• 프린팅코리아
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• v.13 no.12
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• pp.120-121
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• 2014

국내 유일의 국제 사인 전시회인 제22회 한국국제사인 디자인전(KOSIGN 2014)이 지난 11월 5일부터 8일까지 나흘 동안 서울 삼성동 코엑스 A, B홀에서 개최됐다. 이번 전시회에는 디지털 프린팅, 잉크, LED 및 라이팅, 디스플레이, 터치패널 등과 관련된 국내외 주요기업들이 대거 참여했다.

• Archives of design research
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• v.20 no.3 s.71
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• pp.119-128
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• 2007

With the development of digital technologies, CAID became an essential part in the industrial design process. Creating photo-realistic images from a virtual scene with 3D models is one of the specialized task for CAID users. This task requires a complex interface of setting the positions and the parameters of camera and lights for optimal rendering results. However, the user interface of existing CAID tools are not simple for designers because the task is mostly accomplished in a parameter setting dialogue window. This research address this interface issues, in particular the issues related to lighting, by developing and evaluating TLS(Tangible Lighting Studio) that uses Augmented Reality and Tangible User Interface. The interface of positioning objects and setting parameters become tangible and distributed in the workspace to support more intuitive rendering task. TLS consists of markers, and physical controller, and a see-through HMD(Head Mounted Display). The user can directly control the lighting parameters in the AR workspace. In the evaluation experiment, TLS provide higher effectiveness, efficiency and user satisfaction compared to existing GUI(Graphic User Interface) method. It is expected that the application of TLS can be expanded to photography education and architecture simulation.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.233-240
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• 2007

컴퓨터의 발전으로 이를 이용해 제품을 디자인하는 CAI가 발전하게 되었다. 산업 디자이너들은 CAID 도구를 사용하여 3차원 장면을 시각화하기 위하여 이를 2차원 이미지로 만드는 렌더링 기능을 수행한다. 렌더링 기능은 디자이너들이 자신이 디자인 제품의 재질, 조명, 카메라 등을 시뮬레이션 해 볼 수 있게 하여 중요한 기능으로 활용되고 있다. 하지만 현재의 컴퓨터 입출력 시스템을 활용하여 CAID 도구의 광원과 카메라 등의 3차원 위치와 속성을 조작하는 데에 인터페이스 상의 문제가 발생한다. 본 논문에서는 증강현실과 실체적 인터페이스를 활용한 가상의 라이트 조작 공간인 TLS(Tangible Lighting Studio)를 제안한다. 이는 광원과 카메라의 위치, 효과를 물리적으로 조작할 수 있는 유닛들로 구성되어있다. 그리고 가상의 모델을 실제와 같이 보이게 하기 위한 입체 디스플레이 방식을 제안한다. 새로운 실체적 인터페이스를 제안함으로써 산업디자인 분야뿐 아니라 건축, 원화, 사진 촬영 등의 분야에서 시뮬레이션 도구로 적용할 수 있으리라 기대된다.

• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.268-275
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• 2011

21C digital culture is now affecting the life of arts and development through our system, as well as body arts and body painting. Body painting is not has been focused through our lives in 21stcentury as one genre. UV body painting is from short to long wave length that demonstrates to us the dimension by science and lighting showing more than 8 colors that are better off being set. From this research the theory of body painting considerate characteristics and vision for it. From the researchers line, dots, and side shows the UV body painting as a one piece of art and analyzing the 3D theory and once again showing vision through what it's affecting to their result.' UV body painting is usage of floral paints and using so called 'black light' that shows the short and long term wavelength that provides the 3D material, but first, this is different from normal body painting like dots, like, and layers shows more thoroughly and shows focused motive and you can easily tell the difference. As of all UV body painting is showing more 3D vision more than the design itself. From all this research, to all the body painters we await the future practical theory to be used and for the better future.