• Journal of Digital Convergence
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• v.17 no.6
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• pp.373-380
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• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.18 no.2
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• pp.104-109
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• 2013

The spawning characteristics of Hexagrammos agrammus and Hexagrammos otakii was directly observed in coastal regions of the Yellow Sea and South Sea during the spawning seasons using scuba diving. The territorial male H. agrammus showed different body size, nuptial coloration and nest location compared to those of H. otakii, even though both species caring egg masses were found at the almost same depths. In the West sea, a relatively small guardian H. agrammus male protects 1-2 egg masses laid on a clump of red algae within his territory. The territorial males in red nuptial coloration and their egg masses were well camouflaged in their surroundings. Contrary to H. agammus, a guardian H. otakii male in yellowish nuptial coloration protects 4-8 egg masses in a nest. In addition, their nests were located on the relatively open environments such as discarded fishing nets, rock crevices and a clump of algae. The results of present study shows that even though both of two species belonged to Hexagrammidae, they have different strategies for spawning and protecting their egg masses.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.12 no.4
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• pp.262-272
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• 2007

Diurnal and tidal variation in the abundance of the macro- and megabenthic assemblages were studied in the macrotidal flat, Incheon, Korea. The samples were collected by modified otter trawl during 8-9, June 2000. The macro- and megabenthic assemblages comprised a total of 60 species, including 6,309 individuals and 67,835.5 gWWt. As a result, the abundance pattern showed two different categories relating to diel and tidal cycles. First, the diel pattern of these assemblages was subdivided into 3 groups. 1) Diurnal species such as Hexagrammos otakii, Thryssa baelama, Loligo beka, Metapenaeus joyneri. 2) Nocturnal species such as Cynoglossus joyneri, Sebastes schlegeli, Charybdis japonica, Crangon affinis, Trachysalambria curvirostris, Metapenaeopsis dalei. 3)Other species showing no obvious pattern with Johnius grypotus, Platycephalus indicus, Repomucenus richardsonii. However, based on the result of Mann-Whitney U-test, diel patterns of macro- and megabenthos did not reveal any significant differences. Second, tidal variation in the macro- and megabenthic assemblages was significant between ebb and flood tides. Total macro- and megafaunal species number, abundance and biomass were higher in ebb tide$(13^h30',\;16^h30',\;1^h30',\;4^h30')$ than in flood tide$(19^h30',\;21^h30',\;10^h30',\;13^h00')$. As a consequence, the macro- and megabenthic assemblages were clearly influenced by tides but their diel variations were not significantly different.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.14 no.3
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• pp.145-154
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• 2009

Seasonal variation in species composition and abundance of shallow water fish from the Hakampo and Yeonpo beaches in Taean in the western coast of Korea were determined by the analysis of monthly samples collected by a beach seine from January to December, 2007. A total of 30 species, 964 individuals and 10,564.1 g of fish were collected from the Hakampo beach, and a total of 46 species, 4,447 individuals and 28,622.4 g of fish from the Yeonpo beach. The juveniles of coastal fish such as Chelon haematochelius, Paralichthys olivaceus, Repomucenus lunatus, Sebastes schlegelii and Takifugu niphobles were predominated in abundance. And the juveniles of pelagic migrants such as Konosirus punctatus, Sardinella zunasi and Engraulis japonicus were abundantly collected between summer and autumn. The fish collected were mainly composed of small-sized species and juveniles. C. haematochelius and migrant fish were young of the year, and commercially important fish such as S. schlegeli, P. olivaceus, Pleuronectes yokohamae and Hexagrammos otakii were 1 to 2 years old juveniles. It is considered that they use the shallow water as a nursery ground until they move out to the deeper water. The number of species and abundance were lower in the fine sand Hakamp beach than in the muddy sand Yeonpo beach where some Zostera marina were also found. In Yeonpo beach the adult of Gymnogobius mororanus preferred to live in the muddy shallow water and Syngnathus schlegeli living in the sea grass were also abundantly collected in spring in addition to resident fish and pelagic migrants in warm months. The resident species were more abundance in the Taean beach than in the beach located in the southern part of the west coast of Korea where the juveniles of pelagic migrants were more abundant.