A Study on Formation of Space through Production with Plane Extensibility – Focusing on Image Expansion in the Webtoon Series Tilly the Spiky Hands

Mi Seo Gwak,Tak Hoon Kim 중앙대학교 영상콘텐츠융합연구소MINT 2021 Moving Image & Technology (MINT) Vol.1 No.1

The advancement of digital media and information and communication technology has led to flat images having more of a sense of space. Virtual and augmented reality technologies have advanced in recent years; although these technologies are based in reality, they include additional information that amplify the sense of reality. However, webtoons, which are one of the leading contents of Korean culture, have maintained similar consumption patterns wherein elements are placed in each frame based on the author’s intention. This study will explain how elements in the frames were expanded in the 2D webtoon Tilly the Spiky Hands, and how space was formed through reproduction. Each element in a frame in the webtoon was separated using multiplane camera shooting techniques. Following this, to re-connect objects that were disconnected in the process, additional directing and redrawing was conducted. Regarding the background, the image was enlarged at least three times its original size, according to the device being used by the consumer, thus the consumer would be presented with the option to view the background from different angles and provide a larger sense of space.

Application Research of Contradiction and Integration in the Field of Installation Art - A Production Report of the Work : “Lava Glacier”

LanJun Luo,Surng Gahb Jahng 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.2

The work Lava Glacier uses a projection medium to display space images, showing the use of light elements in space art and design. This article attempts to use the work “Lava Glacier” as an individual work to facilitate its installation. The form and image style of the projection art are introduced and analyzed. The contradictions and fusion expressions of the work in the field of installation art are further explored. The contradictions in the choice of materials and thematic thinking of the installation work are also analyzed, along with how to highlight works through this expression, to enhance the external visual effects and internal tension of the work.

Light Conductivity of Materials in New Media Art Works

JunXian LI,TaeYong Kim 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.2

Based on the application of materials in installation art, this paper briefly introduces the light conductivity of different materials and the function of light in an installation. It also analyzes the complementary relationship between light and materials, so as to provide support and reference for the development of new media art in China.

Projection Art as New Media Art Performance-Based on my work “The Man in the House”

Chen Huipu,YoungBin Kim 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.2

Application of Cine Tracer to Draw Storyboards

HaoRan Wang,Ki Ung Bak 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.2

In recent times, the lighting of many 3D games has been extremely meticulous. Some of the big-budget games not only refer to the traditional lighting of films but also surpass the lighting effect of some films because of their natural advantages. 3D games compared with real-scene-shooted-film is the opposite approach; in some high-quality 3D games, lighting designer in-game characters and the main scene lighting seem as though they were created in idealized studios. They have unlimited power and infinite space and lighting equipment, along with lighting designers to design a panoramic view in the space, including huge maps in and out of any room (such as an extended take), and maintain perfect lighting effects. In the film industry, a hand-painted mirror made by an illustrator is very expensive. Often, it is more advantageous when someone can create all of the settings in the game, including props, lighting design, and character space position—this is most helpful for a low-budget film production.

Application of synesthesia technology in new media art

Yi Li,Surng Gahb Jahng 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.3

This article discusses interactive art as the core of new media technology and synesthesia technology as its key feature. From the development source, it analyzes virtual reality works and the interactive characteristics of virtual reality formed by the intersection of media, art, and technology. By discussing related issues and from the perspective of interactive art application, this study proposes a method to improve the interactive experience of virtual reality works. When somatosensory natural interactions surpass keyboards to make the mouth-screen interaction unprecedentedly convenient, virtual reality makes people experience the world in a novel way bringing more possibilities and demanding more complicated requirements from art creation. Considering the development of interactive art over the years, we see interactive art works becoming increasingly homogeneous. Works lack uniqueness and emotion, and the audience’s demands have grown higher in physiology and mentality. Many creators lack a systematic understanding of the application, theoretical support for interactive art creation. Thus, when interactive art works are created, no clear judgment standards are seen, and there is no creative basis for some works, which leads to insufficient spiritual connotation and emotional resonance. What is seen are “flashy” results over-proclaiming the importance of high technology using sound, light, electricity, and exaggerated visual design. Therefore, there is a need to establish an emotional connection between the work and the audience by generating an emotional resonance. This article examines the “synesthesia” method, originally from the field of literature and psychology, in interactive art and finds that this method is actually used in the creation of interactive art works, but there is a lack of overall induction and systematic research on it.

