• Journal of the HCI Society of Korea
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• v.1 no.1
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• pp.37-44
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• 2006

Specular reflections provide the visual feedback that describes the material type of an object, its local shape, and lighting environment. In photorealistic rendering, there have been a number of research available to render specular reflections effectively based on a local reflection model. In traditional cel animations and cartoons, specular reflections plays important role in representing artistic intentions for an object and its related environment reflections, so the shapes of highlights are quite stylistic. In this paper, we present a method to render and control stylized specular reflections using projective textures based on principal curvature analysis. Specifying a texture as a pattern of a highlight and projecting the texture on the specular region of a given 3D model, we can obtain a stylized representation of specular reflections. For a given polygonal model, a view point, and a light source, we first find the maximum specular intensity point, and then locate the texture projector along the line parallel to the normal vector and passing through the point. The orientation of the projector is determined by the principal directions at the point. Finally, the size of the projection frustum is determined by the principal curvatures corresponding to the principal directions. The proposed method can control the position, orientation, and size of the specular reflection efficiently by translating the projector along the principal directions, rotating the projector about the normal vector, and scaling the principal curvatures, respectively. The method is be applicable to real-time applications such as cartoon style 3D games. We implement the method by Microsoft DirectX 9.0c SDK and programmable vertex/pixel shaders on Nvidia GeForce FX 7800 graphics subsystems. According to our experimental results, we can render and control the stylized specular reflections for a 3D model of several ten thousands of triangles in real-time.

• Journal of Korean Home Economics Education Association
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• v.15 no.3
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• pp.13-28
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• 2003

This study presents a development of internet-based consumer education program for children. We also investigate how this program affects on the children's consumer competency and how much children are interested in this program. This program consists of 6 domains: the concept of consumer. wants and scarcity. advertisement, tips on purchasing. consumer's rights. and consumer's problem imd solutions. In order to attract children. multimedia data such as pictures. drawings. and animations were included in designing the screens. The subjects of this study were 40 children at forth grade to participate in consumer education program. Surveys were conducted twice to collect data for consumer competency and children's interest in the program. According to the results of t-test. We found that consumer education has a positive effect on consumer knowledge and consumer-role attitude but has not a positive effect on consumer skill. We also found that children's interest on this program was very high.

• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• Cartoon and Animation Studies
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• s.43
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• pp.1-22
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• 2016

So far, the Studio Ghibli's major masterpieces, and have been studied extensively from mythical and psychological perspectives due to the films' intrinsic symbolism within their characters and events. However, there have been insufficient in-depth research on the types of love the two works have. Therefore, this study will focus on how the types of love in the two animations mirror the concept of love in Plato's theory of Eros through the analysis of two films' characters. The desire for memory and recovery can be seen in , and glimpses of each phase of aim towards changes in physical appearance can be shown in . These describe the function and the purpose of Eros that Plato states in Socrates' terms in Phaedrus and Symposium. Plato ultimately defined Eros as a spirit that leads to the world of Ideas and suggested the five stages of love that are divided in accordance with the ultimate purpose and attitude of mankind towards Eros. The cognition area, changes in appearance of the characters and spatial ranks in and critically reveal such core concepts of the theory of Eros. It is noteworthy that the two works show the origin of the most universal ideology of the West. These two animation films are particularly significant in terms of that they reflect the western epistemology while covering exclusive and covert ethnic emotions.

• Cartoon and Animation Studies
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• s.43
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• pp.123-150
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• 2016

There has been discussed very little about animation authorship studies, especially the themes of authors and their original animation texts since 1990s. This study is to explore the academic discourse of animation authorship studies understanding the media aesthetics of animation and the scholarly approach of animation studies about authorship. This article examines 55 articles via meta analysis about animation authorship studies drawn from the 1,516 articles on the general animation studies. The results were as follows. First, the domestic animation studies on the authorship were made about animators of Japan, US, and european countries. Second, It was dominant that scholarly interest on the screen direction and visual expression of animation texts. This shows the authorship approaches were mainly about visual aspects of animations. The domestic animation authorship studies did not trace the authorship issues on author's world view and visual style revealed in the corpus of texts. Instead, they discussed authorship issues on the characteristics of individual animation text. It has been evident that animation studies were not enthusiastic about building the independent theory on animation. Therefore, animation studies have tried theorizing the animation issues borrowing the literature and film theories. This study can contribute to increase phase of animation studies by drawing the intensive discussion of animation authors and their authorship.

