This study was conducted with the aim of redesigning the interface for smart TV. TV has been a monopolist for a long time
as a video distribution platform. However, the content market is rapidly changing due to the development of digital
technology and the emergence of personalized smart media. As a result, people are starting to use various platforms to watch
videos, and TV is also trying to create a new paradigm of smart TV by applying various digital technologies. Especially, it
is necessary to develop an interface to make TVs with a wide user base easy and comfortable to use. For this purpose, we
conducted a theoretical study on TV and examined the changes of contents market and TV in chronological order, and we
defined the concept of smart TV. After analyzing the content structure and interface characteristics of 15 cases introduced to
the domestic and overseas markets. At this time, the study on the remote controller is also carried out to consider the operation.
In addition, through analyzing the papers related to the user segment, we extracted the five factors influencing the
segmentation of the TV user and derived six segments based on the extracted factors. We analyzed the needs of actual TV
users by observing them, analyzing tasks, and interviewing them. Based on the results of the analysis, we derived a new type
of interface mapped to the 4-way button and created a prototype for to test how it works. Even though there is a regret that
it was carried out for domestic users, but it is meaningful that the user-centered interface design has been derived.
This paper extends the previous paper written by author for ADADA International Conference 2017 to introducing 2:3:5
ratio as a finding in order to seek a simplified approach from 1:1.618 golden ratio knowns as the golden section. The 2:3:5
rasio used to identify the visual of nature propotion and composition in two dimentional picture, the ratio then used to find
its property to be indentified further in user interface composition design of a website and android mobile application that
presumed to be designed by using the golden section. This research purpose is to find the 2:3:5 ratio’s properties and
consistancies through visual identification for its future implementation in website and mobile user interface design as
composition technique in order to please the eyes the way golden section naturally does with simpler steps.
The research discussion is on how to create a documentary animation with a
3D character form and 2D environment form in a short hybrid animated film
with titled Broken Faith. In this animation project “Broken Faith”, the
filmmaker re-creates the emotional experience of being haunted by the fear of
losing sight. In Broken Faith, it set out to challenge the usual animation
process by working in a hybrid style that utilized 2D backgrounds with 3D
characters. A hybrid concept is chosen as visual style in order to represent the
feeling of the toughness of the world through art lines and the stiffness of the
character of a low polygon modeling. This concept benefits the filmmaker to
minimize the production time and to optimize the visual that suited to the
concept. The aim at this immersive film is to create an experience that allows
the audience to engage in the world of limited sight.
Animated film “Cio Tao” highlights the topic of Cio Tao ceremony; a
maturity ceremony before marriage in Tionghoa Peranakan (Indonesian
Chinese) ethnicity. The practice of this ceremony is getting more and more
forgotten because people don’t know the moral meanings in every rituals of
the ceremony. Those meanings are implied in the Tionghoa's (Chinese)
properties used in the marriage ceremony. This paper interprets the
decoration motifs and then implements the adaptation concept into the
property design in the animated film “Cio Tao”. This paper uses qualitative
method research to explain the relationship between the motifs’ meanings
and shapes with the properties used. The design methodology was used to
create this animated film. There are some modifications from cultural
Tionghoa's visual pattern for designing property of the animated film. The
visual adaptation of this study uses literature, existing visual pattern, and the
Tionghoa's (Chinese) marriage ceremony properties observation as data for
motif decoration conceptualization.
Every animation media has their own uniqueness in terms of physical features
in character designs. In stop motion animation, every character was produced
by hand, resulting in some limitations in character creations that creates a
unique physical features that differs them to digital animation. On the other
hand, the animation process in stop motion animation takes a lot of time
because every movement has to be captured frame by frame.
This paper aims to explain the process of designing characters for digital
animation with stop motion animation as the visual approach, so that the
designed 3D digital characters will have a unique physical features like
characters in puppet animations, but the production time can be cut down for
efficiency because the process was done digitally.
The output of the design will hopefully ease the character model and rig
process in the next step.