• Science of Emotion and Sensibility
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• v.14 no.2
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• pp.293-300
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• 2011

The CGI(Computer-generated Image) techniques provide designers with an effective means of creating design artifacts in an automatic way. It has been pointed that two important activities while applying the CGI techniques are both image generation and managemental issues for the generated images. By applying automatic generation techniques for creation of images, designers can acquire benefits in that they can produce free style results in a simple way. Along with such benefits, it is also important for designer to identify and to establish well defined mechanisms for storing vast quantity of auto-generated CGIs. However, it is problematic to assign key-words and to classify abstract images mainly because they lack an analogy of the real world entities. This paper presents classification scheme for the abstract CGIs by applying classification and description criteria from the viewpoint of both design elements and emotional elements. Effective classification and specification can help designers build and retrieve desired images in an easy way, and make management process more simple and effective.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.172-173
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• 2005

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.238-246
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• 2018

The production of hyper-realistic digital rendering images has been available due to radical improvements of recent digital rendering and CGI (Computer-Generated Imagery) software technologies. The photorealism of digital architectural rendering images requires further studies and discussions in that architectural visualization becomes a foundation of other fields using digital rendering technology, such as movies, games, and VR industry. The principles for achieving photorealism on digital architectural rendering images were re-defined and detailed elements were analyzed through theoretical analysis of the former studies. Four principles were drawn from the architectural rendering images produced by newly-developed technologies: physically-accurate lighting calculations, accurate object geometry representation, realistic material and texture, and characteristics of photography. The sub-elements of those four principles are categorized into either essential or selective for photorealistic imagery and the randomness of the selective elements could explain the variety of photorealistic architectural rendering styles.

• Cartoon and Animation Studies
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• s.29
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• pp.103-128
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• 2012

Study about existence of illusion which human beings feel from imitated image based reality have been continuing by copy theory and conventionalism for a long time. Traditional copy theory which had controlled representation theory from plato have explained illusion by similarity of image and representation objects. According to copy theory, image is natural sign unlike language but the late in the 20th century, conventionalism from N, Goodman insists they are not any special similarity between image and representation objects. They insist image and conventional sign just as language. These opposit theory rearranged conventionalism by the entrance on the cognitive science. The copy theory couldn't explain the problem of representational gap between reality and duplication, but photo media makes new paradigm about theory of the illusion. The problem of representational gap was disappeared by CGI images on the base of digital media. We are exposed exquisite duplication for a example, movie, advertisement, printings. Sometimes duplications are more real than the original works. Digital is a non-material object by 0 and 1. Specially real lighting skill and mechanism are copied perfectly by photon mapping skills and the duplications are produced more real than the original works. By disappearance of representational gap, we need new theory model for explaining of digital illusion and copy theory can be the key.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.