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Publishing Design for 5 Senses and Intuition Through the Creative Processes
Hong Dong-Sik,Oh Chigyu 한국콘텐츠학회 2009 ICCC International Digital Design Invitation Exhib Vol.2009 No.12
The paper examines the design process of the artwork '5+1'. To introduce the book into the world, 35 student designers worked together with me as an art director and advisor. They were taking the a-month-and-half-long special course provided by the Visual Communication Department, Tongmyong University. The topic of five senses and inspiration was introduced by me, which is one of my strong beliefs as a designer. The whole process from the point of grouping until the publication of the book is closely described. Basically, the students controlled the whole design-work. They managed the work schedule and decided what and how to do. Through the intense and student-centered course, they learned how to work with others, what makes design and makes it better, what elements construct designers' mental criteria, and what to do to be a good or effective designer.
김강(Kang Kim),오치규(Oh Chigyu) 한국콘텐츠학회 2009 한국콘텐츠학회 종합학술대회 논문집 Vol.7 No.1
캐릭터는 문화적 콘텐츠이며 이를 시각화하여 자국의 문화를 보여주고 그 문화를 전달하는 매개체적인 잠재력이 점점 커지는 영역이다. 캐릭터들을 살펴보면 고전에 나타난 인물들로 제작된 캐릭터를 많이 찾아 볼 수 있다. 고전은 하나의 국가 혹은 민족의 문화에서 그 원형을 찾아볼 수 있다. 본고에서는 고전신화소설 [서유기]를 모델로 하여 제작된 만화 한국의 [미스터 손(날아라! 슈퍼보드)], 중국의 [大?天宮] 제천대성 손오공 (제천대성 손오공)], 일본의 [ぼくの孫悟空 (나의 손오공)]에 등장하는 손오공캐릭터를 중심으로 한국ㆍ중국ㆍ일본 캐릭터디자인을 비교 분석하였다. 분석한 결과 한국은 퓨전 적이며 글로벌 적인 경향을 나타내고 있고, 반면 중국은 전통문화에 대한 부각에 치중하고 있으며, 일본은 디테일한 부분에 자신의 전통적인 문화요소를 부여하여 보다 대중적인 수용성을 추구하려는 경향을 보이고 있으며 이는 캐릭터디자인이 각 나라별로 문화와 밀접한 관계가 있음을 시사하고 있다. The character design is part of a culture. That is, it is not just an object but it reflects the cultural tendency and context where it is visualized. It's potential as a cultural medium of communication become pervasive in the field. One of good sources of characters is the classics which represent the nation's culture and history. The topic of this presentation is to show how a character in the Buddhist story, the Monkey King, designed differently in different context For the purpose, the animation on the Monkey King in China, Japan and Korea are reviewed and analyzed. The result shows that the same animation character has been designed in different way in different context and it reflects the cultural tendency of the country. For example, Koreans tend to emphasize the global feature of the character. In case of Chinese, however, the character designer emphasizes traditional value. Finally, the designer in Japan tries to put their cultural element in detailed part of the character that makes it appeal to the public.