• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.267-272
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• 2006

The motion-graphic have been a more important factor in image illustration and typography since the development of visual culture was advanced. Therefore the visualized case of intented content with the creative typography is easily seen in television CF, movies and web pages. They suggest that variable factors such as language, time, shape, motion, color and sound should be applied and produced to motion typogaraphy. But the physiologic features as sex, age, health status, illness and physical size have an important effect in the communication process. So, the more effective result were gained than the fast-developing other mass media if these features were applied to the motion typography with semi-language speciality.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.61-69
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• 2006

Along with advance in visual culture, the importance of motion graphic has been increasingly emphasized day by day, which can maximize information delivery using image illustration and typography, graphic factors of images. In addition, we can easily see increasing cases where what a designer intends is visualized using creative typography in diverse mass media such as TV commercials, movies or web. Thanks to the effects of this trend, various ways of manufacturing works have been proposed in the field of motion typography by applying diverse factors including verbal ones, time, form, motion, colors, and sound for the purpose of expressing formless semantic notions through visual form of typography. However, physiological features such as sex, age, health status, pathological conditions, and body size can have a bigger effect on the process of real communication. Therefore, if property of quasi-verbal sound can be reflected appropriately in motion typography where communication is expressed only by visual form, it can enable people to understand what a designer intends faster and more exactly.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.400-410
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• 2012

In recent years, 3D displays are used in many media including 3D movies, TV, mobile phones, and PC games. Although 3D displays provide realistic viewing experience as compared with 2D displays, they also carry issues such as visual fatigue or size distortion. Focusing on the latter, we developed prediction function of object size perception as a function of object depth in 3D display. In Experiment 1, subjects observed 3D square of a fixed size of varying depth, and manipulated 2D square to make it as large as the 3D square. Conversely, in Experiment 2, subjects observed 2D square of a fixed size, and manipulated 3D square of varying depth to make it as large as the 2D square. In both Experiments 1 and 2, we found that size perception of 3D square linearly changed depending on depth of the square, and the linear relationship between depth and size was identical in both experiments. The predictive regression function, which predicts object size perception based on object depth, obtained in this research will be very useful in the creation of 3D media contents.

• Journal of the Korea Convergence Society
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• v.12 no.10
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• pp.189-201
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• 2021

The art of dynamic images has experienced three development stages, including experimental films, recording art, and new media image. By introducing all kinds of new materials, new media to the art, and the art of dynamic images has created more freedom for art creation. With the development of digital information technology, dynamic image works have put forward an increasingly high requirement of visual art. The combination of dynamic images and visual illusion can give rise to different forms and expression methods, thus endowing artworks with more vigor. This paper provides an overview by sorting out the lineage and development of dynamic images in the background, as well as understanding the application and performance of contrasted visual illusion. Based on the understanding of the characteristics of visual illusion, we discuss the new characteristics of applying the theory of visual illusion to new media dynamic images in relation to the technical approach of dynamic images. Through the analysis of specific works of Telematic Vision, we search for its reasonable combination and find the appropriate technical means of implementation. We discuss how to use digital multimedia technology and spatial optical illusion to make the design more novel and impactful, and consider how the combination of digital dynamic image technology and visual illusion should be interpreted and applied.

• Cartoon and Animation Studies
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• s.40
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• pp.83-107
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• 2015

Propaganda is often accepted as the political promotion that had used mostly by the socialist states during the First and the Second World Wars and the Cold War and by Hitler who governed Germany. Therefore, cases of the study on the image and picture propaganda were mostly posters or films of the socialism period when the propaganda was active. However, today it is not easy any more to find propaganda of the clear promotion characteristic as the past. In these modern times, it has changed into metaphorical propaganda based on 'persuasion', rather than publicity like past. Therefore, it has been changing from the direct promotion of the past into the indirect persuasion; and from the raw, direct and powerful publicity and claim into the soft and metaphorical persuasion and appeal. Thus, investigating again the contemporary propaganda will be an important element in analyzing contemporary images. The animation, selected as a target of the analysis of propaganda, exists in various ways in various images of the modern times, which is not too much to say that today's society is the television society. Besides, the animation is the image that can cover all ages as men and women of all ages can watch, so it is proper for analysis of the contemporary propaganda of metaphorical, indirect and various forms.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Cartoon and Animation Studies
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• s.48
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• pp.85-116
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• 2017

