• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.289-298
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• 2024

As digital mobile technology has advanced, vertical videos have emerged as a prominent format in the contemporary media field, presenting a new visual language that challenges traditional horizontal-centric aesthetic norms. This study delves into the visual and structural parallels and distinctions between traditional East Asian Hanging scrolls and contemporary vertical videos by applying traditional spatial composition techniques such as the 'Three Distances', 'One River, Two Banks', 'Intended Blank', and 'Unity of Poetry, Calligraphy, and Painting' to the creation of modern vertical videos. Through this comparative analysis, the research examines how vertical layouts enhance depth and layering of the screen, deepen emotional expression, and offer creators new avenues for expression. By juxtaposing the spatial compositions of traditional East Asian Hanging scrolls with those prevalent in today's digital vertical videos, this study seeks to uncover new visual languages and aesthetic values within the evolving media field.

• Cartoon and Animation Studies
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• s.40
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• pp.139-155
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• 2015

Animation is completed in accordance with the original planning of visual direction in the process of post-production. Especially, a variety of visualization skills to meet the planning idea are directed in editing and compositing processes such as rendering and shading in the production of 3D animation. Therefore, the studies how to implement these visual effects have been conducted since the emergence of the animation. The rendering method which appears in the recent animations so often is the effect of 2D animation style although it is applied by 3D technique. 3D animation can be classified as two types including photo realistic and non-photo realistic renderings. The former is to render the images realistically while the latter is to highlight the formative effect with analogue style free from the realism of the photographs. Visual effect of 2D animation is non-realistic, that is, non-photo realistic rendering. The animations produced by this method have the depth of 3D animation expression in terms of space and animating, and can direct the viewer-friendly analogue style visuals, which are widely used as a post-production effect. Hence in this study, we selected a short animation, 'Paperman,' one of Disney's animations, produced by cartoon rendering method which belongs to the class of non-photo rendering technique in 3D graphics, as our subject. We analyzed their techniques and visual effects of the scenes expressed by cartoon rendering method so as to understand whether they meet the original direction idea with the composition work. In addition, we expect further developments of post-production methods, exceeding the limit of graphic expression in alignment with the trend that has become more various in the types and genres of non-photo rendering.

• Proceedings of the Korean Society of Computer Information Conference
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• 2008.06a
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• pp.275-278
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• 2008

컴퓨터게임에 대한 여러 가지 논의는 부정적이거나 기술적인 연구의 한계점을 보이지만, 그 가능성과 사회적 영향력에 대한 부분은 우리 생활 깊이 들어와 인식되고 있다. 다양한 분야에 걸쳐 복잡한 특성을 드러내는 컴퓨터게임은 현 디지털시대와 이 시대를 살고 있는 모두를 포함하여 이들의 문화와 크게 밀접한 연관성을 가진다. 이에 따라 컴퓨터게임이 어떻게 현 시대를 반영하고, 영향력을 미치는지에 대해 다각도의 학문적 접근이 필요함을 밝히고자 한다. 결핍에서만 생겨나는 욕망의 주체가 컴퓨터게임이라는 즐김의 공간에서 일상과는 대립된 가상을 실현하는 심리적 관점에서의 관찰과 함께 양방향적인 게임의 특성을 각각의 이론들과 연관지어 보면서, 막연한 부정적인 시각에서 벗어나 컴퓨터게임을 여러 분야의 만남의 장으로 인식하고 문화로서 바라보는 객관적 시각의 필요성을 밝혀보고자 한다.

• Journal of the Korea Computer Graphics Society
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• v.26 no.3
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• pp.1-8
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• 2020

Ghosted illustration is an effective tool to simultaneously visualize interior and exterior structures while preserving clear shape cues. We propose a novel framework that combines 3D blending technique, which uses depth information of the target structure, with the conventional ghosted illustration framework. This combination facilitates natural blending effects tailored to the needs of ghosted illustration. Furthermore, we present how common manipulation techniques (e.g., masking) and illustrative rendering effects (e.g., silhouette mapping) can be integrated into the proposed framework to preserve both clear shape cues and depth cues. For the compositing techniques, we show and discuss the visual results obtained from various combinations of them. This demonstrates that the proposed framework can be an effective tool for ghost illustration.

• Proceedings of the Korean Society of Computer Information Conference
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• 2015.01a
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• pp.197-199
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• 2015

3D 입체영상 촬영에서는 기존의 2D 영상과 다르게 깊이영역에 대한 시청자의 시각 피로에 주의해야 한다. 입체영상 촬영단계에서 시청자의 불편함을 최소화하기 위해 제작자들은 2D 촬영 방식과는 다르게 안정적인 카메라 촬영기법만을 사용한다. 본 연구는 입체영상 제작자들이 안전하게 다양한 촬영기법을 활용할 수 있도록 도움을 줄 수 있는 가이드라인 제작을 위해 시작되었으며, 그 결과의 일부로 본 논문에서는 촬영기법 중 달리샷에 대한 시각 피로도를 보여주고자 한다.

