• Archives of design research
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• v.16 no.3
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• pp.41-50
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• 2003

Cartoons as one of visual art forms seek the essence of an, which is creation. They also have great ripple effects as popular art and culture. Cartoons as a communication tool by means of visual image give a better understanding thanks to its function of combining messages and animation. That is why cartoons have a unique place in journalism as the function of delivering facts through messages and pictures. MAD, a cartoon magazine for current issues, reveals and harshly criticize social contradictions, thereby eliciting readers'positive response. To effectively utilize cartoons, an approach in phases should be taken. First, different genres should be compared and embraced. And then, when the genre of cartoons enters the stage of expansion or growth, cartoons will become a new visual information medium from the perspective of communication in society and from the perspective of journalism, and literature, design and art in academia.

• Cartoon and Animation Studies
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• s.39
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• pp.413-450
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• 2015

Although cartoons have been recognized for their great potential and value, they have failed to bloom in Korea. This is because wrong perception and irregular distribution of cartoons have been repeated for the last several years. Presently, however, cartoons are escaping from chronic problems they have had for long and welcoming splendid chances now. From the mid- and late-1990's, there have been large-scale events having cartoons as their theme, and social recognition on cartoons is becoming more and more positive. Their contents are diversified, readers are increased, and they are escaping from stereotypes through harmony with other media. Lately, either large or small exhibitions for cartoons are being planned, and Korean cartoons are going overseas and producing exhibitions there. Particularly, visitors' appreciative eye is getting keener, and they begin to see them not as a genre underestimated as low culture like in the past but as a kind of art on which independent research is being actively conducted. One of the biggest factors that have allowed cartoons to be positioned as visual art is the form of exhibitions that combine them with other genres artistically. Especially the cartoon exhibitions being held these days are aggressively introducing various elements of the cartoon genre through the medium of exhibitions not just as a mere tool of seeing to help understand cartoon writers or works. The genre of cartoons is now regarded as an active subject that can reflect its own unique essence in this rapidly changing cultural environment and extend the range of it itself. The latest cartoon exhibitions are characterized by trans-genre and complex aspects in terms of their direction or organization according to the contents, space, or theme. This trend of cartoon exhibitions implies that they are subdividing, analyzing, and planning various factors not in a horizontal way that was centered around image as in the past. It means that cartoon exhibitions are evolving as a form of mobilizing, combining, and reproducing various methods. Although a number of cartoon exhibitions are being held with a variety of themes, there is still lack of research on cartoon exhibitions concerning their forms and contents. Therefore, this researcher sees cartoon exhibitions as a factor that allows cartoons to escape from negative recognition and examines various cartoon exhibitions, from Seoul International Cartoon Animation Festival to the ones that are recently held, to figure out the meaning of Korean cartoon exhibitions. Furthermore, this researcher will find out the factors of planning and popularity in international exhibitions or personal cartoon exhibitions being presently held and figure out new directions and potentials for Korean cartoon exhibitions based on that. To meet the needs of visitors whose expectations have become even higher, it is needed to try not just previous methods but experimental and original planning as well constantly. To realize that, it is necessary to keep providing a field of opportunity where cartoon works, cartoon writers, and visitors can communicate as in an exhibition. It is expected that this study will trigger research on cartoon exhibitions to be performed multilaterally and produce new discourse on cartoon exhibitions afterwards.

• Cartoon and Animation Studies
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• s.43
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• pp.285-320
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• 2016

Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.

• Journal of Broadcast Engineering
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• v.23 no.1
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• pp.45-52
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• 2018

The virtual reality (VR) cartoon is a format of VR contents that leverage the characteristics of webtoons that provides the simple story line and graphical storytelling tools to strategically surmount limitations of VR contents design. The VR cartoon enables people to experience the imaginary three-dimensional space in the webtoon as a real space by the transformation of webtoon contents through VR prototyping. The VR cartoon successfully presents focused environment where people can readily pay attention to the contents without notable motion sickness. People have been familiar with the storytelling strategy in the context of published cartoons and webtoons, likely we've understood the narrative of a movie through the continuous scenes projected in the screen. Indeed, it has been recognized as a popular toolset of communication, where visual images are sequentially delivered by replacing multiple planar spaces to tell a story narrative. While there are discrete panels with the time and space resolution in the graphical cartoons, people can distill a commit closure based on their past experiences. This is a typical "grammar" of the cartoon, which can be extrapolated to the VR cartoon that provides a seminal storytelling strategy. In this article, we review how the storytelling strategy in webtoons has been transformed into that in VR cartoons, and analyze the key components of VR cartoons. We envision that our research can potentially create keystones to produce variety of new VR contents by reflecting various narrative media including cartoon as a 'sequential art'.

