• Cartoon and Animation Studies
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• s.23
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• pp.67-79
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• 2011

As an increasing amount of Korean animation is being produced for Hollywood films, and/or winning prizes at international animation festivals, Korean animation is proving its growth potential and competitive power. In order for such domestic cartoons and animation to stably develop and maintain firm competitive power in international markets, cartoonists and animators need programs to support their creations, and locations where they can create their works. They also keenly demand the development of various programs and support policies that fit Korea's situation. In addition, if independently produced cartoons and animations have stable locations where they can be shown and commercialized, they can receive public benefits, beyond short-term commercial effects. Based on these views, this study sheds light on the concept, formation, and vitalization of a creation space and resident program, through the intentions of a studio where young and would-be artists create their works. In addition, this study has a significant meaning in that it offers a more effective and positive policy direction, as well as more opportunities to re-educate artists. As a result, it is expected that this study will contribute toward recovering the identity of cartoons and animation, which have been recognized as commercial genres, and to firm up their competitive power in international markets. It also demonstrates that these creation spaces, beyond the simple logic in which a creation space only motivates an artist's desire to create, will help in developing Korean cartoons and animation through cultural and personal exchanges with artists of foreign countries, and through an understanding of other cultures, offer communication programs to connect Seoul and other local communities, and establish the cultural identity of local communities where such creation facilities are located. In this way, the public can more easily understand and access cartoons and animation in their daily lives through these creation spaces.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.200-216
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• 2021

This article considers short-form fashion videos as distinguished from fashion films, defines the concept, details the expressive characteristics of short-form fashion video, and reveals the method of producing it. For the methodology, a literature review was conducted to derive the concept and expression techniques. A case study was also performed to define the expressive characteristics. Five short-form fashion videos were also produced based on the results. The final results are as follows. First, short-form fashion video was defined as a fashion medium on the purpose of fashion communication within 60 seconds and classified by three digital image formats. Second, the result of analyzing the expression of the short-form fashion video shows the simplicity and reconstitution, characterization and remediation, borderless and expansion, and synesthesia trigger of the fashion image. Third, five short-form fashion videos were produced based on the theme of the digital garden. It shows that the short-form fashion video intensively expresses the content as a medium whose sensational expression is more prominent than the composition of the story by the short running time that reflects the taste of digital mainstream.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• Cartoon and Animation Studies
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• s.50
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• pp.1-22
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• 2018

This study investigated realism sceneries shown in animation movies of auteurism. Although animation has properties of mechanical images arranged by short cuts, it essentially starts with the images dealing with space art based on the consciousness of an author. In this aspect, sceneries of animation movies can be the most proper subject for study from the viewpoint of image. Generally, sceneries of animation movies maintain the neutral position as a stage setting for story. However, as for auteurism animation, the sceneries have subjective meaning as major media to express the work or the vision and value of the author on the world. The representative animation movies that reflect the role and meaning of realism sceneries among auteurism animations are and . The former shows Korean sceneries and the latter presents local sceneries of Japan quite well. Reviewing the characteristics of sceneries shown in two movies, the sceneries of are the discovery of internal consciousness of the author that signifies pure innocence of childhood into the voice of nature through the style of the author. Meanwhile, sceneries of adopted nature landscape surrealistically based on the internal consciousness of the author and described the forest as the absolute utopia of the author. As such, the sceneries shown in two movies were utilized as the "framework of thought" of the authors that intensify the viewpoint of the movies on the world through empirical interpretation and detailed description of neutral landscape based on internal consciousness of the authors.

• Journal of Korea Multimedia Society
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• v.18 no.8
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• pp.988-995
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• 2015

In 2013, Academy Award for Best Animated Short Film was granted to Walt Disney's short animation, (2012). With various aspects of its excellence, I focus on the very effective use of digital lightings and underscores for storytelling as its success factors. In this respect, this paper aims at analyzing the roles of the visual factors, especially tone, contrast, etc. created by lightings, and audio factors, especially underscores, in the film's story development. I find that can be characterized by the well-built story structure with distinct three acts. The main stream of the story is expressed with the overall mood that is created by the fine adjustments of brightness of the main light, and contrast. And the direction and the intensity of the lighting successfully describe the emotions of the characters in each scene. In addition, I find that properly chosen and positioned underscores make the development of the story more dynamic and more harmonized.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.215-222
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• 2009

