• Proceedings of the KAIS Fall Conference
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• 2003.11a
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• pp.10-15
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• 2003

In computer graphics, most animations of characters have been created using the traditional and often highly labor intensive key-framing technique. Recently, character animation is demanded increasingly automated techniques for animation according to interaction with the user or environment of the user. In this paper, we will propose a new method which can animate characters automatical/y with user interactions. The character's behavior is determined as a result of understanding the emotional condition of the user. Psychology and cognitive AI provide some ideas about how to approach this problem. Our study is based mostly on the theories of Ortony, Clore and Collins, which were designed to be implemented computationally. In our system, we can make 22 emotion types and some more behavior features and we apply to some characters.

• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.

• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• The Journal of the Korea Contents Association
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• v.7 no.6
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• pp.127-134
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• 2007

The biggest purpose of sound is communication with spectator in animation. Animation sound delivers background to spectator more naturally through music age enemy, space enemy of fantastic, realistic work and use rhythm and rhythm according to smoke action of character and character delineation and specific character of character, atmosphere as is intimate to spectator. This research achieved research of connection literature data to grasp the importance of role and function that sound reaches in animation reflex. Because is companionate with reflex at animation sound manufacture process with this, in work whole atmosphere in Naereotibeu's structure progress of the event smoothly connect and focused to if make video and interaction of sound smoothly and deliver to spectator.

• Archives of design research
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• v.20 no.1 s.69
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• pp.55-64
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• 2007

Non-verbal communications are important because they support and replace verbal communication. Body language of various non-verbal communications is the communication using the body. In animation, expression of body language is very important because characters play an important role in communicating the scenario. Animation has a dual communication structure, different from general communication. One is the communication between the speaker character and the hearer character, the other is the image and the audience, which includes the communication between the speaker character and the hearer character. In this study, we divide the body language from the characters into the discourse-in act and discourse-out act according to this dual structure and classify it into adaptors, emblem, illustrator, regulator, affect display by a functional approach method. Especially, the illustrator is subdivided into pragmatic speech act. Finally, this study analyzes the features of body language in animation and represents animation character's body language for an effective expression of the communications in animation.

• The Journal of the Korea Contents Association
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• v.9 no.5
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• pp.99-106
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• 2009

The purpose of this study is to analyze character of animation, , on the basis of Greimas' semiotic theory. Animation consists of activities between characters shown in narrative. The characters' activities show their value system and meaning. Hierarchical value system is created in the process that unrevealed, latent value is generated and character's thought and activity enlarge their meanings by creating various relationships with other character. Form this viewpoint, the study tried to analyze systematic characteristic shown in animation character and meaning structure shown in correlation through Greimas' model actant and semiotic square model.

• 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.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.361-368
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• 2017

This study analyzes into the characteristic appearance in distintion with emotional changes toward visual forms of psychology along with character development in the 3D animation industry. In this regard, the study seeks to propose essential targets of the five emotional characters from the Pixar's animation Inside-Out to prove psychological effects to the character's visual appearance. As a previous research, the study analysis the visual representations oriented toward both emotional facial expression and emotional color expression using both Paul Ekman and Robert Plutchik's human basic emotion research. The purpose of this study is to present the visual guideline of emotional character's appearance through the various human expression for differentiated character development in animation production.

• Archives of design research
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• v.19 no.5 s.67
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• pp.85-94
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• 2006

In the 2000s, character animation technique is used at domestic TV character animation ads of diverse items displaying new character patterns and expression techniques of a high level. This study intends to identify the characteristics of TV character animation ads based ell character aesthetic theory and advertising rhetoric theory, and based on these findings, analyze trend and stream of expression in TV character animation ads by examining and classifying advertisements released in the past four years by items, character patterns and expression techniques. The results showed that TV character animation ads have been concentrated on confectionery, beverages and foods in the past, but the items have been diversified through the years. With reference to character patterns, personal and animal characters had made the main pattern, but recently product, virtual and composite characters are on the increase. In expression techniques, cell animation technique was found to be the most frequently used technique, which was followed by full-3D, cell and live action, cell and 3D and the clay animation technique. A trend like this suggests that TV character animation advertising items will continue to increase in line with the participation level of targets. In the meantime, personal and animal characters will continue to make the leading character pattern, while virtual and composite character patterns emerge in new forms. In expression techniques, live action combined with 30 technique and techniques using new expression materials will appear with cell animation technique as a central figure. As a whole, Korean character animation advertisement is expected to keep on growing to a new dimension in the aspect of items, character patterns and expression technique.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.102-108
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• 2007

Among culture industry that greet digital generation and is observed 21th century the most representative game industry latest is caught what and more interest degree is rising. 2D and 3D animation accomplish continuous growth and development depending action expression along with development of computer technology, and 2D and 3D animation practical use extent are trend that is widening the area in TV, movie, GAME industry etc. through computer hardware and fast change of software technology. The trend of latest game graphic is trend that the weight is changing from 2D to 3D by 3D game and activation of 3D game character that raise player's immersion stuff and Control in 2D's simplicity manufacturing game balance for one side. This treatise that is reality of 3D game character to classify kind of (Motion Capture) and 3D character animation, form model the sense put. Recognize that is overview and reality of 3D game character first for this about example, and is considered to efficiency is high game industry and digital contents industry hereafter by proposing kind model classification of 3D game character animation, form model classification data and character animation manufacture process that application is possible at fast time and effect in 3D character animation application are big.