• Cartoon and Animation Studies
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• s.23
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• pp.51-66
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• 2011

Rodolphe Toepfer invented cartoon frames and following cartoonists developed this idea. But cartoon frames defineed before in historical documens and artifacts give a hint of the structure of a cartoon frame. In historical documents and artifacts show various form of the quadrangle frames. Now we see the cartoon frame is a result of historical things. Artists input in the framework, dubbed as a cartoon frame, all kinds of icons that belong to cartoon's language. Readers accept messages that artists want to say by considering this formation. Although cartoon frames are similar to camera frames they are more flexible than other general frames. By this flexibility, different shapes of frame influence reader's experiences. Applying these various cartoon frames extends function of framework. And if used by many cartoonists, you gradually get a rule. A time-tested rule standardizes it. In theory, shapes of frame are changeable in many ways. But frequently used frames are standardized in just one formation. In the process, I think it is a tacit rule of human lifestyle. That is a quadrangle. Why is the quadrangle chosen by a long term polished rule of frame? This study is to realise why a quadrangle form is used and its relation to human lifestyle.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.674-681
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• 2011

'The Three Bonds And The Morals in Human Relations' was published in Joseon Dynasty period in 1434, relatively early days of comic history in the world. The gaps between comics frames have symbolic meaning as comics frames have in the area of symbols of comics. After comics frames appeared, it was likely that the advent of the gaps between frames had its own value in the aspect of comics history. Historical backgrounds of domestic comics would be built on firm base led by studying on the symbolic meaning of the gaps between comics frames. Two forms of the gaps between frames were shown in 'The Three Bonds And The Morals in Human Relations.' The first form is the gap between cloud frames. The second is the gap between cloud frame and background frame. Although a little difference is found in the shape and display, two forms of the gaps between frames in 'The Three Bonds And The Morals in Human Relations' have a similarity to modern comics. This study is to demonstrate valid background for the domestic history of comics by means of analyzing the shapes of the gap between comics frames in 'The Three Bonds And The Morals in Human Relations.' The objective of this study is to prove the meaning of the shapes of the gaps between comics frames 'The Three Bonds And The Morals in Human Relations', focusing the gaps between frames among symbols of comics.

• Cartoon and Animation Studies
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• s.43
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• pp.211-230
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• 2016

First this research starts with agreement that comics is 'the sequential art'. It means that over two sequential panels makes how to recognize the story and this research owes to the connection of forward panel and backward panel. Webtoon, internet comics is also consisted to sequential panels. But only it is different with the publish comics by direction, shape, length and so on. So this research tries to make point of the connection between first panel and second panel. Especially it researches what types of connections between the last panel of first episode and the first panel of second one beyond the connections of panels at only episode. This research treats the types of gutter, 'connection' means to continue the same scenes or 'separation' does to devide the story and shows the new scenes. Weekly webtoon must have a kind of break time. The first panel of next episode should remind of the former story, it means easy technique. Otherwise some first panel don't show the same scenes or story so this study researches 130 artworks from the portal sites; Naver, Daum, mobile comics platform; Lezhin Comics and Toptoon, Corea.

• Cartoon and Animation Studies
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• s.33
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• pp.271-291
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• 2013

Cartoons exhibit contents and images and deliver them to readers by repeating frames. Frames embody the cross sectional factors of space-time, and the repetition of frames makes those cross sectional factors into a continuous flow. The gutter, which exists between frames, takes the role to make the continuous flow link smoothly, and at the beginning stage of the gutter, the operating of the gutter was usually passive by the frame meanings. However, the gutter is not just a medium for linking the frames, but is an efficient participation device for creating new expression methods of cartoon organization. By producing new directing methods for cartoon organization, the distinctive functions of the gutter have been kept alive with cartoon history. The distinctive functions of the gutter can be divided largely into transition function, reminiscence function, speech balloon function, pen function, and decorative function. And those functions perform actively as direct expression method of the gutter. When those functional methods are expressed by the author's intention and the frequency of them is generalized according to described contents, using each author's individual differences can suggest direction for new directing organization of cartoons.

