International Journal of Asia Digital Art and Design Association
Online ISSN : 1738-8074
Volume 21 , Issue 1
Showing 1-10 articles out of 10 articles from the selected issue
  • Kwang Sil Jeon
    2017 Volume 21 Issue 1 Pages 5-11
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    Mobile Messenger is not just a communication tool for modern people; it provides a space to freely express desires and pursue fun and pleasure free from daily life, even for a short while. Based on the play theory of Huizinga, mobile messenger has attributes of play space which has a discontinuous continuity with reality and serves as a temporary virtual space where different rules from daily life are applied. In this space, users can pursue their free activity by their own free will, and the origins of such playfulness are derived from the media attributes of the interface. The structural and playful elements of mobile messenger are as follows: mobile messenger is a virtual space separated from reality that has ‘temporal restriction’ and ‘spatial isolation,’ which is a characteristic of the play space mentioned by Huizinga. Moreover, the interface of mobile messenger generates interactivity through the exchange of the speech bubble among the users, which is the play’s oscillating movement referred to by Gadamer. This is the fundamental attribute of play movement that shows the unique play spirit and the world of play. In addition, mobile messenger has playful attributes such as manipulability, interaction, audiovisual and esthetics, and these factors can enhance mobile messenger’s playfulness by increasing immersion and interest in mobile messenger.
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  • Zhi Ling He, Se Hwa Kim, Du Hui Gong
    2017 Volume 21 Issue 1 Pages 13-18
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    This study examined whether or not consumer preferences and product evaluation influenced user satisfaction, intention to use continuously, and intention to repurchase during the purchase and use of smart bands. In addition, The study examined the influential degree of decisive factors for satisfaction and intention to use continuously (IUC), inter alia, consumers’ psychological characteristics (i.e. innovativeness and self-efficacy), usage motivation (i.e. fashion leadership and health concern), and product characteristics (i.e. perceived usefulness, perceived ease of use, and aesthetics. First, these variables-the consumer’s psychological characteristics, usage motivation, and product characteristics - did not directly address the intention to repurchase. However, they did influence satisfaction and IUC which will eventually lead to repurchase. In short, the increase of seven decisive factors would not necessarily mean a direct increase of the repurchasing event, but they do have indirect influence in the case where users feel satisfaction and intention to use continuously. Also, aesthetics and health concern had strong influence, while innovativeness and self-efficacy had minor influence. Second, the study results show that the influence of innovativeness and self-efficacy was minor, and it indicates that users no longer insist smart band products to be further requested to accomplish innovative or challenging tasks. It indicates that satisfaction and IUC are important predictors, because they can be used to predict user’s intention to repurchase by identifying whether or not the smart band had met the user’s expectation.
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  • Adhika Sigit Ramanto, Nur Ulfa Maulidevi
    2017 Volume 21 Issue 1 Pages 19-24
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    Music is a phenomenon common in most human cultures. In a lot of cases, music is played as an accompaniment to other forms of art and activities, such as movies, video games, theatre, or as simple as background music for restaurants and museums. The music in these cases serve to set the mood the artist intends to make the consumers feel. According to previous studies, there is indeed a link between human emotions and music. One of the case that makes people feel different emotions is through the composition of the music itself. Procedural content generation is a field in computer science which creates a random content or art algorithmically within a set constraint. The goal of this study is to create a system that could randomly generate music that fits the mood from a manual user input. Markov chain is a stochastic model used in modeling the components of music composition. For the procedurally generated to fulfill the mood set by the user, different parameter values for each composition component is allotted for each mood. These components include tempo, pitch range, note values, chord type dominance, and melody notes. The implementation of the procedural music generation system is then evaluated by survey and experiments. The evaluation yielded results which assures the capability of the music generation system to fit the mood input.
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  • Hiroshi Mori, Fubito Toyama, Kenji Shoji
    2017 Volume 21 Issue 1 Pages 25-31
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    Character animation is required to appear as natural as human motion. Toward that goal, the approach that is followed is to ensure that the expression appears as natural as human expression by adding gaze behavior to the contextual situation and by adjusting the environment to the general behavior animation. However, a detailed understanding of some gaze control parameters is required for users to create the intended gaze behavior animation that is suitable for situations in which the gaze controller is used. It is difficult for beginners and users who are inexperienced in creating character animation to ensure that the user feels adequate because trial-and-error adjustments are required. In this paper, we propose a method for optimizing character gaze behavior animation by using an interactive genetic algorithm (IGA) based on the viewer’s preference such as “where to gaze” and “how to gaze” without the need to manually set the gaze control parameters. We translate a character’s gaze motion into parameters for the gaze controller. Furthermore, we obtain the optimized gaze target and control parameters such that the viewer experiences natural gaze animation when using the IGA. The experiment compared the viewer’s impression of the method and the result they obtained by using manual creation with that obtained by the proposed method. The results confirmed that the proposed method enables the user to quickly and easily create gaze behavior animation of the same quality possible by using manual creation.
