• Cartoon and Animation Studies
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• s.36
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• pp.167-187
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• 2014

Animation-related films and game industries have been expanding their markets rapidly responding to sharply increasing public demand. The production processes of major studios are getting more and more specialized and detailed. Therefore, they feel burden to manage and maintain as the HR and physical sizes are getting greater. So, independent studios which perform partial processes of the works are increasing over North America and Europe. Specialized studios build previous functions and related business models. They are expanding their areas. Therefore, this study targeted studios specialized in digital concept art in free production step. The characteristics of such studios were analyzed. To this end, first definitions of digital concept art concepts and functional & artistic features of entire production, and their application to business were deliberated through documents and online. Based on the results, the features of 'concept art service', 'self-brand business/ communication', and 'education service' were drawn. Second, based on it, targeting three con cept art studios such as Atomhawk (UK), FengZhu Design (Singapore), and Studio Gage (Korea), case research was done. Comparative analysis for the cases was conducted. It turned out that concept art studio s lead new market demand through active business strategies such as related contents development, marketing, etc. based on specialization. This research is significant to understand global trend of newly establishing specialized studios market and suggest reference data to improve prospective domestic specialized studios competitiveness.

• Cartoon and Animation Studies
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• s.33
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• pp.1-29
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• 2013

Surrealism with the excavation of unconsciousness, seeking for the infinity etc. has established views on aesthetics that conflict traditional western rationalism. The main concern of surrealism is problem of identity and difference. They attempted their own mysterious concept such as 'the marvelous', 'convulsive beauty', 'object chance' etc. These unique views on aesthetics was expressed as various style of art. It is the d$\acute{e}$paysemant that exists one of the typical style in surrealism. D$\acute{e}$paysemant means that objects are taken from be originally place. Therefore, The real world's objects is to leave and change environment from real space as use, ability, meaning of origin. or it is the technique to create surreal illusion that combined to a strange place where relates to extraneous attribute of objects. Namely, objects are newly arranged in expression space. Reconstitutive objects by positioning object over the time and space have given us the marvelous and psychological shock and get unfamiliar meaning and feeling over. This paper is tried to look at the way to use the d$\acute{e}$paysemant which applicated in the media, Especially, focusing on animation. Unlike the other media, animation has its unique artistic characters. First, One of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. The animation image which is created through arrangement obtain life force by unique motility. Works of Norman McLaren and Harry Smith are very interesting that the structural characteristics of the d$\acute{e}$paysemant. It consists with abstract forms and various moving images to let audience the feel characteristics of film. We can experience from these cases, numerous illusion fantasy like change over from creature to inanimate object, space and time, creation and extinction, repetition and metamorphosis etc. One of the main apparat is the emphasis of d$\acute{e}$paysemant in space of frame. In conclusion, d$\acute{e}$paysemant is one of the most characteristic expression technique of surrealism while having inevitable linkage with animation.

• Journal of Korea Multimedia Society
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• v.19 no.2
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• pp.479-486
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• 2016

In this paper, the algorithm which can convert a 2D image into a 3D Model will be discussed. The 2D picture drawn by a user is scanned for image processing. The Canny algorithm is employed to find the contour. The waterfront algorithm is proposed to find foreground image area. The foreground area is segmented to decompose the complex shapes into simple shapes. Then, simple segmented foreground image is converted into 3D model to become a complex 3D model. The 3D conversion formular used in this paper is also discussed. The generated 3D model data will be useful for 3D animation and other 3D contents creation.

• Cartoon and Animation Studies
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• s.51
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• pp.59-82
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• 2018

This study notes that the concept of painterliness, as defined by Heinrich $W{\ddot{o}}lfflin$, can apply to represent features in $Micha{\ddot{e}}l$, Dudok de Wit's animated short film Father and Daughter. It intends to examine the animated film's visual representation and narrative features in terms of painterliness. Comparing the Renaissance art style of the 16th century to the Baroque art style of the 17th century, $W{\ddot{o}}lfflin$ conceptualized the features of painterly style. In respect to this animated film, the images drawn by drawing tools are represented are represented by irregular and ambiguous shapes and meet $W{\ddot{o}}lfflin^{\prime}s$ conditions for painterly representation. Such a representation method in this animated film effectively functions as a double entendre or ambiguous narrative, while playing a key role in representing lyricism. In this animated film, painterliness contrasts with clarity, which commercial animated films provide, and plays a critical role in the representation methods utilized by auteurist animation directors. Painterliness in animated films is an element that should be highlighted, especially in the contemporary world where the forms of representation are becoming increasingly monolithic due to digital techniques. Continued research is greatly needed on this subject matter. Based on Father and Daughter, this study aims to examine the method of painterly representation that can be used in animation films, to explore its meaning and to underscore the importance of diversity in the forms of representation in animated films.

• Cartoon and Animation Studies
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• s.32
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• pp.221-244
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• 2013

The purpose of this study was to concentrate on macroscopic discussion about how the recurrence of actual case in move is accepted ideologically. When considering the characteristic that non-visual factors are embodied when movie image reflects a certain target, the issue of recurrence has always caused discussion. Regardless of its independence or dependence, one individual's experience can be similar to sensual recognition but it can't be identical. Therefore, 'the truth recurred by movie' can't be real 'truth'. When director expresses the target, the aesthetic intention gives an effect to audience's emotion and recognition, Therefore, the study tries to review whether the movie truth drawn by movie can reach the possibility of epistemology agreement.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.263-273
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• 2020

In 2019, Disney's musical film "Aladdin" was newly introduced with Princess Jasmine's theme song "Speechless," which was not featured in the animation "Aladdin" in 1992. Written as a theme song, "Speechless" expresses Princess Jasmine as a self-reliant, enterprising and dignified woman. The song made the change in Princess Jasmine's character very articulate. She has developed herself as an active and enthusiastic character from a rather passive and reserved figure. The musical film "Aladdin" has drawn much attention and love from many audiences with its own narrative and original songs, but the addition of a new theme song "Speechless", which was not in the animation in 1992, made the musical film "Aladdin" even more powerful and meaningful. The study examined the organic relationship between the musical features and narratives of the newly included theme song 'Speechless' in the musical film Aladdin. Through the analysis of the six scenes that include the musical features of the theme song "Speechless," the study looked at how the relationship between music and narratives had an influence on cinematic expression.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.389-395
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• 2016

Korean cartoons, seeking an exit from economic distress, naturally entered the era of webtoons as the Internet arose in early 2,000s. Webtoons, a new concept of cartoon, are drawn mostly by oneself, whereas cartoons before were drawn with the help of many apprentices. This research demonstrates that webtoon artists are required to use many programs and fully understand the Internet environment in order to draw webtoons. This tough conditions pose many problems for an artist who should draw well and quickly under the circumstances. We are now at a stage where a simple webtoon program is needed and will go over alternatives. I have researched characteristics, advantages and disadvantages of webtoon's core programs such as Photoshop, Comicstudio, Cytool, and Clipstudio, and what would be the optimal functions for webtoons. I offer new programs that are optimized for story cartoons that can be utilized with webtoons.

• 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.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.227-231
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• 2006

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This reserch was conducted as we thought sufficient study on various situations are required, and among them, for the reserch of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into catagories of "happiness, anger, sadness, pleasure" and "fear, astonishment and dislike" and based on these catagories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would read the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.246-254
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• 2007

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This research was conducted as we thought sufficient study on various situations are required, and among them for the research of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into categories of 'happiness, anger, sadness, pleasure' and 'fear, astonishment and dislike' and based on these categories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would recognize the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.