Journal of Digital Convergence (디지털융복합연구)

The Society of Digital Policy and Management (한국디지털정책학회)
권호 표지
DOI QR코드

DOI QR Code

A Study of Digital Convergence And Integration Contents Utilizing Ink Painting Technique

수묵화 기법을 활용한 디지털 융복합 콘텐츠연구

  • Guo, Dawei (Dept. of Multimedia, Graduate School of Digital Image & Contents, Dongguk University) ;
  • Chung, Jeanhun (Dept. of Multimedia, Graduate School of Digital Image & Contents, Dongguk University)
  • 곽대위 (동국대학교 영상대학원 멀티미디어학과) ;
  • 정진헌 (동국대학교 영상대학원 멀티미디어학과)
  • Received : 2019.06.26
  • Accepted : 2019.09.20
  • Published : 2019.09.28
Download PDF
⟨ Previous Next ⟩

Abstract

Ink painting is an important art creation method in oriental culture. Although ink painting lacks of sense of reality compared to western painting, it contains its unique drawing skills, which is of great significance to the inheritance and development of Oriental culture. Animation or game utilizing by ink painting technique are derivative contents from ink painting. This paper will through research the brief history of 3D ink contents works and traditional drawing skills to research existing ink works' art characters and the general production method. Also describe the extensibility of 3D ink animation contents. There has extremely high research value of new convergence contents as mobile game, VR / AR etc. And according to those research ink style image contents can be assumed get further development in the future.

수묵화는 동방 문화에서 중요한 예술 제작 방식 중 하나이다. 수묵화는 서양화보다 현실감이 다소 떨어지는 면이 있지만, 수묵화가 가지는 특별한 화법을 포함해서 동방 문화의 전파와 발전에 크게 기여하였다. 수묵화 화법을 활용한 3D 애니메이션이나 게임 등은 수묵화에서 파생한 콘텐츠이다. 본 논문에서는 3D 수묵화 콘텐츠의 역사와 전통적인 수묵화법 연구를 통하여 전통 수묵화 작품의 예술적 특징과 3D 수묵화 콘텐츠 제작 방법을 연구하였다. 또한 수묵화법을 활용한 디지털 콘텐츠의 확장성을 제시하였다. 모바일 게임, VR, AR 등 새로운 융합콘텐츠로서의 가능성에 대한 연구 가치가 높다고 생각하며, 따라서 수묵화법을 활용한 다양한 영상 콘텐츠는 향후 큰 발전을 기대할 수 있다고 사료된다.

Keywords

References

  1. J. Guo. (2017). Appreciation and analysis of zhuo shifen's calligraphy and painting works - Art comes from life. New Economy, 9, 44-50. DOI : 10.3969/j.issn.1009-8461.2017.09.010
  2. J. Lin. (1985). The essence of art is emotion. FuJian Forum(Humanities and social sciences), 2(5), 44-47.
  3. L. Zhao. (2017.11.4). Changes in the thinking of Chinese ink painting. China Art Weekly, p. 04.
  4. C. Feng & L. Zhang, (2010). The influence of Confucianism on Chinese painting. Popular Culture & Arts, 10(7), 59-60. DOI : 10.3969/j.issn.1007-5828.2010.07.047
  5. R. J. Chan. (2008). The vivid expression of water color painting. Doctoral dissertation, Qingdao University, Qingdao.
  6. S. Q. Wei. (2014). New creation and production technology of 3D ink animation-Taking"Chinese wind" for example. Journal of Shandong University of Technology(Natural Science Edition), 28(4), 75-78.
  7. Y. Zhao. (2011). 3D ink animation technology -- the revolution of Chinese ink animation. China Computer & Communication, 11(6), 203-205.
  8. L. Chang. (2012). On the mistakes in the creation of 3D ink animation. Beauty & Times, (6), 95-97. DOI : 10.3969/j.issn.1003-2592-B.2012.06.034
  9. Anonymous. (2019). Game recommendation:. Baijiahao(Online). https://baijiahao.baidu.com/s?id=1625981338251774095&wfr=spider&for=pc
  10. L. Q. Xian. (2014). Explore the aesthetic expression of Chinese ink and wash animation -- take landscape as an example. TODAY'S MASSMEDIA, 14(11), 166-167. DOI : 10.3969/j.issn.1672-8122.2014.11.077
  11. M. Sweet. (2008). The appreciation and analysis of . douban(Online). https://www.douban.com/group/topic/3067517/
  12. D. W. Guo & J. H. Chung. (2019). The Analysis Of 3D Animation Work . Journal of Convergence Contents. (pp.14-16). Seoul: Korea Association of Convergence Contents.
  13. B. S. Huang. (1102). East view theory(東觀餘論). Chang'an : Song Dynasty Government.
  14. H. J. Qiu, & L. P. Dai. (2013). The application of national elements in 3D ink animation. Modern Decoration, 15(2), 184-185.
  15. Y. Zhao. (2017). Animation film Zootopia's intercultural communication's strategy. Doctoral dissertation, Hebei University of Economics and Business, Shijiazhuang city.
  16. X. Hong. (2017). Confucianism and Taoism's orientation of natural image in ink animation film . Masterpieces review, 17(10), 116-120.