• 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.

• Cartoon and Animation Studies
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• s.36
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• pp.1-17
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• 2014

The purpose of this study was to identify ironic characteristics that appear through ironic reversal in formal aspect and foreshadow structure examined through the progression stage of irony within the narrative structure in contents aspect. This study is intended to research how ironic expressions is embedded in latest full-length animation created by major animation production companies in America, such as PDI Dreamworks and Pixar. As identified in this study, the irony can be defined into two categories. First, Irony appears dramatically in a last scene through the process of prediction and implication after setting up a situation. It delivers laughter as it is mainly used to portray characters or to set up backgrounds for incidents. Secondly, foreshadow that appeared in the early part of animation in relation to irony was revealed with a surprising twist with the cause-and-effect relationship in the middle or end of the play. The irony strengthens dramatic elements and was used to make the story richer. By analyzing two american full-length animation films, various consecutive ironic expressions in narrative, which is the reversal irony in continuous scene or irony used with foreshadow were identified.

• Journal of the Korea Computer Graphics Society
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• v.22 no.3
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• pp.63-73
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• 2016

Animation contents are gradually growing every year, but production period and budget for making one animation contents is insufficient as of now. In particular, in case of animation series that are broadcasted on television, many episodes should be made within a short period of production term. Hence, production pipeline of full three-dimensional animation is frequently chosen in this case. However, another problem emerges as the full three-dimensional animation also requires a lot of time for making high-quality background and for rendering. Composed animation is a production pipeline that attempts to solve such problem. It is a pipeline of producing animation by composing computer graphic (CG) character and real background. It requires relatively small number of human resources compared to the full three-dimensional animation pipeline. Hence, it has an advantage in that natural-looking image can be produced under efficient structure and time for rendering can also be reduced. This paper proposes an efficient process of producing composed animation by using miniature set and three-dimensional computer graphic.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.19.1-19
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• 2001

• Archives of design research
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• v.17 no.2
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• pp.55-66
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• 2004

Full-length Animation has been producing very actively with a large of U.S.A and growing rapidly as a pare of entertainment industry since the middle of the 1990's. However, in actual fact, Korea Animation doesn't have any characteristics as compared with Japan Animation & U.S.A Animation's growth. It is owing to in financial difficulty and that there's no conversion about consciousness that Animation is only for children. This study is constructed with color information as the central figure from a gradation of information delivery and analyzed ‘Image Color’ of full-length animation which is produced by large studio in U.S.A. This study predicts about past, present and future of animation centering around a color that visual sensitivity factor which recognize enormous information very quickly among sensitivity stimulus of human being. With this study analysis a color of U.S.A animation, looking for sensitivity color factor that react to elaborate and delicate stimulus, and then expressed color from developed animation skill apply to sensitivity industry.

• 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.

• Cartoon and Animation Studies
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• s.16
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• pp.49-65
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• 2009

I try to extract typological factors from the historically relevant works of animation, for that we can refer 'style.' creator's individuality, general tendencies and restraints of his time, the national properties work on them. It is the individual aspect that excels in the works of Jiri Trnka, Tim Burton, Yuri Norstein, so they stand out not only in their own specific sensibility, vision but also in the elucidation of themes and the technology of dealing medium. On the other hand the Walt Disney's animation has so distinctive characteristics that we could identify them. Disney's so-called classical model accomplished a typically American animation form as full of expressive visual language, over reaction, full animation describing detail action. We could tell, Miyajaki Hayao's Gibri Studio represents Japanese animation, which works on traditional motives of Japan and expresses unique humanity.

• Cartoon and Animation Studies
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• s.41
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• pp.533-552
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• 2015

The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.131-141
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• 2011

Expression of color in national animation often delivered vaguely. This study will make up for vaguely meaning in terms of expression in color. And this study is intend to look the strategy and error of color in regional animation. This study is intend to arrange the situation of synesthesia effect of color which is applied as a keyword 'light' of Gwang-ju's image. Moreover, There is a bit difficulty in using synesthesia of color, but the use possibility is full of suggestions. Therefore, For regional animation, this study intend that in order to establish a new regional specialized animation, appropriateness of synesthesia effect of color in based animation is inspected and then the potential is emphasized.

• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.