• Journal of the Korea Society of Computer and Information
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• v.10 no.3 s.35
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• pp.55-64
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• 2005

The avatar can be used as an auxiliary methodology of text and image communications in cyber space. An intelligent communication method can also be utilized to achieve real-time communication, where intelligently coded data (joint angles for arm gestures and action units for facial emotions) are transmitted instead of real or compressed pictures. In this paper. for supporting the action of arm and leg gestures, a method of generating the facial expressions that can represent sender's emotions is provided. The facial expression can be represented by Action Unit(AU), in this paper we suggest the methodology of finding appropriate AUs in avatar models that have various shape and structure. And, to maximize the efficiency of emotional expressions, a comic-style facial model having only eyebrows, eyes, nose, and mouth is employed. Then generation of facial emotion animation with the parameters is also investigated.

• Archives of design research
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• v.17 no.4
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• pp.327-336
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• 2004

The cultural production of meanings is becoming more and laden with the intricacies of signs and symbols in our times. The idea of 'character' is important as an intermediation for information and an essential characteristic of "the object" experienced through the sence of sight. Character is symbolicin its form but also in its iconic markings. Motion Picture Animation makes Character not just an expression of an image but visual communication that expands the action of meaning piled up, sign upon sign. The analysis of 'character' suggests that motion picture animated characters could play an important role as a cultural mode leading to new styles not merely as an aesthetic mechanism. The study there with analyzed animated character systematically to discem where the sign phenomena shows up in social conventions under the semiotic rigor of Peirce's concepts of icon, index, and symbol.

• Journal of the Korea Computer Graphics Society
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• v.15 no.2
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• pp.9-17
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• 2009

Animating multiple characters to compete with each other is an important problem in computer games and animation films. However, it remains difficult to simulate strategic competition among characters because of its inherent complex decision process that should be able to cope with often unpredictable behavior of opponents. We adopt a reinforcement learning method in Markov games to action models built from captured motion data. This enables two characters to perform globally optimal counter-strategies with respect to each other. We also extend this method to simulate competition between two teams, each of which can consist of an arbitrary number of characters. We demonstrate the usefulness of our approach through various competitive scenarios, including playing-tag, keeping-distance, and shooting.

• Journal of Korea Game Society
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• v.20 no.5
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• pp.77-88
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• 2020

In game characters, the direction of character design varies depending on the expression or production method. It is necessary to perform game character personality design by reflecting the importance. This study derives the importance of the game character personality model using AHP for the efficient decision and presents game character personality design check tool. In design elements, the importance of external appearance was the highest in all of style. In personality factors, action in 3D realism, external appearance in 3D animation, and speech in 2D animation were the most important.

• Archives of design research
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• v.19 no.2 s.64
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• pp.355-364
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• 2006

The characters in animations have diverse distinctive features and personalities. These personalities and characteristics are composed of various elements such and feature, motion, conversation, and walking motion, and so on. Especially, walking motion is the basic element to express character action. And it plays a key role for expressing personalities of characters. In this paper, we classify characters in animations by distinctive feature and personality based on the cosmic dual forces and five elements theory. The relationships between personalities of characters and movements are suggested by analyzing motions of the classified characters.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.1-13
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• 2014

Apart from the physical realism, the implementation of various physical actions of an agent to respond to dynamically changing situations is essential for the design of an agent in a cyber world. To achieve a maximum diversity in actions, we develop a mechanism that allows composite actions to be constructed by reusing a set of primitive motions and enables an agent to instantly react to changes in the ambient states. Specifically we model an agent's body in terms of joints, and a primitive or composite motion is performed in a real time. To implement this mechanism, we produce an animation for basic joint movements and develop a method to construct overall motions out of the primitive motions. These motions can be assembled into a plan by which an agent can achieve a goal. In this manner, diverse actions can be implemented without excessive efforts. This approach has conspicuous advantages when constructing a parallel action, e.g., eating while walking, that is, two or more parallel actions can be naturally merged into a parallel action according to their priority. We implement several composite and parallel actions to demonstrate the viability of our approach.

• Journal of KIISE:Software and Applications
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• v.27 no.6
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• pp.618-631
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• 2000

In this paper, we suggest the method of 3D facial synthesis using the motion of 2D facial images. We use the optical flow-based method for estimation of motion. We extract parameterized motion vectors using optical flow between two adjacent image sequences in order to estimate the facial features and the facial motion in 2D image sequences. Then, we combine parameters of the parameterized motion vectors and estimate facial motion information. We use the parameterized vector model according to the facial features. Our motion vector models are eye area, lip-eyebrow area, and face area. Combining 2D facial motion information with 3D facial model action unit, we synthesize the 3D facial model.

• Journal of the Korea Computer Graphics Society
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• v.13 no.3
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• pp.1-6
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• 2007

Anticipation effect has been used as a traditional skill to enhance the dynamic motion of the traditional 2D animation. Basically, anticipation means the action of opposite direction which performs before the real action step. In this paper, we propose the perception-based video anticipation method to guide a user's visual attention to the important region. Using the image based attention map, we calculate the visual attention region and then combine this map with temporal saliency of video. We apply the anticipation effect in these saliency regions using the blur kernel. Using our method, we can generate the dynamic video motion which has attentive guidance.

• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• Cartoon and Animation Studies
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• s.33
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• pp.55-78
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• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.