The purpose of this study is to analyze conditions that robots depicted in cinematographic works like animations or movies sympathize with and form an attachment with the nuclear person and organize characterizing strategies for emotional sympathetic robots. Along with the development of technology, the areas of artificial intelligence and robots are no longer considered to belong to science fiction but as realistic issues. Therefore, this author assumes that the expressive characteristics of emotional sympathetic robots created by cinematographic works should be used as meaningful factors in expressively embodying human-friendly service robots to be distributed widely afterwards, that is, in establishing the features of characters. To lay the grounds for it, this research has begun. As the subjects of analysis, this researcher has chosen robot characters whose emotional intimacy with the main person is clearly observed among those found in movies and animations produced after the 1920 when robot's contemporary concept was declared. Also, to understand robots' appearance and behavioral tendency, this study (1) has classified robots' external impressions into five types (human-like, cartoon, tool-like, artificial bring, pet or creature) and (2) has classified behavioral tendencies considered to be the outer embodiment of personality by using DiSC, the tool to diagnose behavioral patterns. Meanwhile, it has been observed that robots equipped with high emotional intimacy are all strongly independent about their duties and indicate great emotional acceptance. Therefore, 'influence' and 'Steadiness' types show great emotional acceptance, the influencing type tends to be highly independent, and the 'Conscientiousness' type tends to indicate less emotional acceptance and independency in general. Yet, according to the analysis on external impressions, appearance factors hardly have any significant relationship with emotional sympathy. It implies that regarding the conditions of robots equipped with great emotional sympathy, emotional sympathy grounded on communication exerts more crucial effects than first impression similarly to the process of forming interpersonal relationship in reality. Lastly, to study the characters of robots, it is absolutely needed to have consilient competence embracing different areas widely. This author also has felt that only with design factors or personality factors, it is hard to estimate robot characters and also analyze a vast amount of information demanded in sympathy with humans entirely. However, this researcher will end this thesis as the foundation for it expecting that the general artistic value of animations can be used preciously afterwards in developing robots that have to be studied interdisciplinarily.

• The Journal of Bigdata
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• v.7 no.1
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• pp.173-185
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• 2022

Nowadays, Korean webtoons are leading the global digital comic market. Webtoons are being serviced in various languages around the world, and dramas or movies produced with Webtoons' IP (Intellectual Property Rights) have become a big hit, and more and more webtoons are being visualized. However, with the success of these webtoons, the working environment of webtoon creators is emerging as an important issue. According to the 2021 Cartoon User Survey, webtoon creators spend 10.5 hours a day on creative activities on average. Creators have to draw large amount of pictures every week, and competition among webtoons is getting fiercer, and the amount of paintings that creators have to draw per episode is increasing. Therefore, this study proposes to generate webtoon background images using deep learning algorithms and use them for webtoon production. The main character in webtoon is an area that needs much of the originality of the creator, but the background picture is relatively repetitive and does not require originality, so it can be useful for webtoon production if it can create a background picture similar to the creator's drawing style. Background generation uses CycleGAN, which shows good performance in image-to-image translation, and CartoonGAN, which is specialized in the Cartoon style image generation. This deep learning-based image generation is expected to shorten the working hours of creators in an excessive work environment and contribute to the convergence of webtoons and technologies.

• Journal of Digital Contents Society
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• v.13 no.2
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• pp.225-233
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• 2012

The 3D stereoscopic image contents have been emerging as the blue chip of the contents market of the next generation since the . However, all the 3D contents created commercially in the country have failed to enter box office. It is because the quality of Korean 3D contents is much lower than that of overseas contents and also current 3D post production process is based on 2D. Considering all these facts, the 3D editing process has connection with the quality of contents. The current 3D editing processes of the production case of are using the way that edits with the system on basis of 2D, followed by checking with 3D display system and modifying, if there are any problems. In order to improve those conditions, I suggest that the 3D editing process contain more objectivity by visualizing the depth data applied in some composition work such as Disparity map, Depth map, and the current 3D editing process. The proposed process has been used in the music drama , comparing with those of the film . The 3D values could be checked among cuts which have been changed a lot since those of , while the 3D value of drew an equal result in general. Since the current process is based on an artist's subjective sense of 3D, it could be changed according to the condition and state of the artist. Furthermore, it is impossible for us to predict the positive range, so it is apprehended that the cubic effect of space might be perverted by showing each different 3D value according to cuts in the same space or a limited space. On the other hand, the objective 3D editing by applying the visualization of depth data can adjust itself to the cubic effect of the same space and the whole content equally, which will enrich the 3D contents. It will even be able to solve some problems such as distortion of cubic effect and visual fatigue, etc.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.