• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.

• Journal of Digital Contents Society
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• v.9 no.4
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• pp.591-600
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• 2008

Korean traditional culture has a long history and it is rooted in the deep down our national culture. It is like bread and pride for Korean people. The tale of Cheyong is a precious cultural heritage, which has existed in the public awareness of the Korean people since the period of unified Silla. Based on its mysterious and beautiful story, the value of traditional culture can be revealed through development of digital contents. With such precious cultural resource we can digitalize the fun contents which the general public can enjoy. Ways of digitalize of cultural archetype has been suggested by analyzing the content elements of the tale of Cheyong. Also, by making scientific approach to the development process of digitalization, the possibility of digitalization has been found through 3D animation restoration process for Cheyong Dance and the process of making the tale of Cheyong into animation. Through analyzing the contents development process of cultural archetype of the tale of Chetyong, a cultural archetype sourcehas been developed which has a great value as a contents product that can be developed and used as various cultural content art works. With studies on the theory of development method for digitalization of traditional culture, scientific studies and investigation have to be continuously carried out so the digitalization of Korean cultural heritage, which will shine in the world, can be continued as well.

• Cartoon and Animation Studies
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• s.40
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• pp.243-260
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• 2015

Being a symbolic image to let traditional 'mother wonlee' contents characters known widely, need to be made in a way that can deliver the powerful message of korea An-dong traditional local contents and the value of regent story. As for the contents character develope methods and the scope of the study, an theoretical study was conducted based on literature review, and, factor plus fiction field surveys, and the legend story and then an effect of character marketing on global contents with original identity. 'mother wonlee' pre-production plaining have been analysis with creative described based on the ancients features and the classification of ancient original characters, and the situation and the concept of An-dong local place. as a results this thesis is show up how to make up a main character develop processing and make a features design processing of the characters who different age and a scenes. as a conclusion is drawing about a 'Wonlee' and 'Eungtea' both main Character plaining processing and graphics; traditional face, all clothes, body proportion, etc. Also we trade to traditional patten with character planing. it will be a high value industry which facilitates a variety of industries in conjunction with marketing traditional source characters in global. Recognizing the value of traditional story main character design and graphics marketing and utilizing the value through various media will create infinite value, enabling the global marketing.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.361-370
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• 2005

This study was intended to investigate intertextuality expressed in fashion; intertextuality within fashion as sex, T.P.O., texture, and coordination and intertextuality between fashion and other genre like animation, music, film and technology. Intertextuality obtained by mixing the masculine and feminine text, coordinating various element without regarding T.P.O., texture has contributed to expending aesthetic realm and redefining the aesthetic value of traditional fashion design. The influence of animation, music, film on fashion and the interaction between these genre and fashion integrated high-class fashion and street-fashion, created the multicultural hybrid. Moreover according to the change of lifestyle the fashionable technical clothing was needed and developed. The intertextual tendency in the 21st-century fashion has given the new possibility of fashion design.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.429-434
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• 2009

We introduce an instant and intuitive shadowing technique for CACAni System. In traditional 2D Anime, since all frames are drawn by hand it takes long time to create an entire animation sequence. CACAni System reduces such a production cost by automatic inbetweening and coloring. In this paper, we develop a shadowing technique that enables CACAni users to easily create shadow for character or object in the image. The only inputs required are sequences of character or object layers drawn in CACAni System with alpha value. Shadows are automatically rendered on a virtual plane based on these inputs. They can then be edited by CACAni users. Achieving this, CACAni System is able to handle instant shadowing and intuitive editing in a short time.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.339-340
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• 2016

'중국학파'는 중국 애니메이션 학파의 약칭으로서 1950년대에 시작되어 1960년대 성숙기를 거쳐 1970-1980년대에 뚜렷한 성과를 거둔 중국 특색이 현저한 애니메이션 작품들을 가리킨다. 이 개념은 중국학파의 탄생, 발전 및 전성기를 비교적 정확히 설명하고 있다. '중국학파' 애니메이션은 중국 애니메이션 발전과정에서 큰 업적을 남겼으며. 본 연구는 그 성과를 고찰하여 성과의 내용과 의미를 찾아보고자 한다. 이는 중국 애니메이션산업의 종사자들에게 중요한 의미를 가진다고 본다. 본고는 주로 중국 전통 색채의 시각에서 애니메이션 조형에 대한 전통 색채의 영향을 고찰하고자 한다.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.88-96
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• 2007

The purpose of this study is to present examples for modern application with traditional color on ceremonial costume of Korean folk belief which is regarded as representative research material standing for Korean cultural archetype. The arrangements of color on the ceremonial costume of Korean folk belief were selected from 11 items specified as an import intangible cultural asset. These color arrangements were composed of fundamental colors from the viewpoint of modern color sensation, but had a excellent harmony in Hue. Therefore, not shifting Hue of color arrangement on ceremonial costume, traditional color arrangement was apply to contemporary it by shifting tone. Brilliant and deep chromatic tone that belong to 3, 4 area was converted into toned light grey, light clear, dark deep, toned dark grey, and greyish chromatic tone that belong to 1, 2 area or 5, 6, 0 area or 2, 7, 9 area. The plan that applies arrangement color with brightness contrast of traditional fundamental colors on a modern color harmony was presented from that. Like this, we can combine traditional color into modern color sensation, stylize and apply it on a production of character, logogram design, fashion design for characters in animation or game. From this, we'll be able to be close to the color arrangement sensation including our racial emotion in the everyday life.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Journal of Digital Contents Society
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• v.18 no.4
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• pp.649-657
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• 2017

Hayao Miyazaki provides pleasure which go beyond the barrier of culture and language through realizing pan-cultural and mythical space which can communicate with the audience through unique, aesthetic expression. In his animation storytelling, diverse tangible and intangible symbolic elements based on the traditional culture inherent to Japan are actively utilized, and he provides the audience with the aesthetic pleasure of arbitrary interpretation and contemplation by composing the system of connotative signification through such symbols. In this process, he creates the value of the system of meaning which clearly conveys the mythical message of connotative meaning of the work through the aesthetic form based on the universal experience of confrontation and coexistence. It can be said that this is the communicative value of animation storytelling pursued by Hayao.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".