• Journal of Digital Convergence
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• v.17 no.8
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• pp.385-392
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• 2019

The limited animation method which is a Japanese Animation frame production method was born in the U.S. but it is Japan where it was most actively used and developed. With this in mind, this researcher conducted a comparative study on the movements shown in animated films of the U.S. and Japan to identify success factors. For an analysis of the animated films of the two countries, first, the difference between orthodox animation and experimental animation was analyzed. Second, the concept of limited animation was reviewed, as well as its difference from full animation. Lastly, for an analysis of the difference between animations of the U.S. and Japan, 'Disney's 12 principles of animation' was applied.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.164-171
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• 2022

The aesthetics of Japanese animation have developed in earnest since Tezuka Osamu produced TV animation . This is because provided the aesthetic foundation of '3-comma animation' and 'limited animation techniques based on 8 frames per second. In fact, Miyazaki Hayao and Takahata Isao of Ghibli studio have expanded the influence of the Japanese animation industry to the world through the production of feature animation based on 3-comma animation. Inoue Toshiyuki, who participated as an animator in many works representing the Japanese animation industry, also said that the essential feature of Japanese animation aesthetics is 3 comma animation that shows the impressive movement of the character concisely. As such, 3-comma animation technique is the main aesthetic background that has led to the industrial development of Japanese animation.

• Cartoon and Animation Studies
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• s.40
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• pp.109-137
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• 2015

As Digital technology developed, drawing animation, using traditional production method which expresses many feelings with drawn lines loses the youth group, the primary audience, to the realism of the digital cinema. Drawing animation, which drew attention of the youth by the spectacles in the film such as hectic pace, dynamics and punch, declined for a while. However, it has been developed a way to express pace and dynamics of its own by establishing an effective directing method, which combines digital technology as it is needed. This study has a purpose to investigate what causes the dynamics and feeling of fast movement of the character in Japanese limited animation. Though some action-animated films that heroes with supernatural powers take the leading role that feeling of velocity and dynamics are emphasized we compare the directing method before and after the introduction of the digital technology. This research reaches the conclusion by factoring each Bergson and McLuhan's discussion to the intervention of indexical signs and the audience's participation according to skipping technique. This study has a significance of researching the element of drawing animation that maximizes the expansion of the senses by defying the limitation of the law of physics through its unique way of directing together with growth of the hero films, which will continue.

• 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.