Machinima is digital visuals created with game engines that build real time 3D CG (computer graphic) environment. Composition of scene and facial animation play important role in composition of Machinima’s videos. Character facial animation is frequently used in scene composition that mainly displays face and upper body of the character. Expressing character’s emotion is an important factor in describing story of the animation. This paper provides three methods for character facial animation based on game engine, and applied them to real facial animation of Machinima cha racters. Through this process, we could match the most suitable facial animation to three types of scene composition by analyzing scene composition of the most renowned game of Machinima, ‘Walking dead episode1’. Morph animation is suitable for medium clos e up and medium shot. Motion capture is efficient for over shoulder shot. However, during the process of combining body motion and facial animation, Motion capture was more difficult to reuse resources than morph animation and animated texture. When making pipelines for an independent video content, these findings could contribute to establishment of efficient resource production process based on real time rendering technology, which is a strength of game engine. In addition, this research provides guidelin es of suitable production method best suitable to special traits of character animation.

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When artists design characters, they draw illustrations viewed from the front, side or slant views. In this paper, we create a 2.5D model using such illustrations. A 2.5D model is a model t hat is created by arranging deformable billboards along the depth direction, and it can express appearance of the character between two viewpoints with considering depth information. Our method uses two cartoon like illustrations and the corresponding eye directions as inputs. These illustrations are com- posed of contours and closed regions painted with uniform colors. Given closed regions in illustrations, our method finds corresponding closed regions between two illustrations based on an improved similarit y function, which yields better match- ing than a previous method. After obtaining correspondences of closed regions, our method creates a 2.5D model by trans- forming each pair of matched regions as a 3D billboard whose position can be estimated based on the correspondence. These processes are semi automatic. The user then assigns feature points manually along the corresponding contours of matched regions so that the contours can be interpolated naturally. Finally, by completing regions that appear or vanish w ith user strokes, our method can interpolate illustrations with occluded regions. We demonstrate that our method can create 2.5D models with various illustrations.

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Television viewers accustomed to a large number of television channels have been changed to choose a channel by channel brand image rather than a simple comparison of contents. Therefore, many studies have been conducted on channel brand. However, the study of kid s’ channel brands have so far researched only a couple of channels. Animation programs, which mainly comprise kid s’ channels, are less culturally distinct than live action programs, so they are easy for a foreign culture to accept. Therefore, if a network is open to foreign investors, then the domestic kid s’ channels will most likely be the first to be modified by the global media. For this reason, this research aims to study the effect of channel brand identity design on brand image, with particular focus on kids channels, targeting ages 11 12 Of the lowest- and highest-ranked kids’ channels on the brand power index, I compared brand identity and brand image of two kids’ channels. In accordance with the findings, I created two IDs of the lowest channel, and then a positive change of brand image was confirmed.

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Two dimensional ( 2D drawings of impossible figure s are typified by the lithographs of the Dutch artist M.C. Escher , such as Waterfall Belvedere and Ascending and Descending Impossible figure s are mental images of solid object s. I n other words, a three dimensional ( 3D figure that is visualized intuitively from a 2D drawing of an impossible figure ca n not be constructed in 3D space. Thus , in reality , a 3D model of an impossible figure has an unexpectedly disconnect ed or deform ed structure, but the 3D figure corresponds to the 2D figure from a specific viewpoint, although not from other viewpoints. Methods for representing 3D model s of impossible figure s have been studied in virtual space The shape s and structure s of impossible object have also been studied in real space , but the effects of physical illumination by light and appropriate texture s have not been considered. Thus, t h is paper describes the mimetic surface color and texture adjustment ( method for producing naturally shaded and appropriate ly textured 3D impossible object s under physical light sources. And some creative work s applying this method are shown , including a new structure with impossible motion.

