• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.129-134
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• 2009

Recently, percentage of people who use SMS service is increasing. However, it is difficult to express own complicated emotion with text and emoticon of exited SMS service. This paper focuses on that point and practical uses character animation to express emotion and nuance correctly, funny. Also this paper suggests emotion based gesture animation generation system that use character's facial expression and gesture to delivery emotion excitably and clearly than only speaking. Michel[1] investigated interview movies of a person whose gesturing style they wish to animate and suggested gesture generation graph for stylized gesture animation. In this paper, we make focus to analyze and abstracted emotional gestures of Disney animation characters and did 3D modeling of these emotional gestures expanding Michel[1]'s research. To express emotion of person, suggests a emotion gesture generation graph that reflects emotion flow graph express emotion flow for probability. We investigated user reaction for research the propriety of suggested system and alternation propriety.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.153-160
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• 2005

It is within bounds to say that the mood expressed in the Scenes of 3D Animation influences by mostly setting up of 3D CG lighting. Tn the context of CG, lighting is the process of illuminating digital scenes in an artistic and technical manner so the audience can perceive what the director intends to display on the screen with the appropriate clarity and mood. The lighting has the role of making the scenes beautiful and harmonious as an aesthetics of light and color created and controlled by people. It can be also stylized in symbolic and metaphorical methods environmental mood which we pursue to expose and story which we want to express. It thus appears that the concept of lighting style is intimately related to the particular context and art direction of animation film. But unfortunately, there are no foolproof formulas to the process of lighting a scene. In short, the lighting contributes to define the style of the scene as a conditional lighting setups' elements including position, color, intensity, shadow's area and scope. But at the same time, we must not overlook the artistic aspects that the lighting might suggest over all moods the animation genre and the style of scene like tranquility, suspense, and high-drama.

• Proceedings of the KIEE Conference
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• 2000.11a
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• pp.89-91
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• 2000

This paper presents a new method for representing SSR(Subsynchronous Resonanace) Phenomena using 3-D computer graphics animation. A virtual power system simulation environment was made for simulation and visualization of SSR phenomena. It is anticipated that the proposed method would be helpful for the operator training as well as power system education.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.7 no.2
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• pp.328-333
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• 2003

This paper did to do with 18 muscle pairs that do fetters in anatomy that influence in facial expression change and mix motion of muscle for face facial animation. After set and change mash and make standard model in individual's image, did mapping to mash using individual facial front side and side image to raise truth stuff. Muscle model who become motive power that can do animation used facial expression creation correcting Waters' muscle model. Created deformed face that texture is dressed using these method. Also, 6 facial expression that Ekman proposes did animation.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.116-120
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• 2004

As the first, about symbol and metaphor of visual culture animation, I research what is the de-centered reading focused on relationship between the semiotics text and the audience. Secondly, I will study about an animation text and their relationship within it's metaphor, animation work's analysis and art directed intension(and process) on aesthetic view as a visual representation.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.314-320
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• 2023

This paper examines how the design of female characters in Disney animations is evolving over time, and explores whether these changes are related to the social status of women in modern society. We analyze in detail how Disney's female character design has undergone changes in form, characteristics, and personality with the transition from 2D animation to 3D animation, and show that the change in perception of women in modern society is behind this change. It shows. It deals with changes in the design and personality of female characters, focusing on major Disney animation works before and after 2010. Starting with the movie <Rapunzel>, released in 2010, female characters showed stronger and more active characteristics and changed from traditional Disney princesses. Disney is bringing about this social change by breaking away from the image of an independent woman and showing the growth process of overcoming hardships based on one's abilities and the support of one's family, as well as the increasing number of female characters of various races and appearances. The conclusion was reached that it shows a conscious and active willingness to accept it.

• Proceedings of the KIEE Conference
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• 2005.05a
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• pp.113-115
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• 2005

This thesis presents a method for 3D modeling of facial expression from frontal and mirror-reflected multi-image. Since the proposed system uses only one camera, two mirrors, and simple mirror's property, it is robust, accurate and inexpensive. In addition, we can avoid the problem of synchronization between data among different cameras. Mirrors located near one's cheeks can reflect the side views of markers on one's face. To optimize our system, we must select feature points of face intimately associated with human's emotions. Therefore we refer to the FDP (Facial Definition Parameters) and FAP (Facial Animation Parameters) defined by MPEG-4 SNHC (Synlhetic/Natural Hybrid Coding). We put colorful dot markers on selected feature points of face to detect movement of facial deformation when subject makes variety expressions. Before computing the 3D coordinates of extracted facial feature points, we properly grouped these points according to relative part. This makes our matching process automatically. We experiment on about twenty koreans the subject of our experiment in their late twenties and early thirties. Finally, we verify the performance of the proposed method tv simulating an animation of 3D facial expression.

• Cartoon and Animation Studies
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• s.20
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• pp.1-14
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• 2010

The success of a three-dimensional blockbuster movie, AVARTA, brought an public attention on the expansion of three-dimensional computer applications, and it allows experts predict further hardware technology developments to support the such applications. Futhermore, an internet based infra structure and three-dimensional structure, third generation network community, advanced computer networks have influenced advancement in computer technology within the 3D game industry and the spread of 2D computer animation technologies. This advancement of computer technologies allow the industry to overcome a limitation of generating cultural design contexts existed within 2D network community. However, despite of the expansion of 2D and 3D computer technologies, a limitation of analysing designers' intentions on morphology of digital contents and user interface still exists. Therefore, the purpose of this study is to analyze (1) present conditions of the 3D industry and (2) protocols of designers' cognitive design processes based on their design communication, contents, and tools. Analysis was conducted based on literature reviews and case precedent analyses. For the analysis, a 2D Avarta sketch character was designed and then applied into a 3D game system. Observations how designers solve cultural problem within the structure via Avarta were conducted. Outcomes were then coded for further analysis.

• 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.

• Journal of Korea Game Society
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• v.8 no.1
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• pp.91-101
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• 2008

Most designers use professional 3D animation tools such as 3DS MAX to manually create animation. This manual method requires a great deal of time and efforts, and does not allow animation characters to interact with one another. In this paper, we design an AI middleware of form as 3DS MAX plug-in to solve these issues. We present an AI expression structure and internal processing method for this middleware, and the method for creating AI character's structure. It creates AI character's structure by drawing figures and lines for representing AI elements. For experiment, we have produced same animations with the traditional method and our method, and measured the task volume in both methods. This result verifies that the task volume is similar or higher than the traditional method in small-scale tasks, but up to 43% of the task volume is reduced in large-scale tasks. Using the method proposed in this paper, we see that characters in an animation interact each other, and task volume in large-scale tasks are reduced.