The distinguishing feature of 3D animation is a reproduction of a reality. It is able to make the images that would be impossible with the conventional creative methods, and create the great fantasy. The development of creative image put great emphasis on importance of subject matter. Chris Landreth produces the unique 3D animation that has creative subject matter with great techniques. His work, Bingo(1998) describes social problem of mass-media and human being's agony in expression of theatre of the absurd. It is possible to have common interests in a matter with today's artists. The purpose of this study is to investigate how to express the theatre of the absurd in Chris Landreth's animation. A phase of social life is not only revealed with 3D features and his own techniques but communication capacity of 3D animation is also shown.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.153-160
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• 2005

It is within bounds to say that the mood expressed in the Scenes of 3D Animation influences by mostly setting up of 3D CG lighting. Tn the context of CG, lighting is the process of illuminating digital scenes in an artistic and technical manner so the audience can perceive what the director intends to display on the screen with the appropriate clarity and mood. The lighting has the role of making the scenes beautiful and harmonious as an aesthetics of light and color created and controlled by people. It can be also stylized in symbolic and metaphorical methods environmental mood which we pursue to expose and story which we want to express. It thus appears that the concept of lighting style is intimately related to the particular context and art direction of animation film. But unfortunately, there are no foolproof formulas to the process of lighting a scene. In short, the lighting contributes to define the style of the scene as a conditional lighting setups' elements including position, color, intensity, shadow's area and scope. But at the same time, we must not overlook the artistic aspects that the lighting might suggest over all moods the animation genre and the style of scene like tranquility, suspense, and high-drama.

• Archives of Plastic Surgery
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• v.41 no.1
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• pp.12-18
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• 2014

In patients having a short nose with a short septal length and/or severe columellar retraction, a septal extension graft is a good solution, as it allows the dome to move caudally and pushes down the columellar base. Fixing the medial crura of the alar cartilages to a septal extension graft leads to an uncomfortably rigid nasal tip and columella, and results in unnatural facial animation. Further, because of the relatively small and weak septal cartilage in the East Asian population, undercorrection of a short nose is not uncommon. To overcome these shortcomings, we have used the septal extension graft combined with a derotation graft. Among 113 patients who underwent the combined procedure, 82 patients had a short nose deformity alone; the remaining 31 patients had a short nose with columellar retraction. Thirty-two patients complained of nasal tip stiffness caused by a septal extension graft from previous operations. In addition to the septal extension graft, a derotation graft was used for bridging the gap between the alar cartilages and the septal extension graft for tip lengthening. Satisfactory results were obtained in 102 (90%) patients. Eleven (10%) patients required revision surgery. This combination method is a good surgical option for patients who have a short nose with small septal cartilages and do not have sufficient cartilage for tip lengthening by using a septal extension graft alone. It can also overcome the postoperative nasal tip rigidity of a septal extension graft.

• Cartoon and Animation Studies
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• s.49
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• pp.267-297
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• 2017

This paper attempts a close-reading of Michel Ocelot's short animation film, (1979), and proposes it as an available text in art appreciation class for young students. stimulates the students' attention and intellectual curiosity thanks to the exotic and fantastic atmosphere, beautiful mise en scene, and intriguing plot. Ocelot's technique of decoupage used in this film rejuvenates both the traditional folk art and Lotte Reiniger's early experiments in the history of animation film. Ocelot subverts the ideal of modern male adult subject as unique possessor of scientific knowledge and technology, by adopting a female figure and a young child, who is also female, as main characters. The imaginative and subversive power of animation contributes to creating posthuman beings beyond the homocentric figure of Vitruvian Man. The posthuman condition supposes that human beings have the equal relationship of continuum with not only other humans but also non-human beings like all living things and inanimate matters. In order to teach and learn the posthuman condition, it is necessary to conceive an interdisciplinary and integrated curriculum including art, science, philosophy, history, and social sciences. Animation film serves excellently as educational text for the integrated curriculum of the posthuman.

• 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.