• KSII Transactions on Internet and Information Systems (TIIS)
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• v.14 no.8
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• pp.3473-3487
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• 2020

In this paper, we present a new approach to creating speech animation with emotional expressions using a small set of example models. To generate realistic facial animation, two example models called key visemes and expressions are used for lip-synchronization and facial expressions, respectively. The key visemes represent lip shapes of phonemes such as vowels and consonants while the key expressions represent basic emotions of a face. Our approach utilizes a text-to-speech (TTS) system to create a phonetic transcript for the speech animation. Based on a phonetic transcript, a sequence of speech animation is synthesized by interpolating the corresponding sequence of key visemes. Using an input parameter vector, the key expressions are blended by a method of scattered data interpolation. During the synthesizing process, an importance-based scheme is introduced to combine both lip-synchronization and facial expressions into one animation sequence in real time (over 120Hz). The proposed approach can be applied to diverse types of digital content and applications that use facial animation with high accuracy (over 90%) in speech recognition.

• International Journal of CAD/CAM
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• v.9 no.1
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• pp.61-69
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• 2010

Based on the equivalence principles of physical properties, geometric properties and externally applied forces between a surface and the corresponding curves, we present a fast physics and example based skin deformation method for character animation in this paper. The main idea is to represent the skin surface and its deformations with a group of curves whose computation incurs much less computing overheads than the direct surface-based approach. The geometric and physical properties together with externally applied forces of the curves are determined from those of the surface defined by these curves according to the equivalence principles between the surface and the curves. This ensures the curve-based approach is equivalent to the original problem. A fourth order ordinary differential equation is introduced to describe the deformations of the curves between two example skin shapes which relates geometric and physical properties and externally applied forces to shape changes of the curves. The skin deformation is determined from these deformed curves. Several examples are given in this paper to demonstrate the application of the method.

• International journal of advanced smart convergence
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• v.2 no.2
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• pp.7-9
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• 2013

Current physics-based simulation is an important tool in the fluid animation. However some problems require a new change to current research trends which depend only on the simulation. The ultimate goal of this project is to obtain information of flow example, analyze an example through machine learning and the novel fluid animation reconfigure without physical simulation.

• Archives of design research
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• v.14 no.1
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• pp.177-186
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• 2001

It is true that the new development in digital technology has Influenced on the definition of animation like it did on the other fields of an, but this doesnt mean this development drastically changes the traditional concept and replaces it with innovative new one. The more the technology is being developed, the mon it needs traditional base that can lead it to what it originally should be. As an example, computer animation companies are constantly seeking for people who have traditional animation background rather than well-trained computer oriented artists. This means digital technology will be no more a technological threat to the people who has traditional animation background. Consequently, when considering the extended concept caused by this new technology, we have to find its base on the traditional animation concept. Since we dont have any fundamental base in traditional animation and technological base in computer animation, we should consider those in advanced countries as a standard. However, in these days, there is a tendency to worship the words themselves such as "digital revolution", "information technology" etc., not the basics behind them. We cannot expect any achievement with this in mind. This study might be a short cut to the students and animators who want to learn and approach computer animation in a right wav.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.72-81
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• 2009

This article deals with the relation of korean animation and film policy from the late 1960s to early 1980s. The korean film policy was based on ideology of modernization. Animation industry was under the this policy. The result of effect of this film policy on animation was following. Firstly, there was the boom up of making of animation. Secondly was increasing of subcontract. The encouragement of exportation of government drove many companies to this trend. Lastly, many animations conspired to exercise the ideology of regime. Example was anti-communist animation. In that period the historical specificity of Korean animation had been built in these process.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.420-425
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• 2008

The technique for synthesizing reactive motion in real-time is important in many applications such as computer games and virtual reality. This paper presents a dynamic motion control technique for creating reactive motions in a physically based character animation system. The leg to move in the next step is chosen using the direction of external disturbance forces and states of human figures and then is lifted though joint PD control. We decide the target position of the foot to balance the body without leg cross. Finally, control mechanism is used to generate reactive motion. The advantage of our method is that it is possible to generate reactive animations without example motions.