Compulsory perspective interaction projection mapping with elements of ink paintings

KaiYi Liang,Hyung-gi Kim 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.3

With the introduction of new media and the rapid development of electronic software technology in recent times, the single and boring method of creating traditional art no longer satisfies the high aesthetic expectations of today’s viewer. Pure technology is not enough to realize its value if it does not integrate strong and connotative creative content. In such an artistic environment, the integration and innovation of multiple fields and elements has become inevitable. This article discusses the characteristics and the combination of multiple elements of ink painting, projection, interaction, and compulsory distance method in the field of new media, with examples, used to create corresponding works.

Interactive research based on Kinect - Focused on the work <Dream>

Wang Yuanyuan,Kim Junghyun,Surng Gahb Jahng 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.3

While experiencing various works of immersive interactive art and designing her own work, <Dream>, the author found approaches to explore space for improvement of works and further analyze immersive virtual reality works created based on interactive technology. As a practical study, the paper discusses the related areas where art design creation can make progress.

The representation of postcolonial identity in The Age of Shadows and Lust, Caution

Sunhyung Kim 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.1

This paper examines the postcolonial identity of the colonized in two films, The Age of Shadows(2016) and Lust, Caution(2007). These two films depict the devastation of war under the Japanese colonial rule in their history. The main focus of these films is the representation of the identity of the colonized, which is termed as postcolonial identity. The asymmetric power dynamics of two groups(the colonizer and the colonized) give rise to identity issues and this has been a central research theme in studies on postcolonialism. Studies on postcolonial identity deal with people(the invaders and the invaded), who, in this circumstance, go through dramatic changes in their identities. Among postcolonial identities, this paper focuses on mimicry, hybridity, resistance and conformity. Interestingly, these two films have a lot of similarities in their narratives - the representation of the external and internal side of the colonized, the resistance of the colonized to the colonizers, and the main character as a sellout. However, as the story develops, these two films take different paths to the ending. The choice made by the main character is forked when each encounters a grave turning point. This is where the hybridized identity starts to separate and the existence of disparate identities is visualized. The-same-beginning-but-different-end narrative of these two films is the very cinematic representation of the hybridized identities of the colonized.

Study on Tony Oursler’s Techno-Image “Eyes” from E.H. Gombrich's Perspective of Iconography

Renai Xie,Surng Gahb Jahng 중앙대학교 영상콘텐츠융합연구소 2020 Journal of Arts and Imaging Science Vol.7 No.1

Tony Oursler is a media artist although his artworks are not wholly confined by the techniques of this digital age. Unlike many of his peers, his artistic practice is still connected to the development of art. His works inherit many features of modernism, especially the styles of pop art and surrealism. In the realm of contemporary media art, he is also representative in the use of symbolic and metaphorical images. Ourslers artistic practice plays a significant role in reviving the use of symbolic images, which has been on the wane of late. Inspired by the necessity of techno-images and the text explanation that was proposed by Vilém Flusser, this study, based on E.H. Gombrichs iconography theory, analyzes the subject. E.H. Gombrich played an essential role in the discipline of iconography. He analyzed and interpreted images following the convention of and from the perspective of multi-angle thinking. His theory involves the reproduction, symbolism, metaphors, personification, and other functions of images. This paper discusses Tony Ourslers quintessential representative techno-image eyes from Gombrichs theoretical perspective of iconography. This paper explores how his artistic innovations are deeply rooted in classical culture and art, and demonstrates the functions, values, and practical significance of such a unique image using methods from the digital age. Additionally, this paper also explores the technoimage eyes in the contexts of its form and implication, demonstrating the psychological effects and aesthetic appeal brought by the application of particular images based on psychological theories.