• The Journal of Korean Institute of Communications and Information Sciences
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• v.15 no.2
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• pp.137-146
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• 1990

A series of images whose sized and resolutions differ by a constant factor are called an image pyramid. Because the images at high levels are small, large object can be detected on high levels of the pyramid at low cost, But in this way, the boundaries of objects are not accurately localized. Therefore the pyramid algorithms extracte the objects by segmentation the constructed image using bottom-up method and description it in an original resolution using inverse bottom-up method. In this paper, we can project an object down to the next lower level of the pyramid and apply to the boundary adjustment algorithm at that level to localize it more precisely. We repeat the process at successively lower levels. In this paper, we present a method of boundary adjustment using an image pyramid to obtain optimal boundary. The performance of the proposed algorithm is compared to those of the conventional method in term of subjective quality of object boundary.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.207-220
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• 2021

Recent advances in new media for sensory experiences keep expanding visual expression methods in installation art such as projection mapping and virtual reality. Artists can create and develop visual expression techniques based on such new media. Projection mapping is a new medium that continues to add various possibilities to visual expression in media art. Under the projection mapping environment, artists can recompose the object or space with the digital content by projecting video onto three-dimensional surfaces in the space. This paper focuses on the process where visual expression with the projection mapping technology leads to viewers' sensory experience. To this end, "reproducibility," "dissemination," "virtuality," and "interactivity" of media were analyzed to describe the meaning and *definition of visual expression. Artworks are considered as an example to study visual expression techniques such as "repetition and overlap," "simulacrum and metaphor," and "displacement and conversion." I applied the analysis and created Domino, a projection mapping artwork, which helps the research on visual expression techniques that can lead to sensory experience the extensibility of visual expression.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Broadcasting and Media Magazine
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• v.10 no.2
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• pp.27-60
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• 2005

• Korea Multimedia Society
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• v.10 no.2
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• pp.52-62
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• 2006

• Information and Communications Magazine
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• v.23 no.7
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• pp.47-60
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• 2006

• Archives of design research
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• v.17 no.3
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• pp.51-60
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• 2004

The esthetics of 'grotesque' and its entertaining values have many things in common with the characteristics and properties of animation as a medium of expression. The ways to express grotesque images in animation have expanded its realm of expression with the development of modern image digitalization technologies. The grotesque images that were expressed by the combination of photographs and animations and objet animations have been developing its disharmony in a more realistic manner with full 3D animation technology and realistic motions of virtual characters with motion capture. The subject matter also has become more diverse with the advance of modern scientific civilization. An example is the appearance of Cyborg(cybernetic+organism) characters and the grotesque images in the modern times mainly start to appear in animations dealing with the isolation of human beings among its characteristics. Also, the changes of the expression methods of grotesque images along with the development of visual technology development in the future will transform its methodological forms by changing its expression methods to VR forms and interactive visuals. Thus it is expected that the grotesque images and characteristics will change into a visual genre which emphasizes dehumanization.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2017.06a
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• pp.241-242
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• 2017

최근 영화, 광고, 미디어 전시 등의 분야에서 다양한 특수 효과가 처리된 장면의 연출이 적용되고 있다. 특히, 미디어 전시, 공연 등에서는 관객 혹은 공연자의 움직임에 반응하는 예술적 영상의 인터랙티브 표현들이 시도되고 있다. 이에 본 논문에서는 광고, 전시 등에서 효과적으로 활용될 수 있는 인터랙티브 포토 모자이크(photographic mosaic) 영상을 생성하는 시스템을 제안하였다.. 제안 시스템에서는 관객의 출현을 인지하고, 관객의 얼굴을 자동으로 캡쳐하여 관객의 얼굴 사진을 이용한 모자이크 영상을 실시간으로 생산한다. 이 때, 흥미 유발을 위하여 모자이크를 구성하는 관객의 얼굴 사진 조각들이 움직임을 가지는 작은 사각의 입자로 표현되어 서로가 충돌하며 자연스러운 움직임을 통하여 하나의 영상으로 맞춰가는 모습이 보여지도록 하였다.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.44-45
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• 2004

With the development of informational machinery and tools in the modern industrial society, the image is expressed diversely as tools of informational transmission and artistic communication. This image is revival equipment and transmissional media in which sound and light are comprehensively formed. The image's intuitive and sensational expressivity can revive subjects and express a fiction, a reality, a nonfiction, and a virtual reality as a communication tool that has synchronicity and the medium of meaning. Because of this, the domain of the image will be gradually extended in the future, and the world of cognizance that can be detected across our living space will absorb the image diversely and react. In this context, the investigator examined what influence image media and equipments have in space as spatial equipments, based on the recognition of cerrelation among the image, space, and mankind, namely, the environmental meaning the mage and the space contain. Therefore, this study was conducted from the aspects of relationship establishment between image equipments that are ever expansive to a variety of domains and the space that accommodates the equipments. As study findings, the influences the image equipments have on space and their expressional features are presented in three aspects: 'the expressional medium of mutual synergy','metaphysical ultra-epithelial space constituent',' and 'object'. This study seems to be meaningful in that we can expect the spatial approach method by purposes and spatial layout of image structures, with this study, through analyzing the meaning of relationship between image equipments and space.

• Journal of KIISE:Databases
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• v.34 no.4
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• pp.304-314
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• 2007

Content Based Image Retrieval (CBIR) is to store and retrieve images using the feature description of image contents. In order to support more accurate image retrieval, it has become necessary to develop features that can effectively describe image contents. The commonly used low-level features, such as color, texture, and shape features may not be directly mapped to human visual perception. In addition, such features cannot effectively describe a single image that contains multiple objects of interest. As a result, the research on feature descriptions has shifted to focus on higher-level features, which support representations more similar to human visual perception like spatial relationships between objects. Nevertheless, the prior works on the representation of spatial relations still have shortcomings, particularly with respect to supporting rotational invariance, Rotational invariance is a key requirement for a feature description to provide robust and accurate retrieval of images. This paper proposes a high-level feature named 8AB (8 Angular Bin) that effectively describes the spatial relations of objects in an image while providing rotational invariance. With this representation, a similarity calculation and a retrieval technique are also proposed. In addition, this paper proposes a search-space pruning technique, which supports efficient image retrieval using the 8AB feature. The 8AB feature is incorporated into a CBIR system, and the experiments over both real and synthetic image sets show the effectiveness of 8AB as a high-level feature and the efficiency of the pruning technique.