• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.204-211
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• 2023

Chinese figure painting is the earliest type of painting to be mature in the history of Chinese painting. After its peak in the Jin and Tang dynasties, Chinese figure painting turned into a low tide in the Ming and Qing dynasties. Under the influence of the May Fourth New Culture Movement's concept of "introducing the Western culture into China", realistic ink wash figure painting emerged, which was different from traditional painting. Realistic ink wash figure painting is a new kind of painting that combines traditional Chinese painting methods with concepts of Western scientific painting. With the mutual reconciliation of realistic modeling and traditional Chinese painting, it makes up for the shortcomings of traditional Chinese figure painting in reproducing life, thus forming the diversified development of Chinese figure painting. Through an in-depth interpretation of the fusion of Chinese realistic ink figure painting with Chinese and Western, this paper accurately grasps the characteristics of the painting language, which is an important guide to the creation of Chinese realistic ink painting today.

• 한국컴퓨터그래픽스학회논문지
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• 제17권4호
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• pp.1-10
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• 2011

수묵화 드로잉 기술는 일반적으로 붓, 먹 그리고 종이에 대한 모델링과 사용자의 2차원 붓의 움직임, 먹 번짐과 종이 재질에 대한 시뮬레이션으로 구성된다. 본 논문에서는 먹의 양과 종이의 흡수력에 대한 계산을 효율적으로 줄이고 자연스러운 수묵화의 표현이 가능하도록 탱크(tank)모델을 단순화 시키고 수묵화의 특징을 농담효과, 번짐효과, 선, 종이의 4가지 분류로 개념화 시켜서 반영하였다. 또한, 위모트의 모션센서와 IR센서를 이용하여 사용자의 움직임에 대한 데이터 값을 붓의 움직임으로 전달하도록 하였다.

• 한국멀티미디어학회논문지
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• 제13권7호
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• pp.1105-1114
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• 2010

이 논문은 제13회 부산국제영화제(2008년10월2일부터10월10일까지 개최)조직위원회로부터 의뢰를 받아 필름으로 제작한 20초 분량의 공식트레일러 제작에 관한 연구결과를 요약한 것이다. 디지털콘텐츠 제작에서의 정체성과 방향성 확립이 필요한 시기에 한국적인 수묵채색화 기법을 3D Animation과 접목시켜 제 13회 부산국제영화제의 공식트레일러 제작에 활용하였다. 서양화가 신창식화백의 '아리랑_희망I(공식 포스터)를 모티브로 한국적인 수묵채색화의 특징을 고찰하여 모델링, 쉐이딩, 렌더링 단계에서 먹의 농담, 선의 강약, 수묵채색화의 색채요소를 디지털기법으로 어떻게 표현할 수 있는가에 대한연구결과 이다.

• 한국콘텐츠학회논문지
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• 제11권3호
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• pp.137-146
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• 2011

스마트폰과 태블릿 PC 같은 모바일 기기의 보급과 콘텐츠 사용 증가로 모바일 환경에서의 컴퓨터 그래픽스 연구가 활발하게 진행되고 있다. 그러나 아직까지 수묵화 및 담채 렌더링 기법과 같은 비실사적 기법을 모바일 기기 상에서 효과적으로 구현하기 위한 연구는 부족한 편이다. 모바일 기기는 데스크 탑 환경에 비해 하드웨어적 한계를 가지고 있기 때문에 비실사적 렌더링 기법이 적용된 콘텐츠를 렌더링 하기 위해서는 단말기의 제약성을 고려한 특화된 렌더링 파이프 라인이 필요하다. 본 논문에서는 비실사적 기법중에서도 수묵화 기법과 담채화 기법을 모바일 환경에서 구현하기 위한 3차원 그래픽스 렌더링 파이프라인과 쉐이딩 파일 전처리 기법을 제안한다. 제안하는 기법을 이용하면 비사실적 렌더링이 적용된 다양한 3D 모바일 콘텐츠를 생성할 수 있고 사용자는 모바일 디스플레이 환경에서 실시간으로 수묵 담채 렌더링 된 콘텐츠를 볼 수 있을 것으로 기대한다.

• 복식
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• 제66권5호
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• pp.82-98
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• 2016

Korea and Japan have a cultural homogeneity because they were affected by China. However, each country has developed its own original culture due to their own national characteristic and endemism, In traditional clothing, though Korea and Japan share the same origin, they have developed their own form, Hanbok and Kimono, which have completely different looks. The differences in the traditional clothing is the result of the differences in each country's aesthetic sense, which is reflects in the artwork of those days. Ink-and-wash painting was the typical painting form in East Asia, so Korean and Japanese ink-and-wash painting from that period can be used to observe the differences in the aesthetic sense. This study aims to search for commonly shared aesthetic sense in the design process of Hanbok and Kimono by analyzing the styles of a representative Korean painting, "Sehando(Wintry Days)" and a representative Japanese painting, "Pine Trees Screen". H. Wolfflin's methodology influenced not only painting, but also architecture and sculpture. Therefore, this theory can be applied to clothing, which can be considered a type of sculpture. Modernization of traditional clothing has to start by analyzing the aesthetic sense of artisans that have affected the design of traditional clothing. To spread Hanbok globally and differentiate it from Japanese clothing, we have to acknowledge the differences between Korean and Japanese aesthetic sense, and based on this, we have to develop the design of Hanbok.

