• Journal of the HCI Society of Korea
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• v.3 no.1
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• pp.39-47
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• 2008

A mobile phone became the practical necessities of Chinese life that can not be explained without a mobile phone as it is rapidly popularized in China in recent years. As income increases due to economic growth, so did desire to buy better products. And This desire has made consumers in China more concerned about design and consequently leads to artistic design of a mobile phone. And also this trend is getting linked to people's personalisation in that people prefer rather to choose products they like than standardized ones in the middle of a variety of cultural inflows. This study mainly focuses on the development of the characterized mobile phone with a high class brand by use of traditional elements and of design identity of a mobile phone with Chines style that is well harmonized with cultural and personalized identity as consumers' preferences are quite different from each other depending on each country's culture. For this, this study investigates traditional elements such as patterns, colors and characters as well as development and features of the mobile phone design. This will also lead to the development of a mobile phone with traditional elements of China by studying utilization of design with traditional patterns. To do this, the study analyzes to research traditional patterns(Dragon, Phoenix, Peony, Lotus Flower), colors(Red, Yellow, Blue, Black, White) and historical origin and concept of characters. The study also looks into instances and personalisation of mobile phone design by analyzing literatures.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.45-59
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• 2019

The characters that could be connected to diverse cultural contents have formed diverse platforms with the development of digital technology, and the size of the relevant industry and market is rapidly growing. Recently, the utilization of character emoticons for smartphone messenger has been rapidly increased, so that the characters are settled down as a tool for non-verbal communication, on top of drawing attention as an independent area. With the expansion of character market, the importance of design that could give interest and familiarity to consumers is more emphasized. The body proportion of characters includes the implicative and symbolic meanings that could express diverse personalities. Thus, this study examined the body proportion of the characters with the high consumers' preference, and then analyzed the characteristics of formative elements of character design in accordance with the body proportion. In the results of the analysis, the exaggerated form of SD characters in two or three-head figure, and the realistic Real characters in seven or eight-head figure were preferred. For the SD characters, the colors with a high chroma showing the cute and cheerful image were used. For the Real characters, the cubic effect was expressed through the colors with active images and the light and shade of color. Even though the SD characters have limited motions due to the omitted body parts, the facial movements of animation characters are exaggerated while the Real characters describe the realistic and dynamic motions.

• Korea Science and Art Forum
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• v.35
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• pp.145-155
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• 2018

The goal of the study is to provide a new type of audio-visualization method through case analysis and work production based on Polysomnography(PSG) data that is difficult to interpret or not familiar to the public. Most art works are produced with conscious actions during waking hours. On the other hand, during sleep, we get into the world of unconsciousness. Therefore, through the experiment, want to discover if could get something new when we were in the subconscious state, and if so, wondered what kind of art could be made through it. The study method is to consider definition of sleep and sleep data first. The sleep data were classified into normal group and Narcolepsy, Insomnia, and sleep apnea by focusing on sleep disorder graphs that is measured by sleep polygraph. After that, I refined and converted the acquired biometric data into a text-based script. The degree of sleep in the text form of the script was rendered as a 3D animated image using Maya. In addition, the heart rate data script was transformed into a midi format, and the audition was implemented in the garage band. After Effects combines the image and sound to create four single channel images of 3 minutes and 20 seconds each. As a result of the research, I made an opportunity for anyone easy to understand the results, having difference with the normal data, through art instead of using difficult medical term. It also showed the possibility of artistic expression even when conscious actions did not occur. Through the results of this research, I expect the expansion and diversity of artistic audiovisual expression of biometric data.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Cartoon and Animation Studies
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• s.26
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• pp.131-156
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• 2012

