• Cartoon and Animation Studies
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• s.8
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• pp.298-305
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• 2004

There are many opportunistic events that accidentally happen in Rin Taro's animations. However, audiences usually enjoy them in which dramatic catastrophic scenes inflict destruction on a city. Every acquaintance that a hero meets helps him to complete his wish in . Rin's animations describe the hero as a person that every acquaintance is eager to help. This means that the fulfillment of hero's wish depends on sympathy of the other persons toward the hero. Thus, the hero is psychologically dependent on the others. However, Rin Taro gradually became to describe destructive aspects of psychological dependence. A female character in 'X' has a symbiotic relationship with a computer that has a human-like jealousy. At last, it kills her from its jealousy. Rin Taro had shifted from helpful psychological dependence to destructive one in his animations. Therefore, Rin Taro described Japanese mental state as psychological dependence in his animations in accordance with the present state in Japan.

• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• Anatomy and Cell Biology
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• v.51 no.4
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• pp.260-265
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• 2018

Undergraduate students struggle to comprehend embryology because of its dynamic nature. Studies have recommended using a combination of teaching methods to match the student's learning style. But there has been no study to describe the effect of such teaching strategy over the different types of learners. In the present study, an attempt has been made to teach embryology using the combination of analogies and simple 2D animations made with Microsoft powerpoint software. The objective of the study is to estimate the difference in academic improvement and perception scale between the different types of learners after introducing analogies and 2D animation in a lecture environment. Based on Visual, Aural, Read/Write, and Kinesthetic (VARK) scoring system the learners were grouped into unimodal and multimodal learners. There was significant improvement in post-test score among the unimodal (P<0.001) and multimodal learners (P<0.001). When the post-test score was compared between the two groups, the multimodal learners performed better the unimodal learners (P=0.018). But there was no difference in the perception of animations and analogies and long-term assessment between the groups. The multimodal learners performed better than unimodal learners in short term recollection, but in long term retention of knowledge the varied learning style didn't influence its outcome.

• Cartoon and Animation Studies
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• s.12
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• pp.103-119
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• 2007

This study investigated the comical essence of animations and the comicality found in Korean animations focusing on the comical elements signifying the promotion of laughing and its meaning. In addition, it has been found from this study that the comical essence of animations was the laughing that expanded the recognition and awareness for the entity to be revived, by suggesting the following: 1) the fact that the laughing would be unexpected and it would stimulate the imagination of audience in unprecedented situations in which the method of creation would be unthinkable and thereby the laughing occurred would endow audience with thought, feeling and sense etc. that would not have been perceived so far; and 2) furthermore, the ideal world through grotesque expressions. Meanwhile, unlike the general preconception that animations would be considered one of the popular art forms with strong comical elements, it has been noted that there have been a very few Korean animations with strong comical elements. Besides, it has been confirmed that they have focused not on created and grotesque comicality, but on linguistic comicality based on the forms of characters or their movement itself, or humor and witty remarks.

• Cartoon and Animation Studies
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• s.9
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• pp.161-183
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• 2005

In the main current 3D animations which are put on the screens, the characters in the animations have a directly effect on the audiences by being closely connected with their descriptive constructions. In this research i am going to recognize the importance of characters and trace the points of sameness in the characters that appear in the 3D animations by analysing them. For this, 1 divided the characters that made lots of box-office profits all over the world and were made at Pixar which focused on characters and stories into 7 types according to written by Vladimir Propp and grasped the characters with MBTI system. 1 found out the points of sameness between the characters with this system. That will be able to be made use of referring the streams of stories and fixing the characters at the planning and producing stages. If we should make a study of figures, expressions, motions of the characters in connection with this research, it could help us to create the characters which are suitable for animations not only formative elements but also acting.

• International journal of advanced smart convergence
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• v.9 no.2
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• pp.179-184
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• 2020

Recently, webtoons-based animations have been expanding in Korea, where the role of mobile devices is growing, and media videos such as "YouTube" and "Tik-Tok," which have shorter screening and production cycles than traditional feature films, dramas, and animations, are attracting attention and being enjoyed by public. In order to produce animation content that fits the trend of this shortening video and production cycle, efficiency must be increased not only in story but also in production. Production methods and production technologies need changes to increase efficiency. Animation using motion capture, which is highly production-efficient, is widely used in movies that shows realistic movements, but still has little use in producing cartoon-style animations with exaggerated movements. We analyzed the production method of 2D animation and CG animation and applied the result to CG animation to increase the efficiency of production and production. The methods of production through such experiments are expected to help improve the efficiency of producing animation content that is suitable for the latest trends such as webtoon animation.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.11
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• pp.1101-1105
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• 2010

We present a sketch-based animation interface that allows novice users to create informative 2D web animation quickly, In this paper, we uses cutouts as a main animated primitive to allow users to quickly create 'cutouts on whiteboard' style animations. Users can freely draw and write, and at the same time they can easily manipulate animated cutouts to create impressive animations, We demonstrate that our system is capable of creating more impressive animations more quickly than sketch-only animation approaches.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.632-637
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• 2009

Recently Renku (Haikai no Renga) is getting popular as well as Haiku in Japan. It was built up by Basho Matsuo, who was the most famous Haiku poet. It is said that Kyoshi Takahama proposed the name of "Renku" to distinguish it from "Renga" and "Haiku" in 1904. Renku meetings are held like Haiku ones regularly now in each place, and in several universities, they conduct a class exercise of Renku continuously. It is very important for plural persons to work together cooperatively. Poetry, Tanka, Haiku and Renku are usually composed of only letters. It sometimes happens that we add pictures to make them more attractive and to aim at synergy by collaboration (letters and pictures). However, the study to produce 3DCG animations of Renku has not been reported very much. Sowe studied to produce 3DCG animations work based on the rule of Renku and its evaluation.

• Cartoon and Animation Studies
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• s.15
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• pp.1-12
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• 2009

As the technology realizing digital multimedia has been developing remarkably based on Internet environment, today we can gain various information we need quickly and easily without regard to time or place by using world wide web. The recent spread of digital animation as a way of communication on Internet has been forming a new communication paradigm according to the development of age. Besides, digital animations embodied on web are a kind of communication medium which is expressed through interactions using different digital multimedia tools and put the concepts of time and space together. This is a form which can cope with various forms of information, and it occupies a high rate on web and is used often. Web animations offer various forms of communication, such as interface structure design for information transfer, characters, typography, and other graphic elements, which make users feel maximized real dynamics. This paper analyzes and evaluates the categories according to the characteristics, information and usage types of digital animations used on web, examines more efficient communication expressions based on them, and pays attention to the Internet environment that will develop and change in the future. With regard to it, this research aims at suggesting a useful theory so that diverse digital animations on web based on Internet environment would develop into a new communication paradigm responding to the change of time.

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.