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  • Sachiko Tsuruno, Kiyoshi Tomimatsu
    2017 Volume 21 Issue 1 Pages 33-39
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    Impossible figures are known to be motifs of the Dutch artist M. C. Escher's lithographs. However, impossible figures cannot be strictly defined geometrically because they are mental images of solid objects. In other words, viewers perceive two-dimensional (2D) drawings as three-dimensional (3D) structures, although these structures cannot be realized in 3D space. Regardless of the mental images, viewers’ morphological different recognition of impossible figures have not been sufficiently researched; thus, we performed two experiments to address this gap. In the first experiment, the participants observed each sample figure individually in random order and then stated whether, according to them, it was an impossible or possible figure. Approximately half the participants labeled some sample figures as possible figures in spite of them being impossible geometrically. The results indicated that perceptions of impossible figures differ according to the individual and the figures themselves. We also obtained widely differing results between four inconsistent rectangles that had the external contours of possible rectangles. To address this variability, we focused on the inconsistent rectangles in the second experiment. The four rectangles were sub-classified into 28 categories, and the participants were asked whether each of the 28 figures was impossible or possible, similar to the procedure followed in the first experiment. The sub-classified rectangles were broken down into polygons to analyze the results. Finally, we extracted an element that led to participants' perception of possible figures and two elements that led to their perception of impossible figures.
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  • Taihei Meno, Reiji Tsuruno
    2017 Volume 21 Issue 1 Pages 41-46
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    This paper propose a improved PBF(position based fluid model)-based method for simulating realistic incompressible fluid flow. Our goal is to present simulation method of fluid phenomena as realistic as possible in realtime to many applications that require a high frame rate. Rapid fluid simulations are important for realizing real-time applications in computer graphics. Position based fluids (PBF) has been suggested as a practical method for real-time simulations of incompressible fluids. This method is based on the SPH(smoothed particle hydrodynamics) and realizes incompressibility by restricting the density. Furthermore, it reduces the calculation costs by allowing large time steps. However, because it iteratively calculates the density constraints, PBF is impractical for applications requiring high resolution and high frame rate. To increase the simulation speed of PBF, we replace the iterative density calculation by a density model. In the conventional method, iterating few density calculations compresses the simulated fluid. To resolve this problem, we consider the particle density and the direction of the fluid flow. We develop a computational model based on this hypothesis and verify its usefulness in simulations. The method suppresses the fluid compression even in a non-iterative model. We conclude that the proposed computational model effectively maintains a constant density in PBF.
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  • Joon Seo Lee, Sang Hun Sul
    2017 Volume 21 Issue 1 Pages 49-55
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    This article proposes a low visual density design for media façade using a quantitative technique that combines a visibility range and PPI (Pixel per inch) approach with an iterative method. Furthermore, we address not only display pixel design, but also concern about the company identity conveyed using media contents called ‘Dandelights’. Thus, designers have investigated optimum low visual density levels between structure and media contents that have several constraints for efficient communication. With realistic boundary conditions, the media façade design was adapted to low PPI that is under 30% of standard display. These quantitative results have shown that the low visual density method is applicable to the media façade design for visual communication. The final goal of this research is to use digital media as a façade to achieve more efficient and harmonized communication while maintaining the identity of the physical building structure. Therefore, we adapted the human figure and body gestures in media content to solve the inefficient resolution of low-density media façade. As a result, we address not only display pixel design, but also digital media contents to create efficient visual communication for buildings.
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  • Purwaningsih Dominika Anggraeni
    2017 Volume 21 Issue 1 Pages 57-63
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    2D animation is laborious. Each frame has to be drawn individually, be it traditional or paperless/ digital animation. However, 2D animation keeps reinventing itself. With current technology in digital 2D animation, we're offered the opportunity to make hand-drawn animation in a way that we couldn't even imagine fifteen years ago with smaller team and lower budget. However we can't deny that traditional 2D animation has its own appeal which makes 2D animation more precious and memorable. That being said, each traditional and digital 2D animation has its own strengths. In this paper, I’m going to combine digital and traditional 2D animation techniques to produce a short animated movie according to their strengths in order to optimize the production time in 2D animation pipeline. Traditional media that is used in this research is watercolor. Animation will be done digitally with Toon Boom Harmony software. This strategy will be tested in the production pipeline of “Rise & Shine” 2D animated short.
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  • Sudarsono Kus
    2017 Volume 21 Issue 1 Pages 65-71
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    Distribution and exhibition options of short films are limited, short film mostly circulated amongst certain community and film festivals. If the film makers wish a broader audience, they have to go online through online video platforms. One of the online video platforms is VIDDSEE, it was founded in 2012 in Singapore. Viddsee focused on sharing short films from film makers across South East Asia Nations. Viddsee provides curated videos online, which means each video went through a selection process before it is uploaded to the online platform. “Joshua” is a short film created by film students of Universitas Multimedia Nusantara. This research follows the performance of “Joshua”, reviewing the comments and shares on Viddsee and Viddsee Facebook page. “Joshua” performs well in The Philippines, but did poor in Indonesia, although Indonesia is the film’s home country. Indonesians have mixed feeling regarding the film, which hindered the chance to excel in Indonesia. As a multicultural nation, Indonesian audiences have a tendency to thoroughly think about race, religion and ethnicity before sharing a film.
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  • Rizaldi Moh
    2017 Volume 21 Issue 1 Pages 73-78
    Published: 2017
    Released: September 08, 2017
    JOURNALS OPEN ACCESS
    ASCENDER is a single player 2D puzzle platformer PC game which has an explorative world called GOA set under the land of a realm. The game equipped with the basic of all game visual design assets such as characters, environment, properties, visual effects, and user interface. Environment visual design were created by game visual artist to provide a realistic and beautiful set of environmental assets, props and scenery element required for game character exploration and interaction. Designing visual game environment involved visual artist, story writer, game designer and curve level designer. The design process itself included brainstorming, creating concept art, coloring, layering (parallax), and compositing. Environment design build with consideration based on story, world logic, and gameplay, can be effective and immersive for the player to enjoy the game experience, exploring the world, interaction of the game, solving puzzle, and follow the storyline.
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