• ETRI Journal
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• v.28 no.6
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• pp.697-708
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• 2006

Various adaptive mesh refinement techniques are often employed in numerical simulations for increasing spatial and temporal resolution beyond the limits imposed by available CPU time and memory space. Recently, an octree-based adaptive mesh structure was successfully used in fluid animation to place more grid cells efficiently in visually interesting regions of fluids. In an attempt to optimize the use of computational resources further in fluid animation, this paper extends this adaptive technique by modifying the mesh refinement scheme so that the camera's viewing properties are dynamically exploited during the simulation. Based on a simple adaptive mesh structure, we show that the new meshing strategy can save a substantial amount of computation time and memory space by using a view-dependent adaptive approach. The experimental results reveal that the proposed technique provides a good compromise between the computational effort and the simulation's fidelity, and may be used quite effectively in 3D animation production.

• Cartoon and Animation Studies
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• s.9
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• pp.220-234
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• 2005

The article deals with the reality subject of animations. Animations are created on the basis of fantasy. Disney's introduction of the narratives and styles of live action film into the field of animation, which laid a foundation for the hyper-reality animation, has produced an unintended consequence of marginalizing other animation genres which have emphasized fantasy through free experimentations of various images. A combination of Disney's world view of hyper-reality with later-developed 3D computer animation technology has made fantastic figures and spaces much more real than the real ones, and succeeded in creating a matrix of simulacre, a world of mere copies without the original.

• 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.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.193-198
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• 2018

Applying VR technology to animation areas is emerging as a trend of recent years. So if you use this VR technology in traditional ink animation, 2D art piece is expected to be equipped with a new narrative style and visual and auditory language, making it a new animation genre. There's a lot of technical difficulties in putting the existing 2D ink image on a 360 degree display. VR ink animation has been created that gives depth to VR space by using layer extraction method based on depth of distance and placing layers extracted on curved surface that is aligned with depth in 360-degree space in the image of ink painting, which is the background of traditional ink animation. In the text, we took an overview on problems generated in extracting layers of distant view, close-range view and middle distant view from the existing image of ink painting and made suggestions of an effective way to approach them.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• Journal of Korea Multimedia Society
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• v.9 no.9
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• pp.1196-1207
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• 2006

In this paper, study on organization factors and algorithm of semiotics in Animation text within Roland Gerard Barthes's Structurism semiotics theory. It is possible through this approach that we can analyse the effective mechanism which delivers messages(or text) of animation, instead of plain analysis of classical semiotics. and then It will be able to keep watch on the blind viewpoint of the pure aesthetics which does not consider a social duty. In the expression of single sentence by the view of Barthes's semiotics theory, the text of animation is 'one sign has duplex role'. when it is explained another, the animation of mass media is special processing that makes conception and significance. in other words, the order of domination likely natural rule assimilate mass people to itself by the animation of mass media

• Cartoon and Animation Studies
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• s.11
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• pp.121-136
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• 2007

Recently, the cases that many works of the korean independent animation advance to the world by steps and some of them win the grand prix in famed global animation film festival are proving the growth potential and competitiveness. In this situation, to guarantee the continuous, and reliable as well, growth and international competitiveness of it, it is needed to ensure the government's systematic supports. Although it is a bit leaned toward the creative animation for a theater, however, or many kinds of supporting system are established and carried out, independent animation is still suffering from the financial pressure. As of now, it is must be considered of the international standing of korean independent animation and is needed to be discussed how the government's supporting systems are proceeding and what they are performing. From this point of view, this paper will study the present condition and international standing of the korean independent animation, and further, will examine and analyze the on-going supporting systems. This, consequently, intends to present the direction of government's system to promote the korean independent animation.

• 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.37
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• pp.1-24
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• 2014

The advancement of computer technology has blurred the border in image expression between live-action films and 3D animation to an indistinguishable extent. Despite the ever-evolving image expression, it has been found that animation properly incorporating abstractive expression receives more positive responses from the audience than the animation closely akin to live-action films. This indicates that animation-specific abstractive expression can exert more significant effects than that of live-action expression as proved in Dr. Mori Masahiro's 'Uncanny Valley.' Also, such effects apply only to characters, whilst the technology capable of live-action expression is acknowledged only for the background of 3D animation. Without doubt, animation has its own infinite world of expression, and thus more effective methods for its expression can no longer be considered a matter of technology. The present study analyzes the abstractive expression of 3D animation in terms of characters and backgrounds and explores a more effective method to apply the current technology of image expression to 3D animation with a view to proposing a direction for more appropriate application of 3D animation technology to future animation.

• Journal of Korean Elementary Science Education
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• v.25 no.4
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• pp.352-362
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• 2006

Many misconceptions regarding biology and evolution have been reported by students prior to being exposed to a formal education program of evolution which challenged them. This study sought to investigate and to analyze the misconception formation process of evolution originating from TV animation and science books for children. Firstly, to identify TV animation's influence on students' misconceptions of evolution, a questionnaire including TV animation characters was constructed and administered to 146 elementary school students, 161 middle school students, and 156 high school students. The data collected was analyzed. Secondly, 17 science books for children were sampled and the contents related to evolution were selected and analyzed in terms of five evolutionary explanations: creationism internal will explanation, teleological explanations, explanations of use and disuse, mutation and finally, natural selection. Children have understood 'growth' and 'metamorphosis' on TV animation as 'evolution'. The processes by which characters on TV animation undergo some forms of change, which are in fact a kind of metamorphosis has often been understood as 'evolution'. Many respondents have defined evolution incorrectly as the process of growing and changing shape. On the other hand, some science books fur children contained descriptions of evolution including' mutation and finally natural selection explanation'; however, most of the science books fur children sampled in this study were written through the perspectives of alternative evolutionary views such as 'teleology view', 'internal will view', and 'use and disuse view'. It is apparent that TV animation and science books fur children influence the formation of various misconceptions regarding evolution by children.