• Journal of KIISE:Computing Practices and Letters
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• v.16 no.5
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• pp.611-615
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• 2010

In this paper, we propose a method that exaggerate a character motion using quadratic deformation. While the previous methods tend to exaggerate a rotational motion of an individual joint angle, our method attempt to model the poses of a whole body at each frame and exaggerate those, so that the whole-pose action of the character can be exaggerated. Our method can be computed in real-time, and prevents a joint motion that rotates unexpected direction.

• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.269-277
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• 2006

In this paper, we propose an interactive system that generates emotional expressions from arm gestures. By extracting relevant features from key frames, we can infer emotions from arm gestures. The necessary factor for real-time animation is tremendous frame rates. Thus, we propose processing facial emotion expression with 3D application for minimizing animation time. And we propose a method for matching frames and actions. By matching image sequences of exagerrated arm gestures from participants, they feel that they are communicating directly with the portraits.

• The Journal of the Korea Contents Association
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• v.8 no.9
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• pp.74-83
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• 2008

In animation films, the movements of characters are exaggerated and comical. Traditional key-frame animation techniques allow to control exaggeration and comicality of characters at animators' wills. But, recently introduced motion capture techniques have limits on representing comicality and exaggeration although it is convenient to capture subjects' natural looks. This paper chooses two animations from key-frame and motion capture techniques and looks into comicality and exaggeration of characters by analyzing movements and motion of them Movements are classified as four fundamental motion elements - running, jump, gesture and walking - and are analyzed to compare the way of representation from two films. By studying similarity and differentiation of movements of two films, this paper discusses the advantages and disadvantages of key-frame and motion capture techniques in terms of exaggeration and comicality. Comparison of the character movements from two techniques shows that there are common differentiations of those movements.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.356-361
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• 2006

모션캡처기술은 이미 많은 애니메이션과 게임에서 보편화되어 사용되고 있다. 하지만, 이런 좋은 기술을 뒤로 한 채 아직도 많은 애니메이터들이 직접 애니메이션을 하고 있다. 모션캡처 기술비용과 제작시간 때문이기도 하지만 사람과 상이한 체형을 가진 3D 캐릭터에 사람의 모션을 적용하기엔 어색한 부분이 많기 때문이다. 또한, 캐릭터의 특징을 부각시키거나 왜곡시키는 등의 과장의 표현은 불가능하다. 캐릭터의 생명은 그 캐릭터가 가진 성격과 체형에서, 그 캐릭터만의 자연스런 움직임을 표현하는데 있다. 기획과 의도에 따른 특성들을 과장하여 표현하되 인간의 동작에 익숙해 있는 우리 눈에 어색함으로 비춰지지 않도록 해주어야 비로소 생명력이 있는 캐릭터를 만들 수 있다. 다양한 모양의 캐릭터는 서로 다른 무게중심을 가졌고 이를 고려하지 않고 애니메이션 했을 때 여러 가지 문제점이 생긴다. 이러한 문제점은 캐릭터가 자연스럽지 못하게 보이는 가장 큰 원인 중 하나다. 본 논문은 게임과 애니메이션 등에서의 3D 캐릭터가 더욱 생생하고 현실적으로 보이도록 돕는데 그 목적이 있다. 그 중, 중요한 요소인 무게중심에 대한 이해와 함께 활용방법에 대한 연구에 목적을 둔다. 캐릭터의 자연스러운 움직임을 위해 무게중심은 반드시 고려해야 할 문제이고 캐릭터의 특성 및 성격 표현에도 중요한 영향을 미친다. 애니메이터들에게 무게중심에 대한 중요성을 알리고 새로운 접근방법을 제시하는 것을 본 논문의 가치로 삼는다.

• Proceedings of the Optical Society of Korea Conference
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• 1995.06a
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• pp.18-23
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• 1995

광도파로와 반도체 광증폭기를 직접하여 1.3$\mu$m 과장대에서 동작하는 2x2 InGaAsP/InP LD-gate형 광스위치를 제작하였다. 광스위치의 특성으로 광섬유 입출력간의 총삽입 손실이 6~10dB 이었고, 소광비가 40dB 이상으로서 세계적인 수준의 양호한 결과를 얻었다. 제작된 광스위치는 광도파로와 반도체 광증폭기 간의 높은 광 결합 효율을 얻기 위하여 RIE(Reactive Ion Etching) 에 의한 건식 식긱과 4회에 걸친 OMVPE(Organo Metallic Vapor Phase Epitaxy) 결정 성장을 이용하였으녀, 수동 도파로와 LD 사이의 광 결합 효율이 '90% 이상이 됨을 확인하였다. d;라힌 결과는 광집적화의 연구에 상당한 기에를 할 것으로 기대된다.

