• (The)Study of the Eastern Classic
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• no.50
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• pp.261-294
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• 2013

The purpose of this paper lies how the original text of Chinese classical literary works have been implemented in the paintings of China and Korea, and inspect the ways how of these original text interpreted in paintings. It is an experiment of trying to analyze through literature with painting and read again painting through literature. Qu Yuan(屈原) Prose Poem of Fisherman("漁父辭"), Tao Yuanming(陶淵明) Prose Poem of Returning Home("歸去來辭") and the prose with a poem on the peach blossom spring("桃花源記幷詩"), Du Fu(杜甫), Song of Eight Drunken Celestials("飮中八仙歌"), Su Shi(蘇軾), Odes on the Red Cliff("赤壁賦"), Ou Yangxiu(歐陽脩), Odes of the Sounds of Autumn("秋聲賦") and the paintings which based on these texts were the target of examination. These literary texts shared by Chinese and Korea have been compared in the aspects of acceptance and enjoyment. And on the basis of this process the characteristics of korean paintings expressing the ideas of classical literary works was induced. As a result, the following facts are derived. First, By the emergence of the typical style which was formed historically in China at the korean painting shows that korean painters not only actively embraced the art style of China also did not lose the international sense. Second, through the profound study for chinese painting, they transformed it in accordance with korean aesthetic view and finally revealed typical korean characteristics. Third, the results as described above showed the difference of perception and interpretation of literary works between China and Korea.

• The Journal of the Korea Contents Association
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• v.6 no.5
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• pp.76-84
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• 2006

When a human-being gets a wrong perception about any object is a misunderstanding and what they feel through sense of sight is an optical illusion. The study about those illusions have been given out to not only the fields of fine art, design, and animation but also psychology First, this paper puts in order an op art, influenced in fine art and design, and animation using persistence of vision, relating an optical illusion. Second, it analyses the theory of art form using an optical illusion about brightness, saturation, contrast and luminosity of color. Finally, it makes an experiment of standard of perception on students. The study of art form using an optical illusion is another way to represent fine art comparisons and visual image including animation.

• Cartoon and Animation Studies
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• s.12
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• pp.44-55
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• 2007

Nous conduisons tous les codes graphiques specifiques d'un genre de la bande dessinee coreenne, sounziang manwha, e la "decorativite". Afin de mieux rendre compte de cette decorativite, nous suivons un chemin qui aborde des divers etats de cette specificite. Etant donne que la decorativite n'est pas originaire, ni propre totalement au genre, nous nous interessons e ses formes differentes dans les genres precedentes : dessin de mode, dessin lyrique, illustration, affiche, shojo manga, etc. Ils nous permettent e voir des ressemblances et des differences dans les styles graphiques. Nous parvenons enfin e comprendre ce que la decorativite en bande dessinee est attachee intimemnt aux traits fictifs et irreels du diegese.

• Archives of design research
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• v.11 no.3
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• pp.17-23
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• 1998

It is very necessary and important that color image language is given to each coloring to highten efficiency on applying color scheme. For that in this research, literature cited and survey are carried out to select languages on the Korean's color-image connected with color scheme at the same time, and I did my best to objectify the subjective color image through verifying related experts. As the result of research, I classified the color image into 14 categories; A. energy or dinamic, B. harmony, C. order, D. style and fashion, E. mystery, F. Practicalty, G. dignity, H. gorgeousness, I. the sense of sight, touch, taste, hearing, J. complexity, K. sexuality and growth, L. standard, M. static and lyricism, N. simplicity to promote user's usefulness. For the user's convenience on color plan, the work to propose color scheme concided with the selected color-image languages is deferred till the follow-up research.

