• Journal of Information Technology Applications and Management
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• v.27 no.6
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• pp.1-14
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• 2020

Since the birth of animation, the United States has created many classic characters. For example, Mickey Mouse and Minnie, Tom and Jerry, Lion King, and Nemo, which are imaged with animal images, include Snow White, Bell, Mulan, and Aladdin. In addition, there are villain characters designed with strong personality and personality design, such as Snow White's stepmother Grimheel, Ursula, Bad Girl Crew El Radville, Scar, Captain Hook, and so on. These animation characters have been remembered for a long time with stories in people's minds, and have also brought laughter and emotion to people all over the world, which has brought a lot of business value to animation companies. Recently, the villain of American animation works is becoming more and more suited to the taste of the audience. The villain is not a symbolic image of the brutality we have seen before. They are not only visual images with rich and diverse personalities, but are also designed to suit the tastes of the public with a multifaceted inconsistency. They appear as ordinary people in our lives in works, or as powerful people who are not realistic. The villain characters designed in this way are real human miniatures appearing in the relationships in our lives, and they cannot judge good or bad only by their appearance. Through the study of villains in American animation, many villains in American animation were summed up, and villains could be classified into three types: brutal, violent, and sneaky. Based on this, it was possible to analyze the appearance and attire of the villain character in American animation, and to create a vivid and popular image of the villain, it was found that the character of the character should be emphasized when constructing the shape and costume of the villain character. In conclusion, the attractive formation of villain characters is an important part for successful animation. The production of vivid and long-lasting villain characters must begin with detailed settings such as personality, shape, and dress from the planning stage, which is not only the intention of the producer, but also a reflection of the aesthetic psychology that society should pay attention to today.

• Cartoon and Animation Studies
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• s.17
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• pp.53-67
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• 2009

According to the changes of current regulation of media, the broadcasting environment has been loosened by market power, and came into competitive era for broadcasting industry with new technology of combined broadcasting and communication. To resolve these issues, the broadcasting provides are trying process of new channel brand identity to introduce their channels. The purpose of the research is to analyze Spot animation that has fast access to viewers among channel brand identity factors, review expandability and usage of Spot animation character to plan, manage character that can improve awareness and loyalty. Therefore it will study creation background and production, activities of each character representing KBS and MBC, compare the structure, color, material, expression of Spot animation character and summarize properties. To conclusion, three characters of KBS and MBC failed to apply structured and professional plan and management, only expressed image that each channel pursue on Station ID Spot animation and had issues of not deeply sighting expandability and usefulness as a character. The important factor to improve channel brand value of broadcasting provider is to have differentiated identity, and the core of it is to make image-responsible Station ID to be effective. Therefore, Spot animation and character of Station ID is a very important factor so there must be professional research and structural management from the early planning and production for character that represents the providers.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.3
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• pp.155-160
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• 2022

In recent years, Unreal Engine has been increasingly included in the animation process produced in the studio. In this case, there will be more than one of main software, and it is very important to accurately transfer data between the software and Unreal Engine. In animation data, not only the animation data of the character but also the animation data of objects interacting with the character must be individually produced and transferred. Most of the objects that interact with the character have a condition of constraints with the part of character. In this paper, I tried to stipulate the production process for extracting animation data of constrained objects, and to analyze why users experience difficulties due to the complexity of the regulations in the process of executing them. And based on the flowchart prescribed for user convenience, I created a program using a Python script to prove the user's convenience. Finally, by comparing the results generated according to the manual flowchart with the results generated through the script command, it was found that the data were consistent.

• Journal of Korea Multimedia Society
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• v.14 no.6
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• pp.813-823
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• 2011

This study is to suggest the facial animation methodology for that 3D character animators can use CGS system effectively during on their stage which they create ideas and use repeating a process of facial animation, it has suggested the CGS(Character Generation System) that is a creative idea generation methodology identified and complemented the problem of the existing computerized idea generation, in addition, this research being extended on the article vol.13, no.7, "CGS System based on Three-Dimensional Character Modeling II (Part2: About Digital Process)," on Korea Multimedia Society in July 2010 issue, Through the preceding study on 3D character facial expression according to character's feelings as an anatomical structure and the case study on character expressions of theatrical animation, this study is expected to have effectives as one method for maximization of facial animation and idea generation ability.

• Journal of KIISE:Computing Practices and Letters
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• v.7 no.5
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• pp.467-474
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• 2001

When user wants to animate more than one character, some unexpected motion animation like a collision between characters may occur. Therefore, this problem must be resolved using a proper control mechanism. Therefore, this problem must be resolved using a proper control mechanism. This paper proposes an agent-based system that controls the motion animation of the character for representing animation scenario reflecting user\`s intention. This system provides a method that coordinates a type of motion and avoids collision between characters according to the moving path of a character in three-dimensional space. Agent communicates with others for motion synchronization. Agent is extended into several intelligent agents that coordinate character\`s motion. Agent system enables not only an intended motion animation, but also the scheduling of motion to an entire character animation. It designs automata model using Petri-net analysis tool for the agent\`s interaction as a method that passes the agent\`s information and infers the current state of agents. We implement this agent system to control the motion of character using agent technology and show an example of controlling the motion of human character model to prove the possiblity of motion control.

