• Cartoon and Animation Studies
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• s.46
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• pp.1-22
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• 2017

The practical learning requires the new paradigm in its content of education and environment along with the rapid development of information communication technology and the expansion of digital content industry. Especially, the animation education, core area of digital content industry, has attempted to improve the content and method of education by focusing on creativity, convergence and practical education. However, education environment in the previous form of computer laboratory has not been reflected the characteristics of animation education. In the light of this, this research would suggests the effective education environment implemented animation job competency and the characteristics of animation production. Firstly, the problem of previous educational environment will be explored through looking at computer rooms of domestic Universities. The characteristics of animation production consisted of Pre-production, Main-production, Post-production and elements of animation job competency will be reviewed by focusing on three phases of production, Pre-production, Main-production and Post-production, and six particular jobs, concept art, modeling & texturing, animating, lighting, VFX and compositing. Secondly, 6 types of space adapted from space syntax, possibly explored the embedded meaning of the structure of space and environment, will be reviewed by focusing on integration, separation and interaction. Thirdly, based on the characteristics of animation production, the element of animation job competency, 6 types of space, analytical tools about animation project education will be deducted, and the case study regarding animation studio, Walt Disney studio, will be processed by focusing on its production environment and spatial composition by focusing on Pre-production, Main-production, Post-production. Fifthly, the effective spatial composition for animation project education will be explored based on the interpretation of literature reviews and case study. In regard to this, the research addresses the spatial composition reflected the characteristics of practical learning and job competency in animation education, which differs from the previous form of standardized education spaces.

• 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.

• Journal of the Korea Computer Graphics Society
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• v.13 no.4
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• pp.1-6
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• 2007

In this paper we describe the method of controlling the animation of 3D characters according to ISO/IEC 19774 (H-Anim) specification, which has been released by Wed3D Consortium and ISO/IEC SC24 WG6. The animation structure of the H-Anim character can be defined and modified in our H-Anim editor program. Our H-Anim animator generates the character's motion automatically according to the input of motion parameters at the character's joints interactively. This paper is focused on the development of a motion generation tool for human-like characters defined by H-Anim structures.

• Journal of Digital Convergence
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• v.14 no.8
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• pp.399-406
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• 2016

Drawn-on-film animation technique is one that neither is actively used nor receives attention in any video content area. This paper means to strengthen animation genre's future direction and aesthetic aspect by seeking to newly discover previous experimental techniques through this paper. Taking into account the details of paper, it was intended to systematize and introduce results and experiential information obtained by researcher from applying drawn-on-film animation techniques in actual educational arena and utilizing these in learning and newly created techniques and the like through this. Production processes were comparatively demonstrated after suggesting an alternative digital production system in this process. And ultimately, a study and proposal was made so as to be helpful in developing the techniques of animation genre.

• Journal of Game and Entertainment
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• v.1 no.1
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• pp.55-62
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• 2005

The expression of the movement in the animation is one of important factors built up the work. It is determined wholly by the experiences of the animator in the animation, on the contrary, the expression of movie depends on the data obtained from the motion capture or the movement of the actors. One of the most important factors is the timing expression in expression of movement of characters and the proper understanding of direction circumstance and the expression of the timing make the animation more plentiful visually and also these are the basic method that introduce the feeling to the characters. In this study we Identify the basic principles of timing expression in the animation, make experiments for the changes of timing by the camera's angle, compare them and show the most proper methods of timing expression.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.160-169
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• 2007

Main problem in the domestic motion capture type production is that motion data are used even in the case when the human sensibility is needed. In other words it fails to give human images to the work, and production method only use motion capture data unconditionally and impetuously. Even though motion capture is effective and are various and applicable to various areas, it would cause enormous lose of capital and manual labor if these problems are not solved. In the present study, we compare motion capture with key animation production and analyze the merits and short comings of them. Also, we analyze them through the actual production and present the efficient method of key animation production when the expensive motion capturing devices are not available.

• The Journal of the Korea Contents Association
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• v.7 no.6
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• pp.119-126
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• 2007

As the digital environment expended, concern about importance of narrative and its value has been increased. But detailed study regarding narrative analysis leaves much to be desired. Most studies on animation narrative structure are focused on Japanese and Disney animation of America, shot films in particular. Plus these have not been done by the comparative method but separately by product. This study aims at clarifying the peculiar narrative characteristics between Chinese and American animation through the comparative analysis about s, which are produced in the respective countries, China on behalf of High-context culture and America as the Low-context culture.

• Journal of the Korea Society of Computer and Information
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• v.17 no.8
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• pp.31-40
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• 2012

In this paper, we propose a method of synthesizing faces of a user and an animation character using a 3D face model. The suggested method first receives two orthogonal 2D face images and extracts major features of the face through the template snake. It then generates a user-customized 3D face model by adjusting a generalized face model using the extracted facial features and by mapping texture maps obtained from two input images to the 3D face model. Finally, it generates a user-customized animation character by synthesizing the generated 3D model to an animation character reflecting the position, size, facial expressions, and rotational information of the character. Experimental results show some results to verify the performance of the suggested algorithm. We expect that our method will be useful to various applications such as games and animation movies.

• The Journal of the Korea Contents Association
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• v.7 no.10
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• pp.126-134
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• 2007

It have been studied many researches for time and space in film, drama and even animation. This study, however, is for investigating a new methodology of time and space study base on the structural linguistics. It can not be detected any of previous study on this method, and it is the first time to try out for researching with the structural linguistics of time and space in animation with this concept. In order to study on the time and space by applying a new method of structural linguistics, it is identify the terminology and concept of the minimum unite of time and space and than analysis with paradigmatic and syntagmatic. Consequence of this study, it can suggest a new methodology of study in the ways of structural linguistics in animation. Further study is to apply this method on character design in animation.

• Journal of the Korea Society of Computer and Information
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• v.16 no.8
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• pp.49-56
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• 2011

Recently, animation contents has become extensively available along with the development of cultural industry. In this paper, we propose a method to analyze a face of animation character and extract 3D rotational information of the face. The suggested method first generates a dominant color model of a face by learning the face image of animation character. Our system then detects the face and its components with the model, and establishes two coordinate systems: base coordinate system and target coordinate system. Our system estimates three dimensional rotational information of the animation character face using the geometric relationship of the two coordinate systems. Finally, in order to visually represent the extracted 3D information, a 3D face model in which the rotation information is reflected is displayed. In experiments, we show that our method can extract 3D rotation information of a character face reasonably.