• 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.

• Cartoon and Animation Studies
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• s.11
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• pp.73-85
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• 2007

The purpose of this study is to analyze collage of animated film is able to build up total embodiment of thought. Surrealism Collage intend to combination of various characters including new attempts and pluralistic features. In particular, the fantastic, irrational characteristics of expression and extravagant and unfamiliar artistic technique of Surrealism Collage are actively introduced and explored as elements to make new image and suggest the possibility of another reality. This image has been connected Raoul Servais animation film called . The use of this film technique gives a touch that is sensibly different from the digital encrustation technique which justifies it. Representative animator of Surrealism Raoul Servais expands the domain of his own creative works by succeeding to Surrealistic movement.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.59-63
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• 2005

2D And 3D the animation joins in and with development of computer technique it accomplishes a continuous growth and a development. The computer hardware and software technique quick change(evolution) it leads and 2D and 3D the animation is the tendency which provides the growth which is infinite. 3D Present time in the technique which produces the animation it uses the Motion Capture System which and it is using plentifully 3D the process which produces the animation of game Character it leads and against a Motion Capture technique it examines and against the animation production which it follows in quality of the Character it researches.

• Archives of design research
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• v.19 no.5 s.67
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• pp.85-94
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• 2006

In the 2000s, character animation technique is used at domestic TV character animation ads of diverse items displaying new character patterns and expression techniques of a high level. This study intends to identify the characteristics of TV character animation ads based ell character aesthetic theory and advertising rhetoric theory, and based on these findings, analyze trend and stream of expression in TV character animation ads by examining and classifying advertisements released in the past four years by items, character patterns and expression techniques. The results showed that TV character animation ads have been concentrated on confectionery, beverages and foods in the past, but the items have been diversified through the years. With reference to character patterns, personal and animal characters had made the main pattern, but recently product, virtual and composite characters are on the increase. In expression techniques, cell animation technique was found to be the most frequently used technique, which was followed by full-3D, cell and live action, cell and 3D and the clay animation technique. A trend like this suggests that TV character animation advertising items will continue to increase in line with the participation level of targets. In the meantime, personal and animal characters will continue to make the leading character pattern, while virtual and composite character patterns emerge in new forms. In expression techniques, live action combined with 30 technique and techniques using new expression materials will appear with cell animation technique as a central figure. As a whole, Korean character animation advertisement is expected to keep on growing to a new dimension in the aspect of items, character patterns and expression technique.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.

• 제어로봇시스템학회:학술대회논문집
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• 2001.10a
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• pp.117.1-117
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• 2001

A motion handling technique that transforms existing animation motion data to a mathematically well-defined form. The transformed data can be utilized in any kind of autonomous motion creation process that handles such cases as changed environment, structure (kinematic / dynamic) modification, or changed constraints. To overcome the computational burden of traditional spacetime optimization, we divide full motion data frame into several parts, and we applied the transformation technique to each part using an optimizing tool(CFSQP). To show Ire feasibility of the proposed method, a comparison study results with traditional technique is included.

• Journal of the Korea Computer Graphics Society
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• v.23 no.5
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• pp.57-66
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• 2017

In this paper, we suggest a novel physics-based real-time animation technique for vehicles, and introduce an easy and intuitive animation authoring tool which uses our proposed technique. After a user specifies a trajectory of a virtual car as input, our system produces a more accurate simulation faster than a previous research result. This is achieved by a trajectory splitting method based on directional features and a trajectory library. As a result, the user can create not only a car animation including lane changing and passing, but also a crash animation which is a rarely researched topic. Also, we propose a virtual car structure that approximates a real car's structure for real-time simulation, the resulting animation shows high plausibility such as a small vibration which occurs when the virtual car breaks and a deformation of when a car accident happens.

• 제어로봇시스템학회:학술대회논문집
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• 2001.10a
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• pp.117.3-117
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• 2001

This paper deals with a method for creating animation by interaction with animation operators. Operators are able to edit/transform any given motion data to more natural animations by the motion editing method proposed in this paper. The proposed technique is especially useful when some paris of character structure are changed. The system to be proposed is designed to fully utilize the experience of animation operators as well as to accomodate semi-automation process with spline interpolation. An example for retargeting a given motion data to a new character of dramatically changed kinematic structure.

• Cartoon and Animation Studies
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• s.9
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• pp.353-379
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• 2005

• Journal of the Korea Society of Computer and Information
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• v.24 no.4
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• pp.19-26
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• 2019

In this study, we study the development and control of motion of 3D character animation and discuss the development direction of technology. Character animation has been developed as a data-based method and a physics-based method. The animation generation technique based on the keyframe method has been made possible by the development of the hardware technology, and the motion capture device has been used. Various techniques for effectively editing the motion data have appeared. At the same time, animation techniques based on physics have emerged, which realistically generate the motion of the character by physically optimized numerical computation. Recently, animation techniques using machine learning have shown new possibilities for creating characters that can be controlled by the user in real time and are expected to be developed in the future.