• Journal of Science of Art and Design
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• v.3
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• pp.62-86
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• 2001

This study is based on theoretical background about movements of visual communication highlighted in digital age. Such movements are variously expressed in animation with the advancement of media, and their expression has great effect on visual art. Artists' concern and endeavor about movement expression techniques have been continued by impressionism, expressionism, futurism, cubism closely related with the birth of movie from late 19th century to early 20th century. At that time, stationary 2D space in plane screen couldn't express movement or time directly. Later, artists and designers have attempted to approach illusions in pictures or 4 dimension and movements by 2D or 3D computer graphics. The visual image in present digital age is to see, to hear, to feel by timing, so it is necessary for the most efficient way of message communication. And then, it is the time to start new, scientific, and creative study about production techniques of animation and expression of movements, since domestic animation productions are rapidly changed from cell to digital. The aim of this study is to clarify the motive of movement by theoretical inquiry of animation. Various aspects of animation as synthetic art have been examined by mathematical, scientific, and philosophical viewpoint. The results will be useful to the expression of motions for maximization of emotional effect in animation production or basic data of virtual simulation about certain situation. Therefore, such study should be managed as multidisciplinary research in the rapidly changing visual culture paradigm. namely, animation includes much more imaginative & creative power than simple function or techniques, so it has to be recognized as special synthetic art(visual art) constructing an area, the formative art with philosophical viewpoint and scientific principles.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.391-399
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• 2020

Even though the animation industry has been growth since 2011, there is still imitation by public stereotype which insists that animation is only able to cover the young age group and is not the proper genre of art to convey a social or a philosophical agenda. However, describes the philosophical agenda of 'social class' and 'life and death' in the limited space by expressing characteristics and background of fish through its own way. Thus, it shows how animation goes beyond aforementioned limits. Straying from traditional happy-ending, it criticizes present social problems by telling despite fishes' effort they cannot escape from structural contradictions. The drawing technique in musical expresses the character's ideology and attitude to make people think about how we will behave in the face of life and death. Therefore the purpose of this paper is analyzing director Lee Dae-hee's animation and present the genre expandability of animation.

• Cartoon and Animation Studies
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• s.34
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• pp.129-165
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• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Journal of Science of Art and Design
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• v.8
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• pp.45-61
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• 2005

The 2D animation screen is a screen work that is produced on the plane. So, it is superficial in terms of space. Therefore, we expressed via picture technique that uses the movement of camera and back-ground in order to recreate the image of realistic feeling that has multiple effect. Though all multiple-effects were expressed realistically in the early Disney animation of the United States, Japan used the expression of Follow Pan profoundly to provide the animation with economic expression of picture and the depthof screen in order to realize a new technical expression of limited animation while it was producing TV series works in 1960s. Now it is positively expressed even in the United States, too. This study tries to analyze the example that applied the long piece works of Japan which was expressed via the Follow Pan, that is, the movement of camera, to the real approach.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.521-524
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• 2006

Mobile industry has been progressed rapidly with new mobile technique develpment. The mobile is a communication device for the young generation and give great additional images through animations and characters. It is expected that the mobile industry would elevate greatly in means of the animation characters that is connected directly, closely, and amicably to the sense of humane beings. Of those animations, 3D animation is a high communication technique that rinks to directly the expression of person in way of a sense of space, three dimension, and reality. Surely the new 3D animation will be developed constantly and in various way. It is consideralbe that the manufacture of 3D mobile animation links closely to cartoon that forms concerns of people.

• Cartoon and Animation Studies
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• s.14
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• pp.83-99
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• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.152-162
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• 2007

Subject of this Study is focused on set design for short animation, GHOST, made and presented by animation studio, BEYOND PROSCENIUM. Sets in animation have several functions. First, sets are a playground that character can play to lead a story. Second, sets explain background, which is time and space. Third, sets can visualize metaphorical meaning or symbolic system in animation. To obtain final design that is sufficient to those functions, this study analyzes the case that metaphorical and symbolic meaning from scenario is how to apply into set design also, mentions the method that designer multiply considers character, property and composition from the camera and movement from those elements. Set designers for animation should have ability that simultaneously considers so many elements and they need design skills to create it.

• Journal of Korea Game Society
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• v.7 no.4
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• pp.33-42
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• 2007

Advanced technologies and techniques make it possible to express digital animation with higher quality. Characters in the virtual animation space are playing an important role in emphasizing the human audiences or interacting directly with them. The movement of characters gives them vital power, and shows their intentions and emotions. To analyze the emotion of character movements, the study develops basic movement sources based on Laban's property elements of movement such as time, space, and flow, and tries to find the relationship between their movements and the emotions they arouse by positioning them on Plutchik's emotional circle. We find that each element of 9 movements represent its own emotion consistently, and has influence on the intensity of emotions clearly.

• Journal of KIISE:Computer Systems and Theory
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• v.31 no.12
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• pp.726-734
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• 2004

This paper presents a facial animation method that enables the user to select a sequence of facial frames from the facial expression space, whose level of details the user can select hierarchically Our system creates the facial expression space from about 2400 captured facial frames. To represent the state of each expression, we use the distance matrix that represents the distance between pairs of feature points on the face. The shortest trajectories are found by dynamic programming. The space of facial expressions is multidimensional. To navigate this space, we visualize the space of expressions in 2D space by using the multidimensional scaling(MDS). But because there are too many facial expressions to select from, the user faces difficulty in navigating the space. So, we visualize the space hierarchically. To partition the space into a hierarchy of subspaces, we use fuzzy clustering. In the beginning, the system creates about 10 clusters from the space of 2400 facial expressions. Every tine the level increases, the system doubles the number of clusters. The cluster centers are displayed on 2D screen and are used as candidate key frames for key frame animation. The user selects new key frames along the navigation path of the previous level. At the maximum level, the user completes key frame specification. We let animators use the system to create example animations, and evaluate the system based on the results.