• Journal of the Korea Computer Graphics Society
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• v.23 no.2
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• pp.11-22
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• 2017

This study proposes IMToon(IMage-based carToon) which is an image-based cartoon authoring system using an image processing algorithm. The proposed IMToon allows general users to easily and efficiently produce frames comprising cartoons based on image. The authoring system is designed largely with two functions: cartoon effector and interactive story editor. Cartoon effector automatically converts input images into a cartoon-style image, which consists of image-based cartoon shading and outline drawing steps. Image-based cartoon shading is to receive images of the desired scenes from users, separate brightness information from the color model of the input images, simplify them to a shading range of desired steps, and recreate them as cartoon-style images. Then, the final cartoon style images are created through the outline drawing step in which the outlines of the shaded images are applied through edge detection. Interactive story editor is used to enter text balloons and subtitles in a dialog structure to create one scene of the completed cartoon that delivers a story such as web-toon or comic book. In addition, the cartoon effector, which converts images into cartoon style, is expanded to videos so that it can be applied to videos as well as still images. Finally, various experiments are conducted to verify the possibility of easy and efficient production of cartoons that users want based on images with the proposed IMToon system.

• Journal of Korea Multimedia Society
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• v.14 no.8
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• pp.1082-1093
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• 2011

Traditional rendering of cartoon character cannot revive the feeling of concept drawings properly. In this paper, we propose capture technology to get toon shading model from the concept drawings and with this technique, we provide a new novel system to render 3D cartoon character. Benefits of this system is to cartoonize the 3D character according to saliency to emphasize the form of 3D character and further support the sketch-based user interface for artists to edit shading by post-production. For this, we generate texture automatically by RGB color sorting algorithm to analyze color distribution and rates of selected region. In the cartoon rendering process, we use saliency as a measure to determine visual importance of each area of 3d mesh and we provide a novel cartoon rendering algorithm based on the saliency of 3D mesh. For the fine adjustments of shading style, we propose a user interface that allow the artists to freely add and delete shading to a 3D model. Finally, this paper shows the usefulness of the proposed system through user evaluation.

• Cartoon and Animation Studies
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• s.36
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• pp.493-510
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• 2014

From game consoles to TV and Hollywood films, 3D rendering technology is involved in various fields. Up until the late 90s, the computer image rendering method was rasterization that mainly used Phong Shading, and up until recently it was the go-to method for movies and film animation. In the 21st century, the quality provided by Ray Tracing and the development of Global Illumination was much more realistic and thus became popularized. However, despite its growing use in architectural rendering to the markets, Global Illumination in film animation and movies was limited due to its long render time. So, in this thesis, if one were to take the concept from each rendering method and consider it from a mathematical perspective, one could adapt the Ambient Occlusion's equation to the illumination loop equation used in rasterization. This algorithm modification has the capability to reflect the lighting of a diverse array of colors, like in Global Illumination, with a fast render time, as in rasterization, and the example RenderMan Shader is based upon this new algorithm. In conclusion, with Global Illumination's naturalistic lighting and rasterization's rendering speed, the combination of the best points of each is a new method with a short rendering time while producing good quality. I hope animations and films can benefit from this algorithm by the reduction of budget with an overall better quality output in VFX production.

• Cartoon and Animation Studies
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• s.40
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• pp.157-176
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• 2015

This research describes render pass synthetic techniques required to use for the effectiveness of them in 3D animation synthetic technology. As the render pass is divided by property and synthesized after rendering, elaborate, rapid synthesis can be achieved. In particular, occlusion pass creates a screen as if it had a soft, light shading, expressing a sense of depth and boundary softness. It is converted into 2D image through a process of pass rendering of animation projects created in 3D space, then completed in synthetic software. Namely, 3D animation realizes the completeness of work originally planned through compositing, a synthetic process in the last half. To complete in-depth image, a scene manufactured in 3D software can be sent as a synthetic program by rendering the scene by layer and property. As recently the occlusion pass can express depth notwithstanding conducting GI rendering of 3D graphic outputs, it is an important synthetic map not omitted in the post-production process. Nonetheless, for the importance of it, currently the occlusion pass leaves much to be desired for research support and books summarizing and analyzing the characteristics of properties, and the principles and usages of them. Hence, this research was aimed to summarize the principles and usages of occlusion map, and analyze differences in the results of synthesis. Furthermore, it also summarized a process designating renderers and the map utilizing the properties, and synthetic software usages. For the future, it is hoped that effective and diverse latter expression techniques will be studied beyond the limitation of graphic expression based on trends diversifying technique development.