• Korean Journal of Child Studies
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• v.7 no.1
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• pp.67-84
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• 1986

The purpose of the present research was to investigate cross-modal transfer, especially tactual-to-visual transfer in infancy and to study the relation between failure of cross-modal transfer performance and length of familiarization period. The subjects of this study were 60 infants, 10 boys and 10 girls at each level: six, nine, and twelve months of age. All were normal, healthy, full-term babies. The mothers' educational achievement was controlled at more than 12 years of schooling. There were two separate experimental conditions, one 30-sec and one 60-sec familiarization period. Each experimental condition consisted of a tactual familiarization and a visual recognition memory test. Each child was presented with these 2 sets of cross-modal stimuli in one of the 2 experimental conditions. Infants' visual responses in the visual recognition memory test were videotaped for 20 seconds. Visual fixation time to novel and familiar stimuli was observed throughout the test. The data was analyzed with t-test, percentage of total fixation time to novel stimuli, and ANOVA. The results showed that: 1) Significant differences were found in the cross-modal transfer performance from touch to vision between the 3 age groups. This is, 6 and 9 month old infants didn't show cross-modal transfer in the 30-sec condition, but 12 month old infants did show cross-modal transfer in the 30-second. 2) In all 3 age groups, no significant differences were found in cross-modal transfer performance between the two conditions.

• Archives of design research
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• v.14 no.1
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• pp.145-158
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• 2001

There are posters of a tourist and traffics as like railroads and ships among Cassandre's posters, and they are common in dealing with 'travelling'. This series of travelling posters which includes many of his representative works, are important in the point of showing his unique styles and the process how Hey have been changed. In this thesis, I tried to analyze, especially in the plastic and graphic aspects, how Cassandre catch the peoples' desire and dreams of the travelling and images on the mechanical property of railroads and ships in 1920's and 1930's and how he put them into his works. I think that has revealed sense and visual language which has revealed through this analysis still give some messages to advertising media of moving images based on electronic technology today.

• Archives of design research
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• v.12 no.1
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• pp.75-82
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• 1999

It is very necessary and important that color image language is given to each coloring to highten efficiency on applying color scheme. For that in this research, literature cited and survey are carried out to select languages on the Korean's color-image connected with color scheme at the same time, and I did my best to objectify the subjective color image through verifying related experts. As the result of research, I classified the color image into 14 categories; A. energy or dinamic, B. harmony, C. order, D. style and fashion, E. mystery, F. Practically, G. dignity, H, gorgeousness, I. the sense of sight, touch, taste, hearing, J, complexity, K. sexuality and growth, L. standard, M. static and lyricism, N, simplicity to promote user's usefulness. For the user's convenience on color plan, the work to propose odor scheme concided with the selected color-image languages is deferred till the follow-up research.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.199-224
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• 1996

The value orientations and life styles which are characterized by the postmodern societies have been expanding in korean society. This paper concerns with the postmodernism for in fashion design : at first the complex relationships between the logic of post-industrial society and the culture dynamics of postmodernism will be explained. Then the characteristics of postmodernism in the comparision with the Bauhaus, also "modernism" in design areas will be critically identified, and significant examples which I select in order to criticize the basic elements or orientations of postmodern design will be analized in details.I will make a new perspective which is beyond Bauhaus and postmodernism ; namly 'open dialogism design.'. But in the boundary of its introduction.

• Journal of the Institute of Electronics and Information Engineers
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• v.53 no.12
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• pp.175-179
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• 2016

Recent advances in technology of medical image have made surgical simulation that is helpful to diagnosis, operation plan, or education. Improving and enhancing the medical imaging have led to the availability of high definition images and three-dimensional (3D) visualization, it allows a better understanding in the surgical and educational field. The Real human field of view is stereoscopic. Therefore, with just 2D images, stereoscopic reconstruction process through the surgeon's head, is necessary. To reduce these process, 3D images have been used. 3D images enhanced 3D visualization, it provides significantly shorter time for surgeon for judgment in complex situations. Based on 3D image data set, virtual medical simulations, such as virtual endoscopy, surgical planning, and real-time interaction, have become possible. This article describes principles and recent applications of newer imaging techniques and special attention is directed towards medical 3D reconstruction techniques. Recent advances in technology of CT, MR and other imaging modalities has resulted in exciting new solutions and possibilities of shoulder imaging. Especially, three-dimensional (3D) images derived from medical devices provides advanced information. This presentation describes the principles and potential applications of 3D imaging techniques, simulation and printing in shoulder and elbow practice.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.