• Cartoon and Animation Studies
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• s.14
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• pp.65-82
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• 2008

The animation is expressed by fusing the character's aesthetic feature and action in the entire structure and such creation of the character is needed to approach with understanding its socio-cultural background and dramatic structure. This study has started for the reason that there is a need of making an animation character based on reality, as well as to develop a individual character and narrative skill at the same time. In this study, analyzing through the DSM-IV (Diagnostic and Statistical Manual of Mental Disorders) by the American Psychiatric Association, APA), I have been able to come to a conclusion in which the character's personality is presented more exaggeratingly than its ordinary tendency. So it is used as a means to occur a dramatic motive-induction and probability. Futhermore, applying the same condition of the personality disorders to the animation character has changed the narrative development and it showed a result that even the character is not having the problem of personality disorders, it shows the nature of personality disorders-like is being appeared exaggeratingly or increasingly.

• Journal of Digital Convergence
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• v.17 no.12
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• pp.451-459
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• 2019

This study is aims to examine how the skeleton character in Pixar's Animation is visualized for the narrative of the film and suggests the direction of attractive character development corresponding to the story. First of all, it was conducted the case studies on the narrative of animation, character design, character's emotion expression, and animations featuring skeleton character. Based on this study, it was derived the visual representation of the skeleton character featuring in and analyzed the role and function in the animation. As a result, the expressions by the skeleton's eyes, eyebrows, mouth, lips, and jaw played the most important role for the emotional expression and lines in , and the major characteristic for human facial expression was reflected in the design of the skeleton character. In addition, the various props were used to provide the detailed informations of the skeleton's character, and it was expressed the movement emphasizing its essential attribute. Finally, the skeleton's symbolic image was strengthened by composing and arranging the skeleton's image through Mise en scene. It is expected that this study will be used as a reference for the animation character related researchers and practitioners in the business and it helps develop attractive characters fir the narrative animation in the future.

• Journal of Korea Multimedia Society
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• v.25 no.7
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• pp.964-972
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• 2022

The Uncanny Valley phenomenon has already been deemed as theoretical, and the characteristics of game character expression elements for the Uncanny Valley phenomenon were recognized through case analysis as well. By theoretical consideration and case studies, it was found out that the influential elements of the Uncanny Valley phenomenon can be classified as two primary factors: character surface treatment and facial expression animation. The prepared experimental materials and adjectives were measured to be Five-Point Likert Scale. The measured results were evaluated for both influence and comparative analysis through essential statistical analysis and Repeated Measuring ANOVA in SPSS. The conclusions which were drawn from this research are as follows: The surface treatment of characters did not substantially affect the Uncanny Valley phenomenon. Instead, character's expression animation had a significant impact on the Uncanny Valley phenomenon, which also led to another conclusion that the facial expression animation had an overall deeper impact on Uncanny Valley phenomenon compared with character's surface treatment. It was the unnatural facial expression animation that controlled all of the independent variables and also caused the Uncanny Valley phenomenon. In order for game characters to evade the Uncanny Valley phenomenon and enhance game immersion, the facial expression animation of the character must be done spontaneously.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.79-85
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• 2017

Since Korea started producing original animations targeting children, market of character for children has been led by TV animation with continuous broadcasting and OSMU. With a successful fondation in animation toy industry, its market is expanding to film industry, at the same time, brings positive effect for benefit of domestic animation. Therefore, this study researched viewing rate of children's TV animation and analyzed character storytelling to help foster and grow the direction of future animation characters. For the analysis, I selected 20 animations with high viewing rate and analyzed the storytelling of 95 characters based on their roles. The results of this study are as follows: in children's animation appeared various types of characters helping each other to make the viewer learn socializing. In addition, character's external setting varied depending on its role. Moreover, in the characters' internal setting, the most frequently appeared keyword was leadership, however, their personality keyword varied depending on the role.

• Journal of Fashion Business
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• v.5 no.1
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• pp.97-116
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• 2001

Character fashion was already turned up in Egyptian age and nowadays was worn to everybody as regardless of ages, level and sex of people. This paper reviewed character fashion and animation character based on USA and Japan that is outstanding more coming up today and compared and analyzed with our country's situation. Usually, character fashion would give imagnation of products and companies themselves for aesthetic sense and can show possessive feeling and personality. And that mean fashion used by character like pictures and signals(that include words figures and special signals) and these fashion using by animation character was come out in 1929. In spite of third producer, Korea, back from USA and Japan about character fashion, we faced many problems. In order to solve these problems, we must make our own pure character that do not need to pay royalty and must spread marketing strategy with character fashion of more various designs. Therefore we should concentrate for raising high quality works and avoid uneconomic investment and plagiarism and finally we must expand recognition concerning character fashion.