• The Journal of Korean Association of Computer Education
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• v.20 no.1
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• pp.39-47
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• 2017

The purpose of this study is to analyze research trends and the learners' preference for subject area of SW education content. First, we analyzed trends in the subject areas of various SW education contents in recent research literature, textbooks, and textbooks. Based on this, we defined six subject areas as storytelling, game, media art, educational learning contents, simulation. Also, we analyzed the case of college students based on the reason of SW implementation theme selection, selection method, and preference theme. As a result, the students were mainly influenced by their interests and teachers in the reason of topic selection, and they showed higher preference in game and storytelling subject area. We hope that this research will be reflected in balanced SW education contents design according to learner level in the future.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.75-86
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• 2018

Desktop Documentary is a new documentary mode which uses a screen capture technology to complete the multitasking process of the creator who searches in the Internet Open Archive instead of shooting with a camera and remixes the selected multimedia contents using a computer interface. In this paper, we explore the desktop documentary that transforms potential archives into database narratives in the new media environment, converts cinematic mise-en-$sc{\grave{e}}ne$ into computational mise-en-interface, and transcends the boundaries between creation and criticism through creative mechanism as curation through stream of consciousness. We also examine the concept, type and characteristics of the desktop documentary which emerges since 2010s as an experimental attempt of new media art, a new hybrid genre of mainstream horror film, a new mode of fiction film, a new mockumentary style, and a new form of video essay and audiovisual critique.

• Journal of the Korea Computer Graphics Society
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• v.22 no.4
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• pp.1-9
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• 2016

In this paper we present a projection mapping system onto human's moving hand by a projector as information delivery media and Kinect to recognize hand motion. Most traditional projection mapping techniques project a variety of images onto stationary objects, however, our system provides new user experience by projecting images onto the center of the moving palm. We explain development process of the system, and production of content as applications on our system. We propose hardware organization and development process of open software architecture based on object oriented programming approach. For stable image projection, we describe a device calibration method between the projector and Kinect in three dimensional space, and a denoising technique to minimize artifacts from Kinect coordinates vibration and unstable hand tremor.

• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.155-164
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• 2008

Kiosk is an unmanned information system arranged in public places or commercial spaces so that a user may utilize information conveniently. Unlike a personal computer, it targets varied users' brackets, so we have to consider a user's characteristic in designing Kiosk Interface. However, in reality, the Kiosks of public places like subway stations are of Interface Design without considering users and become almost useless with serviceability falling. In this study, we attempt to point out such problems and suggest the concept as to the Interface Design in the public places for a more positive promotion method. For this purpose, we are about to look into the concept of Tangible Interaction and Interspace and the recreation experienced in the process of interaction between a human and a computer and study the sportive Kiosk Interface Design in the Interspace using the principle of the Tangible Interaction. For the conceptual Model in this study, we referred to ARTCOM(ART+COM) Project.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.737-742
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• 2007

The concept of 'Picturing' is beyond the 'Illusion' of traditional art in the Digital Media era. It is a 'Suffering' of the 'Re-appearance' that is masquerade the 'Actual' as a 'Digital Apparition.' This study aims to concern the point of view on the above subject; the 'Picturing' through the analysis of communication problems in the digital era. To begin with, need to define the concept of 'Picturing' and how it is expected to have a role through the accessibility of medium use, intervention by body and images. Also, I suggest a new approach to 'Picturing' as a new mutual communication method. Body, Digital media, and Image. These three principles of 'Picturing' create huge benefits to our world/nature whether we want it or not. It seems to become more and more of powerful self-replicating organism. We have to be aware what sort of images are surrounding us and how transmitting it to where in/on our body via newest sophisticated media we use. 'Picturing' is an invasion of ordinary, no longer exists pleasure for body, no longer speaks intension of its next destination. It strongly self-grows and also controls us in the name of Digital media era. However, 'Picturing' is a mode of re-imaging activity and also suggestion of re-appearance practice.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.354-367
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• 2020

This study is on the consideration of the scope of application of art therapy and fractal through the review of literature at home and abroad. The complex system is the opposite of the Euclidean system, a concept suitable for understanding the contemporaries with ambiguous boundaries and decentralized phenomena. The self-similarity and inventiveness of fractal, the geometry of nature, is used as fractal art in art as well as tree trunk, cloud and plant, especially in art therapy, fractal is considered to be available in the field of mandala and neuroscience. From brain-based research to mandala, exposure to natural patterns, clinical diagnosis through fractal analysis and software development, fractal has potential elements that can be developed in art therapy. Fractal, which is easy to link with computers due to its nature, is a necessary study at this point when non-face-to-face contact with the Corona virus is recommended. Currently, research on fractal art therapy is insufficient in Korea. Therefore, this research is intended to present as a basis for scientific and objective diagnostic tools and treatment at clinical sites using art therapy using fractal.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.1_2
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• pp.128-136
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• 2006

The stippling techniques, which represent objects with numerous points using pen and ink. The previous stippling techniques for Non-Photorsealistc Rendering(NPR) use single-colored points to represent the tone of gray image ur the material of surface. This paper presents a new stippling technique with various colored points based on the analysis of color information. By using the color information of the input image on HSV model, we define the color weight function that allows to determine automatically the number and size of points. The color jittering based on Munsell's color model can generate stippling drawings using various colored points to represent the image. Our color stippling method is expected to be used in many areas such as animation, digital art, video processing and CG tool.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.130-137
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• 2010

Light Drawing is a photographic technique which exposures are made at night or in a darkened room usually by moving a hand-held light source[1]. Due to the limitations of equipment and environment, users having difficulty in drawing a picture in 3D space. If user take a light drawing, they need a camera that have function and darkened environment. Alternative solution is that we can make a light drawing picture by using the computer drawing tool as in Photoshop. Nevertheless, this solution will let the User lose their interest in drawing because this solution cannot synchronize between the real action of human hand motion and the electronic input devices such as mouse and keyboard. This paper proposed a digital content that can make light drawing easier. We used a digital content that will facility Light Drawing easier. We can measure the light spot position by using the stereo camera. Based on the measured position of the light spot, we reproduce light drawing in virtual space by using drawing effect method.

• 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.