• Cartoon and Animation Studies
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• s.11
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• pp.29-39
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• 2007

Nous trouvons frequemment des tendances analytiques qui datent l'origine de la bande dessinee l'ege prehistorique. Ce point de vue risque de susciter des malentendus en ce qui concerne le medium dans son etat actuel. S'il y a un lien entre deux peles lointains, il est tres faible meme si nous ne pouvons confirmer ces origines qui n'ont rien e voir avec la bande dessinee d'aujourd'hui. Nous consid.rons de Richard Felton Outcault en 1896 comme l'origine de la bande dessinee actuelle que nous proposons d'appeler la "bande dessinee moderne" en s'ecartant de ses formes precedentes. Nous tentons de la definir sous la perspective historique dans cet article. Cette approche nous permet bien de comprendre une nouvelle forme de la bande dessinee sur un support neuf, l'ecran d'ordinateur.

• Cartoon and Animation Studies
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• s.10
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• pp.199-223
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• 2006

• Cartoon and Animation Studies
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• s.23
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• pp.51-66
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• 2011

Rodolphe Toepfer invented cartoon frames and following cartoonists developed this idea. But cartoon frames defineed before in historical documens and artifacts give a hint of the structure of a cartoon frame. In historical documents and artifacts show various form of the quadrangle frames. Now we see the cartoon frame is a result of historical things. Artists input in the framework, dubbed as a cartoon frame, all kinds of icons that belong to cartoon's language. Readers accept messages that artists want to say by considering this formation. Although cartoon frames are similar to camera frames they are more flexible than other general frames. By this flexibility, different shapes of frame influence reader's experiences. Applying these various cartoon frames extends function of framework. And if used by many cartoonists, you gradually get a rule. A time-tested rule standardizes it. In theory, shapes of frame are changeable in many ways. But frequently used frames are standardized in just one formation. In the process, I think it is a tacit rule of human lifestyle. That is a quadrangle. Why is the quadrangle chosen by a long term polished rule of frame? This study is to realise why a quadrangle form is used and its relation to human lifestyle.

• Journal of KIISE:Software and Applications
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• v.34 no.5
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• pp.465-475
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• 2007

With the spread of Internet, web users express their daily life by articles, pictures and cartons to recollect personal memory or to share their experience. For the easier recollection and sharing process, this paper proposes diverse cartoon generation methods using the landmark lists which represent the behavior and emotional status of the user. From the priority and causality of each landmark, critical landmark is selected for composing the cartoon scenario, which is revised by story ontology. Using similarity between cartoon images and each landmark in the revised scenario, suitable cartoon cut for each landmark is composed. To make cartoon story more diverse, weather, nightscape, supporting character, exaggeration and animation effects are additionally applied. Through example scenarios and usability tests, the diversity of the generated cartoon is verified.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.110-115
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• 2004

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as "Cartoon communication style". Since, the cartoon is cultural and social product, an understanding of "Cartoon communication style" plays a major role in understanding culture and society as well as its production and interchange. To understand what is the "Cartoon communication style", systemic and objective research method through "Cartoon Analysis" is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 35,225 cuts of Korea, Japanese and Chinese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Cartoon and Animation Studies
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• s.5
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• pp.452-455
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• 2001

빛과 조화에 대한 개념을 옛것을 재조명하여 현대사회에서 다시 찾고 싶은 정을 시각적으로 표현해 보았으며, 지나간 날들의 소중한 기억들을 돌이켜 보는 의미로 제작을 하게 되었다.

• Proceedings of the Korean Information Science Society Conference
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• 2006.06b
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• pp.52-54
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• 2006

유비쿼터스와 유무선 기술의 발전으로 최근들어 각 개인과 그를 둘러싼 환경으로부터 지속적으로 많은 데이터를 수집할 수 있게 되었다. 상황인지 기법들을 활용하면, 수집된 데이터께서 각 개인의 경험을 요약할 수 있는데, 요약된 경험 정보는 해당 개인의 기억 회상에 도움을 줄 뿐 아니라, 다른 사람들과의 상호작용을 증대시키는 데도 유용하게 사용된다. 본 논문에서는 모바일 상에서 수집된 특이성 정보를 바탕으로 사용자의 프로필을 고려하여 개인의 일과를 만화의 형태로 표현하는 방법을 제안한다 특이성 정보는 휴대폰 로그로부터 상황인식 기법을 통해 추론된 것으로 사용자의 행동 및 감정 정보를 나타낸다. 추론된 사용자의 행동 및 감정 정보들과 미리 입력된 사용자 프로필을 바탕으로 본 논문에서는 배경과 캐릭 터 만화 이미지들을 의미적 유사도를 사용하여 합성한다. 또한, 생성된 만화 이미지들에서 동적으로 스토리 스트림을 구성하여 만화 내용의 일관성을 유지한다. 제안하는 만화 생성 방법을 평가하기 위하여 특이성 시나리오를 바탕으로 만화를 합성하여 생성된 만화의 다양성과 일관성을 평가하였다.

• The KIPS Transactions:PartD
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• v.10D no.7
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• pp.1213-1224
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• 2003

In recently, digital comic content distribution was not stable for illegal distribution and the weak of intellectual property right in the internet. The research activities of suggest the distribution model and secure intellectual property right are going in international standard communities, not yet in Korea. As the basis of the research, the general framework of international projects and standards such as MPEG-21, IMPREMATUR, FILIGRANE was analysed. Targeting on the domain of digital comics industry, the digital comics distribution structure and business flow model are defined adapting secured distribution system, DRM. The detail content of this research consist of three themes. The first, survey and analysis of the international standard ＆ leading DRM project's models. The second, suggestion of the service scenario on the digital comic content distribution. The third, suggestion of the model on the secured distribution of digital comics. Through this research targeting at the digital comics business, we found that standards technical items and requirements was well adapted into target domain, and would affect other domain in digital content industry.

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.68-76
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• 2007

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as ${\ulcorner}$Cartoon communication style${\lrcorner}$. Since, the cartoon is cultural and social product, an understanding of ${\ulcorner}$Cartoon communication style${\lrcorner}$ plays a major role in understanding culture and society as well as its production and interchange. To understand what is the ${\ulcorner}$Cartoon communication style${\lrcorner}$, systemic and objective research method through ${\ulcorner}$Cartoon Analysis${\lrcorner}$ is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 30,081 cuts of Korea, and Japanese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Journal of Digital Contents Society
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• v.7 no.4
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• pp.219-225
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• 2006

The appearance of digital culture contents swiftly has changed the culture in domestic and international areas in recently and the digital cartoon and animation have become the most important expression media in contemporary age. The digital cartoon and animation industry have attracted the attention of the people as the business of the OSMU(One Source Multi User) which has the possibility to expand and to enhance the added value not only for the field of image and character business but also for the area of the advertising and tourist business. Therefore, in this paper, 1 study on education and development of the digital cartoon and animation. Firstly, I study on definition and type of the digital cartoon, and work flow of the cartoon contents production. Secondly, the purpose of this study is to analyze and research the domestic business trend of the digital cartoon and animation. Finally, 1 propose the plan of policy and education of the digital cartoon and animation.