• 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.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.409-414
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• 2023

In recent years, the emergence of a number of AI image generation software represented by [Midjourney] has brought great impetus to the development of the field of AI-assisted art creation. Compared with the traditional hand-painted digital painting with the aid of electronic equipment, broke the traditional sense of animation character creation logic.This paper analyzes the application of AI technology in the field of animation character design through the practice of two-dimensional animation character . This is having a significant impact on the productivity and innovation of animation design and character modeling. The key results of the analysis indicate that AI technology, particularly through the utilization of "Midjourney,"enables the automation of certain design tasks, provides innovative approaches, and generates visually appealing and realistic characters. In conclusion, the integration of AI technology, specifically the application of "Midjourney," brings a new dimension to animation character design. The utilization of AI image generation software facilitates streamlined workflows, sparks creativity, and improves the overall quality of animated characters. As the animation industry continues to evolve, AI-assisted tools like "Midjourney" hold great potential for further advancement and innovation.

• 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.

• Cartoon and Animation Studies
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• s.33
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• pp.79-97
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• 2013

Animation is the aggregate of signs based on narrative. Algirdas Julien Greimas made structuralist frame and analyzed the meaning with it. Greimas's semiotics among the animated characters appearing in the conflict structure is suitable for the analysis and figure out the structure and meaning of the conflict which is hidden. Because Greimas Semiotic Square is suitable for apprehending meaning structure, it help for us to identify between characters and meaning that from character. Actantial Model help to apprehend power relations in structure between characters by axis of desire. This study search Greimas's semiotics and based on this analyse animation, . Also this study analyse conflicts between protagonist and antagonist with Greimas Semiotic Square after analysing narrative of like Vladimir Proof's folktale analysis. Unlike the protagonist's internal conflict, the antagonist's internal conflict moves the audience's emotions. Finally, this study analyse animation in the synchronic structure with the Actantial Model.

• Journal of Digital Convergence
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• v.19 no.6
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• pp.309-314
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• 2021

Disney animation can be said to be part of American culture and art. With the changes in American society and culture, we can see the changes in the personality and social status of female characters in Disney animation. Especially in the Disney animation works published after 2000, many works showing equality in the social abilities and status of women and men have been published. In this study, the characteristics of female characters of the 20th century and the 21st century is compared and analyzed the characters of Elsa and Anna, who expressed the female image in a metaphorical way of 'Frozen 2'. And studied the characteristics and meanings of clothing and colorful shapes. This paper reveals the design elements needed to construct a gender-equality image of female characters, and hopes that it will become a useful research material for the animation industry and academia in the future.

• Korea Science and Art Forum
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• v.24
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• pp.1-13
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• 2016

The aim of this study is to find the reasons of success and failure of digital animations in terms of 'immersion.' For the purpose, the causes of immersion were analyzed through complex comparison about concepts and stories of two animation films with similar size of budget: 'Shrek 2' which ranked number 1 in the box-office of animation and 'Mars Needs Moms' which ranked number 172 in the same category. The complex results showed that immersion becomes bigger with creativity and popularity of the characters' outer concept, diversity and organic of the characters' inner concept, and diversity and consistency of the background. Moreover, gradual arrangement of characters' appearance in the story and increasing number of the characters, and visual changes around the plot heightening with a well-organized passage increase immersion. After all, immersion of digital animation requires developing creative, diverse, and popular concept and arranging and strengthening strategic well-organized plot of parts and the whole. This is the key to convergence it.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.152-153
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• 2004

• Cartoon and Animation Studies
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• s.38
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• pp.217-236
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• 2015

Character business is generally synthetic business over the cultural barrier and it is highly estimated because it creates high added value as emotional business when emotional marketing is the hottest thing on the market lately. So, the long seller characters are regarded as important items much further. , the typical long seller character in Korea, succeeded in both the cartoon and animation with popularity and there are plenty of OSMU (One Source Multi Use) products spinning from it. Since 2000, however, the markets of comics, animation and characters have been departmentalized, and the characters which were analytically designed, have appeared. For these reasons, the characters market of is exceedingly stagnant than ever before. This is aimed at determining the reason why the characters market of is depressed focusing on the storytelling and then, displaying the innovation strategy for storytelling in .

• 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.