컴퓨터 하드웨어 기술과 멀티미디어 기술의 발달로 멀티미디어 입출력 장치를 이용한 고급 인터메이스의 필요성이 대두되었다. 친근감 있는 사용자 인터페이스를 제공하기 위해 실감 있는 얼굴 애니메이션에 대한 요구가 증대되고 있다. 본 논문에서는 사람의 내적 상태를 잘 표현하는 얼굴의 표정을 3차원 모델을 이용하여 애니메이션을 수행한다. 애니메이션에 실재감을 더하기 위해 실제 얼굴 영상을 사용하여 3차원의 얼굴 모델을 변형하고, 여러 방향에서 얻은 얼굴 영상을 이용하여 텍스터 매핑을 한다. 변형된 3차원 모델을 이용하여 얼굴 표정을 애니메이션 하기 위해서 해부학에 기반한 Waters의 근육 모델을 수정하여 사용한다. 그리고, Ekman이 제안한 대표적인 6가지 표정들을 합성한다.

With the continuous rise of China-Chic culture in recent years, a cultural atmosphere with Chinese characteristics has poured into people’s minds. The emergence of Chinese cartoon has also led to a new trend in China’s animation derivatives. Animation derivatives are an indispensable part of the cultural and creative industries. The creation of relevant brands of China’s animation derivatives can reshape the cohesion of the animation derivatives industry, but China’s animation derivatives brands lack fresh blood. This article will discuss how Chinese animation derivatives, under the influence of China-Chic culture, can be put into the brand design boom with national flavor.

As an important cultural industry, animation, with its unique affinity and communication power, is one of the important carriers of cultural communication. It can build up the national cultural image, reflect the comprehensive strength of the country, and contribute greatly to the achievement of national brands and the aggregation of national images. It is a great tool for international communication and exchange under the background of globalization. By studying the development status of contemporary Chinese animation, analyzing the contemporary artistic characteristics of Chinese animation, this paper puts forward the methods and principles of Chinese animation creation under the construction of national cultural image, that is use animation themes to highlight the connotation of Chinese culture, improve China's recognition through role shaping, innovate scripts to tell Chinese stories and use new means to promote Chinese animation. Finally realizes the transformation and innovative development of excellent traditional ideas and values in the modern cultural context, and improves the national cultural soft power and the international influence of Chinese culture.

In recent years, domestic animation films are committed to inheriting and carrying forward the traditional national culture. This article takes “Nezha”and “New Gods: Nezha Reborn”as an example to study the expression of traditional national culture from the perspective of cultural construction and audio-visual culture. It is concluded that the domestic animation focuses on the interpretation of the Chinese stories and the expression of the Chinese spirit, and uses the traditional elements to integrate the traditional culture with the modern context.

In recent years, China's animation market has been gradually prospered with the screening of many high-quality animation works. At the same time, a large number of high-quality national animation IP has also been born. From "Nezha" to "Legend of Deification" Chinese animation has triumphed both in box office and public praise. Sadly, compared with these achievements, the whole animation derivative industry looks depressed. In this paper, the current developing status of domestic and foreign animation derivatives industry is compared and analyzed, and the foreign successful experience of the development of animation derivatives industry and the problems existing in the operation mode of derivatives in China are summarized. Finally, put forward suggestions for the next development of China's animation derivatives industry.

In recent years, Chinese animation has been rising, and many well-made animation films have emerged. However, most of its companies fail to design based on user experience, resulting in poor sales and slow development of the animation derivatives industry. This paper mainly starts from the design methods of user experience, discusses the development status of animation derivatives based on user experience, explores the problems existing in China's current animation derivative industry, and finally studies the design strategy of animation derivatives experience through market analysis.

Xu Jingda is undoubtedly an animated director with the most "paradigm" meaning in the history of Chinese animation, beginning in the 1980s. He was praised by Tewei as an "unusual talent." The animation he directed are simple, humorous, subtle and whimsical. Different from the previous generation of animators' understanding and exploration of the "nationalization" of animation, Xu Jingda's animation works mostly explore and analyze the national cultural psychology from the perspective of human nature, and make new insights into the nationality and inter-nationality. To a certain extent, his films expanded the road of Chinese animated creations, and even promoted and surpassed the artistic pursuit and academic connotation of the "Chinese Animation School" at that time. Although his animated works can't be compared with the European and American animated films at the time, the national cultural connotation and human thoughts contained within them, as well as the aesthetic enjoyment brought to the audience are immense. This is not only due to the cultivation of the predecessors and their own efforts, but also the artistic style of the foreign animation has a deep influence on him. A research on Xu Jingda, an innovative animation director, focuses on the artistic style and creative concepts in these animated films. This paper starts with Xu Jingda's influence on the artistic style of Zagreb's animation school, and conducts an in-depth analysis and research on the development of traditional story themes, the exploration of animated film language and the excavation of national cultural psychology, and explores Xu Jingda's unique style. The creative art creation style and its importance and innovation in the process of nationalization of Chinese animation. All of this helps achieve a look into the development and innovation of the current "nationalization" of Chinese animation.

