• KSII Transactions on Internet and Information Systems (TIIS)
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• v.17 no.7
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• pp.1794-1806
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• 2023

This study presents a method for capturing photographs of users as input and converting them into 2D character animation sprites using a generative adversarial network-based artificial intelligence network. Traditionally, 2D character animations have been created by manually creating an entire sequence of sprite images, which incurs high development costs. To address this issue, this study proposes a technique that combines motion videos and sample 2D images. In the 2D sprite generation process that uses the proposed technique, a sequence of images is extracted from real-life images captured by the user, and these are combined with character images from within the game. Our research aims to leverage cutting-edge deep learning-based image manipulation techniques, such as the GAN-based motion transfer network (impersonator) and background noise removal (U² -Net), to generate a sequence of animation sprites from a single image. The proposed technique enables the creation of diverse animations and motions just one image. By utilizing these advancements, we focus on enhancing productivity in the game and animation industry through improved efficiency and streamlined production processes. By employing state-of-the-art techniques, our research enables the generation of 2D sprite images with various motions, offering significant potential for boosting productivity and creativity in the industry.

• Cartoon and Animation Studies
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• s.14
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• pp.101-114
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• 2008

This article studied that the characteristics of the movement image shows clearly through the controlled movement which the experimental short animation film shows. Animation makes the short edit like live action film. In addition animation shows the movement image positively by redefining the relationship between the frames. By using the concept of the movement image, this article says the movement in animation is not only the technique but also the essential factor which makes the audiences recognize animation and causes emotion in them and the important factor which reveals the meanings of each animation.

• Cartoon and Animation Studies
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• s.15
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• pp.139-150
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• 2009

Today, China can reestablish its previously prosperous Chinese animation tradition and can make a great plan of recreating earlier characteristic Chinese animation style. In China, TV culture was already here to stay and a large number of foreign countries' animations were entering the Chinese market. Presently, Chinese animation was recognized as time order of 4points: Animation policy, Animation industry, Animation market, and culture. My studies about these issues show the Chinese animation industry has entered an advancing country. I have especially researched into solving these issues with the Korean and Chinese animation & market. As result, I have concluded that the Chinese animation industry must engage itself in foreign animation styles and global market in order to further advance its industry. To help raise its production quality & technique status, I recommend the Chinese government actually give the donations promised to the Chinese animation and culture industries as well as the education system now.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.164-171
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• 2022

The aesthetics of Japanese animation have developed in earnest since Tezuka Osamu produced TV animation . This is because provided the aesthetic foundation of '3-comma animation' and 'limited animation techniques based on 8 frames per second. In fact, Miyazaki Hayao and Takahata Isao of Ghibli studio have expanded the influence of the Japanese animation industry to the world through the production of feature animation based on 3-comma animation. Inoue Toshiyuki, who participated as an animator in many works representing the Japanese animation industry, also said that the essential feature of Japanese animation aesthetics is 3 comma animation that shows the impressive movement of the character concisely. As such, 3-comma animation technique is the main aesthetic background that has led to the industrial development of Japanese animation.

• The Journal of the Korea Contents Association
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• v.8 no.2
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• pp.100-115
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• 2008

This case study states the suitability of using the program, Flash, when producing television series animations. It states the conveniences for the users of Flash when used as an animating tool, the advantages Flash has due to compatibility with other programs, the reduction of production costs, and more. The purpose of this case study is to introduce new overseas Flash animation production techniques for easier production, technically and financially. The outcome of the analysis states the importance of training animators that are able to make high quality television series animations using the new overseas flash animation techniques.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.521-524
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• 2006

Mobile industry has been progressed rapidly with new mobile technique develpment. The mobile is a communication device for the young generation and give great additional images through animations and characters. It is expected that the mobile industry would elevate greatly in means of the animation characters that is connected directly, closely, and amicably to the sense of humane beings. Of those animations, 3D animation is a high communication technique that rinks to directly the expression of person in way of a sense of space, three dimension, and reality. Surely the new 3D animation will be developed constantly and in various way. It is consideralbe that the manufacture of 3D mobile animation links closely to cartoon that forms concerns of people.

• Journal of the Korea Computer Industry Society
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• v.7 no.5
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• pp.555-562
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• 2006

Computer animation is tile most advanced composite art to apply image, sound to the theme, Domestic technique is improved but still lacks creativity and content in theinternational market. In this paper, I'll notify the importance of planning and introduce narrative animation to produce their own style of animation. A successful career in the digital animation industry requires more than just technical expertise. It also demands creative mastery, a sense of wonder and boundless imagination. This unique hands-on program combines traditional, creative and technical skills and develops digital artists, not software technicians. Especially, people involved in the industry shouldrecognize a special quality of narrative animation in today's 3D animation and game- saturated climate. Therefore, they are able to create a new form of high-quality animation. It will be expected to promote digital animation education with a new index.

• Journal of Korea Multimedia Society
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• v.12 no.12
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• pp.1736-1744
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• 2009

In this paper, we present an animation sketching system using a two layered approach. Animation sketching is a popular technique to create informal animations but it is often suffered by the low-quality output due to a trade-off between convenience and complexity. Our aim is to support sketching practical animation scenes easily and fast while not complicating the simple sketching interface. The key idea is to combine two conceptual stop motion layers, a whiteboard and cutout animation layer, in a seamless interface. As a background, the whiteboard animation layer handles stroke-oriented objects, while the cutout animation layer takes charge of transform-oriented objects. We found that this approach enables users to express more complicated animation fast while still maintaining a concise sketching interface. We demonstrate the usability and flexibility through resulting animations from user experiments.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.894-898
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• 2007

Now a day, lots of the animations include TV series Animations are made by the technique of 3D Animation. However, 3D Animation obstructs visual elements and deteriorates an acquaintance with the limit of unfamiliar material methods and dispersion of light. For this reason, a large of number of 3D Animations are repacked with the style of 2D Animation. Most of previous studies for the conversion of output 3D Animation to the style of 2D Animation are analysis for 2D rendering techniques. In case of Non-realistic 3D Character Animation, first and foremost it needs investigation of the basic producing method for the 2D Animation is different with the realistic expression way of the one for the 3D animation. For a case study, expression methods for the non-realistic and the non-actuality 2D Character Animation come with impossible ways in the real life. This study for the 3D Animation with the style of 2D Animation is to investigate on the keynote for effective expression methods, when we turn 3D Animation into the style of 2D Animation.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.150-161
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• 2017

The short animation directed by Sang-Ho Yeon has led the sympathy and reflection of audiences through reveling the violence of the military in the form of the social criticism film. The explores the social value of animation by the content of social criticism, not for entertainment uses but for public interest. This research addresses how the function of social criticism implements in animation film, especially, its narratives and direction. In the light of this, firstly, literature will review the general characteristics of social criticism films, Secondly, based on literature reviews, analysis tools will be drew, thirdly, the case study regarding will be processed by focusing on The function of social criticism, the technique of direction and expression of animation. As a result of this research, shows unique traits because of the hierarchical and exclusive characteristics of military culture, which differs from general characteristics of social criticism films dealing with historic and social issues. In addition to this, the function of social criticism is effectively implemented in animation film, by the creative narratives and technique of direction by a director, Sang-Ho Yeon.