• Archives of design research
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• v.17 no.3
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• pp.39-50
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• 2004

According to the survey done among the 20s of university students in Oct. 2002, the female animation characters from Korea and Japan have almost no distinction. Speaking of the features of the characters, they have big eyes, a long nose, an oval face. However, their eyes and mouths are expressed exaggeratedly, which makes them hard to get a good impression from the people. It seems that the identity of Korean female animation characters is disappearing in terms of the copycat from western animation characters. Through the research, the features of 20s of Korean and Japanese girls are compared and they were reviewed from the ideal and biological point of view. Then, the animation characters, which physiognomy has been applied, are created based on result, which I am trying to find the standard model of Korea female animation character. As an ideal point of view, it turns out that Korean has a positive reaction on the female animation characters with the cute & introspective characteristics. On the contrary, Korean has a negative reactions on the ones that were created in a biological viewpoint and has a highly sensitive and discontented characteristics. This shows that Korean do not prefer the female animation characters with highly sensitive and discontented characters. According to the survey, 73.5% of people could find the same 7 kinds of female characters which are shown frequently in the animation. This means that the oriental physiognomy is an effective way to approach to the features of the character's face depending on the characteristics of each female characters. The characters in this study are based on real face of female, but we can create the various animation characters if we apply the partial feature of distinctive each personal face.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.159-170
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• 2009

It is very important to extract the expression data and capture a face image from a video for online-based 3D face animation. In recently, there are many researches on vision-based approach that captures the expression of an actor in a video and applies them to 3D face model. In this paper, we propose an automatic data extraction system, which extracts and traces a face and expression data from realtime video inputs. The procedures of our system consist of three steps: face detection, face feature extraction, and face tracing. In face detection, we detect skin pixels using YCbCr skin color model and verifies the face area using Haar-based classifier. We use the brightness and color information for extracting the eyes and lips data related facial expression. We extract 10 feature points from eyes and lips area considering FAP defined in MPEG-4. Then, we trace the displacement of the extracted features from continuous frames using color probabilistic distribution model. The experiments showed that our system could trace the expression data to about 8fps.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.143-144
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• 2016

깊은 전통 문화를 지닌 중국 전통 요소들은 줄곧 예술 창작의 발원지였고 사람들에게 잘 알려진 신화, 전설과 고전 명작들을 탄생해냈다.<대성귀래>의 성공은 단지 수많은 애니메이터들의 꿈일 뿐만 아니라 중국 전통 요소들의 재차 발광과 승화이다. <대성귀래>는 중국 고전 <서유기>를 배경으로 영화 전반의 제작에 중국 요소를 활용함과 동시에 사상에 대한 전통 문화의 속박을 깨뜨려 현실 생활과 절묘하게 결합해 대중들에게 전면적이고 새로운 영화 이념을 펼쳐냈다.<대성귀래>를 연구 대상으로 하는 것은 우리가 중국 애니메이션 콘셉트의 발전 추이를 알아가는데 새로운 시각을 제공할 것이다. 본문은 중국 전통 요소인 <대성귀래> 속 배역과 장면 및 배경 음악의 활용에 대한 분석을 통해 <대성귀래>속 중국 요소가 뛰어난 빛을 낸 활용에 대해 연구하였다.

• Proceedings of the Korean Information Science Society Conference
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• 2012.06c
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• pp.406-407
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• 2012

Texture transfer is a NPR technique for expressing various styles according to source (reference) image. By late 2000s, there are many texture transfer researches. But video base researchers are not active. Moreover, they didn't use important feature like directional information which need to express detail characteristics of target. So, we propose a new method to generate texture transfer animation (using video) with directional effect for maintaining temporal coherence and controlling coherence direction of texture. For maintaining temporal coherence, we use optical flow and confidence map to adapt for occlusion/disocclusion boundaries. And we control direction of texture for taking structure of input. For expressing various texture effects according to different regions, we calculate gradient based on directional weight. With these techniques, our algorithm can make animation result that maintain temporal coherence and express directional texture effect. It is reflect the characteristics of source and target image well. And our result can express various texture directions automatically.

• Cartoon and Animation Studies
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• s.10
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• pp.137-148
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• 2006

The purpose of this article is to study the aspects of transformation of Treasure Island(1883), Robert Louis Stevenson's novel in two feature animations (1987) of Osamu Dezaki and (2002) of Ron Clements and John Musker by analyzing characters. In the original novel, as a typical wicked villain and traitor, Long John Silver functioned as an obstacle in Jim Hawkins' Bildungsroman. And Osamu Dezaki laid great emphasis on the friendship between Jim and Stiver His might be an excellent example of the faithful adaptation. But in Disney's , from initial mistrust, to friendly co-worker, to mentor and protege, and finally, to mutual rescuers, Jim and Silver have created a permanent bond that can never be broken - their coming together has changed both their lives forever. Jim's voyage of searching for treasure is not just for the discovery of material riches unimaginable but also for the discovery of his own true worth. Making the Sliver/Jim relationship more focused, Jim ends up discovering not just an obvious treasure; he discovers an inner treasure. From this viewpoint, this feature film could be an outstanding transformative adaptation.

• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.84-93
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• 2008

Since 2005, the production of feature 3D animation has been growing up worldwide and technology of hardware and software has been advanced fully enough to get over the limitation of visual expression, so that rendering weight of the whole work process is getting more important. A final file in the state right before rendering increases. the data size gets bigger. Therefore, if such final file is rendered as it is, the production schedule may not be met. For, some needless time shall be spent to call and save a high-capacity file in amendment work and to execute the rendering entirely again in addition to amendment. In this study, Maya API [1]was used to study the efficient information amendment method of extracting the rendering layers' files in order to develop a tool that executes rendering by applying such method. As the result, compliance to production schedule that is important in animation production can be done through the independent rendering tool based layer rendering that can maximize the efficiency of amendment work.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Journal of Digital Convergence
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• v.17 no.6
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• pp.373-380
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• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Cartoon and Animation Studies
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• s.24
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• pp.223-246
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• 2011

Today, cultural content industry could be defined to service business rather than manufacturing business because of its own trait. Also, it has the realistic restriction that it can't hold the dominant position in the market competition when it can't provide consumers satisfaction regardless of its quality or degree of completion. In other word, it can only expect great success when the business plan and the activities get the perfect balance with its best quality and perfect of completion. As the result, it emphasizes the importance of business competition in the global market. In briefly, there is no doubt that the creativeness of content is very important in the cultural content industry but in the future, making system to maintain the distribution process and share the profits fairly will be taken more important role. Especially, animation genre has the feature, which compares to other genres, such as film or TV drama, would be free from cultural barriers, and it is a great advantage. So to speak, animation can get little influence from cultural discount. However, Korean animation can't use the advantage properly for the foreign distribution because of its poor infrastructure and short of professional human resources. For those reasons, it has been needed to set up the realistic and specific action plan to overcome the situation. Therefore, considering those needs and the situations of Korean animation facing, making B2B online marketplace could be a great solution. The online marketplace stands for taking more efficient and broad distribution channel instead of the passive way, which we have now. If we have the B2B online marketplace, we can share all the information about the Korean animation with the potential customers whom live outside of Korea at real time. It also could be use to the windows of multiple distribution, which can make additional profits and activate the optional markets for the Korean animation. Through the method, Korean animation would be expected to get the higher international competitiveness, and it would be developed in quality and quantity of the business. Finally, it would be a great chance to Korean animation, which can get the unique brand power by improving the backward distribution circumstances.