• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.637-638
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• 2021

가상현실 기술은 사용자가 스토리에 참여할 수 있으므로 상호작용을 갖는 인터랙티브 미디어 및 교육 콘텐츠로 활용하는 것에 장점이 있다. 가상현실 공간은 3D 공간으로 구성되며 가상환경에서 사용되는 3D 캐릭터들을 제작하기 위하여 일반적으로 3D 모델링과 키 프레임 기반의 애니메이션 기법이 사용된다. 이러한 과정들은 상대적으로 큰 비용과 많은 시간이 소요됨에 따라 저예산의 프로젝트에서는 가상현실 기술을 적용한 콘텐츠 제작을 어렵게 만든다. 본 논문은 2D 만화 이미지와 만화 스타일의 애니메이션을 활용하여 가상현실 콘텐츠 제작기법을 제안하고, 만화 형식의 가상현실 콘텐츠를 제작하여 연구를 진행하였다.

• Cartoon and Animation Studies
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• s.39
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• pp.349-363
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• 2015

As the market sheare of the Chinese game market across the world has been largely expanded over a decade, big game exporters of USA, Japan, Korea have developed Chinese factors and promoted export strategies, that target China. The Purpose of this study is to analyze the popular game characters of USA, Japan and Korea in order to provide empirical analysis of traditional Chinese elements applied in existing games. The RPG games in USA, Japan and Korea were selected for the contents analysis of the Chinese elements to show how the existing game companies used Chinese elements. The main findings of the research from survey data are rather inconsistent with the content analysis. In particular, all the RPG game companies of USA, Japan and Korea showed a remarkable ratio of using Manzu clothes more than Hanzu clothes. But, the preference of real game users on the Manzu style were lower than Hanzu style. Moreover, Chinese users showed more preference of the game character background that users more deepen Chinese culture. We suggest that applying Chinese elements need to be more selective based on real user's demand.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.123-133
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• 2019

Director Lee Chang-dong saying that the most important thing is to let the audience experience, find its meaning, interpret, and feel the pure sensation (whether it's image, sound or music) that the film has instead of narrative giving you the answers, through the film presenting the pure natural landscape as it is, but all the familiar things that can be taken as a riddle are conveyed in images, and all the elements that make up the film share its presence with each other and let us experience a mysterious weight of reality that cannot be defined through its strange symbolism and metaphors, and it reflects various human emotions, reflecting curiosity of reality, the words that are hardly spoken, meanings of life that we were not being aware of. Rather than having one definitive figure, through the character's personality expressing an imperfect character with a complex ambiguous behavior asks about the things that can't be explained logically and the fact of life that can't be divided into truth or lie. Also, the acting approaches emotionally and primitively rather than using artificial expressions, showing the invisible elements of emotions that are latent inside humans through temperate acting style, leads the audience to distant themselves and reflect more deeply into life. This study analyzed the characters and acting of the film based on director Lee Chang-dong's directing style.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.142-150
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• 2012

The development of technology in traditional media is affecting a variety of ways. In particular, the influence of digital images, the animation turned to a realistic 3D animation. With the release of realistic 3D animation , Robert Zemeckis received much attention but the audience did not like the animation of this style gradually. Robert Zemeckis gave up 3D animation after that drew attention for having a huge production budget while failing at a record-setting proportion in the American box-office. A digital actor in realistic 3D animation looks like real but the audience know that it is not real and they know that realistic 3D animations and live-action movies are different. So the audience will experience an emotional conflict like confusion, hesitation. The visual completion in realistic 3D animation is due to the development of technology and technology must develop to connect the audience acceptance and movie.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.337-347
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• 2010

The purpose of this study was to figure out consumer's recognition on brand's peculiar style on Korean contemporary women's apparel brand. The contemporary women's apparel brands show advanced and stylish merchandise at better price points. This segment of the Korean ready-to-wear market has been growing fast in last decades. Four contemporary women's apparel brands(I, K, M, and T) were participated in this study. The data(n=216) were collected with questionnaire survey at 24 apparel retail shops in metro Seoul area. The questionnaire measured the consumers' recognition on each brand's peculiar style. The subjects evaluated each brand's typical silhouette, materials, and style image. The results of the survey showed that the style image factors were 'stylish', 'simple', 'casual', 'feminine', and 'classic'. The style image of each brand was differentiated from others. The brand T had classic image, the brand K had simple and casual image, brand M had stylistic image, and the brand I had feminine image. The features of materials that used at the four brands were not very different by the brands. They used the high valued materials. The common features of the materials were 'smooth', 'thin' and 'light weight.'

• Journal of Korean Ophthalmic Optics Society
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• v.19 no.4
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• pp.435-443
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• 2014

Purpose: The purpose of this study was to analyze the design identity visual elements of optical shop brand$\underline{s}$ in order to provide objective data necessary for optical shop brands' design development. Methods: This study examined the design identity concept of the optical shop brands and analyzed visual elements of brand design identity with a focus on the symbols of domestic franchise optical shops, type of a symbol mark, representation style of logo type, color usage, use or non-use of character, etc. Results: Many symbols were directly associated with the eyeglasses, such as eyeglasses and eyes, face and iris. Along with that, letters or figures were also observed. For the type of symbol, most types were found to have the designs that took spherical and word mark shapes. Particularly, the word mark type had English words more often than Korean words. For logo types, the gothic format was dominant. In relation to the thickness of letter, thick boldface type was commonly used. The combination of 2 degrees was the color frequency used most often in the optical shop brand design. For the frequency of color usage, black and red colors were used most often. Particularly, the orange color, as well as the black color, was also often used for the main color of symbols or logo types. Meanwhile, the characters were used only in some optical shop. Most characters were animals and expressed in the cartoon and graphical forms. Conclusions: Typifier, symbol mark, logo type, color, and character are the elements forming the basic development system for brand design identity. Systematic design is needed which clearly ensures the function and role along with the mutual consistency as a important visual component of the optical shop brand.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.239-249
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• 2020

Ne Zha: I am the destiny(2019)and Ne Zha Conquers the Dragon King(1979)as animated films based on the theme of Ne zha in different eras and contexts, reflecting the value and significance of different artistic images of Ne zha, The study of the value turn in the character image of Ne zha reflects the different styles of artistic images of Ne zha. This thesis attempts to interpret the changing values behind the different artistic expressions of the Ne zha character in different films. The transformation of Ne zha's image from good to evil, and the shift from the idea of "submit to the will of heaven" to the idea of "taking one's destiny into one's own hands" reflect the different values and meanings of Ne zha's image in different eras. Each film is distinctly contemporary, and Ne Zha: I am the destiny is an innovative and in-depth look at the character of Ne zha in the new era of cinema. There are many forms of artistic expression, and these differences greatly increase the appeal of Ne zha's artistic image, making Chinese animation films more space and value for development.