• KSII Transactions on Internet and Information Systems (TIIS)
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• v.17 no.11
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• pp.3121-3144
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• 2023

As interest in the metaverse has grown, there has been a demand for avatars that can represent individual users. Consequently, research has been conducted to reduce the time and cost required for the current 3D human modeling process. However, the recent automatic generation of 3D humans has been focused on creating avatars with a realistic human form. Furthermore, the existing methods have limitations in generating avatars with imbalanced or unrealistic body shapes, and their utilization is limited due to the absence of datasets. Therefore, this paper proposes a new framework for automatically transforming and creating stylized 3D avatars. Our research presents a definitional approach and methodology for creating non-realistic character avatars, in contrast to previous studies that focused on creating realistic humans. We define a new shape representation parameter and use a deep learning-based method to extract character body information and perform automatic template mesh transformation, thereby obtaining non-realistic or unbalanced human meshes. We present the resulting outputs visually, conducting user evaluations to demonstrate the effectiveness of our proposed method. Our approach provides an automatic mesh transformation method tailored to the growing demand for avatars of various body types and extends the existing method to the 3D cartoon stylized avatar domain.

• Journal of information and communication convergence engineering
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• v.8 no.5
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• pp.595-601
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• 2010

The strategy through visual sense is one of the ways that subject builds the outside world and communicates. The visual sense seems higher level of dependence than the other senses and contributes to intercommunication. For this reason, the desire of image dates back to primitive art and visual image(visual media and visual culture) has dialectically developed in the history of mankind. Visual subject, based on perspective of Renaissance, was moved from God to human beings. Andre Bazin's 'la genese automatique' through technical art has epochally changed the paradigm of visual art and visual culture. From primitive art to photo and film, the image, based on visual sense, has reflected human wish, appealed visual desire and led to evolution of image. In the late 20 century, without dialectical evolution of technology and culture, rapidly progressive digital image has changed social and cultural implication over rational strategy of production and distribution and it strengthened authority of image through visual approach of endless desire. The goal of this study is to analyze the value change of digital image developing a new Renaissance through production, reading, communication, and implication of evolution due to digitalized image, which has evolved as object and tool of desire.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.4
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• pp.97-110
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• 1996

This study is about the application of visual structure and presentation of film as one of new methods for design of sequential landscape. The primary objective of the study is to present the basis of applicable and reasonable D니. In applying components of film to DSL, if it is compared with sequential landscape, the film is collection of shots while sequential landscape is accumulation of sceneries. Film and sequential landscape give us a whole meaning different from the meaning itself of a shot or scenery in its experience. The study build a tentative technique of DSL which has the following stages : 1) Goal setting and making out a scenario 2) Analysis and investigation 3) Selection process of definite form 4) Drawing up conti., sketch and notes, It is expected that the technique presented in this study could be a basis for further study of DSL.

• Proceedings of the IEEK Conference
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• 2008.06a
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• pp.937-938
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• 2008

Spotlight system has been made use of art works on stage such as musical and performance etc. Currently, spotlight is controlled manually through the planned path in advance. Therefore, automatic control system is necessary for manipulating spotlight on stage. In this paper, we propose the system that detects to track the multiple objects and classifies those objects, also selects an object of those ones. The proposed method can be applied to the interactive stage spotlighting system(ISSS).

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.165-172
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• 2019

The animated film Big Fish & Begonia is a new attempt of Chinese animated films in recent years. Both market performance and artistic creation are an improvement. In the process of creation in the past ten years, Big Fish & Begonia has profoundly excavated Chinese myths and legends and combined them with modern art. This study takes the traditional Chinese cultural elements in the film as the starting point for research, from the aspects of character design, scene design and national culture. Through the analysis of the traditional cultural elements in Big Fish & Begonia, try to find a better direction for the development of animated films, such as the integration of modern art and traditional culture. It is precisely because of the large number of Chinese cultural elements incorporated in the Big Fish & Begonia that it is ingeniously set up to bring visual enjoyment and inner resonance to the audience.

• The Journal of Art Theory & Practice
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• no.7
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• Journal of Conservation Science
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• v.36 no.2
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• pp.82-92
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• 2020

Modern artworks are constructed using a variety of materials and techniques. Sculptures, which predominantly consist of metals, usually have different shapes and consist of different material mixtures. The structural and material properties of these sculptures are often controlled by conservation treatment methods. However, the application of existing treatment methods is challenging at times, indicating that more diverse treatment materials and techniques are necessary. Therefore, in this study, a treatment method that employs volatile corrosion inhibitor(VCI) powder, rather than an anti-corrosion solution, for the conservation and management of metal artworks was used. VCI powder and VCI films containing VCI powder were used, and the results obtained confirmed that both of them showed anti-corrosion effect. Only a slight change in the chromaticity of metal samples was observed, and compared to the untreated samples, the application of the VCI powder resulted in a decrease in the rate of corrosion by half. Moreover, VCI film tests revealed that comparing to the untreated or polyethylene film-treated samples, VCI film treatment resulted in a decrease in the occurrence of corrosion compounds. The contact angle, surface energy, and surface electrical resistance were measured, and the evaluation of these surface properties established the anti-corrosion effect of VCI. Additionally, direct application of VCI and VCI films on actual sculptures further confirmed the anti-corrosion effect of VCI.

• The Journal of Korean Philosophical History
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• no.39
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• pp.221-235
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• 2013

Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.40-47
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• 2012

Existing art, media art, accompanied by a new path of awareness and perception instrumentalized by the human body, creating a new way to watch the interaction is proposed. Western art way to create visual images of the point cloud that represented a form that is similar to the Pointage. This traditional painting techniques using digital technology means reconfiguration. In this paper, a new appreciation of fusion of aesthetic elements and digital technology, making the point cloud in the form of video. And this holographic film projection of the spectator, and gestures to interact with the video content is presented. A Process of making contents is intent planning, content creation, content production point cloud in the form of image, 3D gestures for interaction design process, go through the process of holographic film projection. Visual and experiential content of memory recall process takes place in the consciousness of the people expressed. Complete the process of memory recall, uncertain memories, memories materialized, recalled. Uncertain remember the vague shapes of the point cloud in the form of an image represented by the image. As embodied memories through the act of interaction to manipulate images recall is complete.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.323-336
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• 2023

In the 21st century, fashion films are frequently used throughout the fashion industry. In particular, as videos have become an essential element and a communication tool of social media, they are becoming even more important in the world of fashion. In this study, different types of short-length fashion films (< 0:60) in current use were derived, and the effects of on the cognitive and emotional responses of users were analyzed using electroencephalogram(EEG) findings. EEG measurements were performed using Epoc+ on 31 healthy women aged 20-29 years after viewing six types of fashion films[fiction/well-made, fiction/user generated content(UGC), documentary/well-made, documentary/UGC, art/well-made, and art/UGC] in random order. The results demonstrate differences among four types of films. Specifically, alpha waves in the frontal lobe decreased more while watching documentary/UGC films than while watching art/well-made films. Gamma waves in the temporal lobe decreased more while watching fiction/well-made films than while watching documentary/UGC films. Furthermore, theta waves in the occipital lobe increased more while watching fiction/well-made films than while watching art/UGC films. These findings suggest that different types of fashion films can stimulate different parts of the brain that process thinking, cognition, emotion, and visual and auditory information and consequently evoke emotional responses.