• Proceedings of the Korea Contents Association Conference
• /
• 2007.11a
• /
• pp.894-898
• /
• 2007

Now a day, lots of the animations include TV series Animations are made by the technique of 3D Animation. However, 3D Animation obstructs visual elements and deteriorates an acquaintance with the limit of unfamiliar material methods and dispersion of light. For this reason, a large of number of 3D Animations are repacked with the style of 2D Animation. Most of previous studies for the conversion of output 3D Animation to the style of 2D Animation are analysis for 2D rendering techniques. In case of Non-realistic 3D Character Animation, first and foremost it needs investigation of the basic producing method for the 2D Animation is different with the realistic expression way of the one for the 3D animation. For a case study, expression methods for the non-realistic and the non-actuality 2D Character Animation come with impossible ways in the real life. This study for the 3D Animation with the style of 2D Animation is to investigate on the keynote for effective expression methods, when we turn 3D Animation into the style of 2D Animation.

• Journal of Digital Convergence
• /
• v.13 no.10
• /
• pp.491-499
• /
• 2015

The potential competency from the animation industry, as known as a foundation which spawned a variety contents from the piece of work, has a high importance in the content development field. The pivotal role of the domestic animation industry has produced the term of convergence content which composed by both educational elements and entertainment features especially from the domestic kids TV animation industry. This study analysis the ideal indicator of the preferred characteristic design being broadcasted on EBS, not only presenting the status of the character proportion rates but also proposing the creative aesthetic indication where the substantial leverage would be available as the purpose of this research.

• Journal of Korea Game Society
• /
• v.8 no.1
• /
• pp.91-101
• /
• 2008

Most designers use professional 3D animation tools such as 3DS MAX to manually create animation. This manual method requires a great deal of time and efforts, and does not allow animation characters to interact with one another. In this paper, we design an AI middleware of form as 3DS MAX plug-in to solve these issues. We present an AI expression structure and internal processing method for this middleware, and the method for creating AI character's structure. It creates AI character's structure by drawing figures and lines for representing AI elements. For experiment, we have produced same animations with the traditional method and our method, and measured the task volume in both methods. This result verifies that the task volume is similar or higher than the traditional method in small-scale tasks, but up to 43% of the task volume is reduced in large-scale tasks. Using the method proposed in this paper, we see that characters in an animation interact each other, and task volume in large-scale tasks are reduced.

• The Journal of the Korea Contents Association
• /
• v.14 no.6
• /
• pp.11-25
• /
• 2014

In strong dramas, pot, character, and theme, three basic elements in dramatic structure, are effectively integrated forwards the same dramatic idea. Plot might be considered as the most important element to combine events and character. However, at some point of the script, the writer becomes less interested in the mechanics of the plot, and the characters take over, because audiences remember the characters or the situations more clearly than the plot. Therefore, the workshop of dramatic structure would be successful when it starts from excogitating the character and the situation, by improvising 'voices' of characters, building 'back story', and reconstructing 'outline from the antagonist's view'. With these exercises, the writer and the director understand the mechanics of dramatic plotting by characterization, which include the choice of the protagonist, and the description of plausible actions and the theme, and they consequentially find the way to obtain solidity and plausibility in the scenes.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.531-537
• /
• 2009

When creating large crowds, it is unavoidable that the models and motions of many characters will be cloned. McDonnell implemented experiments focus on appearance and motion of characters to test user perception of crowds. As a result, appearance clones were easier to perceive than motion clones. In this paper, I researched about relation between character cloning and user perception for real-time game environment expanding McDonnell's research. This paper focuses on the way to recognition of multiple clones in dramatic environment free to change view point and has crowds move to every directions by trajectories. In particular, this paper shows the possibility of character diversification applied various shapes, colors and patterns to game item have important elements for game characters. Also, I suggests range of distances between clones by a series of experiments of user perception for clones's moving direction and distance.

• Cartoon and Animation Studies
• /
• s.49
• /
• pp.221-246
• /
• 2017

Visual narrative or storytelling involve two important aspects of the cognitive perception: the conscious and subconscious. Color is one of the cognitive storytelling elements, its interpretation is captured by the subconscious and it is considered an emotional resource due to its psychological background. On the other hand, the character is also part of cognitive perception and storytelling tool, but this is interpreted consciously, character is considered as a logical resource. Ghibli and Disney have organized their cinematographic techniques in different ways, so it would be unfair to say that one narrative style is better than the other, it depends of perception of beauty which varies according to society. However the present study seeks to determine the differences between Ghibli and Disney narrative style, taking as reference color. Ghibli and Disney are perfect example about color effects as a storytelling agent, It can be classified in two aspects: dynamics of color and color as a narrative sequence. The dynamics of color analyzes how color acts and is perceived into a stage, its meaning and symbolism regardless of the character's actions. The narrative sequence studies how color thermologic evolves in scene's development.

