• Journal of Broadcast Engineering
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• v.23 no.1
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• pp.45-52
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• 2018

The virtual reality (VR) cartoon is a format of VR contents that leverage the characteristics of webtoons that provides the simple story line and graphical storytelling tools to strategically surmount limitations of VR contents design. The VR cartoon enables people to experience the imaginary three-dimensional space in the webtoon as a real space by the transformation of webtoon contents through VR prototyping. The VR cartoon successfully presents focused environment where people can readily pay attention to the contents without notable motion sickness. People have been familiar with the storytelling strategy in the context of published cartoons and webtoons, likely we've understood the narrative of a movie through the continuous scenes projected in the screen. Indeed, it has been recognized as a popular toolset of communication, where visual images are sequentially delivered by replacing multiple planar spaces to tell a story narrative. While there are discrete panels with the time and space resolution in the graphical cartoons, people can distill a commit closure based on their past experiences. This is a typical "grammar" of the cartoon, which can be extrapolated to the VR cartoon that provides a seminal storytelling strategy. In this article, we review how the storytelling strategy in webtoons has been transformed into that in VR cartoons, and analyze the key components of VR cartoons. We envision that our research can potentially create keystones to produce variety of new VR contents by reflecting various narrative media including cartoon as a 'sequential art'.

• Cartoon and Animation Studies
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• s.46
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• pp.107-128
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• 2017

Time is an indispensable element in creating a story. This makes comics artists use various time techniques such as prolepsis, summary, ellipsis and flashback to increase immersion in story when they create comics. This is intended to make a study on retrospective structure among various temporal structures. Retrospective structure means progress in different time sequence, and increases immersion by making readers become strained or relaxed. Besides, retrospective structure plays a role of increasing or decreasing the pace of story. The person who systematically put the retrospective structure into shape is $G\acute{e}rard$ Genette. He in his book "Narrative Discourse" classified retrospective structure into three types. These are made up of structure of analepse externes, analepse internes and analepse mixted. This makes a study on retrospective structure in narrative comics based on $G\acute{e}rard$ Genette's retrospective structure. To this end, Kang Full's webtoon was analyzed. The reason to analyze Kang Full's is that this work has storyline where things happening in parental generation is interwined with things in offspring generation, accordingly this is work suitable for studying the retrospective structure. This study is intended to examine whether three retrospective structures suggested by $G\acute{e}rard$ Genette are actually used through an analysis of , and as a result, it is intended to prove the fact that retrospective structure has an effect on immersion in work.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

• Proceedings of the Korea Information Processing Society Conference
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• 2014.11a
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• pp.108-111
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• 2014

본 논문에서는 스마트폰에 탑재되는 모바일 GPU 를 활용하여 만화 형식의 영상을 생성하는 과정을 가속하는 방법을 제시하였다. 또한 모바일 GPU 에 적합한 벡터 데이터 타입과 벡터 명령어의 사용 및 워크 그룹 크기에 의한 영향을 고려한 최적화를 적용하였다. 제안하는 모바일 GPU 가속 기법의 검증을 위해 OpenCL API 를 이용하여 구현하였다 실험 결과를 통해 제안하는 기법이 모바일 CPU 기반의 처리 방법 보다 800% 이상의 성능 향상을 있음을 확인하였다.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.391-397
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• 2013

Recently, comics pulication industry is experiencing long-time recess in Korean market. To overcome the difficulties firms are trying to develop various tools which fit new technological environments, but previous research tend to have focused too much on web-base contents such as webtoons, rather than communication effectiveness through social network services. Thus, this study investigated the relationship between the characteristics of postings at social network service and the consumer responsiveness. In the results, we found that posting with visual images and event invitations were positively associated with consumer responsiveness, and the amount of information was negatively associated with the responsiveness. This study shows some implications on how firms can effectively enhance communication with consumers through social network service.

• Journal of the Korea Computer Graphics Society
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• v.12 no.1
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• pp.17-20
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• 2006

본 논문에서는 실사 렌더링에서 디테일한 조명 효과를 위해 쓰이는 범프 매핑 기술을 이용하여 기하적으로 복잡한 지오메트리를 표현하되, 이미지 스페이스상의 실루엣 검출 기법과 카툰 쉐이딩을 적용하여 만화적인 스타일을 연출하였다. 이 연구를 통해 기존의 카툰 렌더링된 3D 씬에 범프매핑으로 표현된 오브젝트가 자연스럽게 어울릴 수 있고, 빌보드 이미지에도 카툰 렌더링을 적용하여 빛에 대한 변화 효과를 보여줄 수 있다.

• Cartoon and Animation Studies
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• s.13
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• pp.153-162
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• 2008

This paper show that we analyze the mise en scene of animation based on the theory of mise en scene in film. The mise en scene of animation has a large range of utilization in contrast to film. This affects the development of film synthesized with an actuality film. The theory of mise en scene of early realistic film director is extended by the animation techniques. And the theory of mise en scene in digital film is raised newly. The mise en scene in animation has the property that ail elements Is represented in one frame. And then this has a success in different aesthetics. The problems of in-country animation - the absence of production in the present condition - is to be achieved by the production using mise en scene.

• Cartoon and Animation Studies
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• s.12
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• pp.121-131
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• 2007

This paper will be devoted to investigation of recent changes in cultural policy. This includes the increasing policy concern with 'social effects' of culture and the development of policies for 'cultural and creative industries'. British creative industries approaches the arts as a business that can both sustain individual artists and lead to wealth creation in the economy of whole countries. In this context, this study aims to investigate the comparison and contrast of the impact and stature of the UK creative industries with those from South Korea.

• Cartoon and Animation Studies
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• s.14
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• pp.101-114
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• 2008

This article studied that the characteristics of the movement image shows clearly through the controlled movement which the experimental short animation film shows. Animation makes the short edit like live action film. In addition animation shows the movement image positively by redefining the relationship between the frames. By using the concept of the movement image, this article says the movement in animation is not only the technique but also the essential factor which makes the audiences recognize animation and causes emotion in them and the important factor which reveals the meanings of each animation.

• Cartoon and Animation Studies
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• s.10
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• pp.149-157
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• 2006

With the expansion of the Internet population, the online market is achieving a rapid growth and the size of the Internet advertisement market is increasing at a high rate. Different from passive types of information transmission, online media allows active two way communication thanks to communication and network technologies, so they can ascertain the effects of advertisement and users' response immediately. Rich media refer to such new advertisement techniques on the Internet, and are expected to lead the future Internet advertisement market. Thus, the present study purposed to analyze the visual expression elements of rich media advertisements in order to understand and enhance the effects of rich media advertisements with higher interactivity than existing Internet advertisements, and to propose guidelines for applying unique designs for the promotion of businesses and organizations and the provision of effective information to users.