• Journal of Digital Convergence
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• v.10 no.5
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• pp.333-338
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• 2012

Cultural goods is carrying nature and value above-mentioned a commodity to what a cultural element was commercialized. And it produced for the purpose of manufacture for popular sales and supply, and holding commercial character. Specially, cultural goods of a museum keeps a good memory to a sightseer, and broaden an educational experience, and the source of profit becomes it to a seller a producer. This cultural goods as they all include the artistic historical figurative background that they are displayed directly and got twisted up to collection have background which became a motive. Cultural goods can acquire cultural difference in globalization and have to be based on the soil of cultural heritage, starting around various cultural materials through practical value to a modern life. Internationally, cultural goods using a culture material development have competitiveness of nation as in it. Therefore, Baekje cultural goods need national and positive aid from the government with the customer satisfaction index considering the modern design, an age group, an internal and external commodity as the difficulty of various commodity development and managing museum shop. Furthermore, like overseas museum shop, if we are practically using on-off line, continuous promoting our commodity, and marketing strategy such as a membership system when buy our cultural goods, a special discount event etc., we can contribute to activate local economy as a museum shop when we have responsibility of the function and the part.

• Journal of Conservation Science
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• v.26 no.1
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• pp.33-41
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• 2010

The archival objects are tangible evidence reflecting public work as forming archives which are administrative, historic, symbolic, cultural and artistic value. They are produced from the various countries so that they have different material and manufacture techniques. However there are difficulties in conservation and management because the material investigation and conservation management system are not established. Therefore this research presents fundamental data for the efficient conservation management by material investigation and condition check metal archival objects. Among the public official presents made of metal, 12 pieces which are discoloration, oxidation, loss or crack are chosen for this research. In order to examine extensive condition of metal archival objects, the condition check card used from the domestic museum and the national museum in Japan are collected and then the new check card is produced. X-ray is used to know the making technique, binding means between different material. Portable-XRF is also used for the chemical composition analysis of metal archival objects, and then classifying respectively according to their material. As a result of condition check, it is possible to investgate the appearance character, deteriorated parts and weak parts of structure. Also P-XRF could find out the composition of metal archival objects which is different from existing condition check card. Therefore the research results can be used as fundamental data for further conservation and management as well as long-term conservation.

• Archives of design research
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• v.19 no.5 s.67
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• pp.351-362
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• 2006

Currently, finding one's way in the underground spaces associated with subway stations in large cities is becoming a serious problem, and an environment that facilitates wayfinding is becoming more important. This study investigated interior treatments that function as visual cues in the subway stations of Seoul, Tokyo, and Taipei in order to develop design guidelines that would improve the place-cognition environment. A theoretical study has shown that there are three categories of visual cue for place cognition: marked trails, regional differentiation, and landmarks. The case study showed that marked trails involve treatments like vertical markers, confrontational positioning, and subway color codes. Regional differentiation involves patterns on the floors and walls, and accent colors on the walls and columns. Landmarks include treatments such as super graphics, symbolic features, artistic decoration and special lights. In the cases of Seoul, marked trails and regional differentiation were predominant. In addition, the Olympic symbol 'Hodori' and the ancient Korean character "Hunminjungeum" were used as landmarks. In the cases of Tokyo, regional differentiation predominated over marked trails because of the complexity of the spatial structure and subway line connection system. In the cases of Taipei, simple, unified images predominated, and there was minimal dependence on marked trails and landmarks. The need for regional differentiation was weak, because the stations studied have open structures that guarantee an open field of view. The results of this research could be used as design guidelines, after further experimental verification, that would help to improve the public environment in terms of wayfinding.

• Sijohaknonchong
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• v.26
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• pp.93-123
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• 2007

Ahn Minyoung's editorial work of gajib(songbook) was the work for realization of artistic ability which had been a pursuit for his life. According to recent excavation of 'Seungpyeonggok' that is another gajib editted by Ah Minyoung, it is found that his editorial work of gajib was began in earlier days. 'Seungpyeonggok' composes 12 pieces of works, and it arranged each piece of work with melody of gagok, respectively. For the size, it is evaluated to 'the smallest gajib' among the left gajib at present. This gajib was composed to celebrate the gathering of Seungpyeonggye which led by Ahn Minyoung. There is Preface which was written by Ahn Minyoung, and the content of preface could be similar to the one in his another gajib 'Geumokchongbu' except some omission, variation, or alternation of content and phrase partly to fit for the character of each gajib. The names of Seungpyeonggye's members are shown in the preface of 'Seungpyeonggok', so it is important material for studying the appearances and activities of the members at that time. The purpose and intention of Seungpyeonggye's gathering was clarified in the preface of 'Seungpyeonggok' was composed to the repertoir of gagok sung at the celebration party. All the collected works are related to Daewongun directly or indirectly in their contents. Because the celebration party of Seungpyeonggye was designed for Daewongun, all the contents are dedication for Dasewongun easily. And the works of 12-pieces previously discussed were found as playing repertoir, 'type of pyeon-ga' which was composed to 8-pieces and 4-pieces identically.

