• 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.

• Proceedings of the Korea Contents Association Conference
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• 2003.05a
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• pp.107-110
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• 2003

As the animation prevails through the public recently, animation fields editing and creating greatly have attention and get into the spotlight. Nevertheless, such solutions in LINUX environment tend to be worse than those in Windows. In this paper, we propose Motion Space Prime in LINUX, which is capable of creating stop motion animation easily such as clay animation. Users can interactively edit motions captured by a digital camcorder.

• Cartoon and Animation Studies
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• s.16
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• pp.113-124
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• 2009

This study shows that there is an essential difference between colors of animation and live action film through the expressive colors of 2D animation as distinct from three dimension space. While live action film has an obvious object of representation, the image of 2D animation is a creature made by human without the process of mechanical representation. And this is revealed sharply in the expressive colors of 2D animation. Therefore the expressive colors of 2D animation are the important points in which the autonomous meaning of animation image is revealed.

• Cartoon and Animation Studies
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• s.35
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• pp.89-106
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• 2014

According to Norman McLaren, a Canadian animator, "Animation is not art of moving pictures but art of drawn motions". As he puts it, animation performs the role of magic that turns static to dynamic. Particularly, the space of animation, which is generated through merger of several layers, creates distinctive space that is not to be found in other art genres. Also, the motion of animation, which, unlike live action in film, can be limitlessly created according to a director's subjective domain, has a more autonomous existence. In this paper, I study the space and motion in animation grounded in a director's subjective domain, based on the works by Tabaimo, the Japanese animator director and modern artist. She made an independent use of color sense and perspective that maximized a flat surface, which contributed to creating a new world that doesn't exist in reality. Motion created in such a space is more relative than universal. Therefore, Tabaimo's animation has made aggressive use of a device that gives more originality to the director's themed world, while audience can participate in the strange but new world.

• Cartoon and Animation Studies
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• s.45
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• pp.75-99
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• 2016

Unlike the other media, the animation has its unique aesthetic characteristics. First, one of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. Next the animation image which is created through metamorphosis obtain new space-time by unique motility. This paper treats of two parts of space and time in animation. One is the metamorphosis image of animation and the other is the motility. To concrete this, this paper analyzed Georges Schwizgebel's Works. They are very interesting that the structural characteristics of the animation. Especially, , < La course ${\grave{a}}$ $l^{\prime}ab{\hat{i}}me$ > directed by Georges Schwizgebel are a good text for analyzing space-time of animation in that it combines various metamorphosis and motility with his expressions. The images of his works are continuously maintained transformational stream by his main expressions of metamorphosis and motility etc. This study focuses on analyzing the way of metamorphosis and motility function to make meaning in this texts. His works consist with metamorphosis and motility, and various moving images to let audience feel the characteristics of space and time in animation. We can experience numerous dual structures like space and time, freeze-frame and motility, rhythm and repetition, two dimension and three dimension, dissolution and reconstitution, abstract shape and concrete form etc from these cases. One of the main apparat is the emphasis of metamorphosis and motility by independent space of animation.

• Cartoon and Animation Studies
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• s.46
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• pp.1-22
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• 2017

The practical learning requires the new paradigm in its content of education and environment along with the rapid development of information communication technology and the expansion of digital content industry. Especially, the animation education, core area of digital content industry, has attempted to improve the content and method of education by focusing on creativity, convergence and practical education. However, education environment in the previous form of computer laboratory has not been reflected the characteristics of animation education. In the light of this, this research would suggests the effective education environment implemented animation job competency and the characteristics of animation production. Firstly, the problem of previous educational environment will be explored through looking at computer rooms of domestic Universities. The characteristics of animation production consisted of Pre-production, Main-production, Post-production and elements of animation job competency will be reviewed by focusing on three phases of production, Pre-production, Main-production and Post-production, and six particular jobs, concept art, modeling & texturing, animating, lighting, VFX and compositing. Secondly, 6 types of space adapted from space syntax, possibly explored the embedded meaning of the structure of space and environment, will be reviewed by focusing on integration, separation and interaction. Thirdly, based on the characteristics of animation production, the element of animation job competency, 6 types of space, analytical tools about animation project education will be deducted, and the case study regarding animation studio, Walt Disney studio, will be processed by focusing on its production environment and spatial composition by focusing on Pre-production, Main-production, Post-production. Fifthly, the effective spatial composition for animation project education will be explored based on the interpretation of literature reviews and case study. In regard to this, the research addresses the spatial composition reflected the characteristics of practical learning and job competency in animation education, which differs from the previous form of standardized education spaces.

• The KIPS Transactions:PartA
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• v.8A no.2
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• pp.167-178
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• 2001

This paper presents a new methodology for specification and control of the motion of an articulated rigid body for the purposes of animation by coordinate transformations. The approach is to formulate the problem as a coordinate transformation from the joint space of the body to a user-defined animation space which is chosen for convenience in constraining the motion. Constraints are applied to the resulting coordinate transformation equations. It is sufficiently general so that it can be applied to all common types of control problems, including closed loop as well as open loop mechanisms. We also provided a new approach to simulate a closed loop mechanism, which is using animation space transformation technique. The method is formulated in detail and is demonstrated by animating the motion of an inchworm.

• The Journal of the Korea Contents Association
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• v.7 no.10
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• pp.126-134
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• 2007

It have been studied many researches for time and space in film, drama and even animation. This study, however, is for investigating a new methodology of time and space study base on the structural linguistics. It can not be detected any of previous study on this method, and it is the first time to try out for researching with the structural linguistics of time and space in animation with this concept. In order to study on the time and space by applying a new method of structural linguistics, it is identify the terminology and concept of the minimum unite of time and space and than analysis with paradigmatic and syntagmatic. Consequence of this study, it can suggest a new methodology of study in the ways of structural linguistics in animation. Further study is to apply this method on character design in animation.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• ETRI Journal
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• v.28 no.6
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• pp.697-708
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• 2006

Various adaptive mesh refinement techniques are often employed in numerical simulations for increasing spatial and temporal resolution beyond the limits imposed by available CPU time and memory space. Recently, an octree-based adaptive mesh structure was successfully used in fluid animation to place more grid cells efficiently in visually interesting regions of fluids. In an attempt to optimize the use of computational resources further in fluid animation, this paper extends this adaptive technique by modifying the mesh refinement scheme so that the camera's viewing properties are dynamically exploited during the simulation. Based on a simple adaptive mesh structure, we show that the new meshing strategy can save a substantial amount of computation time and memory space by using a view-dependent adaptive approach. The experimental results reveal that the proposed technique provides a good compromise between the computational effort and the simulation's fidelity, and may be used quite effectively in 3D animation production.