• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.

• Cartoon and Animation Studies
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• s.15
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• pp.73-88
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• 2009

Light is a basic force that functions in all the formative arts. Light (brightness) is an important subject of study in that it contains the force to control emotion and has much influence upon the shaping of a visual image and a feeling. If an artist systematizes the characteristics of brightness and creates an image, he or she can acquire a useful tool of expression. Because light is a powerful medium of expression of a visual image, a study on the characteristics of brightness for the emotional expression of an image in the contextual relationship with narratives seemingly has a crucial meaning. Emotion is influenced by a visual image very much, and a visual image is inevitably influenced by light. The brightness by light is basically classified into bright, dim, and dark. And the three basic stages of brightness specialize an image according to the setting of scope of maximal and minimal luminosity, and the image is further differentiated by the size of bright portion or dark portion. Since emotion is such a phenomenon as immaterial and psychological, it is difficult to break down it. Furthermore, clarifying the principle of an image in which the shade of light is associated is impossible. However, the width of luminosity and the change of size can give quite a change to a visual image, and the visual image has further influence upon man's emotion too. Although the influence of brightness upon a visual image varies with extents, circumstances, and personal tastes and interests, even the same image clearly changes with the adjustment of brightness.

• Journal of KIISE:Computing Practices and Letters
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• v.15 no.10
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• pp.791-795
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• 2009

There is a need for a system independent human data format that doesn't depend on a specific graphics tool or program to use interoperable human data in a network environment. To achieve this, the Web3D Consortium and ISO/IEC JTC1 WG6 developed the international draft standard ISO/IEC 19774 Humanoid Animation(H-Anim). H-Anim defines the data structure for an articulated human figure, but it does not yet define the data for human motion generation. This paper discusses a method of obtaining compatibility and independence of motion data between application programs, and describes a method of simplifying motion retargetting necessary for motion definition of H-Anim characters. In addition, it describes a method of generating H-Anim character animation using arbitrary 3D character models and arbitrary motion capture data without any inter-relations, and its implementation results.

• Journal of the Korean earth science society
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• v.21 no.6
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• pp.655-662
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• 2000

According to the development of internet with Web, WBI has greatly influence on the present educational society. However, it is difficutly to design the web of the dynamic motions of graphics or animation using general programming technique based on high or low level language. Recently, Mecromedia Company supported a tool that is called Authoware which is the leading visual rich-media authoring solution for creating Web and online learning applications, to solve the problem easily. In the paper, using the the Authoware we tried to develop a web page about tidal variations due to sea level change and intertidal zone variations using the Authorware 5.1. To do this, we used the ocean survey data of Iho beach and the tidal level data based on Tidal Tables of Cheju harbor. The results showed that the Authorware was very useful to construct the simulation of tidal phenomena on web. Therefore, the Authorware can be applied to the simulation related with animation and dynamic motions for the other WBI objective.

• Cartoon and Animation Studies
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• s.48
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• pp.85-116
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• 2017

The purpose of this study is to analyze conditions that robots depicted in cinematographic works like animations or movies sympathize with and form an attachment with the nuclear person and organize characterizing strategies for emotional sympathetic robots. Along with the development of technology, the areas of artificial intelligence and robots are no longer considered to belong to science fiction but as realistic issues. Therefore, this author assumes that the expressive characteristics of emotional sympathetic robots created by cinematographic works should be used as meaningful factors in expressively embodying human-friendly service robots to be distributed widely afterwards, that is, in establishing the features of characters. To lay the grounds for it, this research has begun. As the subjects of analysis, this researcher has chosen robot characters whose emotional intimacy with the main person is clearly observed among those found in movies and animations produced after the 1920 when robot's contemporary concept was declared. Also, to understand robots' appearance and behavioral tendency, this study (1) has classified robots' external impressions into five types (human-like, cartoon, tool-like, artificial bring, pet or creature) and (2) has classified behavioral tendencies considered to be the outer embodiment of personality by using DiSC, the tool to diagnose behavioral patterns. Meanwhile, it has been observed that robots equipped with high emotional intimacy are all strongly independent about their duties and indicate great emotional acceptance. Therefore, 'influence' and 'Steadiness' types show great emotional acceptance, the influencing type tends to be highly independent, and the 'Conscientiousness' type tends to indicate less emotional acceptance and independency in general. Yet, according to the analysis on external impressions, appearance factors hardly have any significant relationship with emotional sympathy. It implies that regarding the conditions of robots equipped with great emotional sympathy, emotional sympathy grounded on communication exerts more crucial effects than first impression similarly to the process of forming interpersonal relationship in reality. Lastly, to study the characters of robots, it is absolutely needed to have consilient competence embracing different areas widely. This author also has felt that only with design factors or personality factors, it is hard to estimate robot characters and also analyze a vast amount of information demanded in sympathy with humans entirely. However, this researcher will end this thesis as the foundation for it expecting that the general artistic value of animations can be used preciously afterwards in developing robots that have to be studied interdisciplinarily.

