• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.39-40
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• 2019

TV 드라마에서 화면구도는 연출의도와 메시지를 전달하는 주요한 경로이다. 공간의 배치에 따라 시청자가 이를 인지, 해석, 수용하기 때문이다. 이에 연구자는 TV 드라마에 나타난 화면구도를 분석하여 구체화함으로써, 향후의 TV 드라마 제작과 해독에 기여 하고자 한다. 이를 위해 화면구도로 연구를 진행하여 미학적 근거를 찾고자 한다.

• Archives of design research
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• v.18 no.1 s.59
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• pp.263-272
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• 2005

The layout in picture book is a visual statement that arouses children's psychological reaction upon pictorial positions and those disposition, and that indicates a correlation between theme and background and characters' movements. This study firstly confirmed that children's perception and experience are variously formed according to age, past experience, psychological action, physiological impulse, mentality, growth environment, etc., in order to analyze how the pictorial layout in children's picture book has influence on children visually and psychologically. Likewise, visual and psychological perception was carried out targeting on the children between 4 and 7 years old, based on the perceptive specific and process that have been studied by previous researchers. In addition, the children's picture books published overseas or domestically were presented as the related cases, in order that the facts analyzed may be drawn to harmonious and effective pictorial layout. Lastly, it is expected that the conclusion suggested by this study may be of help to illustrators to design picture books individually and creatively, as well as be applied to studying effective expression in the educant who learn about illustration.

• Proceedings of the Korea Information Processing Society Conference
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• 2011.11a
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• pp.442-444
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• 2011

본 논문에서는 접사에서의 주요 객체 검출과 검출된 주요객체의 가장 최적화된 구도를 사용자에게 안내하는 방법을 제안한다. 대부분의 접사는 주요객체에 초점을 맞추고 배경이 되는 영역은 아웃 포커싱 기법을 사용하여 촬영한다는 점에서 착안하여 주요 객체를 검출하고 검출된 주요객체와 사진 구도의 3등분할점과 구도점의 상관관계에 대하여 계산하여 최적의 구도라고 판단되는 화면으로 사용자를 유도한다. 제안하는 방법으로의 실험했을 때 좋은 결과를 얻는 것을 확인할 수 있었다.

• Journal of Conservation Science
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• v.32 no.2
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• pp.141-154
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• 2016

The gilt-bronze decorated bamboo mudguards with heavenly horse design excavated in 1973 at Cheonma Tomb of Shilla are the unprecedented relics in Korean history as it has its original structure. Although the bamboo mudguards were excavated in not only Cheonma Tomb, but also in Geumgwanchong and Geumryeongchong, all of them remains into pieces. In addition, there are no exact data related with its structure and manufacturing technique. The report deals with the manufacturing technique of the bamboo mudguards with heavenly horse design excavated in Cheonma Tomb through the naked eye's observation, X-Ray Fluorescence, and Transmission X-rays analysis etc. Bamboo mudguards basically have the three divided structure with central-focus structure of a radiation style. And the mudguards consists of Bratticing gilt-bronze, fabric, and bamboo plates together, as ornamental fringe of 4 plates. The surface of the gilt bronze plates was decorated with a variety of workmanship and pendant. Bamboo plates have a waved pattern by using about three hundred bamboo bark. Two types of textiles were mainly found in the textile plates, and the leather were partially found. In order to combine all plates together, gilt-bronze bottonhead, pendant decoration, and ornamental fringe were used. It would be helpful to study bamboo mudguards during 5th-6th centuries in Shilla period and basis investigations of Geumgwanchong and Geumryeongchong excavations.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.

