• Design Convergence Study
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• v.14 no.1
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• pp.83-98
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• 2015

This study will examine the visual composition by which Secretly Greatly, in a circumstance that even the good original Manhwas or Webtoon have not made a hit on the market until now, could attract the spectator, in other word, illustrate the analogousness of the images through analysing visual texts. The study draw, first of all, a meaning of the box office performance caused by analogousness of image, that is similarity between the webtoon and film. In addition, the study will come up with an answer to the question that the webtoon, not in a temporary trend but in a sustainable form, can make itself develop. For this, the study suggests a meaning, worth and importance of the transformation, analysing visual components of a webtoon to film adaptation, Secretly Greatly. It primarily ranges over visual components, mise-en-scène identified with its expression formula, frame to frame changes and colour and tone. The examination sets the cinema's visual expression manner against the webtoon's on their concrete components: the size of scene, movement, color and tone, narrative condition and its background, spatial composition and depth, contrast, expression manner and disposition manner.

• Archives of design research
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• v.13 no.4
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• pp.233-242
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• 2000

The traditional image of hydraulic excavator started to change in two ways since 1990. First, post-heavy equipment's visual image was new waves to traditional image of heavy, strong, and wild. They are the negative aspect that excavators have. Another movement of getting rid of its negative image can be found in late-heavy equipment, which was intended to adapt traditional and positive, but off negative images. In 1990s, the design trend is moving from warm/hard to warm/soft, and KOBELCO can be exceptional example that went even further, gone up to cool-soft image. KOBELCO specially aimed 'post- excavator image' strategy, which has been successful. Image of cabin as a human space changed little bit further than outside image. Each company tried to differentiate the design of cabin focusing on its safety. Following paragraphs show specific trend of image change in form, colour, texture, and the composition. Major visual image change in form tries to follow the image of cars and home appliances which are showing the movement from tough and hard image to soft one. Structural change on local image shows the movement from angular edge to edgeless and the movement of cabin's pillar C placed to back of the equipment with gentle inclination. All of these movements are the result of effort to improve traditional excavator's negative image, that top structure is assembled separately, to positive ones. Today's tendency about its color becomes important to apply two different colour styles. Each style has brightness and tone comparison. As an enormous power convey system, it was in common that its brightness comparison was useful because of the alarm of its damage possibility. However, as its colour control and its design have been emphasized gradually, the tone comparison takes a part in an important role, too. As an example, there is an occasion that these comparisons are compromised simultaneously. In the respect of its image creation, its texture treatments make the tendency of being the same as passenger cars. It is caused from its development of the manufacture techniques of from the fabrication method in small business to the press method in big firm. Further, it is also because of its improvement of painting & coating skills. It may prohibit the reflection effect from solar rays. In the point of view of its visual images, it is recognized the prominent tendency that its composition has been gradually decreased. Lots of windows and the frames tends dark-colour as a whole. It is more preferred to have one colour image, but except KOBELCO and HITACHI. As well, there is another high-tendency to improve its standard treatments, especially for its corner and texture treatments.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.5
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• pp.88-99
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• 2012

This study was to analyze the changes made in the landscape cognition in Yong-in City for the past 10 years. For the analysis, the landscape plan in 2001, and the survey data collected for the new 2012-landscape plan were used. The questions on the survey covered the cognition of the current landscape status, the evaluation of landscape depending on the types of landscape, the understanding of each element on the landscape, the residents' cognition, etc. In the evaluation of the status on current landscape, Everland was ranked outstandingly high as a symbol and a representative place both in 2001 and 2012. The image of the overall city landscape was changed from the image of unique, diverse, grand-scale and well ordered in 2001, to the image of wide, disordered, common and realistic. As the evaluation of individual landscape types such as the view of the mountain, the surroundings of the tourist attractions, colors, etc, has improved overall. The image of the city has been evaluated to improve gradually, especially in the level of individual element. In the study of participating the willingness of residents, despite the interest in landscape has been continued, the attitude for the actual participation in the action plan or the restriction of property right has been changed into a negative side. For the direction of the landscape plan, the residents are more interested in the detailed subjects : such as the financial support, the night landscape plan, the improvement of the problems, etc. During the last 10 years, the changes on the landscape cognition in Yong-in City have changed more in detail and specifically, the cognitions on the local government and developers changed positively. However the reducion of the participants' willingness suggested a review on the policies and the projects of the landscape.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.195-204
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• 2013