• Journal of Korea Multimedia Society
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• v.7 no.2
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• pp.251-263
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• 2004

The Synchronized Multimedia Integration Language (SMIL), recommended by the World Wide Web Consortium (W3C) in 1998, is an XML-based declarative language to synchronize and present multimedia documents. SMIL can create new multimedia data integrating various types of multimedia objects which exist separately such as text, video, graphics and audio. It can support synchronization of multimedia data which are limited in current HTML-based Web technology. For its popularity, it is required to develop a multimedia server guaranteeing Quality of Service (QoS), authoring tool and player. For developing a SMIL authoring tool and player, the technologies are essentially required to read and analyze a SMIL document and to play synchronized various types of media objects in a timeline. In this paper, we describe a design and implementation of an event processor which supports SMIL 2.0 timing model. Moreover, we also develop a SMIL 2.0 player using the proposed event processor. This will facilitate the play of SMIL contents, so that it can contribute to the prosperity of SMIL technology It is possible to reuse in various language profiles defined in the SMIL standard. This player is expected to be utilized in other standard integrating SMIL such as XHTML＋SMIL and SMIL Animation.

• Journal of Korea Game Society
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• v.10 no.6
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• pp.125-135
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• 2010

Body motions are commonly used to express emotions in virtual characters based on body parts, which are frequently employed in games. For this purpose, it is necessary to create different types of animations corresponding to the emotions shown by virtual characters. Therefore, a large of number of animations should be created for different gestures depending on the level of human emotion. In this paper, we propose a method for displaying gestures with various degrees of complexity on the basis of the level of emotion in virtual characters. In particular, this method can be used to display passive and exaggerated expressions by adding weighted values to the frames that rotate the characters to make them show different gestures depending on the level of emotion. To verify the effectiveness of the proposed method, we use the Emotional Animation Tool (EATool), with which body-weighted values can be applied to the actual or virtual characters. After assigning different emotions to walking motions in the newly developed environment, we apply different body-weighted values depending on the level of each emotion. The results of a comparative test reveal that a given type of walking motion differs with the level of emotion.

• Archives of design research
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• v.12 no.4
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• pp.53-60
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• 1999

Nowdays many people using and learning 3D Software. However, like artists drawing by brush, that most of designers misunderstood that 3D Software is cover everything as a tool. This sort of situation, change of 3D Software will come to the front very seriously. It can be result about lack of understanding 3D in general and some kind of illusion about 3D Software. These were changing like training school that was teaching only function for technique. Therefore, to prevent above things, this research paper will be based on a conception, that compare with 3D which called cyber space and the real world. That is explanation of construction about 3D Software generally, that will basis how does people think about the world. It function of 3D Software will take concrete shape gradually, which is after general description and understanding and the users will be quick to understand, no need to difficult of access for beginners. In addition, higher education ay university is no longer training center. Lastly, it will be able to capability as an essentially figure. Nowdays many people using and learning 3D Software. However, like artists drawing by brush, that most of designers misunderstood that 3D Software is cover everything as a tool. This sort of situation, change of 3D Software will come to the front very seriously. It can be result about lack of understanding 3D in general and some kind of illusion about 3D Software. These were changing like training school that was teaching only function for technique. Therefore, to prevent above things, this research paper will be based on a conception, that compare with 3D which called cyber space and the real world. That is explanation of construction about 3D Software generally, that will basis how does people think about the world. If function of 3D Software will take concrete shape gradually, which if after general description and understanding and the users will be quick to understand, no need to difficult of access for beginners. In addition, higher education ay university is no longer training center. Lastly, it will be able to capability as an essentially figure.

• Cartoon and Animation Studies
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• s.47
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• pp.171-191
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• 2017

In recent years, artistic programs considering both physical and psychological changes in old age have been implemented in various fields. These programs include participatory activities such as painting, play, singing, photography, dance, cartoon animation and so on. It is known that culture and art education programs lead people to emotional growth and social interaction. In particular, culture and art education for the elderly tends to affect positively on the quality of life. However, there are still lack of teaching methods and curriculums in the filed. It is considered that cartoon has a great potential as a teaching method of culture and art education for elderly. This study aims to discuss ways to vitalize the role of cartoon using the qualitative data of four elderly participants in culture and art education programs. The case study analyses reveled that cartoon program for the elderly not only plays a role to make their daily lives more enthusiastic but also provides a social passage to communicate to world. The Cartoon program designed for the elderly was a tool to reveal their inner world to others, and shed new light on their past memories, and long for the precious moments in life. At the same time, it was a meaningful time to lessen the depth of loneliness in old age, and even to heal their physical disability and emotional conflicts. The hardest part of drawing an cartoon was when it did not turn out as they wished. Based on the study results, the researchers explored the therapeutic usefulness of cartoon for the elderly, and discussed the ways to activate it in the field of elderly welfare.

• The Research Journal of the Costume Culture
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• v.21 no.6
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• pp.793-809
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• 2013

This study examined the trend and aesthetic value of image fashion of the 21st century through empirical case study with image media as fashion communication tool. This research is intended to provide the basic material for both better comprehension of image fashion as emotional medium in the modern fashion and more activated research on interactivity and communication in the fashion communication area by examining how fashion designers deliver their design philosophy, thought and vision via image fashion. For the research method, the theoretical study was realized about image media and fashion communication with focus on related literature and precedent research. Also, the empirical study was performed about image fashion covering 2005 through 2012 by the group of fashion film, fashion animation, and video look-book. Fashion image in the research was developed into various layouts that include the story based or non-story based creative images, many kinds of episode or behind-the-scenes story in the prep course of collection, designer's personal life or product world, or re-cutting course after collection. It also played a communicative role for public relation of new product ad, concept conveyance of seasonal collections, means as online collection to substitute for the existing offline collections, and better understandings of designer or fashion brand. Aesthetic values derived from case analysis of image fashion in the modern fashion of 21st century appeared in the form of trans-boundary as convergence art, fantasy in harmony with virtuality and reality, and interactivity among the humans, image media and fashions.