• The Journal of the Korea Contents Association
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• v.11 no.10
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• pp.156-164
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• 2011

The world history of modern comics is not too long. So is the domestic history of modern comics. Besides, there is a tendency that the domestic history of comics has developed with introduction of foreign materials. Even though a few argue that the domestic history of modern comics had a sheer background with our tradition, this argument is considered as a kind of minority. Obviously, it is not easy to argue something with valid grounds in the field of comics history. It is needed to provide valid grounds of comics history from our history. Several symbols of comics were found in 'Three Bonds and the Morals in Human Relations' and 'The Sequel to Three Bonds and the Morals in Human Relations', Joseon. Particularly, comics frames were used to explain the contents in two books. This supports the fact that Korean comics history has its own base in the tradition. This study is on the analysis of 'comics frames' among symbols of comics in 'The Sequel to Three Bonds and the morals in Human Relations.' It is said that another objective of this study helps get a real idea of comics history of Joseon by studying the symbolic meaning of comics frames used in this period. On top of that, the result of the study that focuses on the symbolic meaning of comics frames in Joseon is expected to be used as a kind of comics history for the people who have a passion for comics.

• Cartoon and Animation Studies
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• s.9
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• pp.1-17
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• 2005

The image that reflects the lapse of time can only take the form of segmentation originally. All of the fixation status in an image is shown to us as the form of division(segmentation) whether it is the form of two dimensional paintings or three dimensional sculptures, but not the form of video monitors. This kind of method was extremely developed in the cartoon field. Therefore, the cartoon evolves the subjects of events and finds the worth and meaning through the arrangement of cuts. Also, Animation inquires into the principles of attaching the media continuously. The media is represented in the segmentation according to the lapse of time and I tend to analyze the origination of cartoon formation. Consequently, I tired to find the examples of the prehistoric cuts and forms, the divisions of fragmented cartoon stripes, and the cuts and forms which are composed of narrative and descriptive styles of arrangement, and finally can certify and validate them. In summary, the sections and divisions of the variable kinds of cuts and frames for the expression of the time were corroborated. The potentials of the space usage and the diversity of the cartoon formation were also founded and illustrated to suggest the broader stands of cartoon.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.253-258
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• 2023

In comics, panels serve a variety of dramatic purposes, including controlling the flow of the story through the size, placement, and order of panels; directing the eye to where characters or specific actions take place; expressing the passage or sequence of time; and using backgrounds, lighting, and color to emphasize emotion and convey mood. When applied to VR animation, these comic panels can give users a more immersive experience of the cartoon world in the VR space. In the VR animation "Mescaformhill: Missing Five," produced in 2022, the comic panels directing is very important to guide the viewer's attention, and in the VR space, the camera angle can be freely changed to realize various visual effects, and the physical interaction brings the comic panels directing to life. This can open up new ways of storytelling in VR animation and contribute to its successful expansion into new mediums.

• Cartoon and Animation Studies
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• s.40
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• pp.177-209
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• 2015

The purpose of this study is to determine the meaning and function of black and white in the comic strip, which are mounted on the book pages. The role of space in comic strip, compared to the role of time in the cinema, enable to feel the role of the time in the book. Therefore storytelling of comic strip has been placed in the inseparable relationship with space. My aim is to think about the black and white meaning in the visual media, especially the use of black and white which is highlighted in the comic strip. Black and white doesn't mean a loss of color in the comic strip but it works around 2 important notions : readability, modernity (with minimalism). In comic strip, 'black and white' is not a true colour but it is complex items which indicate symbolic significances. Moreover it is also a notion which enhance 'existence and absence' and 'visible and invisible'. That's why to analyze and to understand how the space is organized in comic strip page, i chose several examples extract from black and white comic strip.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.149-151
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• 2010

본 연구에서는 고맥락 문화의 대표국인 일본과 저맥락 문화의 대표국인 미국에서 제작되고 있는 소녀 대상 만화의 표현 발달과 성립에 대한 비교분석을 하였다. 동서양 문화권에 따른 비교연구는 소녀만화 표현 매커니즘에 대한 정서적 차이를 구명할 수 있으며, 그 표현영역 확장에도 근거를 제시할 수 있다고 사료된다. 특히, 소녀만화의 표현 매커니즘의 가장 기본이 되는 <칸의 구조>를 살펴보는 것은 소녀 대상 만화를 보다 자생력있는 문화콘텐츠로 육성하기 위한 이론적 토대가 될 것으로 사료된다.

• The Journal of the Korea Contents Association
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• v.8 no.7
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• pp.153-160
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• 2008

It devides that a comic book is based on paper and the other one is serviced through the medium of internet. Each one called conventional form of comic book and digital one. Currently digital comics are published on the various portals and WEB sites and they become one of the comic media and service. However, it is simply uploaded scan-images of comic book on monitors instead of paper. This is just only difference of output form of comics and it does not bring out any digital feature. Now we need a new comic research and experiments that are applied characters of digital for the conventional comic directing. Thus this research presents that the new possibility of digital comics with the core of digital contents, interactivity is applied for comic frame-manner and user customized storytelling.