Today, the children's museum evolved from place of exhibition for seeing and feeling, to that of exhibition for searching and touching, or so-called the hands-on exhibition. This will allow for grabbing the interest from children and provide an opportunity for learning by an actual experience at this intellectual and benign environment. But in this modern society that constantly undergoes evolution even as we speak, it is not an easy task to bring our children to museums, because they are vastly exposed to various media. Moreover, if the children who visited museums carelessly bypass the specific areas intended for exhibition, the educational purpose of "enhanced learning effect with hands-on experience" is easily underachieved. According to children's visual stimuli, their behavioral charactoristics are appeared to freewill curiosity but they show shorter elapsed time(impermanence), intensity(stubbornness), frequent occurrence(frequentness) and changeable (translatability). So, We need Improvement of visual image affordance through the measurement of stay time. Firstly, five factors are extracted by factor analysis on twenty questions based on visual image factors; Color accessability and Satistaction(factor1), brightness and color harmony(factor2), feeling on harmonization of color and stay time(factor3), simplex & complex of space(factor4), feeling on scale(factor5) Secondly, the following result are derived through a distribution chart on an exhibition room of K-museum. As shown above, this study based on various analyzed aspects proposes the directions of a color image plan to improve stay time in exhibition space of children museums with a hope to support educational goals of experience education-focused children museums.

• Cartoon and Animation Studies
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• s.51
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• pp.361-390
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• 2018

Users of KakaoTalk emoticons use Kakao Talk emoticons as means of communicating their emotions in virtual space. Emotional state is represented by design element (auxiliary, color, form, motion) and storytelling element contained in emoticons. The purpose of this study is to investigate the factors of the storytelling and design elements of kakaoTalk emoticons and how they prefer the kakaoTalk emoticons as emotional expression means. In terms of storytelling, crocodiles, peaches, dogs, ducks, lions, moles, and rabbits were made up of ordinary fruits and animals. Most of the emoticons are composed of stories with unique personality, and each story has a complex one by one, which makes it easy for users to approach and use them. In terms of design, I used various auxiliary elements (flame, sweat, tears, runny nose, angry eyes, etc.) to express angry, sincere, nervous, begging, joy, and sadness. The color elements consisted of most of the warm color series with the unique colors (green, red, yellow, pink, white, black, brown, etc.) of emoticon characters regardless of feelings of joy, anger, sadness, pleasure. The form factor is composed of a round shape when expressing factors such as joy and sadness. On the other hand, when FRODO and NEO express sadness and anger, they represent the shape of a rectangle. The motion elements are horizontal, vertical, and oblique expressions of APPEACH, NEO, TUBE, and JAY-G, expressing emotional expressions of sadness, anger, and pleasure. APEACH, TUBE, MUZI & / Shows the dynamic impression of the oblique and the radiation / back / forward / rotation. The anger of TUBE and FRODO shows horizontal / vertical / diagonal and radial motion. As a result of this study, storytelling is structured in accordance with each emoticon character. In terms of design, auxiliary elements such as flame, sweat, and tears are represented by images. The color elements used the unique colors of the character series regardless of the difference of emotion. The form factor represented various movements for each emotion expression. These findings will contribute to the development of communication, emotional design and industrial aspects. Despite the significance of the above paper, I would like to point out that the analysis framework of the storytelling and the semiotic analysis of the supplementary elements are not considered as limitations of the study.

• Science of Emotion and Sensibility
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• v.8 no.3
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• pp.291-301
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• 2005

This study aims to understand causal relationship among preference factors - preferred design, design image, and design elements-to create interaction between artists and spectators, concerning eating and drinking table decoration which is produced with subjective representation chiefly by virtue of the authors' conceptualization and planning. As an experimental research , face-to-face personal interviews have been made in off-line setting through questionnaires. Acquired information from it has been analyzed, which results are as follows. As harmonious, warm, womanish design image, combination of pink-tone similar colors were preferred. As image adjectives highly related with design preference were 'harmonious and inharmonious' A design factor of 'harmonious' was combination of similar colors, while that of 'inharmonious' was association of mixed colors. It has been found that 'colors' have been an important factor among preference design factors. As above, a new concept for design can be established by using data-based information, along with suggesting a direction for preferred design in the field of eating and drinking table decoration. Furthermore, it will be possible to make a study of new preferred design through evaluation of quantitative spectators in this area. It is expected that such researches could give an opportunity to get satisfactory results from newly experimented designs using quantitative data even in a creative design area, as well as table decoration.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.651-655
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• 2007

