• Proceedings of the Korean Information Science Society Conference
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• 2007.10b
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• pp.184-188
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• 2007

본 논문에서는 기존에 상용화되거나 서비스되고 있는 만화 제작 시스템들의 장단점을 비교 분석한다. 그리고 일상생활에서 쉽게 활용할 수 있는 동영상 이미지를 이용하여, 흑백 만화를 제작하기 위한 시스템에 대해 논의한다. 동영상으로부터 추출한 이미지는 일반적으로 동영상 자체의 스토리를 내포하고 있기 때문에, 이 이미지들을 기반으로 흑백 만화를 제작하는 시스템을 개발한다면, 만화 초보자들도 손쉽게 흑백 만화를 제작할 수 있다. 본 논문에서 제안한 흑백 만화 제작 시스템은 먼저 1) 기존의 이미지를 이진화하고 2) 양식화된 스트록을 렌더링하여 만화적인 특징을 표현한다. 그리고 3) 다양한 만화적인 요소를 추가한 후 4) 완성된 만화 컷을 실제 만화에서 사용되는 레이아웃 템플릿에 따라 배치하여 한 장의 만화를 제작한다. 논문에서 제안한 시스템을 활용함으로써, 만화 초보자들이 만화를 제작할 때 직면하게 되는 문제점들(스토리 보드 설정과 그림 실력의 부재)을 해결할 수 있었다.

• The KIPS Transactions:PartB
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• v.18B no.4
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• pp.221-230
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• 2011

Digital comic images are one of popular contents on the Internet. Usually, they are scanned from comic books by digital scanners. Without post-processing, they may have different sizes, skews and margins other than contents at the boundary. To normalize the size of their contents without the skews and margins is an important step in comic image analysis and application such as content-based comic image retrieval system. In this paper, we propose a method to detect a box frame in comic images by extracting of line segments using the gradient Radon transform. The box frame in comic images is the maximum rectangle which consists of contents without margins. We use the detected box frame to normalize the size of comic images and to make them no skew. In addition, the proposed method is implemented by OpenCL to speed up the detection of the line segments. Experimental results show that our proposed method effectively detects the box frame in comic images.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• Cartoon and Animation Studies
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• s.19
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• pp.199-224
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• 2010

Since the mid 1990s, Korea has recognized the importance of content industry and has carried out several support policies. Especially, the support system for the comic industry has been systematically organized, and organizations for this area have tried to extend the type of support programs and objects as well. One of the remarkable changes made by these support programs is to encourage the remaking of old comics, which mostly are published comics in 1970s and 1980s, into the new format, the webtoon. Some of revitalized old comics are open to public through several portal web sites, and people can reach them easily by free. This research is to consider support programs run by policy organizations that are managed in the regional level. This research mainly deals with the type of support programs for the remade old comics and, at the same time, considers the meanings of this support programs for the Korean comic industry.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.14 no.1
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• pp.131-137
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• 2014

Although illegal reproduction of cartoon books are prevalent with rapid growth of webhard services and smartphone use, fingerprinting technology for product identification, as seen in music and videos, has not been developed yet. This leads to indiscriminate illegal reproduction of cartoon books, causing great amount of copyright damages from copyright infringement of the rightful owners. The copyright R&D project granted from the Korea Copyright Permission (Project Title: Identification and Copy Protection Technology of Bookscaned Text/Comic Books) has been carried out in order to develop technology to effectively identify illegal reproduction and distribution of scanned cartoon books. The developed technology will contribute to increase of royalty payments and robust ecosystem of cartoon book markets. The study is to propose an enhanced implementation model for identification of scanned cartoon books on the basis of hierarchical symmetric difference feature algorithms adopted from existing feature extraction algorithms for video.

• Journal of the Korea Computer Graphics Society
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• v.12 no.1
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• pp.27-36
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• 2006

