• International journal of advanced smart convergence
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• v.12 no.4
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• pp.300-305
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• 2023

This thesis is a study of content development utilizing media outlets to date through digital humans. The trend of global content is that the video content industry, including the character business, is growing. Lil Michela, who was selected as one of the 25 most influential people on the Internet by Time magazine in 2018, Nasua, who appeared in a SK Telecom commercial, and Rosie, who appeared in a Shinhan Bank commercial, are representative. Digital humans, which are driving new content, are computer-generated human characters with various characteristics and are referred to as virtual humans, metahumans, and cyber humans. With the rise of the metaverse after COVID-19, digital humans are being utilized in various forms such as media and marketing as an element of visual content. In the form of media, we can see that the boundaries between the offline and digital worlds are converging, and in the form of marketing, we can see that digital humans connect consumers and products more naturally. In the form of interaction, it is possible to achieve two-way communication through various methods of operation, and through these factors, it is possible to go beyond behavioral communication in the form of memorialization to emotional communication through AI technology. What can be seen through these processes is that through the currently developing digital human production methods and AI functions, not only experts but also non-experts can create quality contents, and new directions of contents will appear, and contents that can provide immediate feedback by bringing consumers and creators closer together have been studied.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.2
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• pp.193-210
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• 2024

The portrait featuring Jo Ban(1341-1401), a scholar-official from the late Goryeo and early Joseon period, and his wife is the oldest surviving couple portrait in Korea. It is of great value in uncovering the clothing culture of the period given the limited number of historical artifacts and records. This study examines the historical clothing and textile patterns of Jo Ban's wife and reproduces them using 3D fashion design software program CLO. She wears jokduri, chima, and baeja over layers of jeogori, a mixture of traditional Korean and Chinese styles. Her clothing illustrates eight patterns-one flower, five geometric, and two cloud. Records and relics of similar periods show that flower and geometric patterns in her clothing follow the prevailing styles of Goryeo, while the cloud patterns are representative of early Joseon. These details are used to reproduce six different styles of Jo Ban's wife with CLO tools. Various visualizations of textile patterns are applied to materials, generating a more realistic look than her existing 3D character created with the portrait. Results of this study are expected to help promote the use of Goryeo clothing and patterns in numerous designs and enhance intuitive understanding of Goryeo clothing based on 3D visualization.

• Cartoon and Animation Studies
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• s.51
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• pp.361-390
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• 2018

Users of KakaoTalk emoticons use Kakao Talk emoticons as means of communicating their emotions in virtual space. Emotional state is represented by design element (auxiliary, color, form, motion) and storytelling element contained in emoticons. The purpose of this study is to investigate the factors of the storytelling and design elements of kakaoTalk emoticons and how they prefer the kakaoTalk emoticons as emotional expression means. In terms of storytelling, crocodiles, peaches, dogs, ducks, lions, moles, and rabbits were made up of ordinary fruits and animals. Most of the emoticons are composed of stories with unique personality, and each story has a complex one by one, which makes it easy for users to approach and use them. In terms of design, I used various auxiliary elements (flame, sweat, tears, runny nose, angry eyes, etc.) to express angry, sincere, nervous, begging, joy, and sadness. The color elements consisted of most of the warm color series with the unique colors (green, red, yellow, pink, white, black, brown, etc.) of emoticon characters regardless of feelings of joy, anger, sadness, pleasure. The form factor is composed of a round shape when expressing factors such as joy and sadness. On the other hand, when FRODO and NEO express sadness and anger, they represent the shape of a rectangle. The motion elements are horizontal, vertical, and oblique expressions of APPEACH, NEO, TUBE, and JAY-G, expressing emotional expressions of sadness, anger, and pleasure. APEACH, TUBE, MUZI & / Shows the dynamic impression of the oblique and the radiation / back / forward / rotation. The anger of TUBE and FRODO shows horizontal / vertical / diagonal and radial motion. As a result of this study, storytelling is structured in accordance with each emoticon character. In terms of design, auxiliary elements such as flame, sweat, and tears are represented by images. The color elements used the unique colors of the character series regardless of the difference of emotion. The form factor represented various movements for each emotion expression. These findings will contribute to the development of communication, emotional design and industrial aspects. Despite the significance of the above paper, I would like to point out that the analysis framework of the storytelling and the semiotic analysis of the supplementary elements are not considered as limitations of the study.