As the Global Age has arrived, the domain of festivals has expanded to fulfill the role of being not only a tourist attraction but of being a factor that determines the image and identity of cities, and the factor of enhancing the brand value of a particular city is being focused upon. The city of Bucheon, which aims to be a culture oriented city, is attempting to utilize the Bucheon International Comics Festival as a cultural asset for the revitalization of the city. This study has as its purpose the development of an evaluation index model on the brand value of the Bucheon International Comics Festival and research being conducted based on the developed evaluation index model on the awareness level of the citizens of Bucheon of the festival. In regards to this, the theoretical background was examined and the index model was developed based on precedent research. Based on this, a survey of 1,000 citizens of Bucheon was conducted in this study. This study conducted a survey targeting 500 persons, dividing them into 2 groups according to whether they participated in the festival. The survey of this study established 9 evaluation categories for the International Comics Festival evaluation index model which consists of demographic research and participation motivation, value of comics, festival brand awareness and association image, perceived product quality and loyalty for the festival, internationality of the festival and urban activation. Each survey question is composed of 5 points scale measurement. As a result of the survey, 'for an education of children' was the highest for the participation motivation, and 'not knowing of the festival information' was the highest for the reason of not having participated. The industrial value was evaluated as the highest among the value of comics by the both two groups, and it was studied that there was perception gap for the festival according to whether they participated in the festival for each survey question. It was revealed that the level of awareness of the Bucheon International Comics Festival was "normal," the "city revitalization" index and the "value of comics" index were relatively high and the "international character of the festival" index was the lowest. Furthermore, it was shown that there were differences in the awareness of the established categories of the developed evaluation index model based on whether or not there was participation in the festival. This study comprehensively organizes these analytical results and derives implications which can be used as data for the criteria of the development of future strategy for the Bucheon International Comics Festival.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.

• Cartoon and Animation Studies
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• s.31
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• pp.153-176
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• 2013

In the early 20th century, the some of futurist painter was attempted to represents the 'fast-paced' and 'dynamism' on a two-dimensional picture. The expression of fast-paced and dynamic for look like move image in the painting have evolved as a variety of visual symbol. Visual symbols that represent these movements were settled as the line of the most movement expression in the comic. The of Toriyama Akira gained worldwide popularity is emphasized speed and dynamism as the action genre in cartoon, is nice a data to research the line of the movement expression of cartoon. There is three terms as the action line, The speed line, the effect line on the movement expression in The glossary of in the dictionary of , but it not easy to Separate them by means similar. This study is willing to says the semantically problem of previous lines on the movement expression and to present a new alternative in order to study the line on the movement expression of . This study Separate the line on movement expression from symbolic the perspective and try to newly define by using, was classified lines of four kinds by add the afterimage line on existing the speed line, the motion line, the effect line. First, the speed line was defined as 'The line expressing the movement expression of a moving target as the concept of speed'. It on the way of expression was subdivided the direct as speed line when it alter the shape of the target and the indirect speed line when it alter the background of the target. Second, the motion line was defined as 'The line simplified the moving form or the moving path of moving target'. Third, the effect line was defined as 'the line emphasizing the movement expression of a moving target by Sensory expression or emotional expression. Fourth, the afterimage lines was defined as 'The line expressing slowly moving or swaying the movement expression of target to the afterimage effect. The terminology presented in this study will be able to help the understanding of the line on the movement expression .

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• Cartoon and Animation Studies
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• s.29
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• pp.173-207
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• 2012

