• Journal of the Korea Computer Graphics Society
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• v.5 no.1
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• pp.35-40
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• 1999

본 논문에서는 머리카락의 모델링 및 애니메이션을 다룬다. 자연스러운 머리모양의 모델링을 위한 방법을 제시하고 디자인된 머리카락의 애니메이션을 구현한다. 빠른 구현을 위하여 역동적인 충돌감지법을 제안하고 머리카락을 군으로 나누어서 다룬다.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.65-73
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• 2004

The final goal of animation education through the cooperation studios and universities is for industrial development with international competitiveness of korean animation industry from the correct education. For success of this goal, we have to set the point on cooperation.

• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.84-90
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• 2004

NPR style makes it possible that 3D animation images can be used as an art direction by escaping from the cold and realistic image. And these expression methode are developed technically and, many kinds of animation styles are being created by directing various 2D materials and lighting system.

• Cartoon and Animation Studies
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• s.15
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• pp.109-122
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• 2009

Cultural policy, a part of ideological policy has affected remarkable changes in movie and animation. Korean animation was called cartoon movie and popular only among children, but works dealing with anti-communism ideology have been introduced in Korea since before/after 1970s. Animation focusing on ideology is not unique in Korea, but division of two Koreas after Korean War made great influence on social, cultural and educational aspects of the nation. Moreover, modification in movie-related laws and regulations made in 1960s - 1970s affected movie and animation significantly and is a means of strengthening anti-communism. In particular, Director Cheong-gi Kim's released in 1978 is meaningful in that it is the first long piece of animation movie. In this study, I clarify anticommunistic ideology reflected on the anticommunistic animations and the imageable expression of ideology reflected on . Most of all, I emphasize on clarifying how the cultural policies and social & cultural background influence on the advent of anticommunistic animation in 1960${\sim}$1970. Also, to communicate anticommunistic ideology reflected on produced under the social & cultural background, I clarify the expressive characteristic which the image of animation has.

• The Journal of the Korea Contents Association
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• v.6 no.3
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• pp.135-142
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• 2006

An animation character can be applied an Elasticity principle to strengthen an action and expression. That principle is called as Squash & Stretch in animation. The application of this principle gives the illusion of weight and volume to an animation character, and makes it possible that an animation action be the smooth and soft by escaping from the stiffness and rigidity. If an action of human or object on animation is expressed like a real world, it seems to be unnatural. Any action without Squash & Stretch will look rigid, uninteresting and not alive. It can be applied to movement of all objects, characters' actions, dialogues and facial expressions with a basic rule of mass, volume and gravity. Havier characters squash and stretch more than thinner ones. Any action will not be well expressed without this principle. To be a good animation movement, it should be widely applied in all type of animation, not only 2D animation.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• Cartoon and Animation Studies
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• s.9
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• pp.250-265
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• 2005

Life drawing is one of the most important curriculum not only in 2D animation but also in 3D animation. It was secret weapon of Disney how they made great success of Snow White and Seven Dwarfs and all the fame of Disney animation. Life Drawing which has its back ground history is major curriculum of famous animation school such as CAL Arts which Disney made and Sheridan College in Canada. But in Korea, a lot of the universities and colleges which have animation department do not really seem to understand the importance of the life drawing and it's effectiveness, thus do not emphasize it as a short cut to get close to the real work field. Now that the academical society as well as industry are very well of the fact that the animation education is directly related to the animation industry, the schools should have to teach step by step and closer to the basic fundamentals. The intentions of this study is to emphasize the importance of the Life Drawing, one of the essential fundamental course, which not only help the universities and colleges that have animation course to organize their curriculum. but also to help the students who graduate the program easily find their position in the animation industry.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.148-149
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.152-153
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• 2004