• Proceedings of the Korean Society of Computer Information Conference
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• 2013.07a
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• pp.291-292
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• 2013

본 논문에서는 정교하게 묘사되거나 극도로 사실적인 게임의 화면에서 모두 유사하게 보여지는 여러 게임의 표현기법과는 달리, 독창적이고 독특한 그래픽 표현으로 차별화된 게임 '데스스펭크'와 '오오카미'의 표현기법의 분석을 통해, 회화적이고 개성있는 게임그래픽 개발의 필요성과 그를 위한 연구를 제안한다.

• Journal of Korea Game Society
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• v.19 no.3
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• pp.33-42
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• 2019

This paper is the result of research on how to represent 'Landscape' of Oriental painting in 3D space within virtual reality. Based on the similarities between the characteristics of Oriental painting and virtual reality put together three features of painting and put them into the digital content. For the expression of painting style, we produced texture, represented spaces and shadows as a content development environment, and the view point with helper storytelling.

• Proceedings of the Korean Information Science Society Conference
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• 2006.06a
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• pp.115-117
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• 2006

최근 비실사(Non-Photorealistic Rendering) 기법은 3차원 그래픽의 추상화를 통해 사용자와의 원활한 커뮤니케이션을 이끌어 낼 수 있다는 점에서 않은 주목을 받고 있다. 비실사 기법 중에서도 실루엣 에지 렌더링은 3차원 객체의 에지를 찾아내고 디스플레이 하는 것으로 다양한 비실사 기법의 기반을 이루는 연구이다. 또한 실루엣 에지 렌더링은 기법의 변화를 통해서 선의 미를 살리는 수묵화 효과를 이뤄낼 수 있다. 본 논문은 다중 폴리곤 처리를 이용한 실루엣 에지 렌더링 기법을 제안하며 이를 사용하여 수묵화 기법의 효과를 보여준다. 다중 폴리곤 처리를 통한 실루엣 에지 렌더링 기법은 구현이 간단하고 여러 가지응용이 가능하다는 장정을 가지고 있다. 이 변화된 기법을 통해서 사용자는 3차원 객체에 수묵화 기법을 다양하게 적용할 수 있게 된다.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.235-237
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• 2006

Non-photorealistic Rendering(NPR) is a method that can be used to simulate a wide range of materials used in visual arts. Currently, there is lack of availability for oriental-style rendering in 3D animation in contrast to the commonly available western-style rendering. In this paper, we combine the wash drawing technique and NPR to create an oriental-style shader for 3D animation. Our approach makes use of the Maya Embeded Language(MEL) to implement this new technique.

• Proceedings of the Korean Information Science Society Conference
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• 2007.10b
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• pp.190-193
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• 2007

3차원 그래픽을 추상화시켜서 표현하는 비실사(Non-Photorealistic Rendering) 기법은 실사기법에 비해 사용자와의 원활한 커뮤니케이션을 이끌어 낼 수 있고 다양한 예술적 효과를 표현할 수 있다는 점에서 주목을 받고 있다. 지금까지 비실사 기법에 관한 연구는 서양적 미술 기법에 중점을 두고 연구되어 왔으나, 최근 한국적인 미술 기법인 수묵화 기법을 적용한 연구에 관심이 높아지고 있다. 기존의 서양적 비실사 기법에서는 프리폼 스케치 알고리즘에 관한 연구가 활발하게 진행되고 있다. 사용자는 이를 이용해 마우스나 펜의 조작만으로 쉽게 모델을 제작할 수 있고 다양한 렌더링 기법을 직접 적용해볼 수 있다. 반면에, 동양적 비실사 기법에서는 프리폼 스케치 알고리즘에 관한 연구가 부족하기 때문에 동양적 비실사 기법에 적합한 모델을 생성하기 어렵다. 이에 본 논문에서는 동양적 프리폼 스케치 알고리즘 연구에 대한 기초 연구로 2D스케치로부터 사군자 중 하나인 #난(蘭)# 에 해당하는 3D 모델을 생성할 수 있는 알고리즘을 제안한다.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.530-534
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• 2006

A great deal of handling time, expertise and huge investment are required to express oriental paintings three-dimensionally. This is because pictures are usually converted digitally and then reconstructed three-dimensionally. During this process we depend highly on expert's handiwork and specialized skills. This paper presents an idea to standardize the techniques that oriental pictures can be expressed as they are and a more effective method for their three-dimensional reconstruction.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Cartoon and Animation Studies
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• s.36
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• pp.189-215
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• 2014

Since the launching of in 1963, a large amount of outstanding cartoons had been produced in China by the year 1980. During this period of time, international reputation was achieved with the extremely full expression and characteristic stories originated from Chinese culture. Decades of cartoons were produced ever year benefiting from support of the government in the last years. However, the quality and in fluence power dropped down comparing with the increasing productivity. The outward followed by examples of successful international box office most of the animation made in China. These cartoons did not obtain admitting internationally, or disclose any traditional speciality of China, although the domestic box office is considered to be fairly successful. The key factors to the successful cases should be analysed and researched rather than simply estimating, in order to achieve both artistic and commercial success. Factor of humor, as a key element of a successful cartoon is proposed in this thesis. Prior to the discussion, a general definition of humor factor is described through Henri Bergson's comedy concept, based on which the key factors of humor will be analysed. A classification system would be derived and introduced as a tool for the analysis of humor factors. According to Henri Bergson, Humor is determined by circumstance, language and character factors. Humor factors are divided into visual, scene and acoustic factors in this research taking the Speciality of cartoon media into consideration. It is the speciality that, in addition to the visual and language factors, multiple acoustic elements are also introduced in such a presentation pattern. This classification system would be considerably applicable to the analysis of humor factors in Chinese cartoons. In this study, around the year 2000 to share the Chinese animation masterpiece were analyzed by selecting and , and . This discussion about key factors of humor is likely to be beneficial to the development of Chinese Cartoons in the future.