• Proceedings of the Korean Information Science Society Conference
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• 2011.06c
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• pp.307-310
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• 2011

최근 멀티미디어 데이터의 급속한 증가는 그를 대상으로 하는 다양한 컴퓨팅 기술의 발전을 가져왔다. 이러한 기술이 인간과의 상호 작용에서 그 양적 범위와 질적 깊이를 더해감에 따라, 멀티미디어 데이터 특히 그 중 가장 대표적이라 할 수 있는 이미지 데이터를 의미적으로 이해할 수 있는 방법의 필요성이 대두되고 있다. 이미지의 의미를 이해하기 위해 저수준(low level)의 시각 정보만을 이용하는 경우 인간과의 상호 작용에서 의미 격차(conceptual gap) 문제가 발생할 수 있다. 이미지 객체의 시각 정보들을 가공해서 온톨로지(ontology)와 같은 형태의 지식 베이스(knowledge base)와 연동하여 보다 고수준의 의미를 부여하는 경우에는 해당 도메인을 벗어난 새로운 환경에 대해 적응력과 강인함이 떨어진다. 이러한 문제를 근본적으로 해결하기 위해서는 지식 베이스가 없는 상태에서 이미지 데이터의 형태로 주어진 대상 객체로부터 의미를 부여할 수 있는 정보들을 추출해, 구조적으로 지식 베이스를 형성해 나가고 이를 토대로 대상 이미지 객체의 의미를 이해할 수 있는 시스템이 필요하다. 본 논문에서는 발달 심리학 이론들을 바탕으로 시각과 관련된 인간의 생득적 능력을 찾고, 이를 기반으로 우선 주어진 이미지 객체로부터 의미 정보를 효과적으로 추출할 수 있는 방법을 제안한다.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.104-116
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• 2009

Today's Digital Environment made Typography to enter into a new phase. The Type which is a principal component of Typography is no exception to this aspect. However since the existing two-dimensional space has figurative potential, Visual Communication designers are still striving to explore both X axis and Y axis. In this context, Z axis which signifies 'Depth' is often recognized as an unfamiliar mathematical concept unrelated to Design Sensibility. If Z axis is used, the figurative aspect can be acquired, which was hard to be realized in the flat space, because the additional space of depth allows the expansion of omni-directional expression of target. Most notable is the fact that Z axis provided by Digital Environment has actually long existed and is inseparable from Type. This study, therefore, focuses on the three-dimensional expression of Type in the Visual Communication Design area by taking into account the above characteristics.

• Science of Emotion and Sensibility
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• v.16 no.1
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• pp.29-42
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• 2013

In this paper, we analyze the effect of the depth perception, volume perception and visual discomfort according to the change of the quality of the depth image and the depth of the major object. For the analysis, a 2D image was converted to eighteen 3D images using depth images generated based on the different depth position of a major object and background, which were represented in three detail levels. The subjective test was carried out using eighteen 3D images so that the degrees of the depth perception, volume perception and visual discomfort recognized by the subjects were investigated according to the change in the depth position of the major object and the quality of depth map. The absolute depth position of a major object and the relative depth difference between background and the major object were adjusted in three levels, respectively. The details of the depth map was also represented in three levels. Experimental results showed that the quality of the depth image differently affected the depth perception, volume perception and visual discomfort according to the absolute and relative depth position of the major object. In the case of the cardboard depth image, it severely damaged the volume perception regardless of the depth position of the major object. Especially, the depth perception was also more severely deteriorated by the cardboard depth image as the major object was located inside the screen than outside the screen. Furthermore, the subjects did not felt the difference of the depth perception, volume perception and visual comport from the 3D images generated by the detail depth map and by the rough depth map. As a result, it was analyzed that the excessively detail depth map was not necessary for enhancement of the stereoscopic perception in the 2D-to-3D conversion.

• Korean Journal of Cognitive Science
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• v.27 no.3
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• pp.355-376
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• 2016

We used holes defined by color similarity (Experiment 1) and binocular disparity (Experiment 2) to study how the inner contour of an object (i.e., boundary of a hole in it) is encoded in visual working memory. Many studies in VWM have shown that an object's boundary properties can be integrated with its surface properties via their shared spatial location, yielding an object-based encoding benefit. However, encoding of the hole contours has rarely been tested. We presented objects (squares or circles) containing a bar under a change detection paradigm, and relevant features to be remembered were the color of objects and the orientation of bars (or holes). If the contour of a hole belongs to the surrounding object rather than to the hole itself, the object-based feature binding hypothesis predicts that the shape of it can be integrated with color of an outer object, via their shared spatial location. Thus, in the hole display, change detection performance was expected to better than in the conjunction display where orientation and color features to be remembered were assigned to different parts of a conjunction object, and comparable to that in a single bar display where both orientation and color were assigned into a single bar. However, the results revealed that performance in the hole display did not differ from that in the conjunction display. This suggests that the shape of holes is not automatically encoded together with the surface properties of the outer object via object-based feature binding, but encoded independently from the surrounding object.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.171-184
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• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.