• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.113-124
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• 2010

This article studies on the character design of North Korea's puppet animation around 1985. At that time North Korea's puppet animation are improved glaringly in quantitative side and qualitative side of modeling. There has been constant support nationalistically to puppet animation from the initial period of animation production in North Korea unlike South Korea, and North Korea communicated lively with European socialist countries where tradition of puppet animation is strong. We can discover structural and figurative change of distinct feature in character design in 1985. Structurally, experimental forms and correct movement of joint were possible, because they used ball and socket armature. Expressively, they established own esthetics of character design in puppet animation applying technique of korean traditional painting to character design: laconism, perspicuity, delicacy.

• Journal of Digital Convergence
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• v.14 no.4
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• pp.397-405
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• 2016

Specially, the character in the kids animation is the fundamental visual element, and also has the high value which is to connect to various related businesses. The main purpose of this study is the analysis for character's appearance by the basic plane figure, and it has studied on the authority of recognition capability which is to catch the simple shape rapidly and clearly rather than complex shape. For this study, I established the standard of analysis and then applied that to the characters which were selected in broadcasting domestic kids animation on EBS. Through this procedure, I analyzed character's appearance with the distribution chart. As the result, the circular and oval shapes are the most frequently used shapes for character's appearance. Finally, I expect the result of this study could be one of the design index for the character creation in practical environment.

• International journal of advanced smart convergence
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• v.5 no.2
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• pp.66-72
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• 2016

With the growing shift from traditional educational approaches and studying to the more digital classroom, using electronic textbooks and digital native's demand, there is a growing need to develop new methods for learn Kanji characters for children. The purpose of this study is to help children learn the basic Kanji by using stop motion and block methods, and approaching the basic Kanji character education with a more innovative and interactive smart phone APP. In the development of this smart phone App for children's Kanji character education proposed in this study, 100 basic Kanji characters for children are selected. These 100 characters are required for the stop motion animation production, where each selected Kanji is created as a stop-motion animation utilizing a variety of techniques, such as storytelling, to better engage children. The intelligent App is designed with image recognition technology, so that in the learning process children take a picture for the assembled block using their smart phone, the APP then recognizes whether it is assembled correctly, and then plays an animation corresponding to the assembled Kanji character.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.66-82
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• 2007

This study has analyzed the main works of Hayao Miyazaki, a great master of Japanese animation, and inquired into the internal and external feature of characters depicted in his works. The creation of animation character starts from non-being in the planning step and becomes an important medium which will contain the story and the subject of drama. Therefore it's possible to analogize what he intends to represent through the identity, role and external feature of characters appeared in Hayao Miyazaki's animation. As a result of analyzing these external features, the message pursued by Hayao Miyazaki shows diversified girl character unlike the existing one of Japanimation, the girl characters in his works are sometimes sexless, sometimes androgynous, but they take the role to show the intention of director and to settle matters through new femininity free from any frame. In addition, the story of drama and other components show that the Japanese-typed is being sublimated worldwide with fantasy world through oriental appearance of girl character and various color symbols.

• Journal of Science of Art and Design
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• v.6
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• pp.288-312
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• 2004

Despite the government's efforts and excessive investments in the establishment of an infrastructure for animation, it can be said that the reasons for the inferiority in character licensing and weak performances compared to other leading countries is attributed to the fundamental factor tying within the piece of work itself. Therefore, this research is aimed at finding a counterproposal by assuming that the reason for the failure of our country's animation 'Oseam' was because of its narrative tactics. First, it is possible for a narrative structure to be participated by the audience's creative strategy Second, the audience's participation makes it possible to create the character into a multilateral and a complex personality. Third, this kindof creative strategy is possible when semiotic analyses are utilized. The sole objective for this is to provide a comprehensive viewpoint for the semiotic approach in the creation process of the character.