• International Journal of Internet, Broadcasting and Communication
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• 제15권3호
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• pp.82-87
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• 2023

<Deep Sea> is an 3D animated film that stands out for its exceptional special effects and distinctive artistic style. The film employs a multitude of dazzling and vibrant ink particles, creating a strong sense of three-dimensionality and weightlessness, while simultaneously portraying a dreamlike and elegant representation of a deep sea ink painting. Furthermore, through the utilization of fragmented stream of consciousness narrative technique, the film establishes a unique artistic effect infused with a Chinese atmosphere. This paper by analyzing the unique particle ink art style and color and stream of consciousness narrative methods in film, this paper discusses the innovative art style generated by traditional ink art style combined with three-dimensional technology, and the integration of traditional ink art ideas and artistic conception in animated films. The objective is to cultivate a new ink art style and prove the importance of traditional cultural expression in animated films, while providing new perspectives for the future application of traditional art in animation.

• Design & Manufacturing
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• 제14권1호
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• pp.15-21
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• 2020

Smart systems in different application areas such as automotive, medical and consumer electronics require a novel manufacturing method of electronic, optical and mechanical functions into products. Traditional methods including mechanical assembly, bonding of plastic and electronic circuit cause the problems in large size of products and complicated manufacturing processes. In this study, thermoforming and film insert molding were applied to fabricate a dome shaped plastic part embedded with electronic circuits. The deformation of patterns printed on PET film was predicted by thermoforming simulation using T-SIM, and the results were compared with those by experiment. In order to decrease spring-back after thermoforming, the Taguchi method of design of experiment was used. Through ANOVA analysis, it was found that mold temperature was the most dominant parameter for spring-back. By using flow analysis, gate design was performed to decrease injection pressure. During film insert molding, the wash-out of ink printed on film occurred for Polycarbonate. When the resin was changed to PMMA, the wash-out disappeared due to low melt temperature.

• 한국컴퓨터정보학회:학술대회논문집
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• 한국컴퓨터정보학회 2013년도 제48차 하계학술발표논문집 21권2호
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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.

• International Journal of Advanced Culture Technology
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• 제11권4호
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• pp.352-357
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• 2023

This study focuses on the art style research of the 3D Animation <Spider-Man: Across the Spider-Verse>, exploring the film's innovation in art design. The article first analyzes how the movie skillfully blends American comics, watercolor painting style, Pollock drip painting, and ink painting, among other artistic techniques, to present a unique visual experience for the audience. By specifically dissecting the character design and scene composition in the movie, it explores the specific application of these art styles and their methods in digital image production. Ultimately, the paper emphasizes the contribution of <Spider-Man: Across the Spider-Verse> to 3D Animated cinema, particularly its innovation in the field of art design, as well as its inspiration and possibilities for the diversity of art styles in animated films. Overall, this study aims to provide in-depth academic insight into the field of animated film art design and to promote its development and innovation.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.268-276
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• 2023

Ukiyo-e, a pivotal facet of Japanese art, had a profound impact on Western art during the 19th century, contributing to the emergence of Impressionism and Post-Impressionism. Notably, Katsushika Hokusai's "Great Wave" remains an enduring masterpiece. Ukiyo-e's historical trajectory is intricately linked to the socio-cultural context of its time. Japan's early artistic influences derived from China, evolving through the Nara and Heian periods. Ukiyo-e emerged from the Yamato-e tradition, characterized by its transition from religious themes to secular subjects. Zen Buddhism's influence during the Muromachi Shogunate shifted focus to ink wash painting, which eventually became accessible to the masses. The Azuchi-Momoyama period introduced lavish, colorful works. The Edo Shogunate upheld Kano School for the elite, while folklore painting gained popularity among the commoners, leading to the creation of Ukiyo-e. Ukiyo-e diversified its subjects, including beauty, geisha, sumo, landscapes, and more. The Asakusa district's "Shin-Yoshiwara" added to its vibrant themes. By the late 19th century, Ukiyo-e transcended its roots, encompassing landscapes, wildlife, and beyond. I explore Ukiyo-e's aesthetics and its influence on Impressionism, focusing on "The Three Masters of Ukiyo-e" - Kiyotagawa Komaro, Katsushika Hokusai, and Utagawa Hiroshige.