• Journal of Korea Game Society
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• v.10 no.6
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• pp.125-135
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• 2010

Body motions are commonly used to express emotions in virtual characters based on body parts, which are frequently employed in games. For this purpose, it is necessary to create different types of animations corresponding to the emotions shown by virtual characters. Therefore, a large of number of animations should be created for different gestures depending on the level of human emotion. In this paper, we propose a method for displaying gestures with various degrees of complexity on the basis of the level of emotion in virtual characters. In particular, this method can be used to display passive and exaggerated expressions by adding weighted values to the frames that rotate the characters to make them show different gestures depending on the level of emotion. To verify the effectiveness of the proposed method, we use the Emotional Animation Tool (EATool), with which body-weighted values can be applied to the actual or virtual characters. After assigning different emotions to walking motions in the newly developed environment, we apply different body-weighted values depending on the level of each emotion. The results of a comparative test reveal that a given type of walking motion differs with the level of emotion.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.45-59
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• 2019

The characters that could be connected to diverse cultural contents have formed diverse platforms with the development of digital technology, and the size of the relevant industry and market is rapidly growing. Recently, the utilization of character emoticons for smartphone messenger has been rapidly increased, so that the characters are settled down as a tool for non-verbal communication, on top of drawing attention as an independent area. With the expansion of character market, the importance of design that could give interest and familiarity to consumers is more emphasized. The body proportion of characters includes the implicative and symbolic meanings that could express diverse personalities. Thus, this study examined the body proportion of the characters with the high consumers' preference, and then analyzed the characteristics of formative elements of character design in accordance with the body proportion. In the results of the analysis, the exaggerated form of SD characters in two or three-head figure, and the realistic Real characters in seven or eight-head figure were preferred. For the SD characters, the colors with a high chroma showing the cute and cheerful image were used. For the Real characters, the cubic effect was expressed through the colors with active images and the light and shade of color. Even though the SD characters have limited motions due to the omitted body parts, the facial movements of animation characters are exaggerated while the Real characters describe the realistic and dynamic motions.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Korean Journal of Materials Research
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• v.11 no.6
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• pp.448-452
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• 2001

The ZnS:Cu,Cl thick film electroluminescent devices with the stacking type(separated with phosphors and insulator layers) and the composite type (mixed with phosphor and insulator materials) emission layers were fabricated on ITO/glass substrates by the screen printing methods. The opical and electrical properties were investigated as fundations of applied voltages and frequencies. In the stacking type, the luminance was about 58 cd/$\m^2$ at the applied voltage of 400Hz, 200V and increased to 420 cd/$\m^2$ with increasing the frequency to 30Hz. For the composite type devices, the threshold voltage was 45V and the maximum luminance was 670 cd/$\m^2$ at the driving condition of 200V, 30Hz. The value of luminance of the composite type device showed 1.5 times higher than that of stacking type device. The main emission peak was 512 nm of bluish-green color at 1Hz frequency below and shifted to 452 nm in the driving frequency over 5Hz showing the blue omission color. There were no distinct differences of the main emission peaks and color coordinate for both samples.

• Journal of the Korea Computer Graphics Society
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• v.18 no.2
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• pp.55-62
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• 2012

This paper presents a new method to represent the secondary deformation effect using simple mass-spring simulation on the vertex shader of the GPU. For each skin vertex of a 3D character, a zero-length spring is connected to a virtual vertex that is to be rendered. When a skin vertex changes its position and velocity according to the character motion, the position of the corresponding virtual vertex is computed by mass-spring simulation in parallel on the GPU. The proposed method represents the secondary deformation effect very fast that shows the material property of a character skin during the animation. Applying the proposed technique dynamically can represent squash-and-stretch and follow-through effects which have been frequently shown in the traditional 2D animation, within a very small amount of additional computation. The proposed method is applicable to represent elastic skin deformation of a virtual character in an interactive animation environment such as games.