• Cartoon and Animation Studies
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• s.16
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• pp.113-124
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• 2009

This study shows that there is an essential difference between colors of animation and live action film through the expressive colors of 2D animation as distinct from three dimension space. While live action film has an obvious object of representation, the image of 2D animation is a creature made by human without the process of mechanical representation. And this is revealed sharply in the expressive colors of 2D animation. Therefore the expressive colors of 2D animation are the important points in which the autonomous meaning of animation image is revealed.

• Journal of Korea Multimedia Society
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• v.10 no.10
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• pp.1240-1250
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• 2007

We introduce technique for color transformation of characters between scenes in 2D animation. As colors are perceived differently owing to light source, so character colors like clothes, skin and so on are colored differently owing to atmosphere of each scene. This paper is made an attempt to solve mathematically color assignment of characters which has been worked by hand so far. We can find a matrix for color transformation of characters by appling principle of color stimulus to our algorithm. In scenes of existing 2D animation, basic colors and colors under light source of characters are used for the matrix. And matrixes are obtained for each scenes of 2D animation. If we are known basic colors of some characters, you can derive character colors under other light source environments using the matrix. Therefore, this paper describes automatic color transformation of characters between animation scenes.

• Journal of Korea Multimedia Society
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• v.11 no.9
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• pp.1286-1295
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• 2008

Colors of 2D animation characters are generally assigned by art directors' subjective color sense. Even same characters should be colored differently according to the mood of animation scenes. In this study, we introduce the model for automatic color transformation of characters by using neural network. It can not only create automatically colors of characters which are good matched with 2D animation scenes but also reproduce art directors' subjective color sense. Specifically, this neural network model is initially made to learn the patterns of color change between basic colors of characters and colors of characters in various scene. Then if you know basic colors of some characters, you can derive colors of characters under other light source environments using the learned neural network. Subjective ratings(which is adopted to verify the proposed model) by color experts on the automatically transformed colors showed that the colors created by the model tended to be evaluated natural.

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

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.203-207
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• 2008

The production process of the 3D-animation roughly consists of the pre-production, the main-production and the post-production. The pre-production, which is not only the outset of whole procedure among them but also the process to predict and design overall plan collectively is the most important step. A much more specific and perfect pre-production structure is needed to produce a high quality 3D-animation. Moreover, the standard 3D efficient lighting model is gathering strength as 2D and 3D artworks which are completed in this step maintain colors and looks in the main as well as post-production consistently. This study will make up for the weak points and help both to predict the color range of the overall 3D-animation product and to promote the application range of the 3D lighting system on the pre-production stage by developing the standard 3D lighting model applicable on the early step and calculating its lighting parameter properties.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.97-109
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• 2000

The purpose of this study is to apply 3D computer graphics in fashion design as a creative medium and it attempts to fine out what advantages 3D technique can offer to fashion design. For this purpose, this study, first, tries to develop a 3D digital model in which designer can select design, color , pattern and fabric palette whatever necessary . This study uses of the software named 'Poser of Fractal Design' and the and the 3D digital model comprises four stages ; body modeling, item design (item coordination), color design (color coordination), pattern and fabric design (pattern and fabric coordination). Secondly, this study seeks to accumulate a data base which was produced in the course of case studies, which have applied 3D digital model to design. The outcome of the case studies shows that 3D digital model can enhance designing in the following four aspects. ⅰ) It can give more freedom to designer to try various ideas, revise and modify them, It can also produce random generation. Through this process, the designer test various input and output without damage on fabric after revision and alteration. ⅱ) It can help designers to enhance their accuracy. Since fault in the design developed by the 3D digital model can be detected in advance, designers can make correlation before actual work begins. In the end, designers can express their ideas and intention accurately as well as freely. ⅲ) Since design developed by the 3D digital model can be shared on screen by various actors in the course of priduction such designers , merchandisers, and supervisors, it can help communication between and cut the time of feedback.ⅳ) By using the 3D digital model, designers can work from the begining with awareness of actual outcome their design, since the 3D digital model provide animation, which helps designers to envisage visual changes as they apply various items, colors, pattern and fabrics.

• 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.

• Journal of Korea Multimedia Society
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• v.12 no.8
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• pp.1128-1141
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• 2009

Graphical expressions are continuously improving, spurred by the astonishing growth of the game technology industry. Despite such improvements, users are still demanding a more natural gaming environment and true reflections of human emotions. In real life, people can read a person's moods from facial color and expression. Hence, interactive facial colors in game characters provide a deeper level of reality. In this paper we propose a facial color adaptive technique, which is a combination of an emotional model based on human emotion theory, emotional expression pattern using colors of animation contents, and emotional reaction speed function based on human personality theory, as opposed to past methods that expressed emotion through blood flow, pulse, or skin temperature. Experiments show this of expression of the Facial Color Model based on facial color adoptive technique and expression of the animation contents is effective in conveying character emotions. Moreover, the proposed Facial Color Adaptive Technique can be applied not only to 2D games, but to 3D games as well.

• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.12 no.5
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• pp.512-520
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• 2019

It is quite useful to represent speeches visually for learners who study foreign languages as well as the hearing impaired who cannot directly hear speeches, and a number of researches have been presented in the literature. They remain, however, at the level of representing the characteristics of speeches using colors or showing the changing shape of lips and mouth using the animation-based representation. As a result of such approaches, those methods cannot tell the users how far their pronunciations are away from the standard ones, and moreover they make it technically difficult to develop such a system in which users can correct their pronunciation in an interactive manner. In order to address these kind of drawbacks, this paper proposes a speech visualization model based on the relative distance between the user's speech and the standard one, furthermore suggests actual implementation directions by applying the proposed model to the visualization of Korean vowels. The method extract three formants F1, F2, and F3 from speech signals and feed them into the Kohonen's SOM to map the results into 2-D screen and represent each speech as a pint on the screen. We have presented a real system implemented using the open source formant analysis software on the speech of a Korean instructor and several foreign students studying Korean language, in which the user interface was built using the Javascript for the screen display.