirits inferred correlation between sound and image and then, pioneered new genre of visual music. As a result, the times are being changed from those of listening to those of watching, and various works are being produced by experimental attempt of various music and images. This thesis aims to investigate aesthetic characteristics of modern visual music and then, to conduct comparative analysis on how visual music using colors are utilized in diversified fields such as movie, animation, music video and media art.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.1020-1025
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• 2009

The five elements theory that people in the world objective theory is earned by a long-term observation. The key to the world and everything in the neck. The core content of this theroy is summed up in the world all things wood, fire, earth, gold, water-five material form. In the theory, the chracter's appearance, feature the five elements face is content. And the chracter's appearance, personality chracterisics and features of chracters and abstract nature of the mutual response plan which was formed way. Based on the number of world-famous cartoon chracter design analysis, special features and art theroy point the five elements the nature of man, who looks and chracter design by comparing the response of theroy and research and has the five elements. The analysis of theory and research the five elements art and people who find the nature of the systematic correlation to the future of animation, chracter design is applied.