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Children appbook has become one of the education tools aside from literacy media. One of the themes that they offer is emotive theme which is a potential source for emotional coaching learning tool. In our study we analyzed how Touch User Interface (TUI) within graphic element have different function according to its connectivity with the story and how it can provide emotive literature expression during storytelling process. To find out three different functions of graphic TUI based on their connection with the story, this study conducted a review of recent appbook for children with emotive theme with a modification method from De Jong and Bus ’s theory of multimedia feature where interactive feature can dramatize a story. Six evaluators who are specializing in children literature and mobile application participated in our evaluation with four samples of emotive themed appbooks for children ages 4 to 12 years old . The evaluation sheet was divided into two parts with five coding in each section. The results include review of user ’s recognition of availability and readability of graphic TUI , it roles in dramatizing a story, and emotion expression carried by graphic TUI inside emotive themed Appbook for children . Based on the result we then summarize how recent appbook with emotive theme implement graphic interactive feature inside their stories and provide suggestion for further development of Appbook’s graphic TUI.

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I n showing human body motion , it is not difficult for computer graphics to show a motion with a designated meaning or to show the motion of the meaning exaggeratedly. However, it is relatively difficult for computer graphics to show a daily human body motion without any meaning in real life. The reason lies in the animation technology. The animation technology adopts understandable motion or the special individuality that can identify the character to express the intention of the character. However, when people are talking, there will be not only the motion and character expressions that are understandable but also some daily motion with ambiguous intentions and meanings. It can assume that these motion s are also necessary in showing human body motion by computer graphics. The study observed the human body motion during the speech and classified these motions by each part of human bodies. The human body motion during the speech varied based on their different body parts. The study carefully observed the hand motion and the motion of touching bodies in particular. Among the motion , those unconscious, habitual motion , which didn’t reflect the meaning of the speech in particular but often appeared in the communication, belong to the non meaning motion . After con sulting the content of the speech, the conducted research on the meaning of hand motion and found out that the initial motion is made to express the content of the speech but the later motion have nothing to do with the speech and are just repeated motion similar to the previous motion , like the motion of waving motion ””. Therefore, the later motion belongs to non meaning motion too. It is worth mentioning that this kind of motion are in connection with upward, downward, left and right motion . These motions are divided into 12 patterns based on their expressions in anatomy. In order to find out the actual motion , the study adopted the measurement system to calculate the distances of the body motion during the speech through experiments, and compared the distances of hand motion produced by each body parts. And the study took advantage of image processing to obtain the tracks of hand motion , and decided to see the non meaning motion through the tracks.

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The concept of general and limited space disappeared long time ago, and the space is less limited in recognition. The concept of time is still limited rather than transferring the recognition of space. However, it is possible t o understand and experience subjective and conceptual time. The number of spaces is increased as many as the number of the coordinate systems, and the spaces move against each other. Time cannot but move with them. The author analyzes exemplary about diversified and unique time and space on literary works and expanded cinema•moving image, media installation works, and architectural installations, in which modern concept of spaces and time appears on the basis of Leibniz’s The Fold, Deleuz’s Le Pli and Rhiz ome, Prototype software and a physical model system to substitute participant’s actual data based on the structure. The author expects an actual interface, not virtual models in a physical space, and the shared interface of memory and sensitivity in various times and spaces as a tool for observing visualization of new recognition for this study.

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‘ Interactivity’ is all around us all around the world, with the rapid growth of new forms of media. The dictionary defines ‘interactivity’ as the extent that a computer program and a human being may a dialog with one another. [1] However, the meaning of interactivity is different depending on individual fields such as information science, communication and industrial design. This work defines the meaning of interactivity, as the communication between human and human, or human and artifacts. Based on this premise, this research attempts to understand interactivity and explore the possibility of applying interactivity into public space. Ultimately, this research proposes a unique concept which allows people to express their own emotions by LED lights while in a public space. This installation of light allows participants to change the atmosphere of space depending on the state of the participant’s mind. The delivery of this work includes the final model image, the use scenario and operation movie by prototyping model. This research was conducted follow ing the process which includes the understanding of interactive space and proposing a unique concept through development by ideation and prototyping.

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