• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.3-24
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• 2003

디자인 적용대상(what) 측면 : 디자인이 적용되는 새로운 산업의 등장 → 새로운 개념의 포함 예) 디지털 컨텐츠 디자인 -게임, 디지털 애니메이션 등 2. 디자인 수단(how) 측면 : 디지털이 라고 하는 새로운 디자인 수단의 등장 예) 컴퓨터를 이용한 디자인 - CAD, CAM 디자인을 위한 정보수집에 디지털 매체를 이용 → 디지털은 디자인의 대상인 동시에 도구가 되었다.(중략)

• Journal of Digital Convergence
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• v.10 no.10
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• pp.447-456
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• 2012

In space design or form design step, recognized necessity of digital design practical use. Also, deduced systematized analysis method that can use various function of CAD system actively. These method can promote the practical use because third dimensional digital design escapes plan and design process in concept that get presentation result after is completed, establishes role of effective and systematic digital design at planning and design of space or form. This uses by a design tool that ease designer's judgment and space and form analysis in architectural planning and design process that third dimension digital design is not part by a simplicity design tool. Share and takes advantage of digital design process method that is deduced in this study, need continuance of connection study for more effective and systematic digital design methodology deduction. Need public ownership of teaching material development and teaching method that can deliver extended third dimension digital design process.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.53-54
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• 2020

본 논문에서는 작은 크기의 한글 디지털 글자디자인의 형태 개발을 위한 기초 연구를 제안한다. 이 제안은 모든 디지털 디바이스에서 사용하고 있는 작은 크기의 한글 디지털 글자디자인의 판독성(Legibility)과 가독성(Readability) 향상시킨다. 또한, 디지털 디바이스에서 작은 크기의 한글을 읽을 때 우리 눈의 피로도를 덜어주고 보기 편안한 글자디자인의 기본 방향을 제시한다. 본 논문에서는 제안하는 한글 디지털 폰트는 기존 구글 폰트인 Noto Sans Korean 디지털 폰트를 기반으로 작은 크기 한글 글자디자인을 제안하였다. 작은 크기의 글자디자인 연구의 결과는 다음과 같다. 기존 한글 디지털 폰트의 비례보다 첫째, 제안하는 글자의 비례가 넓어지고. 둘째, 글자의 획 두께가 두꺼워지며, 셋째, 글자 돌기의 크기가 증가하고, 넷째, 글자의 여백이 증가해야 한다.

• Journal of Digital Convergence
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• v.18 no.9
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• pp.363-371
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• 2020

This study based on the digital innovation of the fashion industry has researched digital-based face design that already has many users all over the world through social media and has influenced the fashion industry. The purpose of this study is to present the future vision of the direction of the fashion industry by classifying representative cases of augmented reality-based digital face design and deriving the oriented value that penetrates them. It was needed to analyzing 3D designer's works that provide digital filter-based face design to the public through Instagram and Facebook. As a result of observing the oriented value of digital face design from the point of view of modern fashion through case exploration, three trends were drawn: experimental formativeness orientation, playful experience orientation, and future technology orientation. This study limited the scope to digital-based face design, but the conclusions presented through these are applicable to all areas of fashion. Therefore, it is supposed to expect to study new phenomena related to fashion design and fashion communication based on digital augmented reality beyond the scope of face design in the future.

• Proceedings of the Korea Society of Design Studies Conference
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• 2000.11a
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• pp.110-111
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• 2000

급속한 디지털화는 디자인 환경을 전반적으로 변화시키고 있다. 디지털 환경은 디자인 대상을 다양화, 다변화시킬 뿐만 아니라 디자인 과정 역시 디지털화 시켜 프로세스의 효율성을 극대화시킨다. 이런 환경 속에서 디자인 프로세스는 디지털 환경을 적극 활용하여 보다 효율적이고 효과적인 방향으로 나가려는 노력을 기울이고 있다. (중략)

• Science of Emotion and Sensibility
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• v.22 no.1
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• pp.65-76
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• 2019

Currently, the field of textile is expanding the scope of its research, which focuses on non-material values such as emotion. This study suggests possibilities for and applications of emotional textile design, using digital craft via empirical research focusing on the emotional significance of textile design. The results, obtained with a subjective evaluation scale developed for this study, were used to verify whether there is statistical significance in the differences between textile design using digital technology and textile design using digital craft. The experiment indicated certain meaningful implications for application of digital crafts through the application of textile design. First, ethnic emotions were not found to be significant but did increase in all three comparative analyses. Second, both modern and classical emotions decreased. Third, comparisons between digital textile machine and digital textile machine and craft showed a significant difference in sensibility. Lastly, the comparison of 3D printing and 3D printing and craft indicated a significant increase in elegance. Therefore, textile design using digital craft is thought to be able to deliver an ethnic, fun, and elegant sensibility, following the digital technology used. If the results derived from this study are used appropriately in the development and production of textile design, it can effectively support the development of emotional textile design. In addition, the results of this study provide objective data for the design of emotional textile through digital craft, which will provide important implications for the academic world and for practical production.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.13-24
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• 2015