• Journal of the Korean Society of Costume
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• v.23
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• pp.111-130
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• 1994

The purpose of this study was to illuminate eroticism represented din modern fashion. Art based on sex is very important like all of the other cultural values. But we feel that erotic art, neglected, suppressed , and persecuted for centuries, has an important contribution to make to the understanding of art, the social history of mankind, and human happiness and progress. It is our deep personal conviction that erotic art serves important social and therapeutic functions. Erotic art expresses the demand for sexual freedom-a freedom vital to individual happiness and mental well-being, And sexual freedom, in turn, cannot exist without a high degree of political and economic freedom as well. In that sense , erotic art came a truly revolutionaly message ; it demands no less than extension of freedom , not only in the sexual are, but in every sphere of social life. What is eroticism \ulcorner Eroticism must be distinguished from a mere animal reproduction . Eroticism is deeply rooted in the cultural tradition of myth, religion , customes and art. It also has a close relationship with psychological activities of our life. Eroticism is a kind of psychological revolution in the development of human civilization. Eroticism is related to different kinds of art, which express internal spirit of human especially Surrealism. Surrealism is above all a movement of the conquest and deepening of the unconscious. The exploitation of Freud's discoveries opended a new, practically unlimited path for artistic studies to Surrealism . Especially all theory of mental psychoanalysis a affected artists greatly in western art, Freud was appraised highly on his achievements by art critics in art history on his achievements by art critics in art history. As far as erotic subject matter was concerned, Surrealism provided a means of presentig it. Pop Art is not actually a movement , born at a specific time and place, nor is it an easy concept to define. The term first appeared in Great Britain during the fifties, when it referred, particularly in the decorative arts, to an inclination to go back and imitate the stereotyped images of the mass media : film, advertising , cartoons, and other popular consumer products. The eroticism expressed in Pop Art calls the modern's attentions to their devastated minds, taking advantage of the commercialized sex. Fashion has developed constantly reflecting the spiritual aspiration and social and cultural phenomona of man , and artistic steam. Eroticism in fashion is the style which expresses the internal meanings of sexuality through the texture, color, pattern , silhouette etc.

• Cartoon and Animation Studies
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• s.15
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• pp.151-164
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• 2009

The discussion on folk painting (minwha) has been continued till recent in various ways. MinWha is applied by painting artists and also utilized as a basic material of design. These are the attempts approved by the viewpoint of the 'Korean beauty'. In saying so, minwha symbolizes for typical types of Korean painting, and is articulated as an aspect of forgotten spirit. However, despite the fact of Minwha's frequent application, and its evident originality, it remains only the thread of the existence. Although minwha has a lot of commonalities and similarities with the characteristics of cartooning, a decisive attempt of cartooning is hardly shown through. Therefore, this paper is aim to classify creative paintings by the distinctive features of minwha, such as exaggeration and abridgment, sarcasm and current affair aspect, common technique of art drawing, caricatured element, expression of an ideal world, various techniques from artist's different comprehension, etcetera and to make opportunity to constructively apply these features in cartoons. The types of minwha are mostly classified by the contents of the painting. However, since the purpose of this thesis is to find caricatured aspects in minwha, it will be largely classified by the elements of animal, plant, human, insect species, finny tribe, feathered tribe, and nature phenomenon. This classification takes advantage of accessibility to understand the characterization of the object, and leads to take a positive approach.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.227-231
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• 2006

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This reserch was conducted as we thought sufficient study on various situations are required, and among them, for the reserch of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into catagories of "happiness, anger, sadness, pleasure" and "fear, astonishment and dislike" and based on these catagories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would read the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.246-254
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• 2007

As for comics and animation, the specific gravity came to become still larger in all the art fields together with the importance in various image media now which is useful and goes the time of the 21st century new media. Especially the demand of users to the vision culture which develops day by day, Sensitivity Engineering Department is trying to realize the necessity for a sensitivity design acutely together. The influence of the comics which have toxicity most also in Japanese culture in a geographical position like South Korea on it, and animation is the actual condition in the reason which has reached from youth universally to the layer for years, to be inquired systematic to a Korean comics language. This research was conducted as we thought sufficient study on various situations are required, and among them for the research of expressions of cartoons's characters, we've divided the expressions of characters that comes out in Japanese cartoons into categories of 'happiness, anger, sadness, pleasure' and 'fear, astonishment and dislike' and based on these categories, we've drawn out the minimum elements to express emotions in cartoon and prepared image-map by relating them with languages that express emotions of people and based on this, we've made a calculating tools on how our readers would recognize the expression languages. Samples of Japanese cartoons of which we've chosen for the purpose of drawing out the elements of expressions were limited to only published cartoons and we've made a foot steps for expression analysis of animation characters in the future.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.

• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.181-192
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• 2009

Prints in the contemporary art has the radical aspects at not only to maintain the characteristic of printmaking in a field of visual image but also to fulfill and communicate a desire of the public. We can see this from the change of the printmaking forms among the alternation of diverse expression methods and media such as from the line-cut at the Renaissance to colored print process, photography, the beginning of 20th century cartoons, advertisement, art, and graphic poster. From that, we can understand the printmaking as a fluid media, not fixed, has finely accomplished its functions as an act of visual language to smoothly communicate with the individual desire and character than word or language at the complex and various cultural surface. This study is focused on that prints as an avant-garde language in popular culture. Therefore, I have examined the following two aspects. First, with focussing at the specific characters of the graphic posters, I try to define the differences between language and visual language and the effect from it to our emotional perception and behavior with the politic and economic point of view. Second, how has the printmaking art as an fine arts finely accomplished an linguistic action. These are the purpose of this study.