영화와 같은 사실적인 영상은 너무 많은 정보를 포함하고 있어서 때로는 사용자에게 제작자의 의도를 쉽게 전달하기 어려울 수 있다. 이와 달리 만화와 같은 비사실적인 영상은 중요하지 않은 부분을 아주 간단하게 표현하거나 혹은 중요한 부분만을 강조해서, 작가의 의도를 직관적으로 훨씬 잘 전달해 준다. 만화는 스피드라인, 말풍선, 배경 텍스쳐 등과 같은 만화 고유의 표현 기법들을 통하여 일반 정지영상들보다 많은 부가적인 정보를 전달해 준다. 특히, 말풍선은 장면 내의 인물들의 대사를 전달하는 매체로, 올바른 내용 전달을 위해 읽기순서(reading order)에 따른 말풍선간의 관계 및 말풍선과 인물간의 관계를 고려하여 적절한 위치에 배치 되어야 한다. 본 논문에서는 비디오 영상에서 추출된 장면의 만화적 변환을 위한 기법들 중에서 말풍선 자동 배치 방법을 제안한다. 제안한 방법은 지도에서 지명을 배치할 때 흔히 사용하는 특징점 라벨 배치(Point-Feature Label Placement) 방법에 기반하였다. 또한, 본 논문에서는 말풍선 배치가 얼마나 잘 되었는가를 평가하기 위한 객관적인 평가 함수를 제안하였다. "Love Actually", "살인의 추억"등의 다양한 영화 장면들을 이용하여 실험한 결과, 제안한 방법의 말풍선 배치 결과가 사람이 수작업으로 배치한 것과 비교해 크게 부족함이 없는 것을 알 수 있었다.

• The KIPS Transactions:PartA
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• v.15A no.2
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• pp.75-86
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• 2008

Black/white comic rendering is one of the researches in the field of non-photorealistic rendering(NPR). Black/white comics have been produced manually as yet. But these previous systems require lots of time and manual work. So we propose the COmics Rendering system on VIdeo Stream (CORVIS) which transforms video streams into black/white comic cuts. Stylized font, one of comic representations, can be used to express onomatopoeic words and mimetic dialogue exaggeratively. But current comic generation systems do not provide enough effects of stylized font. This paper proposes a model for stylized fonts to express various effects. Effects of stylized fonts we proposed include geometric deformations. Thus we could represent stylized fonts on the still cut of movies and the background texture on a cuts of plain black/white comics. The final quality of our system produced is good enough to compare with manual black/white comics.

• Proceedings of the Korean Information Science Society Conference
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• 2005.11a
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• pp.694-696
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• 2005

연속된 장면이 아닌, 정지된 그림의 병렬적인 배열로 이루어지는 만화책은 다양한 특수 효과로 스틸이미지에서 동적인 효과를 이끌어 낸다. 그 특수 효과는 실제 물리적 이론에 기반하고 있지는 않지만, 독자에게 충분히 동적 운동 정보를 제공하는 특징을 느끼게 한다. 본 논문에서는 스틸이미지가 움직이고 있다고 느끼게 만드는, 만화기법의 동적효과를 조사하며 이 동적효과를 간단한 인자로 조절하는 방법을 제시한다. 그리고 동적 효과를 스틸이미지에 실제로 적용해본다. 본 연구의 결과로, 정지된 듯한 느낌을 주던 이미지에 동적인 느낌을 부여하게 되며, 추후 연구과제로서 비디오 영상에 대해 중요 장면을 추출하고 추출한 장면에 동적인 만화 기법을 적용시킨 만화를 만드는 연구를 진행시켜 나가고자 한다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.109-110
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• 2021

본 논문에서는 웹툰(Webtoon)에서 파생되어 현재 온라인 동영상 플랫폼에서 활발하게 저작되고 있는 영상툰을 위한 영상툰 저작 시스템의 설계를 설명한다. 설명하는 저작 시스템은 웹을 기반으로 설계하여 저작자의 접근성을 높이고 웹에 접근할 수 있는 어느 장소에서든 저작이 가능하다는 이점으로 인해 편의성을 높였다. 또한, 많이 사용되고 있는 영상 저작 프로그램의 기본 형태를 따라 설계를 진행하여 처음 접하는 사용자들이 익숙하게 작업할 수 있도록 하여 적응을 위한 시간을 최소한으로 줄이고 단기간 내에 익숙하게 사용할 수 있도록 설계하였다. 설계된 시스템은 제안한대로 사용자가 익숙하게 사용할 수 있는 구조로 구성하였고, 향후에는 영상툰을 위한 다양한 효과들을 추가하여 시스템의 유용성 및 편의성을 높일 예정이다.

• Cartoon and Animation Studies
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• s.20
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• pp.31-45
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• 2010

Stereoscopic 3D animation contents are in the rise as a key part of contents market. Major animation studios are planning to produce 3D animations in a stereoscopic process. This study aims at understanding the visual textuality of 3D animation contents at its early stage. To understand 3D animation, , are analyzed. Stereoscopic 3D animations are exploring the new visual aesthetics using the specific storytelling, sequence ordering, camera working, shot size and camera angles etc. Based on these visual textualities, stereoscopic 3D animations are constructing telepresence, multi-senses of individual spectators. Stereoscopic 3D animations have formed their own aesthetics and cultural meanings in the digital age.