• Archives of design research
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• v.13 no.4
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• pp.11-21
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• 2000

Due to the explosive growth of the internet, terminology like "information society" and "virtual space" is frequently used, but often in a confusing manner. Some Social theorists and many people are fascinated by "information" and "media" as key characteristics of the contemporary world and rely on the unproven opinion that "Knowledge is a source of value and information moves the world". In this regard, Boudllian defines contemporary culture as a culture of signs and insists that we are surrounded by signs and forms of meaning. There isn't anything behind the signs but signs only exsist, so we cannot escaped from its inauthenticity and consider it improper to insist on it. If people can understand that signs are just simulation of reality, that would be alright. But in fact anything cannot be alright.In this matter Boudllian's conclusion is that we produce images in bulk which are not worthy seeing. Today we reach the conclusion that most images are the letter(character) image itself which shows nothing special.Consequently, this kind of world is a postmodern-world that seems meaningless but has signs to experience and enjoy, many examples of which are shown in the media, such as the internet. We can get to the conclusion that the audience neither sees nor hears anything, but they just can experience many interesting things which characterize the present age. The purpose of this research is to help you to understand current design philosophy and the direction of media while considering both a positive social phenomenon about the new design paradigm of information and media, as well as critical thinking about it.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.347-360
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• 2011

To find out characteristics of TV home shopping's virtual space deepness styling, this study had analysis characteristics of space deepness which is showed on flat TV screen with actually aired 6 dinnerware sales case, at $C^*$ home shopping, March.2005~November.2010, and survey consumer's emotional verbal image according to space styling character to get space deepness, which were shown on flat TV screen with camera angle, and research mutual relation with consumer preference. Also consumer's typical emotional verbal images for each space styling images for brand dinner ware sales had been extracted with reliability analysis, factor analysis, and multi dimensional scaling MDS using SPSS. Styling characteristics of space deepness were contrast of size, layering, vertical arrangement, and perspective arrangement, and used camera angles were bird's eye view, hi angle, and eye level. Result from the research is, highly marked consumer preferred styling material had a deep corelation to material's main factor and perceived emotional verbal images. Therefore this research could bring forward to new consumer preferred styling characteristics according to camera angle. Furthermore, it will be possible to make a study of preferred styling material through evaluation of quantitative spectators of in this area.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• KIPS Transactions on Computer and Communication Systems
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• v.9 no.8
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• pp.171-180
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• 2020

Smart Factory consists of digital automation solutions throughout the production process, including design, development, manufacturing and distribution, and it is an intelligent factory that installs IoT in its internal facilities and machines to collect process data in real time and analyze them so that it can control itself. The smart factory's equipment works in a physical combination of numerous hardware, rather than a virtual character being driven by a single object, such as a game. In other words, for a specific common goal, multiple devices must perform individual actions simultaneously. By taking advantage of the smart factory, which can collect process data in real time, if reinforcement learning is used instead of general machine learning, behavior control can be performed without the required training data. However, in the real world, it is impossible to learn more than tens of millions of iterations due to physical wear and time. Thus, this paper uses simulators to develop grid sortation systems focusing on transport facilities, one of the complex environments in smart factory field, and design cooperative multi-agent-based reinforcement learning to demonstrate efficient behavior control.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.122-130
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• 2018

As smart tourism is gaining more attention, there are increasing attempts to make use of augmented reality(AR) in tourism industry. However, existing AR-based tourism contents are only limited to the 'designated' cultural heritage, overlooking the value of undesignated cultural heritage lost in the past few decades of development era. This hinders expanding the scope of tourism contents and leads to the production of banal and similar contents. Given that, our study has developed tourism contents based on , an AR-based mobile application that enables participants to virtually visit the historical sites lost in the development era. The Chungmuro area, which the app is named after, is unique in character. The area has been famous for movie making for over 30 years until the '90s. It is abundant with movie-related cultural resources such as theaters and print shops, which makes the place where people wants to feel the glorious past. Through the app, participants are able to walk along the historic trail and take pictures at five virtual historic spots, among many others. We also examined participants' level of satisfaction and overall tourism experience. By taking the result into account, we hope that the AR-based tourism contents will increase in the future.

• Journal of the Korea Society of Computer and Information
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• v.18 no.2
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• pp.117-126
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• 2013

Path planning is an essential problem to make virtual characters navigate in many applications including computer games. In many cases, multiple characters move in a group and qualitative aspects of planned paths are emphasized rather than optimality unlike Robotics. In this paper, we propose a two-level path planning algorithm in which the global path is planned for a single character specified as a leader and then the local path is planned to avoid dynamic obstacles while the group following this path. The space for group movement is achieved in the form of square grid array called a grid window. Member characters are located relatively to the leader within a space and moved. The static environment is reduced to the configuration space of this grid window to generate a roadmap on which a grid window can move. In local path planning, only the leader avoids dynamic obstacles by using an artificial potential field and the rest of members are located relatively to the leader in the grid window, which reduces computational load. Efficient algorithms to implement the proposed planning methods are introduced. The simulation results show that a group can handle with dynamic obstacles effectively while moving along the planned path for a static environment.

• The Journal of Art Theory & Practice
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• no.5
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• pp.109-133
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• 2007

What a concept of theatricality in modern art became more controversial is through a review "art and object-hood" on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967-1971. That is because the name of this group itself is what was borrowed from "Poor Theatre" in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.