Online design education, started with the establishment of cyber universities in Korea in 2001, has been operated with the development of online classes for various subjects until present and is predicted to be expanded both quantitatively and qualitatively as the concept of remote education is gradually generalized along with the growth of cyber universities and the development of digital technologies. However, regardless of such quantitative growth and possibility of development, the current online design classes are operating curriculum that is not much different from that of design department at the existing offline universities, while the concepts and roles of design and designer are changing according to the stream of digital times. Moreover, although complex elements are required to be considered since online design education is influenced by digital technological trend as being a form in which digital technology, contents, and design are all combined and advantages and features of online are required to be reflected to the maximum, the reality is different from what has been expected due to many circumstances. Online design education needs to be changed in accordance with the stream of digital times and new online design curriculum suitable for the current of future digital times and online environment are required to be developed and prepared at this moment. Accordingly, this research aims to look into the concepts and roles of design and designer changing in accordance with the stream of digital times by researching the existing literatures as well as the advantages and features of online class and to analyze the current state of curriculum of digital design and related departments at cyber universities in Korea to suggest an improvement direction of curriculum of online design class suitable for the future digital times.

• CDE review
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• v.21 no.1
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• pp.7-12
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• 2015

본 글을 통해 학생들과 함께 수행한 다양한 디지털 디자인 모델을 기반으로 5가지의 디지털 패브리케이션 방식을 적용하여 여러 실제 인테리어패널의 제작 과정 및 그 결과물들을 요약적으로 소개하였다. 해당 과정은 기존의 분리된 설계와 제작 및 시공이 아닌, 설계-제작 통합적인 접근방법을 활용함으로써 학생들로 하여금 디지털 디자인과 패브리케이션의 효과를 극대화 할 수 있음을 체득하도록 하였다. 패브리케이션 기기 및 재료 등의 차이점에 따라 실제 구현된 모델과 원래의 디지털 모델과의 형상적인 차이점은 아직까지 한계점으로 남을 수 있지만, 비정형적으로 생성된 디지털 디자인의 형상이 직접적으로 실현이 가능하다는 점에서 의의가 있다고 할 수 있다. 또한 패러매트릭 모델링 기법이나 실제 제작 경험이 거의 없는 학생들을 대상으로 개별적인 교육이 아닌 설계-제작 통합적인 교육을 실시함으로써 각 요소들이 어떻게 유기적으로 관련되어 디지털 디자인 과정이나 패브리케이션과정에서 상호 보완적으로 중요한지 직접 체득할 수 있도록 하였다는데 의의가 있다. 본 글에서 소개한 재료를 깎는 등의 방식인 "마이너스"의 방식이 아닌 3D프린팅과 같이 재료를 이용해 만들어가는 "플러스"적인 방식 또한 해당 사례에서 수행되었으며 마찬가지로 다양한 특성을 지니고 있으나, 본 글에서는 전자의 방식에 대해 주로 논하였다. 본 글에서 다룬 제작기법뿐만 아니라 3D프린팅 기술의 발전과 보급에 따라 디지털 패브리케이션 역시 다양하게 진보하고 있으며, 팹랩 등을 통한 학교에서의 건축설계 교육도 다양하게 진화하고 있다. 본 사례 및 기타 실험적인 교육과 선도적인 여러 시도를 통해서, 디지털 디자인과 패브리케이션 영역을 확장시켜나가고 해당 기술의 발전에 적극적으로 보조할 수 있는 교육과정을 수립하고 이행하는데 일조 할 수 있기를 희망한다.

• Archives of design research
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• v.16 no.3
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• pp.341-350
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• 2003

The topic of 21st century's culture is the appearance of digital media. It made changes as big as the industrial revolution, and our society is now ruled by the digital media. The main objective of this study is to forecast the direction of current visual design education by researching and analyzing how the introduction of digital media is influencing the evolution of visual design's identity, which is an ever changing and developing science. Also, since the rain target of digital media is the young generation, the change in the method of expressing visual language is inevitable In fact, there have been a lot of changes in the methods of creating and distributing visual communication due to the introduction of digital media. In the past, most educational institutions of design had similar objectives, curriculums and teaching methods to provide education that prepares students for practical business. However, in this digital media era, the application and utilization of visual design are uncomparably diversified, and it is generally classified as interaction. The purpose of this study is to find a wat to train visual design professionals in this digital era. For this purpose, this study will identify a new educational system that fulfills the demands of this society by fusing the traditional education and the new digital education, and will suggest what an design education institute that is ahead of the demands of society should be like.

• Journal of Digital Contents Society
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• v.4 no.2
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• pp.157-165
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• 2003

In this paper we propose a multi-step approach for interactive design development based on usability engineering and show the proposed methodology is able to apply the digital art works. As an example, we show the proposed multi-step approach is efficient in the developing process of a digital design works.