The four-phased plot which consists of introduction, development, turn and conclusion in the long-story structure tends to be patterned and schematized. The behavior of characters is in line with the beginning of human beings and the plot of comic strips basically has four phases. It is, however, not a simple arrangement but a complex one which was developed by organizing patterns of human power, behavior and emotions. With the results from a survey with college students studying comic strips, this study aims to categorize four characters from the archetypal system by Carol Pearson, four phases of the hero's journey by Joseph Campbell, and the four phases of the plot based on Aristotle's theory, which is the frame of the comic strip structure through supporting evidence extracted from comic strips in an integrated way. In this study, the categorization is performed by simplifying and systemizing a character's life cycle, which is a factor of a story structure in complex comic strips. This study is to identify what comic strip writers express by using the metaphor in the complicated long-story structure of comic strips This study reveals that the structure of introduction, development, turn and conclusion based on the plot theory by Aristotle is the metaphor of human life and fate and that the phases of development in the archetypal system by Carol Pearson, a Jung researcher influenced by Jung's theory are the metaphor of human life and fate. Also, the theories of Joseph Campbell, who also was influenced by Jung, are the metaphor of human life and fate as they projected complex emotions of joy, anger, sorrow, and pleasure onto the archetype of heroes and used the metaphor of the hero's journey. Lastly, the theories are introduced with the approach of 'guide to screenwriters' by Christopher Vogler. Meanwhile, this metaphor is the objective and goal of this study. The comic strips selected for this study seem to have long complex stories which have characters leaving their homes, going through adventures and difficulties, meeting the world in another way, experiencing tension, competition, wars, and hardship and returning home with compensation. They grow mentally and psychologically through their journeys and finally become heroes. They express the meaning of our introspection in a narrative through plots and images of comic strips. This appears complex but the basic structure of long comic strips has four phases of plot. The life style of an extraordinary character traveling for adventures and growing in long comic strips can be divided into four phases symbolizing childhood, adolescence, adulthood, and senescence and it is a psychological growth process. The archetypes of the character can be divided into four phases and the growth process can be explained. The hero's journey symbolized by the character can be also divided into four phases. Through theories, the complex arrangement of four-phased plots in comic strips corresponds with the growth process of introduction, development, turn and conclusion through the stages of life. At the same time, this study found that the characters becoming heroes are the metaphor of introspection and that the characters' growth and life correspond with the four phases in life through long comic strips. Long stories in long comic strips written by comic strip writers show that characters go on their journeys and change their lives through hardship and difficulty by logical construction of plot and their growth processes are presented in archetypal images and they reach introspection as heroes. The readers share time and space through images in comic strips and realize that they had the same experience as the characters emotionally by being moved by the stories.

• Cartoon and Animation Studies
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• s.51
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• pp.361-390
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• 2018

Users of KakaoTalk emoticons use Kakao Talk emoticons as means of communicating their emotions in virtual space. Emotional state is represented by design element (auxiliary, color, form, motion) and storytelling element contained in emoticons. The purpose of this study is to investigate the factors of the storytelling and design elements of kakaoTalk emoticons and how they prefer the kakaoTalk emoticons as emotional expression means. In terms of storytelling, crocodiles, peaches, dogs, ducks, lions, moles, and rabbits were made up of ordinary fruits and animals. Most of the emoticons are composed of stories with unique personality, and each story has a complex one by one, which makes it easy for users to approach and use them. In terms of design, I used various auxiliary elements (flame, sweat, tears, runny nose, angry eyes, etc.) to express angry, sincere, nervous, begging, joy, and sadness. The color elements consisted of most of the warm color series with the unique colors (green, red, yellow, pink, white, black, brown, etc.) of emoticon characters regardless of feelings of joy, anger, sadness, pleasure. The form factor is composed of a round shape when expressing factors such as joy and sadness. On the other hand, when FRODO and NEO express sadness and anger, they represent the shape of a rectangle. The motion elements are horizontal, vertical, and oblique expressions of APPEACH, NEO, TUBE, and JAY-G, expressing emotional expressions of sadness, anger, and pleasure. APEACH, TUBE, MUZI & / Shows the dynamic impression of the oblique and the radiation / back / forward / rotation. The anger of TUBE and FRODO shows horizontal / vertical / diagonal and radial motion. As a result of this study, storytelling is structured in accordance with each emoticon character. In terms of design, auxiliary elements such as flame, sweat, and tears are represented by images. The color elements used the unique colors of the character series regardless of the difference of emotion. The form factor represented various movements for each emotion expression. These findings will contribute to the development of communication, emotional design and industrial aspects. Despite the significance of the above paper, I would like to point out that the analysis framework of the storytelling and the semiotic analysis of the supplementary elements are not considered as limitations of the study.