• 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.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.484-492
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• 2016

Role of music in an image can be divided into a supplementary function to express narrative of image and an independent function to become the subject of music and to lead the image. To perceive sound through hearing and then, to make it visualized is called visual music. Since the 19th century, image synchronization of music through colored hearing has been continuously attempted by artists in their works. Also in the 20th century, many artists could attempt time-wise concept of movement passing the bounds of three-dimensional expression due to development of cinema. In such a process, artists with strong experimental spirits inferred correlation between sound and image and then, pioneered new genre of visual music. As a result, the times are being changed from those of listening to those of watching, and various works are being produced by experimental attempt of various music and images. This thesis aims to investigate aesthetic characteristics of modern visual music and then, to conduct comparative analysis on how visual music using colors are utilized in diversified fields such as movie, animation, music video and media art.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.521-529
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• 2016

This paper presents the historical development process and expressive style of motion graphics which are intended to artistic expression, and discusses the value of artistic expressions in motion graphics through the works and activities of F5 and Semi-Permanent which are the representative organization of that. Commercial use of digital motion graphics has been rapidly widespread and used in most of the picture contents by changes in the digital video production environment with the development of the computer. Motion graphics begins with a graphic design applied to the motion graphic content and is transferred from the abstract representation of the animation at the same time. Since then motion graphics have been developed as an independent genre on the basis of graphic design and animation, and take the important position for the understanding and development of the contemporary design and content industry. Moreover, the motion graphics which present the experiment of various techniques and the aspect of mixed genres contribute to the development and diversification of the visual image. This paper is covered on not only F5 and Semi-Permanent that have published experimental artistic motion graphics but also the analysis of the developed ways and expressive patters to produce experimental motion graphics of their works. Furthermore, it discusses the experimental artistic value of these works.

• Journal of Educational Research in Mathematics
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• v.8 no.2
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• pp.745-752
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• 1998

컴퓨터의 급속한 보급으로 시각화는 수학 교육자사이의 논의에 자주 등장하는 소재가 되었다. 우리는 다양한 소프트웨어를 사용하여 준비한 수업에 학생들로 임하게는 하지만 거의 그들의 사고 발달과정에는 관심을 갖지 못하고 있다. 이 논문은 구성주의(Constructivism)와 정보처리체계(Information-Processing System)에 입각하여 수학의 시각화를 생각해보고 어떻게 시각화 환경을 준비해야하는지 논해보고자 하였다. 구성주의의 시각화에서는 반영적 추상(reflective abstraction), 반복되는 경험(repeated experience), 그리고 지식 위계성이 학습의 기능 체계를 이루므로 발견적 학습을 통해 학생 스스로 의미를 구성할 수 있도록 Thomas (1992)의 세 가지 제안을 이용하여 수업을 준비할 수 있다. 정보처리체계에서는 지식은 서술적인 것과 과정적인 것으로 나뉘어지고, 시각적 표상을 수록하고 삭제하는 과정과 조작 가능한(manipulative) 환경과의 상호작용으로 기호적 시각으로 표상을 변화하는 과정을 통해 개념을 습득하게된다. 시각화는 스키마와 개념상을 통해서 일어난다. 그래프, 애니메이션, 그리고 다른 시각적 표상 등은 이 개념상에 직접적 효과를 주므로 매우 중요하다. 이런 논란을 바탕으로 교사는 반영적 추상화를 위해 시간을 충분히 제공해야하고, 비슷한 문제를 가지고 여러번 시도를 할 수 있게 하며, 학생을 잘 관찰하여 그들의 지식 위계성을 이해하고 방향을 제시하며, 논리적이고 잘 연결된 시각적 표상을 제공하고, 상징적 사관으로 확장할 수 있게 조작할 수 있는 환경에서 시각화에 대해 학생과 많은 대화를 하도록 수업을 준비해야한다. 그한 예로 타원을 가르치기 위해 몇 가지 테크놀로지를 활용한 시각화 환경을 구성해보았다.ates of bisected bovine embryos by micromanipulator and micropipett were 29.2% and 19.1%, respectively. The rates of non-bisection embryos(46.7%) were significantly higher than those of bisection embryos. 2. The in vitro developmental rates of bisected bovine embryos by micromanipulator, micropipett and pipetting method were 32.4%, 19.4% and 25.6%, respectively.3. The in vitro developmental rates of with and without-zona pellucida of bisected bovine embryos by raicromanipulator were 30.8% and 25.0%, respectively. The rates of nonbisection embryos(53.1%) were significantly higher than those of bisection embryos.랑크톤 군집내 종 천이와 일차생산력에 크게 영향을 미칠 수 있음을 시사한다.TEX>5.2개)였으며, 등급별 회수율은 각각 GI(8.5%), GII(13.4%), GIII(43.9%), GIV(34.2%)로 나타났다.ments of that period left both in Japan and Korea. "Hyojedo" in Korea is supposed to have been influenced by the letter design. Asite- is also considered to

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.