• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.83-91
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• 2011

The attribute of cartoon and comics has been known the combination of image and text. It is improved the we find the shape of comics at the first comics on the newspaper. But we can read the comic without word. These works don't give the difficult to read and it may transfer to readers by the image of figure on comics. Therefore how can the image reach the readers by the communication. This study is the research of the visual image communication and the attribute of wordless comics.

• Cartoon and Animation Studies
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• s.34
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• pp.167-195
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• 2014

A handwritten poster named "How are you, really?" appeared on December 10, 2013. And other handwritten posters sympathizing with it followed in places and are on everyone's lips hotly through internet and SNS. Such a social phenomenon is delivered to readers as a form of article in different meanings according to the viewpoint of each press. It is also delivered to readers as a material for delivering a meaning of a specific case in four panel comics strips and satirical cartoon of newspaper. This is because that comic strips of the press are now having a power to enlighten readers on the key point of a case easily and intuitively together with catharsis from the position of meditating the world. Notwithstanding differences depending on the viewpoints of the press or cartoonist, four panel comics strips and satirical cartoon on the newspaper are fulfilling their social role having their own voice. Of the genres of comic strips, social role of the comics of the press can be divided largely into two things. First, they actively intervene in social phenomena. In other words, comics of the press make their position and insistence on social phenomena clearly by exaggeration and emphasis. Second, they persuade or enlighten readers by concrete directions, which means that comics of the press make reader with similar viewpoint emphasize by delivering a clear message. This study aims to assert that comic strips are the most important medium with social role and responsibility. As part of studies on the social role of comics, this study wish that comic strips can be able to deviate from vicious circle of being socially condemned for reason of negative portion.

• Cartoon and Animation Studies
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• s.10
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• pp.1-16
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• 2006

This thesis aims to recall the importance of language in comics by studying comic strips in Korean daily newspapers: the comic strips are analyzed for rhetorical puns in its language text as they representatively show the value and role of language in comics. Moreover, Korean comic strips, as they developed into current affairs comics, acquired a stronger media characteristic of communicating information compared to other genres of cartoons. As a result, comics strips have become a genre where language plays an important role and the words needing to be able to convey the meaning quickly and implicitly. Due to tight control of national authority, the language technique developed into an indirect expression rather than a stronger direct imaging technique. The political oppression of the comic strip paradoxically brought on the rhetorical development in the creative techniques. Based on this analysis, the writer studied the rhetorical puns of the texts Korean comic strips by implementing the classification techniques of rhetoric expressions. As a result, through quotes and analysis of actual comic strips, the writer confirmed that Korean comic strips do actually show tremendously vast rhetorical puns in its language application techniques. The writer was also able to conclude that the rhetorical puns in comics were the force entertaining and impressing the readers, and also acting as the creative principle. Concluding this study, the writer emphasizes that language, not only in comic strips, is a combination of words and images and is also an important factor in all cartoons in general. Thus the thesis proposes that the training of humanistic thoughts and linguistic sensitivity are as important as learning to draw in the creation of cartoons.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.102-107
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• 2018

Through the humorous comic strips which contain beneficial health information, people are able to accept the information willingly. The corresponding author as a medical doctor has elaborated four-frame comic strips including the health information and published 27 episodes in the major domestic newspaper. The aim of this research informing the author's experiences was to help other experts distribute their knowledge through the comics. For the comic strips, writing was succeeded by drawing. Writing was done as follows: First, the useful and followable health information was introduced to make the comic strips beneficial. Second, the information was logically explained to make the comic strips easy. Third, the information was mixed with joke to make the comic strips funny. As far as the author experienced, it was advantageous for the experts to draw comics by themselves. If ones have expertise in their fields such as law, architecture, they can be confident of drawing good comics.

• Archives of design research
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• v.13
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• pp.177-200
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• 1996

The purpose of this study is to show the textile designers how to be creative and how to accept other ideas which are not necessarily of their own, and to show what exactly creating anything means. During the 1950's and'60s. America and Europe reached their peak in developing their consumption culture. After World War II, America achieved an astonished feat in developing its thechnology and industry to cause the economy to a rapid ascendence. The U.S. government adopted the Keynsian theory in its economic policy. The Keynsian theory advocates the consumer spending. And during this time period the American public developed consumption habit. Mass production and mass media went in hand to induce the public to buy. The public became an important target for the advertising stratages of the industry. In order for the industry to advertise the mass produced products, it had to utilize the mass media such as television, newspaper, and magazine. And mass media came into play an important role not to advertise the products, but to imform and educate the public about the products. This corporate stratege is further enhanced by the desire of the American public to climb up the ladder by way of material possession. Pop Art was born not only in reflecting the ideology of the consumption culture, but acted as a catalyst for more spending. The subjects of Pop Art are cars, foods, comics, Hollywood actors and movie scenes, the famous singers or persons. Andy Warhol specifically used the chosen image repeatedly to emphasize the redundacy of the image. The common factors which exist between Andy Warhol's Pop Art and textile design is the repetition in form, and the way of transferring an image to a canvas - Warhol used the frotttage technique to transfer an image to a canvas and textile design is transferred to a paper by way of transferring technique. Also the way Warhol thought of his paintings as a decorative elements and made a couple of his paintings into wallpapers or exhibits his painstings wall to wall demonstrates his close alliance with the textile design, let alone his comercial design background. In this study, I examined the inter-relationship between textile design and Pop Art. To carry out this study, I examined the comsumption culture: and the biomorphic relationship of culture and art: and Pop art and its transience stage. The major finding of this study is there exists a common denomenator between textile design and Pop Art, especially of Andy Warhol's.

• Cartoon and Animation Studies
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• s.19
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• pp.17-35
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• 2010

We can say that there are several majors in the course of cartoon education of college; cartoon, manpyung, 4 panel comic strips, editorial cartoon, webtoon and so on. Among them, this study starts with concrete question; "How can we encourage students to understand 4 panel comic strips better in the educational course of 4 panel comic strips?" 4 panel comic strips divided into two groups, depending on the materials. The first is daily cartoon which depicts the emotion in daily life. The second is editorial cartoon which deals with the problems of society in the ironical and witty way. Judging from my own thoughts that it would be better in the understanding and analysis of structures to take editorial cartoon in which materials are confined to social problems, this study treats rhetoric expression and structures of 4 panel comic strips. Introduction, development, turn and conclusion of "Jangdori" on Kyunghyangsinmoon are good materials for this study. So, "Jangdori" is in the center of this study. The objective of this study is to provide knowledge in creating 4 panel comic strips with the understanding the area of 4 panel comic strips through the analysis of the rhetoric expression and structures of this field. Even though this study has a limit, no access to daily 4 panel comic strips, I hope that this study would be a little help in any places in which the education of 4 panel comic strips is needed as a part of a course of cartoon in college.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.