• Journal of Information Technology Applications and Management
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• v.27 no.6
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• pp.1-14
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• 2020

Since the birth of animation, the United States has created many classic characters. For example, Mickey Mouse and Minnie, Tom and Jerry, Lion King, and Nemo, which are imaged with animal images, include Snow White, Bell, Mulan, and Aladdin. In addition, there are villain characters designed with strong personality and personality design, such as Snow White's stepmother Grimheel, Ursula, Bad Girl Crew El Radville, Scar, Captain Hook, and so on. These animation characters have been remembered for a long time with stories in people's minds, and have also brought laughter and emotion to people all over the world, which has brought a lot of business value to animation companies. Recently, the villain of American animation works is becoming more and more suited to the taste of the audience. The villain is not a symbolic image of the brutality we have seen before. They are not only visual images with rich and diverse personalities, but are also designed to suit the tastes of the public with a multifaceted inconsistency. They appear as ordinary people in our lives in works, or as powerful people who are not realistic. The villain characters designed in this way are real human miniatures appearing in the relationships in our lives, and they cannot judge good or bad only by their appearance. Through the study of villains in American animation, many villains in American animation were summed up, and villains could be classified into three types: brutal, violent, and sneaky. Based on this, it was possible to analyze the appearance and attire of the villain character in American animation, and to create a vivid and popular image of the villain, it was found that the character of the character should be emphasized when constructing the shape and costume of the villain character. In conclusion, the attractive formation of villain characters is an important part for successful animation. The production of vivid and long-lasting villain characters must begin with detailed settings such as personality, shape, and dress from the planning stage, which is not only the intention of the producer, but also a reflection of the aesthetic psychology that society should pay attention to today.

• Cartoon and Animation Studies
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• s.13
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• pp.97-114
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• 2008

This study aims to study mouth shapes suitable to the shapes of Korean consonants and vowels for Korean animations by analyzing the process of English-speaking animation lip-sync based on pre-recording in the United States. A research was conducted to help character animators understand the concept of Korean lip-sync which is done after recording and to introduce minimum, basic mouth shapes required for Korean expressions which can be applied to various characters. In the introduction, this study mentioned the necessity of Korean lip-sync in local animations and introduced the research methods of Korean lip-sync data based on English lip-sync data by laking an American production as an example. In the main subject, this study demonstrated the characteristics and roles of 8 basic mouth shapes required for English pronunciation expressions, left out mouth shapes that are required for English expressions but not for Korean expressions, and in contrast, added mouth shapes required for Korean expressions but not for English expressions. Based on these results, this study made a diagram for the mouth shapes of Korean expressions by laking various examples and made a research on how mouth shapes vary when they are used as consonants, vowels and batchim. In audition, the case study proposed a method to transfer lines to the exposure sheet and a method to arrange mouth shapes according to lip-sync for practical animation production. However, lines from a Korean movie were inevitably used as an example because there has not been any precedents in Korea about animation production with systematic Korean lip-sync data.

• International Journal of Contents
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• v.15 no.4
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• pp.16-26
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• 2019

The efficient implementation of various physical actions of agents to respond to dynamically changing situations is essential for the simulation of realistic agents and activities in a cyber world. To achieve a maximum diversity of actions and immediate responsiveness to abrupt changes in situations, we have developed an animation technique in which complex actions are recursively constructed by reusing a set of primitive motions, and agents are designed to react in real-time to abrupt ambient changes by computationally satisfying kinematic constraints on body parts with respect to their goals. Our reusing scheme is extended to visualize the procedure of realistic intricate situations involving many concurring events. Our approach based on motion reuse and recursive assembly has clear advantages in motion variability and action diversity with respect to authoring scalability and motion responsiveness compared to conventional monolithic (static) animation techniques. This diversity also serves to accommodate the characteristic unpredictability of events concurring in a situation due to inherent non-determinism of associated conditions. To demonstrate the viability of our approach, we implement several composite and parallel actions in a dynamically changing example situation involving events that were originally independent until coincidentally inter-coupled therein.

• Journal of the Korea Computer Graphics Society
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• v.21 no.5
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• pp.29-36
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• 2015

Human fingers are essential parts of the body that perform complex and detailed motion. Expression of natural finger motion is one of the most important issues in character animation research. Especially, keyboard typing animation is hard to create through the existing animation pipeline because the keyboard typing typically requires a high level of dexterous motion that involves the movement of various joints in a natural way. In this paper, we suggest a method for the generation of realistic keyboard typing motion based on physics simulation. To generate typing motion properly using physics-based simulation, the hand and the keyboard models should be positioned in an allowed range of simulation space, and the typing has to occur at a precise key location according to the input signal. Based on the observation, we incorporate natural tendency that accompanies actual keyboard typing. For example, we found out that the positions of the hands and fingers always assume the default pose, and the idle fingers tend to minimize their motion. We handle these various constraints in one solver to achieve the results of real-time natural keyboard typing simulation. These results can be employed in various animation and virtual reality applications.