• Cartoon and Animation Studies
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• s.26
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• pp.57-78
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• 2012

This article deals with the change of disney feature-length drawn animation since using digital technology. The spread of digital technology in the territory of traditional animation brought a massive transformation. Analogue production system for disney drawn animation was gradually replaced by digital production system and in the process, the overall quality of disney drawn animation was improved, although drawn animation industry had declined considerably due to the success of 3D computer animation. Currently, disney drawn animations not only just adopt digital technology but also use it for expressing the distinctive sensibility of the drawn animation.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.1-13
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• 2018

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2009.03a
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• pp.76-79
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• 2009

• Archives of design research
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• v.15 no.4
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• pp.347-358
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• 2002

Architectural drawing has been changing from the general notion, in which it is to predict what it may be like for purely practical purpose. Particularly amongst the Deconstructivists' work, graphic elements make a great contribution to the realization of their self expressive style. Whereas these are often chosen for solely aesthetic reasons, there are some cases in which the act of drawing itself is a crucial, investigative process. This is true of Daniel Libeskind's architectural drawing. For him, Typography seems to be characteristic of his drawing. He Harness typographic elements as metaphors for hid abstract symbolism through his architectural drawings, which retain the possibility to relate to the more radical typographic approaches. Within this context, this thesis will argue how the typographic elements in Daniel Libeskind's architectural drawings can be interpreted. What interconnection can be made between the two practices\ulcorner How can these elements be incorporated into architecture\ulcorner Can they be involved in it as a main constituent\ulcorner This thesis explores diverse possibilities of interpretation of his architectural drawing through typological approaches to the cases where type itself meets the different media and signific ation is given to the other typographic elements.

• Proceedings of the Korea Multimedia Society Conference
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• 2003.11b
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• pp.512-516
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• 2003

본 시스템은 기존의 영상 매체의 발달과 함께 생산되고 활용되어온 고급의 영상 정보를 활용하는데 있어서 보다 편리한 도구가 요구에 따라 개발하고자 하였다. 또한 인터넷의 발전은 교육 분야에도 많은 영향을 끼치게 되었으며, 이로 인하여 교육 소프트웨어 역시 여러 가지 형태로 개발되어졌다. 이러한 환경적 변화는 기 개발된 정보를 폐기하는 것이 아니라 재가공하거나 재활용의 필요성이 요구되고 있다. 또한 이러한 사용자들에게 편리하고 목적에 맞는 교육시스템이 절실히 요구되고 있는 실정이다. 지금까지 대부분의 동영상을 이용한 강의용 저작도구는 교육적 특성을 살리지 못하고 프레젠테이션을 이용하여 수업 목표 제시 정도로 수업에 사용되고 이를 극복하기 위해서는 고가의 비용이 투자되어야만 하는 실정이다. 따라서 본 연구에서는 동영상 기반의 다양한 목적으로 생산된 동영상을 이용하여 강의가 용이하게 이루어질 수 있도록 지원하는 드로잉 보드 시스템을 제시하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.223-226
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• 2006

It can formulate a basic concept to the study on styles of drawing on animation which is influenced by styles of drawing on comic. Especially the transferability of comic and eel animation have high possibility because they have common part as drawing, continuity of imagery and narrative, in spit of the differentiation with comic for spatial and animation for temporal. So the study on comic drawing styles are inevitable check point for investigating it's animation. To analyse of the style of animation drawing, can be employed the styles of comic drawing. For a case study, comic authors and their works is utilized for establishing basic concept of transferring comic to animation with the influence of drawing styles to animation and than it will apply to classify and analyse animation by them. The consequence of this study, it can be sorted in the three areas that are the cheerful comic, the drama, the boy-meets-girl comic. and can be proved that the close relationship of comic and animation. Among three aspects, a boy-meets-girl comic can not be detected in any selected animations. The presumption of this result that can be apply to the general idea which is a rare case to use in animation. Also to use partly cheerful comic to drama style as different drawing styles is for elucidating the effect of intending isolation with the play theory of Bertolt Brecht and empathizing dramatical situation through the disparity of emotion. This study is to investigate on the influence of the drawing style of comics in animation, and can provide the basic ideas of inter-relation of media through drawing styles study with the concept of hybrid.

• Cartoon and Animation Studies
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• s.46
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• pp.207-231
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• 2017

Printmaking is a field of fine arts and is placed on a vague boundary that is perceived as a commercial product with a popular character due to the speciality of editions. Advances of modern science and technology has developed a new technique of printmaking, and the fusion of printmaking and computer has shown the possibility of reproduction art. Reproduction printmaking has been heavily influenced by photography and extended areas, and the various forms of printing have brought about many changes and attempts by stimulating the possibilities of indirect art at various angles. As the history of printmaking and technology closely relate, the development of computer makes widespread expansion of plural artistry, technological and artistic change. A new conceptual shape can be created on the copied image simply by placing the material of the print on the smoothly flat surface expressed in digital form. The process and the result of such work show the area of unique work which is different from the value of the $\grave{a}$ la carte art or the characteristics of the material given by the print. The deprecated perception of reproducibility evaluated the value of the work in a direct sense of printmaking. It is undeniable that it is devalued by a bundle of works regardless of the value of each edition. However, the physical properties of the prints on the paper are brought up with hand drawings drawn on the canvas by hand. And it becomes an opportunity to show new aspect and change through the process of combining digital print information on paper. The diversity of media is sometimes a controversy of identity between art and technology. In the future, it should be discussed how the limit of the media which can be enjoyed in the field of art can be set as a standard.

• Archives of design research
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• v.9
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• pp.1201-1208
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• 1994

During the 1970s, as Los Angeles-based designer April Greiman made her professional way, her work was popularly labeled "New Wave: The term no longer seems to fit. Today, Greiman refers to her brand of design as "hybrid imagery." For combining photography, drawing, video, computer-generated images and typography in her designs, she creates a crossbreed that blends but is unlike any of its parts. To her credit, Greiman was one of the first designers who saw potential in the "textures" of video and computer-based imagery, and was brave enough to integrate this new visual language into the mainstream design work she was creating. She was also one of the designers to use the Macintosh computer as her primary design tool. Despite her pioneering work, she refuses the label of "experimental" designer. She prefers to say she, is interested in process, in layering images to evoke both a thoughtful and emotional response. thoughtful and emotional response.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.9 no.8
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• pp.1709-1715
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• 2005

This paper describes the development of 3-D web graphic library for dynamic web graphic design. The 3-D web graphic library developed in this per supports creation of 3-D objects like cube and sphere objects, elimination of hidden line and surface, and the shading of diffuse and specular reflections. It provides, in drawing, perspective projection of an object depth first sort of multiple objects, and wire frame and solid models. It also supports texture mapping function for realistic and dynamic web application in application software. Each created 3-D object gives functions for the scaling, translation, and rotation of itself. It can be used for the development of dynamic web application software and the advertisement of information for business and tourism as a 3-D web graphic library engine. It is written in 'Java' language and runs on web browsers with Java virtual machine without any dependancy of client computer system.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.