• Journal of Information Technology Applications and Management
• /
• v.28 no.6
• /
• pp.69-85
• /
• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• The Journal of the Korea Contents Association
• /
• v.22 no.4
• /
• pp.727-741
• /
• 2022

This article focused on contemporary American animation since the 1990s and later detailed clues to the theory that contemporary pop art style influenced contemporary American animation art creation expression and contemporary American animation. Knowing why American animation swept the world summarizes the art creation characteristics of modern American animation. After a combination of theoretical and actual animation works, the main manifestations of the postmodern pop art style in contemporary American animation: exaggerated and superficial shapes highlight character characteristics; rebellious colors reconstruct emotional perception; creation impacts the mass media-dependence; bizarre collage and repetition, embodying the postmodern pop spirit of jokes and spoofs, Etc. Through this, it is expected that the current analysis of American animation will provide new innovative ideas for domestic animation design and increase the competitiveness of domestic animation in international video animation.

• Cartoon and Animation Studies
• /
• s.51
• /
• pp.129-158
• /
• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Cartoon and Animation Studies
• /
• s.35
• /
• pp.255-270
• /
• 2014

There is a dazzling display of colors used in contemporary visual media. The flood of color image in films leads to the application of partial colors onto the monotonous image, which is one of the reverse phenomena in this field of visual media. Nowadays, it became possible to revise the colors of moving images through computer graphics, and the excessive use of colors has a tendency to make visual impact uninteresting. The attempt is applied in a variety of ways from making video commercials and music videos as well as films. In particular, the application of partial color in the monotonous image in films such as Schindler's List(1993) and Sin City(2005) gave scores of audiences a fresh shock and added the depth of moving image. The purpose of this study is to examine how the principles and properties of the color affect us and how the application of monotone shows its effectiveness in moving images. By analyzing various case studies, this paper will propose and validate the progressive value toward the application of moving images in combination in the future.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 1999.06a
• /
• pp.119-124
• /
• 1999

This paper proposes an evolutionary model for automatically generating artificial creatures of various shapes and colors according to insect ecology. This model offers a novel way to naturally evolve the shapes and colors of artificial creatures. The evolutionary model used in our research is based on Genetic Algorithms (GA). In this paper, artificial Computer Graphics(CG) creatures develop into various shapes and colors according to the evolutionary model. Later, they can be used as CG animated characters. This model also solves the problem of reducing the time and labor cost for mass production of various characters. It could be used in such areas as the cavalry battle scene in Disney's animation, “Mulan”. Our approach has two steps. At first, artificial creatures move according to information gathered form the five senses. This information is also used for generating the shapes of the five sense organs[1]. Then, based on the GA, evolutionary mode[2], we prepare prototype creatures, which evolve into various shapes and different colors in alternating generations. Finally, our evolutionary model successfully generates various character shapes and colors automatically.

• Cartoon and Animation Studies
• /
• s.32
• /
• pp.1-21
• /
• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Cartoon and Animation Studies
• /
• s.17
• /
• pp.147-161
• /
• 2009

Colors in design elements are visual non-verbal symbols both sensual and emotional. It is the first priority in the selection of products for the consumers, and also represents differentiated strategies and coherent integration symbols for the brand. Colors in advertising is an important tool to represent the long-term image management for the brand as well as the product image and concept of the advertise. The theme of this paper is to develop creative advertisement analyzing colors from automobile video ads. Analysis results showed that video ads with small cars under 2000cc preferred pastel colors with high saturation and brightness to emphasize on individuality rather than authority. On the other hand video ads with big and luxury cars upper 2000cc preferred dark colors with lower saturation and brightness. Small car video ads focused on product appearance showing the practical value of the car, big luxury car video ads focused on the symbolic image feeling the difference between the representation of the ads. Colors used in advertisement represents the sensitivity of the consumers. In video ads the concept of the color should be set by identifying on who the globule targets are and on what item you show by identifying the corresponding colors sensitivity to suit your advertising strategy will increase the value of the brand and products.

• The Journal of the Korea Contents Association
• /
• v.7 no.10
• /
• pp.105-114
• /
• 2007

The purpose of this study is to investigate how to express Surrealism techniques in Chris Landreth who is very famous for 3D short such as Ryan. The case works are focused on 'the end', Chris Landreth's early work. He set up situation of the absurd and describes human being's alienation in animation. A phase of social life is not only revealed with vivid colors and his own surrealism techniques but communication capacity of 3D animation is also shown. Digital Technology, reproducing impossible images is not all about 3D animation. As well as this, it is not far away the way of creating arts. 3D animation will be shown the new possibilities with extension and harmony of all kinds of arts expression.

• The Journal of Korean Institute of Communications and Information Sciences
• /
• v.30 no.8C
• /
• pp.783-792
• /
• 2005

This paper proposes a feature extraction method for sketch-based image retrieval of animation character. We extract the specific regions using the detection of scene change and correlation points between two frames, and the property of animation production. We detect the area of focused similar colors in extracted specific region. And it is used as feature descriptor for image retrieval that focused color(FC) of regions, size, relation between FCs. Finally, an user can retrieve the similar character using property of animation production and user's sketch as a query Image.

• The Research Journal of the Costume Culture
• /
• v.20 no.5
• /
• pp.655-663
• /
• 2012

Due to increased interest in character costumes, the field of animation character costume design is gradually developing into a specialized domain. The costume-making process for animation characters presents many differences from the costume-making process for regular apparel. However, there remains insufficient research on the actual process of making the character costumes used in stop motion videos both in Korea and abroad. The purpose of this study is to establish a costume design process for animation characters. Furthermore, this study presents a case study on the costume planning and making process for 3D stop motion animation characters. The character costume-making process was segmentalized into the following stages: character analysis stage, character modeling stage, and character costume making stage. In the character analysis stage, the investigator analyzed the character's movements, designed the character images, and analyzed the movements and motions of the animation characters. After completing character modeling, this study proposed a method for making the character costume. The style of the character costume was designed, and the structural design reflected the position and size of joints as well as the angle of movements. The patterns of the character costume were produced through dimensional tailoring after measuring the body size of the character. Afterward, the costume was completed after passing through the fitting and revision stages. The clothing material was selected to fit the colors and feelings shown in the illustration. To complete the costume after comparing it with the initial illustration, it was revised based on the assessment of its volume and overall atmosphere.