카툰 렌더링 그래픽을 기반으로 한 온라인 RPG 게임인 마비노기에서는 게임이용자들이 염색 시스템을 통하여 의복아이템에 자신들이 원하는 색을 자유롭게 표현할 수 있다. 마비노기에서 색에 관련된 주목할 만한 현상은유행색이 존재하고 색에 따라 같은 아이템의 가격이 달라진다는 점이다. 유행색이 존재하는 것은 현실과 비슷하지만 같은 아이템이 색에 따라 가격이 달라지는 것은 현실에서는 보기 드물다. 이는 현실과 비슷하면서도 심리적인 속성이 다른 사이버공간만의 특징이라고 생각해 볼 수 있다. 따라서 마비노기에서 게임이용자들이 색을 선택하고 사용할 때 작용하는 심리기제가 존재할 것이라고 가정해 볼 수 있다. 이에 본 연구에서는 마비노기에서 색 선택 행동의 심리적 유형을 확인하고 유형별 특징을 알아보기 위해 자아존중감을 측정하였다. 예비 조사를 통해 게임이용자 20명과 온라인 인터뷰를 실시하여 색 사용 경험을 추출하고, 추출한 경험을 바탕으로 18문항의 색 선택 행동 문항을 구성하였다. 본 조사에서는 온라인 설문으로 129명의 게임이용자를 대상으로 색 선택 행동과 자아존중감을 측정하였다. 연구 결과 색 선택 행동은 4개의 요인-색채 둔감성, 유행추종, 개성표현, 캐릭터이미지와의 적합성-으로 구분되었다. 색선택 행동 4개의 하위 요인을 기준으로 군집분석한 결과 색 선택 행동 유형은 각각 색 분화형, 유행추종형, 색 둔감형으로 구분되었다. 색 선택 행동 유형과 자아존중감과의 관계에서는 자아존중감 하위 범주 중 부정적인 자기평가, 타인의 의견에 대한 걱정, 의존성의 세 가지 하위 범주에서 색 선택 행동 유형에 따른 차이가 유의미하게 나타났다. 한편 자의식 차원에서는 색 선택 행동 유형간 유의미한 차이가 발견되지 않았다. 유행추종형은 다른 두 유형에 비해 상대적으로 자아존중감 수준이 낮음을 확인할 수 있었다. 반대로 색 둔감형은 다른 두 유형에 비해 상대적으로 자아 존중감 수준이 높았다. 색 분화형은 유행추종형과 색 둔감형의 중간 수준의 자아존중감을 볼 수 있었다. 유행추종형은 자기의 외부에서, 색 둔감형은 자기의 내부에서 색과 관련된 자신에 대한 가치감의 소재와 근원을 찾는 특성이 있다고 해석할 수 있다. 본 연구는 온라인 RPG 게임에서 게임이용자들의 색 선택의 심리적 기제를 확인하고 색 선택 유형별로 자아존중감과의 관계를 확인함으로써 색 선택 행동의 심리적 기제를 밝히려는 기초연구라는 점에 의의가 있다. 추후에는 게임이용자들의 색 선택 행동을 보다 포괄적으로 이해하기 위해 게임이용자들이 가지고 있는 공통적인 색이미지와 개별적인 색이미지 및 색이미지의 심리적 구조를 알아보기 위한 색채감성연구가 필요할 것이다. 이러한 연구들은 게임을 제작할 때 캐릭터 디자인과 아이템 디자인에 어떠한 색을 사용해야 되는지 방향을 설정하는데 도움을 줄 수 있을 것이다.

• Korea Science and Art Forum
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• v.37 no.2
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• pp.275-292
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• 2019

This study was initiated with the attention of demanding new and diverse approaches, we're talking familiar with imitations in the design process like a way to draw a image. So I studied a convergence of humanities and visual arts with the understanding and conceptual approach of the formless. The purpose of this study is to develop formless languages and to organize practical courses which are to enable deeper research and design expression on theoretical approaches and explanations of outcomes required before and after the process when we practice in connection with the formless. The method of this study is to draw detailed items from selected words through advanced researches, work and author researches and practice teaching. The results of the study I proposed the formless language that is related to the horizontality in spatial positioning system, and pulse in the separation of space and time, and entropy in structural orders of the system, and base materialism in the limitation of matter as the operating mechanism and parent item of formless. And those elements are related with shape, size, shading, color, texture, space, structure as visual elements of formative elements and those have various adjectival meanings as the subordinate concept. So I presented an education materials of basic design which is to enable understanding and expressing the formless language in the overall process of formless visual art(theoretical approach, practice course, presentation, etc.). Based on these study results, I hope that this educational materials will be used as educational contents that makes them express and understand different new beauties, and a role that reveals social identity, and a reference for research on a formless visual arts.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.