• Journal of Christian Education in Korea
• /
• v.77
• /
• pp.151-169
• /
• 2024

Purpose of the Study : This research aims to examine the core values of ESG (Environmental, Social, and Governance) from a Christian perspective and explore the direction of Christian education that fosters character traits such as service, compassion, responsibility, and sharing through the process of design thinking. Content and Method of the Study : By investigating the background and definition of ESG, ESG practices in businesses, and the current status and values of ESG education in universities, this study examined the core values of ESG from a Christian perspective. Subsequently, the study explored and proposed directions for applying ESG education methods infused with character traits such as service, compassion, responsibility, and sharing through the process of design thinking. Conclusion and Recommendations : Through this study, the core values of ESG have been derived as elements from a Christian perspective, and exploration has been made on how to integrate them into the design thinking process. Consequently, this study has identified the potential to integrate ESG into the design thinking process with a focus on elements from the perspective of Christian education. This could serve as foundational material for education seeking to apply ESG through the integration of design thinking, and it is hoped that it will be helpful as a basis for further research. Subsequent studies should aim to construct a more systematic framework for the direction proposed in this study through expert reviews.

• The KIPS Transactions:PartB
• /
• v.9B no.2
• /
• pp.245-254
• /
• 2002

IC package marking inspection system using machine vision locates and identifies the target elements from input image, and decides the quality of marking by comparing the extracted target elements with the standard patterns. This paper proposes an adaptive multi-level thresholding (AMLT) method which is suitable for a series of operations such as locating the target IC package, extracting the characters, and detecting the Pinl dimple. It also proposes a dynamic matching unit selection (DMUS) method which is robust to noises as well as effective to catch out the local marking errors. The main idea of the AMLT method is to restrict the inputs of Otsu's thresholding algorithm within a specified area and a partial range of gray values. Doing so, it can adapt to the specific domain. The DMUS method dynamically selects the matching unit according to the result of character extraction and layout analysis. Therefore, in spite of the various erroneous situation occurred in the process of character extraction and layout analysis, it can select minimal matching unit in any environment. In an experiment with 280 IC package images of eight types, the correct extracting rate of IC package and Pinl dimple was 100% and the correct decision rate of marking quality was 98.8%. This result shows that the proposed methods are effective to IC package marking inspection.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.123-133
• /
• 2019

Director Lee Chang-dong saying that the most important thing is to let the audience experience, find its meaning, interpret, and feel the pure sensation (whether it's image, sound or music) that the film has instead of narrative giving you the answers, through the film presenting the pure natural landscape as it is, but all the familiar things that can be taken as a riddle are conveyed in images, and all the elements that make up the film share its presence with each other and let us experience a mysterious weight of reality that cannot be defined through its strange symbolism and metaphors, and it reflects various human emotions, reflecting curiosity of reality, the words that are hardly spoken, meanings of life that we were not being aware of. Rather than having one definitive figure, through the character's personality expressing an imperfect character with a complex ambiguous behavior asks about the things that can't be explained logically and the fact of life that can't be divided into truth or lie. Also, the acting approaches emotionally and primitively rather than using artificial expressions, showing the invisible elements of emotions that are latent inside humans through temperate acting style, leads the audience to distant themselves and reflect more deeply into life. This study analyzed the characters and acting of the film based on director Lee Chang-dong's directing style.

• The Korean Journal of Quaternary Research
• /
• v.17 no.2
• /
• pp.85-99
• /
• 2003

Since the experience of major landscape change during last half of the century due to war and rapid urbanization, the traditional character has been weakened, and it is necessary for a reconsideration to improve the landscape for the future. To review these relationships, the importance of a comprehensive understanding of nature has been suggested. Therefore identification of a new concept based on the 'socio-cultural influence of landscape' and 'sense of place' which are related to peoples' previous experience, is required. Furthermore more practical definitions and criteria to reveal the relationship are necessary. Among the terms suggested to describe sense of place such as 'home', 'place identity', 'place-based meaning' and 'settlement identity' etc., the 'home' is selected to represent our surrounding landscape. For more practical classification of home landscape, additional terms are suggested and defined based on both the relationships between human beings and nature, and between memory derived from previous experience and shared values with in the community. The additional terms which are the most important in the role of landscape character related to humans' are; ⅰ) Personal Landscape: Landscape of an individual human, which derives from previous personal experience; involves distinguishable character for a given person, and it is emotional and flexible depending on circumstances. ⅱ) Ordinary Landscape： Landscape of the 'common interest' between members of a community, which is acceptable as a surrounding for everyday daily life, it produces the richness and variety of landscape. ⅲ) Kernel Landscape： Landscape of the 'common ground' which is acceptable to the majority members of the community, and it provides variety and stability for periods of time, and it could strongly represent community attitudes toward nature. ⅳ) Prototype Landscape: Landscape as the 'common denominator' of overall community from past to present and towards the future, which encompasses all the kernel landscape throughout history. It provides a sense of place, balances the homogeneity of character throughout overall communities. Some part of this can be shared throughout history to shape an overall sense of place. It can also represent short terms fashions. For a prototype landscape to reveal sense of place, there are a couple of points which we should underline the commencing point. Firstly, understanding the relationship between humans and nature should be based on a given character of surroundings. Secondly, reoccurring landscape elements which have sustained in history can lead to sense of place, and should be reviewed the influences between nature and humans.