• Archives of design research
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• v.13 no.1
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• pp.179-186
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• 2000

Animation Characters are very important in mass society because they are not a part of mass culture but the major part of mass culture. Animation Characters varies shapes and dassifications, and its influences are surprising. The youth shares their joys and sorrows with Animation characters, and they are controlled by characters and behaviors of Animation character. Therefore, not only they gain various experiences, but also they pursue unreliable dreams. And native culture extincted by westernlization and contemptation of traditional culture. Also, the youth are toxicated by features of Animation Characters. Features of Animation Characters are immmorality, violence, enjoyment, etc.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.2
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• pp.471-476
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• 2011

As information and communication technologies (ICTs) has been developed, it is getting more important for internet users to consider many security issues (e.g., privacy protection). In this paper we claims that animation contents make a positive influence on teaching such computer securities, and investigate what features of animation contents will be the most important relationships with performance of the teaching process. Once we have obtained the survey results from students, two main features (i.e., characters and plots) of the animation contents have positively influenced the performance of e-learning systems.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1318-1330
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• 2010

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

• Journal of Digital Contents Society
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• v.13 no.3
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• pp.373-383
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• 2012

World Skills Korea Committee for Industrial Policy in the 21st century to meet the needs of the historical profession in animation filed excellent acquisition and the need for human resources through research and public hearings beginning in 2009 a new animation filed in the National Skills Competition adopted the profession. Youth animator's features, technologies, and creativity to develop features that help the tournament by forming social relationships and participation. In this study, four years of the test questions analysis and making questions on animation field the way the game athletes and coaching staff interviews, surveys of major in animation through a detailed analysis of the challenges and constructive suggestions by the direction of the best animated field, excavation and occupations were aimed at improving levels of functionality.

• 한국가시화정보학회:학술대회논문집
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• 2003.11a
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• pp.51-54
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• 2003

Fluid is an effective element in computer animation. Recently, the techniques from CFD have been actively applied to CG production. In this paper, we describe our fluid animation system which implements a variety of established simulation and rendering methods. We also explain our new techniques such as chemical reaction and hardware-assisted fluid animation that are being developed to enhance the features of our software system.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.286-292
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• 2023

This article is set against the backdrop of the rapid development of the metaverse and artificial intelligence technologies, and aims to explore the possibility and potential impact of integrating AI technology into the traditional 3D animation production process. Through an in-depth analysis of the differences when merging traditional production processes with AI technology, it aims to summarize a new innovative workflow for 3D animation production. This new process takes full advantage of the efficiency and intelligent features of AI technology, significantly improving the efficiency of animation production and enhancing the overall quality of the animations. Furthermore, the paper delves into the creative methods and developmental implications of artificial intelligence technology in real-time rendering engines for 3D animation. It highlights the importance of these technologies in driving innovation and optimizing workflows in the field of animation production, showcasing how they provide new perspectives and possibilities for the future development of the animation industry.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.49-59
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• 2020

In this paper, we propose a speech animation synthesis specialized in Korean through a rule-based co-articulation model. Speech animation has been widely used in the cultural industry, such as movies, animations, and games that require natural and realistic motion. Because the technique for audio driven speech animation has been mainly developed for English, however, the animation results for domestic content are often visually very unnatural. For example, dubbing of a voice actor is played with no mouth motion at all or with an unsynchronized looping of simple mouth shapes at best. Although there are language-independent speech animation models, which are not specialized in Korean, they are yet to ensure the quality to be utilized in a domestic content production. Therefore, we propose a natural speech animation synthesis method that reflects the linguistic characteristics of Korean driven by an input audio and text. Reflecting the features that vowels mostly determine the mouth shape in Korean, a coarticulation model separating lips and the tongue has been defined to solve the previous problem of lip distortion and occasional missing of some phoneme characteristics. Our model also reflects the differences in prosodic features for improved dynamics in speech animation. Through user studies, we verify that the proposed model can synthesize natural speech animation.

• Cartoon and Animation Studies
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• s.34
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• pp.23-43
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• 2014

The development of the Internet in the 21st century had made a variety of cross-cultural environment so that animations also have evolved with new features to Web-Animation. In Korea, the web-based flash animation leap forward to the animation Utopia in the early 2000's, but did not last long. The web-based animations should attract audience's attention not only with it's minimum streaming capacity but also with showing it's best qualities as well, Therefore, the stimulating narrative strategies were mandatories for web-animation in 2000's. The absence of in-depth research on media, poor revenue structure, and the emergence of mobile games and e-learning industries made the web-animation become just a one-time/one-consumable content. There were no subsequent generation of korean web-animation ever since. In this study, I want to introduce and analyze the american web animation series, (2005) as a new type of web-animation in current digital culture, In particular, I want to discuss how this web animation appeal to the audience with its narrative strategies through using some aspect of the internet culture which's differentiated from traditional media based cultures. This research could suggest diverse narrative strategies for the future web-animation with new vision. Moreover, This also allows to look at latest web-animation trends and its new experiments.

• Archives of design research
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• v.17 no.3
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• pp.39-50
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• 2004

According to the survey done among the 20s of university students in Oct. 2002, the female animation characters from Korea and Japan have almost no distinction. Speaking of the features of the characters, they have big eyes, a long nose, an oval face. However, their eyes and mouths are expressed exaggeratedly, which makes them hard to get a good impression from the people. It seems that the identity of Korean female animation characters is disappearing in terms of the copycat from western animation characters. Through the research, the features of 20s of Korean and Japanese girls are compared and they were reviewed from the ideal and biological point of view. Then, the animation characters, which physiognomy has been applied, are created based on result, which I am trying to find the standard model of Korea female animation character. As an ideal point of view, it turns out that Korean has a positive reaction on the female animation characters with the cute & introspective characteristics. On the contrary, Korean has a negative reactions on the ones that were created in a biological viewpoint and has a highly sensitive and discontented characteristics. This shows that Korean do not prefer the female animation characters with highly sensitive and discontented characters. According to the survey, 73.5% of people could find the same 7 kinds of female characters which are shown frequently in the animation. This means that the oriental physiognomy is an effective way to approach to the features of the character's face depending on the characteristics of each female characters. The characters in this study are based on real face of female, but we can create the various animation characters if we apply the partial feature of distinctive each personal face.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.