• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Proceedings of the Korea Multimedia Society Conference
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• 2000.04a
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• pp.437-440
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• 2000

복지형 정보단말장치로 청각장애인과 건청인과의 커뮤니케이션은 지원하는 것을 목적으로 수화 애니메이션 생성시스템을 제안, 개발하고 있다. 이 시스템에서는 신체의 각 부위의 움직임을 주목한수화 단어 기술방식을 기초로 하여 컴퓨터그래픽(CG) 애니메이션 수화 단어 동작을 생성하고 있다. 이 애니메이션에 대하여 실제로 청각장애인을 대상으로 수화단어 100단어 대하여 평가실험을 행한 결과 평균76%의 인식율을 얻을 수 있었다.

• Journal of Korea Multimedia Society
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• v.4 no.3
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• pp.238-246
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• 2001

We have developed the sign-language synthesis system, which can be applied for intelligent terminal equipments, for the purpose of communications between normal people and the hearing-impaired. In the system, we generate the behavior of the sign-language words using CG animation based on Motion-Primitives of the motion observed of each legion of the body in the generation of words, the conventional system was difficult to control the shape of hands and the motions of hands and shoulder, requiring lots of time for the processing. Also it is a big problem to make a large database of sign-language, because it requires over 5,000 words to translate the sign-language. Therefore, in this paper, we propose the new system that is easy to construct the database by using Motion-Primitives, which can make paths of various motions more smooth than conventional systems. We have tested 100 words of the sign-language against the hearing-impaired with the proposed system. As the result of testing by the proposed system, we have earned a good recognition rate with 82%. On the other hand, we had earned the recognition ratio with 76% by using the former system.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.708-712
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• 2007

In computer graphics, fluid dynamics are used for animating and expressing the various special effects of water. Although the algorithms that were impossible through the hardware at that time become to be possible in real time, it still requires a lot of time to achieve the realistic and detailed expressions. Therefore, there are many researches on the techniques of balancing between performance and quality. Specially in environments with the game context which express the interaction between water surface and 3D objects in the wide area such as sea or lake according to user's request, it must give priority to the executive performance preserving the visual reality even though physical reality is sacrificed. In this paper, we propose a method for the realtime animation of interaction between water surface and 3D objects using the linear convolution of height fields and the bounding spheres of objects.

• Cartoon and Animation Studies
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• s.49
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• pp.203-220
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• 2017

In the field of visual arts, the introduction of synthesis allowed us to express various expressions that were outside the constraints of time and space. Digital synthesis is constrained by realistic representation due to technical limitations. However, it is no exaggeration to say that after digital synthesis has been fully established, at least the limits of image representation through synthesis have almost disappeared. The existing research papers on composing are either technical studies on the production techniques, or the synthesis was mainly focused on the change of the space-time concept and meaning of the visual arts. I felt the need for research on. In addition, I felt the need to look back on the changes in my view of art. Therefore, in this paper, rather than dealing with the conceptual theory of the technical part or spatio-temporal extension, it is necessary to classify it as natural, heterogeneous, heterogeneous and natural according to the traits revealed in the artistic expression of art, And diversity.

• The Journal of the Korea Contents Association
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• v.6 no.9
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• pp.164-173
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• 2006

As the CG images in the films and the games are getting more realistic by the development of computer graphics, the requests of technique that can develop the various digital contents has also increased. However, the techniques developed for the studies and simulations of the ecological system and adaptation in the ocean, are insufficient compared with those on the ground. This paper propose a method of modeling to simulate the growth of ocean objects according to the variation of virtual ocean environment and the efficient metamorphosis based on the movement of the objects. By modeling the ocean objects with the anisotropic metacubes, it is possible to represent easily the growth and metamorphosis of fishes as the movement in the virtual environment of ocean.

• Cartoon and Animation Studies
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• s.22
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• pp.47-63
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• 2011

Recently, contemporary cultural contents have been shown its diversity changes followed by the birth of new media platforms with consumers' new needs in the global market. Also, developments of Internet and computer system networks are the main contributors of making this changes happened rapidly. This study aims to know that how to usefully use those new media platforms through the great example of stop-motion animation music video by analyzing its production and marketing process. The music video production had been focused to be completed with high quality by adjusting the production process economically in spite of the relatively short period(less than one month)from its crank-up to the deadline. Because the production was planned that main characters lead the whole story, the creative team had been tried to reduce the production hours by commonly use the same mold when they make original clay models by collecting the similarities of characters' appearances. By using CG technic, could overcome the visual monotonous from the similarities which inferred above. Also, the repeated rhythm in the music video, the similar scenes of backgrounds were commonly used by copy of the original scene. At the point of directing, the creative team considered both economical and art aspects for the quality work. In details, they divided the scenes into foreground and background, and removed unnecessary parts to save the production hours and budget but make depth of fields in the scenes. Except the viral marketing purposes, was searching for the methods to compensate the production cost. For this, the characters in the music video dressed the same T-shirts which are world-cup logo on, and those were designed for the sale after released the music video. Even the result of the sales was not enough to satisfied, it was estimated a great attempt to the domestic animation industry.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.40 no.1
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• pp.59-73
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• 2003

As a means of overcoming the linguistic barrier between different languages in the Internet, a new sign-language communication system with CG animation techniques has been developed and proposed. In the system, the joint angles of the arms and the hands corresponding to the gesture as a non-verbal communication tool have been considered. The emotional expression, however, could as play also an important role in communicating each other. Especially, a comic expression is more efficient than real facial expression, and the movements of the cheeks and the jaws are more important AU's than those of the eyebrow, eye, mouth etc. Therefore, in this paper, we designed a 3D emotion editor using 2D model, and we extract AU's (called as PAU, here) which play a principal function in expressing emotions. We also proposed a method of generating the universal emotional expression with Avatar models which have different vertex structures. Here, we employed a method of dynamically adjusting the AU movements according to emotional intensities. The proposed system is implemented with Visual C＋＋ and Open Inventor on windows platforms. Experimental results show a possibility that the system could be used as a non-verbal communication means to overcome the linguistic barrier.