• Cartoon and Animation Studies
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• s.35
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• pp.1-27
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• 2014

This study is a process of studying an alternative educational model and a preceding analysis process of the study where a teaching method considering the brain function, learning and creative mechanism is applied with a perspective of effectively increasing the animation drawing ability. Recently, studies in each field of study is not simply limited to one major but are attempting to produce subdivided integrated educational contents through integrated study activities with other fields. It is because for any field, it has a complex structure of humanistic experience and this is the same for artistic fields. Especially, in the field of animation, a specialized area is subdivided so when looking only at the education related to the drawing, the items required for expertise should be clarified and the development of a systematic educational method is required. Therefore in this study, a literature study result to design the educational model suitable for professional characteristics of animation education method is proposed. The study aims to conceptualize and categorize the meaning of drawing that can refine the basic ability for education of animation field to suit the characteristics of majoring field. Afterwards, the components are derived through re-established concept of drawing and categories, and this becomes the basis for the process of materializing the study goal which is the follow-up work. As a result, the components are examined by defining the meaning of drawing as the motion drawing due to the characteristics of the picture contents field, and used as a basis for planning the educational model applied with brain scientific creative-learning principles.

• Cartoon and Animation Studies
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• s.49
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• pp.87-112
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• 2017

Overlap what images are laid on top of each other performs various purposes of artistic expressions. Especially, overlap to describe motion has been placed on lots of art fields analysing and connecting each part of motion. This kind of overlap is called as 'Locomotive overlap' and it is defined as 'Technique for multiplication to arrange simultaneously motions of single object on one screen'. Locomotive overlap was started from fine art and photography, so this static kind of it is classified as 'Static locomotive overlap'. Afterwards, film and animation succeeded static locomotion overlap and realized real dynamic locomotive overlap with moving images, so this dynamic kind of it is classified as 'Dynamic locomotive overlap'. Most of all, by Norman McLaren accomplished its own artistic value and aesthetics in locomotive overlap has been placed in the center of the history of locomotive overlap, so to analyze this work and to research before and after it will confirm context and artistic achievements of locomotive overlap. Nowdays locomotive overlap is extending its technology and dimension more and more on the strength of development of digital technology. Some of works using digital technology show new possibilities of locomotive overlap by reinterpreting original media and concept of . Ultimately, this research for locomotive overlap focusing on the analysis of confirms artistic achievements of locomotive overlap and suggests to contemplate the meaning and new possibilities of it.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• Cartoon and Animation Studies
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• s.36
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• pp.619-641
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• 2014

Animation is an important tool to establish the identity of mutually related countries, as cultural contents with the economic value. That is, it is necessary that the Korean animation should extend the previous boundary of exchange, for the status of representative cultural industry in the 21st century global market. Especially, to overcome the regionally prejudiced and unbalanced cultural exchange, the possibility of extension with Czech animation, which has not had an active exchange with Korea, will be considered and the efficient method will be proposed. The Czech Republic is geopolitically located in the center of Europe and its infrastructure like industrial construction, investment environment, human resources is outstanding among Visegrad Group. The Czech Republic has a remarkable cultural border-crossing phenomenon, and as a complex country of cultural and religious characteristics of eastern and western European, it is a powerful nation leading Central Europe. Therefore, the animation exchange of Czech and Korea is valuable in culture and economy of both nations. Through such an animation exchange of both nations, not only Korean animation secures the diversity of exchange but also insignificant cultural exchange after formal establishment of diplomatic relations in 1990, will be revitalized and international firm relationship of both nations will be established. Therefore, as an activation plan or cultural exchange of Korea and the Czech Republic, concrete plan like Stop Motion Animation Workshop is proposed.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• Journal of Digital Convergence
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• v.17 no.8
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• pp.385-392
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• 2019

The limited animation method which is a Japanese Animation frame production method was born in the U.S. but it is Japan where it was most actively used and developed. With this in mind, this researcher conducted a comparative study on the movements shown in animated films of the U.S. and Japan to identify success factors. For an analysis of the animated films of the two countries, first, the difference between orthodox animation and experimental animation was analyzed. Second, the concept of limited animation was reviewed, as well as its difference from full animation. Lastly, for an analysis of the difference between animations of the U.S. and Japan, 'Disney's 12 principles of animation' was applied.

• Journal of Korea Multimedia Society
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• v.25 no.10
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• pp.1475-1482
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• 2022

Mickey Mousing perfect match between animation sound and image was an aesthetic in the field of animation, but since the 2000s, works such as and released by producers such as DreamWorks and Pixar have expanded the perfection of synchronization to irony. It also influenced the identification system of sentiment. It is time to view the directing attempt of these elements as a factor that changed the new paradigm of narrative, and related research is needed. In this study, the scene of was analyzed as a case study for the synchronization of animation sound and image components and the boundary direction on the recognition of identification between reality and fiction. Aesthetic recognition of the research work is based on the premise of real time and space perception, and the audience can recognize in the conceptual world as an integrated art by playfully producing fictional time and space. The direct antithesis of synchronization and identification was drawn to maintain the curiosity of the next scene by repeating selective concealment and disclosure of information in the direction of conveying an unfamiliar and heterogeneous feeling to the audience.

• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.

• Cartoon and Animation Studies
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• s.33
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• pp.449-467
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• 2013

Contemporary 21st century, the rapid development of technology has achieved due to the emergence of various digital devices, a variety of media to the diversification of the limits of visual representation is reduced. Therefore, the combination of technology and art, visual arts, giving limits of getting it free to the public will feel fresh new visual impact. Such a new approach to light of a combination of technology and art, a variety of fine art and motion picture of the visual arts, such as has been recognized as a new genre. Of the resolution of the projector by utilizing the current reality and unreality beyond the boundaries of the building or structure in the city, as a schematic design of the screen projected structure and mapping of the art technology in an attempt to integrate recent has been studied in various ways. The projected structure design and the mapping of the art technology in an attempt to incorporate recent research has been diverse. In this study, as a new technology of a projection mapping to study the technique of looking for the definition of mapping practices to maximize the effectiveness of Visual Perception 3D animation was applied to a case study. A combination of 3D animation and project mapping in the future the fusion of art and technology to meet the zeitgeist with new possibilities of visual art to create synergies that is expected.

• Cartoon and Animation Studies
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• s.33
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• pp.363-382
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• 2013

Up until about ten years ago, the use of typography played only an auxiliary role on broadcast television programs, primarily by transmitting information in order to facilitate a basic understanding of content. Recently, however, kinetic typography has become an important component in broadcast production. In fact, kinetic typography has developed into a visual language and a means of artistic expression, one that is increasingly used in the production of entertainment programs on television. This paper analyzes six aspects of kinetic typography: manner of development, location, intent, expressive techniques, color and font selection. Particular attention is placed on their use in three highly rated television entertainment programs: "2 Days & 1 Night", "Running Man", and "Infinite Challenge". The development way consists of the technique : starts off with cut and ends with cut. While, other techniques show conversation and situation representation using Z axis : zoom-in, zoom-out in , X axis : pan in <2 Days & 1 Night>. and Y axis : tilt in . Typographic design elements, expression technique, color, font are shown up according to the feature of each program. The resulting analysis suggests new ways for motion arts designers and the broadcast media to use kinetic typography in the development of television programs.