• Cartoon and Animation Studies
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• s.18
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• pp.17-35
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• 2010

The purpose of this study is to find out the way to improve the funding system of Korean animation, which will lead the establishment of virtuous circle of Korean animation industry. The funding structure of Korean animations in the period of 2005-2009 is analyzed to find out that the funding surveyed to find out that the domestic funding source for Korean animation has reached its limitation. Without any active involvement of public fund, this will result in the shrink of Korean animation industry with heavy reliance on foreign capital and limited quality of Korean animation. This is not only a serious problem of Korean animation industry, but also the problem of Korean cultural identity and variety because it is related with the diminish and degradation of Korean children and family content. Meanwhile, in France and Canada, which are the major co-production partners of Korean animation, the animation production is being activated by the full support of government fund system, because the animation is regarded as the important genre which plays a critical public role in establishing the cultural identity and variety of such countries. Improvement of Korean animation funding system is not pursued by more injection of public fund into the industry. It should be designed to facilitate the investment from the private sector by improving the profitability of Korean animation. This goal can be achieved by public fund with annual budget of 25 billion Korean Won supporting the distribution and production of Korean animation. Discussion should be needed for securing the funding resources such as establishment of new animation fund or utilization of existing fund.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Cartoon and Animation Studies
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• s.45
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• pp.435-450
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• 2016

Animation is an artificial image created by artist's imagination. Animation is defined as "the art of the animated image" in the sense that immobile images can be seed as a living creature. In other words, the term "diegesis" in modern arts genre is generally considered as something that indicates fictional world in which narration develops. Therefore, when we say that animation world is formed based on diegesis, it represents the fictionality of animation world. The problem occurs at this point. Even thought the animation world is recognized as a fictional world, we contradictorily believe that the event occurring in the screen world are real and accept them as a true message. This condition is called "quasi-emotion". Quasi-emotion is not fake bit not real either, and it is the third emotional state. It happens when we "make believe" that we believe a fictitious figure or a situation. However, in order to actively operate this "make-believe" state, an appropriate environment and props are required, specially metaphorical imagination and storytelling in short animated film. So that this article will draw a conclusion from the method that make-believe the fictional world and communicate the message through analysing the short animate film, form Disney.

• Cartoon and Animation Studies
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• s.45
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• pp.51-74
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• 2016

Modern society which human rights and woman's right have been risen is asking for equality treatment of women and men in all sectors of society under sexual equality principle. People say that hidden beneath sexual equality's surface is feminism. Feminism had arisen in the directions that rights and opportunities of women and men are equal. But now, feminism has aimed at woman's right acquisition and realization because men have taken the lead in social activities and political participation historically. This study's purpose is to examine feminism through animation which is image media contents. As everyone knows, media is the glass reflecting the times by reflecting the ideology of the times. In that sense, studying the feministic analysis of research trend in animation which is the representative genre in image media is the meaningful research in understanding the trends of the times. As mentioned above, this study analyzed the and which clearly showed feministic trend. The two animations have the character changes which the objectified women as witch meets the subjective women and the women do a self-directed choice and behavior. Use this to find out the trend of subjective and self-actualizing of Postfeminism in our modern society. Also based on this, this study could predict the changing of feminism arising in the future. This study's limit is that this study is hard to find animation research result related feminism. Symposium related to the feminism animation was held in Korea and there are various interpretation on the internet. This is the next study want even deepening.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.