• Korean Journal of Applied Biomechanics
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• v.17 no.4
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• pp.37-44
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• 2007

This study compared the Character Studio of 3ds Max and OpenGL to find an adequate modeling method of character animation to be used in motion analysis in the area of motor mechanics. The subject was one male golfer. We obtained the positional coordinates of marks needed by photographing the subject's golf swing motions. Because the method based on the Character Studio used meticulously designed character meshes, it enabled high.level animation but it took a long time in applying physique and demanded the repeated adjustment of each motion data. With the method based on OpenGL, a character completed once could be usable to almost every testee and desired program control was available, but because each character had to be created by making a computer program, it was hard to make characters delicately. Because the method using the Character Studio is actively studied not only in motor mechanics but also in many research areas, it is expected to be more usable in the near future. On the contrary, the method based on OpenGL is easily applicable and allows the convenient use of other mechanical data.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.150-156
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• 2022

Recently, the use of Unreal Engine for animation production is increasing. In this situation, Unreal Engine's 'MetaHuman Creator' helps make it easier to apply realistic characters to animation. In this regard, we tried to produce animations using 'MetaHuman' and verify the effectiveness and differences from the animation production process using only Maya software. To increase the efficiency of the production process, the animation process was made with Maya software. We tried to import animation data from Unreal Engine and go through the process of making animations, and try to find out if there are any problems. And we tried to compare animations made with realistic 'MetaHuman' characters and animation works using cartoon-type characters. The use of the same camera lens in realistic character animations and cartoon character animations produced based on the same scenario was judged to be the cause of the lack of realistic animation screen composition. The analysis revealed that a different approach from the existing animation camera lens selection is required for the selection of the camera lens in the production of realistic animation.

• Cartoon and Animation Studies
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• s.15
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• pp.165-178
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• 2009

Everybody recognizes importance of characters in theater animation that directly influence audiences through narrative structure. However, it is very difficult to make one. This study is about this process that creates characters. This study derived what common points were involved in analysis data of major/supporting characters' formative characteristics in various studies related to animation characters. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were released in 2007. Finally, this study investigated the process of character creation using portrait based on the analyzed data. Although this study tried to approach to character creation objectively using objective data rather than subjective judgment of the researcher, the researcher recognizes that subjective thoughts could not be completely excluded since it is done by man's hands. However, this author sincerely hopes that this research can be a great help in producing animation characters through understanding form factors of images that makes character for short film producers who suffered from slow work process due to difficulty in creating characters or authors who failed to complete satisfactory work as they could not find slight difference in character modification.

• Journal of Korea Multimedia Society
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• v.22 no.6
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• pp.729-737
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• 2019

This study defined the animation space as the concept of map based on the space of Joseph Campbell's heroic narrative. The space in which the animated character exists is an image symbolic language that reflects the inner and outer growth stages of the hero. I focused on the spatiality that plays the role of the power to lead the narrative and examined the meaning as the mediator that leads the heroic narrative. First, 6 spatial variables were derived by observing 'Hero's Journey 'which is used as a basis of US commercial animation scenario. Second, spatial variables are defined as 64 zones and proposed as 'Spatial Map Model of the Hero's Journey' (SMMH). Third, the character space of was applied to 'SMMH', and the change of space utilization rate and spatiality and the narrative meaning were analyzed. This study extended the narrative of animation space which was not actively studied to map concept. It is possible to provide a different viewpoint in animation production and research.

• Journal of Information Technology Applications and Management
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• v.29 no.4
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• pp.51-60
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• 2022

This study was conducted on characters who play the main character of the spin-off work based on the image in the original. Through the analysis of the original and spin-off works, the role type and characteristics according to the characters' roles were analyzed. It was analyzed that Rex, Bo Peep, and Forky, the main characters of the Toy Story spin-off works, had characteristics described in the original, which were not the main characters, and changed when they appeared in the spin-off works. First, it shows a tendency to add a new personality to play the role of the main character who solves problems and leads the story development while maintaining the existing personality characteristics in the original. Second, in order to play the main character in the spin-off work, these main characters are strongly revealed in the characteristics of the faithful type 6, and the achiever type 3, respectively. The reason why the characters' personality in the existing original have continuity is that if the personality of the existing characters change rapidly, they may contradict the audience's existing perception, preventing them from being immersed in the spin-off protagonist itself and the story development. However, the main characteristics of personality type 6 and personality type 3 are described only by considering the character's role as a helper to solve the problem and the characters' characteristics, but in order to solve the problem in spin-off, the animation producers are determined to achieve the goal. An understanding of this result will greatly help animation producers plan the character in consideration.