• Cartoon and Animation Studies
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• s.45
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• pp.215-233
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• 2016

Timelapse which was appeared Georges Mellieoseu in 1897 was not familiar to people and was not popular in film or broadcast industry in spite of long history. But about 5 years ago, timelapse has become distinguished in all around image art, because it show us aesthetic extraction of time and variation of color in Vimeo and Youtube which neve been seen before. So nowadays latest camera has come out with default menu which can shoot timelapse. But popularity of timelapse seem not development of cinematography technique or appearance of new function but production of image which reflects ages of present with fully accept digital media property. This study is approached from two formative characteristics. First it is strengthen of time which is showed timelapse and analog media from a comparison angle. Second, it is how to extend their sense and imitate images through resolution which can be possible high quality image and color especially with Raw data Through these methodology, this study defines correlation of character of digital media and artistic value of images in timelapse. And also it cleary assures the era of penetrating art has not only visual amusement as known but, also representative value of our ages and technology of media.

• Cartoon and Animation Studies
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• s.46
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• pp.207-231
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• 2017

Printmaking is a field of fine arts and is placed on a vague boundary that is perceived as a commercial product with a popular character due to the speciality of editions. Advances of modern science and technology has developed a new technique of printmaking, and the fusion of printmaking and computer has shown the possibility of reproduction art. Reproduction printmaking has been heavily influenced by photography and extended areas, and the various forms of printing have brought about many changes and attempts by stimulating the possibilities of indirect art at various angles. As the history of printmaking and technology closely relate, the development of computer makes widespread expansion of plural artistry, technological and artistic change. A new conceptual shape can be created on the copied image simply by placing the material of the print on the smoothly flat surface expressed in digital form. The process and the result of such work show the area of unique work which is different from the value of the $\grave{a}$ la carte art or the characteristics of the material given by the print. The deprecated perception of reproducibility evaluated the value of the work in a direct sense of printmaking. It is undeniable that it is devalued by a bundle of works regardless of the value of each edition. However, the physical properties of the prints on the paper are brought up with hand drawings drawn on the canvas by hand. And it becomes an opportunity to show new aspect and change through the process of combining digital print information on paper. The diversity of media is sometimes a controversy of identity between art and technology. In the future, it should be discussed how the limit of the media which can be enjoyed in the field of art can be set as a standard.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Cartoon and Animation Studies
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• s.36
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• pp.45-74
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• 2014

We can anticipate that animations will form one of the axes and lead popular culture in our future visual age. Recently, research has been actively conducted, but it mainly focuses on their value in culture industry or technologies and methods of producing animations. Of course, research that deals with animation characters has constantly come out. This study focuses on the 'formative elements' of 3D animation characters and attempts differentiation from other research by inducing new logic theoretically. Being freed from the research on characters that has been merely focused on theoretical grounds, this study intends to figure out how audience that is consumers who actually get to watch and feel animations recognizes them and find out related problems and also solutions for them. In particular, this study intends to examine the formative characteristics of 3D animation characters with the characters appearing in , one of the animations that have achieved artistic value as well as commercial success. And for that, the study conducted not only literature review but various surveys and Delphi method as well. Also, the researcher devised an analysis frame to evaluate the formative elements through in-depth discussion with experts. And with this, the study created the forms such as the Elements of Form, Formation Methods of Form and Visual Recognition Elements of Form, examined how audience recognized 3D characters. The process of recognizing an image is influenced by socio-cultural environment or sex, age, and the level of knowledge differently. This was meant to investigate current visual culture and the public's perspective through characters in that represent the visual mode.

• Cartoon and Animation Studies
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• s.25
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• pp.41-63
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• 2011

Many educational facilities have been formed due to the nation's revival policy in the animation industry since about 1995. Owed to the active financial support of the nation, the production industry rapidly vitalized, production technology rapidly advanced, and a large workforce is being passed on into society through educational institutions. The reality of many developing countries appearing to be putting emphasis on the industrialization of animation, similar to our country, is becoming a great pressure on us industrially. It is never easy to develop a certain field into a globally competitive industry in a short period of time. Our countermeasure, pursuant to these international circumstances, lies in innovation and creativity that has broken away from the existing methods of production, and mass production of high quality animation specialists. This paper is a new educational proposition for the consolidation of national competitiveness. Animating, the core of producing an animation, completely depends on the animator's artistic and technical ability. In order to supplement the existing methods of studying by theory and make up for the biggest weak point, which is the lack of "on the scene" learning contents, I propose incorporating movements based on frequently appearing characters in popular animations and acting them out slowly and including the "Slow Motion" kinetic effect, a way of enabling someone to learn and sense astrodynamic fundamental principles by oneself. It is a new method of learning movement, a plan made to achieve sensual performance gestures, and an improvement in direction for students who wish to become animators in the future.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.