• The Optical Journal
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• s.123
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• pp.58-63
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• 2009

사진을 결정하는 것은 노출, 초점, 구도 등 3가지 이다. 지난 3월호부터 조리개와 셔터속도로 적정노출을 맞추고 어두운 곳에서 셔터속도가 나오지 않을 때는 ISO(감도)를 높여서 셔터속도를 확보해 노출을 맞추자 했고, 5월호에서는 측광모드에서 측거점에 의한 초점을 맞추어 원하는 사진을 표현하고자 했다. 7월호에서는 빛의 각도를 활용해 작가가 의도하는 작품을 얻을 수 있다고 했다. 이번호에서는 사진의 완성도를 결정짓는 구도까지 공부하고 나면 노출, 초점, 구도의 3박자가 어우러져 정말 화면의 짜임새 있는 좋은 사진을 만들 수 있다. 특히 '빛'을 보는 시각까지 익혔다면 그야말로 환상의 조합이다. "세상은 악보요. 사진은 연주다." 사진가는 전체를 총괄하며 지휘해야 한다. 주제, 톤, 콘트라스트, 계조, 색상, 프레임속에 짜임새있게 사진의 요소를 배치하는 것까지... 이제부터 구도를 공부해서 나만의 오케스트라를 연주하는 지휘자가 되보자.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.68-79
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• 2012

In film various techniques interact organically in order to bring a story to life and, by doing so, influence the audience's perception. The techniques composing the form of a film are part of a format-system and therefore have to be well adjusted to the content of the film to trigger an intended effect. It is then that these techniques boost the intensity of the audience's emotional experience. The subject of analysis in this study of aesthetic composition, which is part of the concept of visual narrative, is the movie "Silence", which depicts a disturbing story based on real events. The goal of this study is the analysis of composition techniques used to support the film's narrative structure, where elaborate frame-composition and techniques are applied with great efficiency. Another goal is also to illustrate the meaning of film-format and its importance. Looking deeper into the question of how meaning and emotions, which are inherent in a film, finally manifest themselves on screen through a single shot, where the cinematographer's ideas and aesthetic vision come together and also the question of how a narrative structure in the context of a film works- these questions are the essence of this study.

• Cartoon and Animation Studies
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• s.33
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• pp.127-152
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• 2013

This study is focused on a compositional viewpoint of camera appears in animation feature films through nonverbal communication approach; analyzing the approach would reveal more effective interaction between receivers' and actants' communication. The content of study includes semiological analysis of one of Hayao Miyazaki's master pieces, Howl's Moving Castle, in terms of descriptive structure and interpretation of screen. The semiological analysis methods in this study composes with sequence analysis, actant analysis, disjunction and conjunction analysis, and "shot" in media semiology analysis. Through these analyses, a conclusion has been drawn that a characteristic of interactive symbol connects audience and feature films. This study applies nonverbal communication in compositional viewpoint of camera to bring more effective approach for communication among actants, animation feature films, and receivers.

• Journal of Digital Convergence
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• v.17 no.6
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• pp.373-380
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• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.65-75
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• 2015

The findings of basic study on the awareness of falls in terms of Gwanpokdo(Paintings of Viewing Falls) were drawn as follows. First, there is a difference in an esthetic sense that water brings depending on the ratio of falls, and Gwanpokdo(Fall Landscape) in which falls take up more than 20% of the canvas focuses more on falls so that it brings about the awareness of landscape through direct communication with nature. Second, the diagonal composition of the canvas has symmetry between falls and a person viewing the falls, which makes view point even clear. In addition, margins of the canvas were missing due to the effect of True-View Landscape Painting during the late Joseon Dynasty, and overall composition of using the entire canvas became popular. This overall composition is stable and disposed with lopsided composition, so this heightens sense of balance and the meaning of falls. Third, Gwanpokdo(Paintings of Viewing Falls) of Josoen Dynasty showed various types of viewing falls in distant view, but as the distance between falls and persons got closer in the latter part of Joseon Dynasty, falls were no longer utopia but it expressed a sense of beauty and aesthetic contemplation through direct communication with real nature. Fourth, Gwanpokdo(Paintings of Viewing Falls) of Joseon Dynast had many drawings of a person viewing falls and viewing behaviors such as Supyeong gyeong(level landscape), Amgang gyeong(lower landscape), Bugam Gyeong(higher landscape), and glimpse viewing. Fifth, rocks out of landscape elements make falls vivid and are so expressed as yin and yang that falls and rocks are well contrasted with each other, maximizing beautiful scenery of falls. Sixth, woody plant of Gwanpokdo(Paintings of Viewing Falls) was mostly pine trees which symbolized the literati's fidelity and integrity at that time and emphasized the firm meaning of transcending the nature, matching with symbolization of falls.