• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.05a
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• pp.131-134
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• 2009

The development of computer graphics leads to high value-added products, such as film, game contents, 3D animation. In realistic animation, it is impossible and inefficient to produce the movement of each objects as handwork to display the various behaviors of a lot of characters. So we need the techniques of the crowd animation which presents the movement of objects realistically and efficiently by calculating automatically. In this paper, we designed a modeler which generates the attitudes of objects in crowd behavior animation using information of 3D models. We developed an animation system for crowd behavior which was applied for animation, VR, or games.

• Cartoon and Animation Studies
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• s.41
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• pp.107-131
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• 2015

This study is on the modification of characters' role and personality between spin-off animation and original works. For this, one of box office hits, (2011) and (2015) have been analyzed with Enneagram and Greimas' Actantial model. The result shows, firstly, the protagonist of spin-off work plays subject role in a new narrative comparing that he/she plays faithful helper's role in original work. Secondly, the protagonist's personality does not show big difference between in spin-off and in original. But, anyway, there's a small change that the secondary personality in original stands out as a primary personality in spin-off. Finally, the standing out personality of the protagonist tends to be 'achiever' or 'loyalist', those of stereotype successful animation characters. In conclusion, the role change according to new narrative seems to be unavoidable. And, the personality change is, too. However, the personality change is partial and it has continuity from the original considering the potential audiences' expectation.

• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Cartoon and Animation Studies
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• s.16
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• pp.125-140
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• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• Journal of Korea Game Society
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• v.7 no.4
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• pp.33-42
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• 2007

Advanced technologies and techniques make it possible to express digital animation with higher quality. Characters in the virtual animation space are playing an important role in emphasizing the human audiences or interacting directly with them. The movement of characters gives them vital power, and shows their intentions and emotions. To analyze the emotion of character movements, the study develops basic movement sources based on Laban's property elements of movement such as time, space, and flow, and tries to find the relationship between their movements and the emotions they arouse by positioning them on Plutchik's emotional circle. We find that each element of 9 movements represent its own emotion consistently, and has influence on the intensity of emotions clearly.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.703-707
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• 2007

Characters in "princess mononoke" are analyzed by carl jung's theory. My intention is contributing to make impressive and in-depth animation to every producer who makes a plan of animation with the analytic and well organized psychological type by helping them.

• Journal of the Korea society of information convergence
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• v.1 no.1
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• pp.25-32
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• 2008

The developments of digital and multimedia have been increasing the demand of humans desiring the acquisition of real and intuitive information and diversified expressions and the use of animation characters are continually increasing in mass media. With the development of graphic techniques, these expressions of animation characters have become enabled of real and smooth representations. Although, in general, even fine movements of the hair of characters can be expressed using diverse data input devices, the studies on the multimedia technologies for disabled persons are quite insufficient. In this paper, Directness it extracts the data which it move sign language and It propose the method which creates a Korea sign language platform.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.152-153
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• 2002

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.12
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• pp.894-906
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• 2006

There are many difficulties to develop a mobile contents due to many constraints on mobile environments. It is difficult to make a good mobile contents with only visual reduction of existing contents on wire Internet. Therefore, it is essential to devise the data representation and to develop the authoring tool to meet the needs of the mobile contents market. We suggest the compact mobile contents to learn Chinese characters and developed its authoring tool. The animation which our system produces is realistic as if someone writes letters with pen or brush. Moreover, our authoring tool makes a user generate a Chinese character animation easily and rapidly although she or he has not many knowledge in computer graphics, mobile programming or Chinese characters. The method to generate the stroke animation is following: We take basic character shape information represented with several contours from TTF(TrueType Font) and get the information for the stroke segmentation and stroke ordering from simple user input. And then, we decompose whole character shape into some strokes by using polygonal approximation technique. Next, the stroke animation for each stroke is automatically generated by the scan line algorithm ordered by the stroke direction. Finally, the ordered scan lines are compressed into some integers by reducing coordinate redundancy As a result, the stroke animation of our system is even smaller than GIF animation. Our method can be extended to rendering and animation of Hangul or general 2D shape based on vector graphics. We have the plan to find the method to automate the stroke segmentation and ordering without user input.