• 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.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.501-512
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• 2015

This study was to consider and analyze of fashion window display design at Printemps department store in Paris, France which has tried continuously space presentations through the sensibility and differentiated strategy. The framework for analysis of this study was established by related precedent studies. Data collection was done by searching related specialty publications and website of Printemps department store, and the results of this study were drawn through qualitative analysis of experts' group. The results are as follows. Printemps department store set up presentation types of fashion window display design's themes that have been developed by the method of display presentation such as symbolic, ambience, surrealistic, realistic, and information. The most frequently used presentation development techniques applied in windows' VP of Printemps were the 'transferal of daily space', 'transferal of unexpected space', 'exaggeration of animal & plant', and 'descriptive narrative scene.' In addition, the display theme components such as the materials that can be easily accessible in everyday life, unique directing props, the memory or childhood, the image of animal or plant, and lighting etc. We found that the major colors of window display design at Printemps department store were purple, blue and black during the period from 2009 to 2014.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.2
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• pp.186-201
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• 2013

This study investigates the effects of information type, direction of information, method of suggestion, tie strength, and interactions among these variables on the acceptance and diffusion of fashion product information in the mobile Facebook environment. Two subsequent studies were conducted to test the relationships among mobile SNS WOM factors. Two independent on-line surveys were implemented. Six hundred forty consumers aged between 20 and 39 were recruited for Study 1, and four hundred and eighty for Study 2. We manipulated the WOM delivery situation by information type (factual/evaluative), information directionality (positive/negative), tie-strength (strong/weak), and information presentation method (text/image/rink). Eight scenarios were developed and randomly assigned to the research participants. Frequency analysis, reliability, factor analysis, regression analysis, and ANOVA were implemented using SPSS 18.0. The Analysis of experiment data produced interesting results. Most WOM factors (including the information type, information presentation method, and tie strength) influence WOM acceptance; however, only the tie strength effected WOM activity. It was also proven that people are prone to accept information that is more realistic, objective, and negative, and they tend to accept information with visual factors, such as images and video clips rather than a simple text message. In this study, we offer a practical perspective to fashion industry and marketers who have an interest in SNS marketing. We have defined the distinct characteristics of mobile WOM that have been formed by a combination of former on/off-line WOM characteristics. To examine the moderating roles of two types of consumer innovativeness, fashion innovativeness and technology innovativeness were also measured and found to have significant moderating effects between mobile SNS WOM factors and their consequences. The paper concludes with a discussion on managerial implications and limitations.

• Journal of the Korea Convergence Society
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• v.8 no.5
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• pp.137-143
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• 2017

Augmented reality makes people feel realistic and reduces the damage to cultural properties that can come into contact with the actual cultural heritage. Augmented reality has the advantage that it can show the past appearance of the historical building or relics, the environment, or related information in addition to the current real environment. Despite these values ​and advantages, As a result of researches and analyzes of the Augmented Reality contents of the National Museum, 'palace in my hand', and the Miruksa project In the field of domestic cultural heritage warriors, augmented reality technology has shown a very negative attitude such as simply showing cultural heritage content or using it as a guide. However, various conditions such as display and sensor hardware and technology needed to realize augmented reality more effectively are improving day by day. And If you have various facilities such as the idea of ​adding storytelling to the exhibits and WiFi building, In the near future, it will be equipped with a display system of cultural heritage contents that combines augmented reality with a more complete one.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.600-614
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• 2016

This study specifies the definition and characteristics of fake fashion by categorizing cases through an analytical framework that uses the concept of simulacre, which is one of the theories that explains the reproduction of images and symbols in a modern consumer society. The presentation stages of modern fake fashion based on Baudrillard's concept of simulacre are as follows: Stage 1 focuses on the realistic imitation of the original, Stage 2 maintains a similarity with the original while transforming through the distortion of shape or visual perception, Stage 3 is the reality of the original which has become significantly vague and actively involves the designer's creativity, and Stage 4 forms a new value and an independent aura beyond reproducing the original. The presentation techniques of modern fake fashion viewed in the concept of simulacre can be classified into optical illusions by reproduction, use of a fake object, use of unusual shapes, and re-signifying through borrowing. As a result of applying the collected cases to the analytical framework, image reproduction in Stage 1 with imitative nature is a counterfeit that cannot be regarded as fake fashion, and fake fashion in Stage 4 (that can be referred to as simulacre) is fashion with symbolic and multiple meanings with new and creative designs. Modern fake fashion analyzed in the concept of simulacre transforms or reproduces the preexisting original with the purpose of merely creating original designs as well as acts as a new symbolic signal that creates a new aura and sets a trend with a message.

• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• Journal of Science of Art and Design
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• v.4
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• pp.26-66
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• 2002

Scribble methodology is developed from the modernist's effort of pursuing the free expression and painterlyness And in modernism period usual abstract mode is made by simple plastic ingredients. One of them is Scribble way. In the period of postmodern, the Scribbling is confused with destructive methodology like Iconoclasm, Vandalism and scribbling. Lucio Fontana and Robert Raushenberg had developed these methodology and made new direction in $1960\sim1970$. After 1980, there had been graffiti movement similar to scribbling in germany. There had been developed many kind of scribble methodology, in each artist and be prolonged destroy the price of our usual concept. These Styles are able to discerned as follows. Firstly, in case of Cy Twombly, he used very allusive signifier, which contain different motives come from the ancient ruins or myths. The methodology follows multi-codified meaning relationship. Secondly, the methodology was developed by Jean Michael Basquait as the type of Hispanic scribbling for ebony peoples and by Keith Harring as the type of Cartoon image of Mass-media based on technology. Thirdly, the multi-meaning style was developed by David Salle as the type of destructive methodology which are the ambivalent images conjoined difference time and term and by Gigmar Polke as the type of mixture of abstract and realistic shapes together which are based on the aesthetics which is based on pessimistic sight for contemporary civilization. It means the methodology is based on the multi-codification of postmodern semiotics. So the scribbling mode is subjected as important as the changedness of late 20th century painting developments.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• Journal of the Korea Society of Computer and Information
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• v.29 no.2
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• pp.87-99
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• 2024

This study aims to identify the competencies required for webtoon artists to survive in the future era of AI commercialization. It explores the current and future use of AI in webtoons, and predicts the role of artists in the future webtoon industry. The study finds that AI will replace human workers in some areas, but human empathy-related fields can be sustained. Artist roles like story projectors, Visual directors, and AI editors were identified as potential models for the changing role of artists. To address terminology ambiguity, a three-step AI categorization mechanical type AI, humanoid type AI, and transcendent type AI was proposed for a more realistic separation of AI capabilities. The researcher suggested these findings as guidelines for developing skills in emerging artists or re-skilling existing ones, emphasizing collaboration with AI for mutual growth rather than a negative acceptance of new technology.