• Cartoon and Animation Studies
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• s.37
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• pp.1-24
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• 2014

The advancement of computer technology has blurred the border in image expression between live-action films and 3D animation to an indistinguishable extent. Despite the ever-evolving image expression, it has been found that animation properly incorporating abstractive expression receives more positive responses from the audience than the animation closely akin to live-action films. This indicates that animation-specific abstractive expression can exert more significant effects than that of live-action expression as proved in Dr. Mori Masahiro's 'Uncanny Valley.' Also, such effects apply only to characters, whilst the technology capable of live-action expression is acknowledged only for the background of 3D animation. Without doubt, animation has its own infinite world of expression, and thus more effective methods for its expression can no longer be considered a matter of technology. The present study analyzes the abstractive expression of 3D animation in terms of characters and backgrounds and explores a more effective method to apply the current technology of image expression to 3D animation with a view to proposing a direction for more appropriate application of 3D animation technology to future animation.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Journal of Digital Convergence
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• v.18 no.2
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• pp.361-366
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• 2020

The purpose of this study is to find out user preference on personification of the public service robot. Public service robot services in public places is increasing, which is expected to continue to increase. Proper anthropomorphism of robots has positive effect on user experience. On the other hand, when the level of likeness exceeds a certain point, it provokes strangeness and a sense of unease. Therefore, it is necessary to prepare standards for anthropomorphism required for public service robots. In order to find it, a survey and an in-depth interview were conducted. According to the analysis, people prefer verbal interaction with the robot, and the proper age for the voice is in their 20s and 30s. It is recommended that no biological signals appear on the robot and there is a need for personalized services. Through this research, it is expected that it will contribute to design of public service robots that enhance user experience.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.