• Cartoon and Animation Studies
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• s.16
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• pp.113-124
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• 2009

This study shows that there is an essential difference between colors of animation and live action film through the expressive colors of 2D animation as distinct from three dimension space. While live action film has an obvious object of representation, the image of 2D animation is a creature made by human without the process of mechanical representation. And this is revealed sharply in the expressive colors of 2D animation. Therefore the expressive colors of 2D animation are the important points in which the autonomous meaning of animation image is revealed.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.174-181
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• 2017

Colors that stimulate human emotions in everyday life are one of the important factors in animation production. The research on color has been actively carried out in relation to the importance and nature mainly for animation production. However, researches that investigated different views for specific color by geographic characteristics are rare. Therefore, information was collected through questionnaire survey and empirical analysis was conducted using SPSS statistical package to analyze preference of Korean and Chinese people for the Chinese traditional colors. The analysis results showed that both Korean and Chinese groups preferred red color among Chinese traditional colors. This preference for red was statistically significant in both groups, indicating that the intensity of preference for red was different even though Korean and Chinese equally preferred red. Furthermore, among 10 red colors, the preferred red was different between Chinese and Korean. Based on these results, it is suggested that the color should be selected considering the characteristics of the intended market for Chinese animation production and the personality of the viewers who watch the animation products.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.204-205
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• 2003

• The Journal of the Korea Contents Association
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• v.9 no.4
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• pp.162-171
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• 2009

In directing a film, aesthetics are use for visual manifestation of narratives to audiences. Especially, colors have important roles in that process to express emotions and to convey the story. For 3D animation, they may play even more important roles due to the nature of colors being generated by computers. This paper studies the relationship between narratives and colors by analyzing how colors change by the rise and fall of tensions in narratives, and by investigating how emotional expressions are affected due to color changes.

• Journal of Korea Multimedia Society
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• v.10 no.10
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• pp.1240-1250
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• 2007

We introduce technique for color transformation of characters between scenes in 2D animation. As colors are perceived differently owing to light source, so character colors like clothes, skin and so on are colored differently owing to atmosphere of each scene. This paper is made an attempt to solve mathematically color assignment of characters which has been worked by hand so far. We can find a matrix for color transformation of characters by appling principle of color stimulus to our algorithm. In scenes of existing 2D animation, basic colors and colors under light source of characters are used for the matrix. And matrixes are obtained for each scenes of 2D animation. If we are known basic colors of some characters, you can derive character colors under other light source environments using the matrix. Therefore, this paper describes automatic color transformation of characters between animation scenes.

• Journal of Korea Multimedia Society
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• v.11 no.9
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• pp.1286-1295
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• 2008

Colors of 2D animation characters are generally assigned by art directors' subjective color sense. Even same characters should be colored differently according to the mood of animation scenes. In this study, we introduce the model for automatic color transformation of characters by using neural network. It can not only create automatically colors of characters which are good matched with 2D animation scenes but also reproduce art directors' subjective color sense. Specifically, this neural network model is initially made to learn the patterns of color change between basic colors of characters and colors of characters in various scene. Then if you know basic colors of some characters, you can derive colors of characters under other light source environments using the learned neural network. Subjective ratings(which is adopted to verify the proposed model) by color experts on the automatically transformed colors showed that the colors created by the model tended to be evaluated natural.

• The KIPS Transactions:PartB
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• v.18B no.6
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• pp.375-384
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• 2011

This paper suggests a method to recognize facial expressions of animation characters by means of dominant colors and feature points. The proposed method defines a simplified mesh model adequate for the animation character and detects its face and facial components by using dominant colors. It also extracts edge-based feature points for each facial component. It then classifies the feature points into corresponding AUs(action units) through neural network, and finally recognizes character facial expressions with the suggested AU specification. Experimental results show that the suggested method can recognize facial expressions of animation characters reliably.

• Journal of the Korea Society of Computer and Information
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• v.16 no.10
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• pp.93-100
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• 2011

The necessity of research on extracting information of face and facial components in animation characters have been increasing since they can effectively express the emotion and personality of characters. In this paper, we introduce a method to extract face and facial components of animation characters by defining a mesh model adequate for characters and by using dominant colors. The suggested algorithm first generates a mesh model for animation characters, and extracts dominant colors for face and facial components by adapting the mesh model to the face of a model character. Then, using the dominant colors, we extract candidate areas of the face and facial components from input images and verify if the extracted areas are real face or facial components by means of color similarity measure. The experimental results show that our method can reliably detect face and facial components of animation characters.

• Journal of Korea Game Society
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• v.13 no.3
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• pp.131-140
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• 2013

The study analyzes how to create stereoscopic image in 3-dimension animation 'Yggdrasil', produced in Autodesk Maya(3D animation software), using Anaglyph method that is the oldest in 3-dimension stereoscopic video production. The anaglyph method help to produce stereoscopic images easily and to give effective 3D effect encoding each eye's image using filters of different colors. In addition, space direction applied visual perception theory expresses necessary distance, depth and speed effectively in 'Yggdrasil'

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.111-121
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• 2005

The appearance of digital culture swiftly has changed the culture in domestic and international arenas before and after the year 2004 and the image and animation have become two of the most important expression media in contemporary age. Among the Japanese animations that have demonstrated the rapid development of cartoon and animation in the world, the director Dakahata Isao's 'Graves of the Fireflies' that has influenced many works has been evaluated as one of the noticeable works that has a unique method and scenario dramatization in terms of producing the original novel into an animation. This study investigates the metaphor and symbolism shown in this work according to each sequence, divides the production ability in the work into three elements and applies them to the important elements such as camera, colors and mise-en-scene when the original work is depicted into image. It can be summarized in more detail as in the following: firstly, I study the rhythm of camera corresponding to the symbolism of the angle that the camera has and production; secondly, I analyze the artistic elements appeared in the process of expressing the original work into the image, especially the production for the colors and symbolism contained in them and the composition of screen. Thirdly, I analyze how effectively the atmosphere for the situations for the original work is expressed in animation with the aid of one of the image elements, mis-en-scene. It is expected that the analyzed findings will be effective as a way of overcoming the limitation of expressions that the original work in text and the study on these processes will become good examples to the relevant workers and will be the good references to the producers who are interested in the creation of animation in Korea.