Opera animation is an animated expression of elements such as opera stage performances and styling in the creation. The animation fills the gaps in the form and communication of the opera. The opera promotes the development of the Chinese animation industry, opening up a new market field for the animation industry, providing a variety of themes and more innovative contents for the creation of cartoons. Traditional opera is the jewel of Chinese culture. Due to the introduction of technology, Chinese animation has a fault with Chinese traditional culture. How should we extract all kinds of beneficial elements from the traditional opera art and form a new art form of "opera animation"? This paper starts with the form of animation and discusses the influence of traditional opera on the development of Chinese animation, so that under the influence of traditional art, Chinese animation will set off a development path combining traditional art with Chinese characteristics and modern technology.

In recent years, China has produced many excellent animation films. In this paper, we will explore the animation films: Monkey King: Hero Is Back, Big Fish and Begonia and Da Hu Fa. By comparing and contrasting these films, we will be able to discover their similarities and differences. Specifically in the aspect of animation script creation, the director pursued a stylized film creation and make a bold adaptation to the original stories. Regarding the animated character creation, the main characters are highly personalized and humanized. There are also many breakthroughs in the audio-visual language of animation. Domestic animation is no longer for children but also a viable entertainment option for adults.

In 1929, an American businessman wanted to put Mickey's image on a child's sketch pad, and since then, many animation companies have extended their work to commercial areas, promoting the advancement of their own industries. Since 1955, Disney has instilled its animated scenes, characters, and magic into the amusement parks in the United States, Japan, France, China's Shanghai and Hong Kong to build large-scale paradises. These parks contain several cartoon merchandise stores, in addition to catering and hotel services. Revenue from Disneyland theme parks currently comprise of 70% of Disney group's profits. Disney relies upon the influence of its own products and the development strategy of creative diversified merchandise. Disney is among the forefront of world-class entertainment media enterprises, and has become one of the hallmarks of the globalization of American culture.

현대화와 글로벌화는 사회 전형과 문화 변동을 초래하고 이로 인해 무형 문화재는 전승의 위기를 직면하게 되였다. 중국의 오천년 문명 세례 후 보존된 진귀한 유산으로서 단순히 문화 시스템 자체의 힘으로는 더 이상 진행이 어려워 외부 환경에서 새로운 보완 조치를 모색해야 한다. 애니메이션은 문화 전파의 중요한 운반체의 하나로서 개방성, 민간성, 다양성, 포용성의 특점과 강대한 문화 홍보 능력을 가지고 있어 무형 문화재를 보호하는 현대화 방법과 수단으로 문화 전승의 의무와 책임을 질수 있다. 본 문은 중국의 무형 문화재의 발전을 연구 배경으로 하고 동서방 애니메이션 예술의 차이를 분석 대조하여 중국 애니메이션 예술의 표현 특징 및 외연 발전을 정리하고 중국 애니메이션이 전통 문화와 결합하고 공통 발전하는데 더 적합하다는 관점을 표명하였다. 애니메이션 예술과 중국 전통 문화의 융합 각도에서 상세하게 논술하여 양자의 융합은 대중들에게 문화재 지식을 최대한 직관적이고 생동하게 전파할수 있다는것을 알게 되고 동시에 전통 문화의 정수를 섭취하여 중국 애니메이션 산업의 글로벌 영향을 확대할수 있고 중식 심미를 갖춘 애니메이션 특징을 보완할수 있다. 본 문은 우시 박물원 “자옥금사” 전시관의 실천 연구를 기초로 하여 자사호를 알고 인지하는 응용 스포트웨어 “자옥금사”를 개발 시도하고 360 전경 전시 기술로 서로 다른 형태의 자사호를 전모 전시하며 선묘 애니메이션의 표현 수법으로 자사호의 유지보수 및 선출 절차를 해석하여 중국 무형 문화재의 애니메이션화 변환 및 표현은 가능하다는 것을 논증하였고 이는 중국 전통 문화의 새로운 발전, 새로운 번영에 중요한 조치이다.

중국의 애니메이션산업은 21세기의 신흥 산업으로 발전되어 있다. 그렇지만 중국 내의 애니메이션 산업은 발전과정에서 또한 많은 문제점들이 존재한다. 지금 중국의 애니메이션의 부가상품 시장규모이 아주 커지고 있지만 대부분 외국의 상품브랜드이다. 중국은 해외기업들이 지불한 제작비를 통해 공장을 운영하여 이윤을 얻는다. 캐릭터상품의 결실로 중국의 애니메이션산업 사슬은 단절된 상황에 처해 있다. 지금 시장에서 유통하고 있는 캐릭터상품은 주로 일본과 미국산 제품이다. 예를 들면, 스누피, 미키 마우스, 헬로우키티, 피카츄, 도라에몽 등이 있다. 하자만 중국의 원작 캐릭터상품은 거의 찾아볼 수 없다. 사람들이 알고 있는 애니메이션 캐릭터와 관련 상품은 거의 외국에서 생산된 것 이다. 분문은 중국의 캐릭터상품의 시장 발전현황과 시장용량 및 발전공간을 알아보는는 과정을 통하여 중국에서 비교적 성공하고 영향력이 있는 애니메이션브랜드를 분석하고자 한다. 분석을 통하여 중국 애니메이션파생상품시장의 운영형식과 발전 과정에서 부딪히는 문제점을 발견한다. 이러 연구는 중국 캐릭터상품산업사슬을 재구축하는데 방향과 발전 전략을 제공한다.