• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.250-258
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• 2007

Typography is the combination of language of formative art. It is indeed the core means of human communication through understanding of language and formative values. Studies began on introduction of various techniques to overcome the phenomenon of the 'reaction of language', which appears as an impediment in delivery and sharing of information as the most fundamental roles. Successively, mobile printing types more readable and effective in delivering of meanings have been developed, thus widely distributed for general use. However, although such printing types might be easily used in image and digital media, such as in computer monitors, screens and mobile phone LCDs, etc., it is in fact difficult to use these printing types in printed surfaces, the traditional medium of information delivery, or in sign systems frequently encountered in our surrounding environment. As a solution for this, it is intended to create an effect of communication closer to dynamic typography expression by approaching visual message delivery system from the essence and substance of the color application, which corresponds to the visual spatial expression effect, the core element of expression in dynamic typography to possess significantly more powerful effect in terms of both message delivery capacity and readability than the conventional means of static typography.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.85-98
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• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

• Journal of KIISE:Software and Applications
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• v.31 no.2
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• pp.203-212
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• 2004

The watermarking is a method to achieve the copyright protection of multimedia contents. Among several media, the left documents show very peculiar properties: block/line/word patterning, clear separation between foreground and background areas. So algorithms specific to the text documents are required that meet those properties. This paper proposes a novel watermarking algorithm for the grayscale text document images. The algorithm inserts the watermark signals through the edge direction histograms. A concept of sub-image consistency is developed that the sub-images have similar shapes in terms of edge direction histograms. Using Korean, Chinese, and English document images, the concept is evaluated and proven to be valid over a wide range of document images. To insert watermark signals, the edge direction histogram is modified slightly. The experiments were performed on various document images and the algorithm was evaluated in terms of imperceptibility and robustness.

• Archives of design research
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• v.17 no.2
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• pp.15-22
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• 2004

Recent complex visual culture is the visual world widely magnified according to the images like image, graphics, photograph, movie, and television, etc. by the development of digital technology. Because it conveys meanings and contents inserting sound and letters, it may have multimedia character conveying and communicating information beyond general language and letters. The vision for various images at that time is inseparably connected with language. And imaginative order of image and vision are composed of special way in culture and history. Language is different in society, culture, and history. Accordingly, if visual experience is communicated with language partially, it is difficult to have university. So, role of linguistic order plays an important role in forming and defining the social and cultural differences among the visual systems. Historically various visual and optical devices with this visual language have influenced a lot. These visual technologies are concrete and physical practice determining a way to get together with the subject and the visible object in the visible world. The visual language is connected with dimension like these symbols of images and the dimension like visual technologies to series of historical physical and institutional practices. It determines social visual mode toward object world in one of visual system. Accordingly, this study is to understand visual language with social and historical character according to the changed concept and characters as development of media technology. And it is to explain it in view of visual language as a dimension of symbol and visual technology of institutional and physical practice. After all, it cannot explain the effect on the function and visual mode of visual technology as its technical element only. It also cannot separate with the practice with coherent discourse and the physical and institutional practice. The possibility, technical element of technology contains, does not realize as it is but the effect is always communicated in the social veins and realized with a restriction.

• The Korean Journal of Archival Studies
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• no.58
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• pp.95-145
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• 2018

As a communication language, non-text records and archives such as photographs, images, and videos are becoming more important than text records. As a result, domestic institution, organizations, and specialists related to record management have been emphasizing the necessity of the archive management system appropriate for the distinctive characteristics of image records. This paper summarizes the points to be considered for the establishment of the Korean audiovisual archives management system, based on the writer's experience of participating in the International Audiovisual Archives Management Training for professionals in the world(INA Frame) of 2018. In particular, various types of contents including cinema, broadcasting, cultural should be managed at the national level. Furthermore, the necessity of a new concept establishment for "public audiovisual heritage" is accentuated. In addition, the tasks regarding the establishment of foundation, such as the modification of the related systems and infrastructures, and the layouts of the institution or governance, should be reviewed and revised. Moreover, the preliminary tasks revised, should be lead to the establishment of stable management system for public audiovisual archives of Korea.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• v.9 no.1
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• pp.353-357
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• 2005

본 논문에서는 영상 입력 장치 또는 카메라 이미지 센서로부터 얻은 Bayer Data입력 포맷을 우리가 디스플레이 장치로 보는 영상으로 출력하기 위해 전처리 작업을 수행한다. 먼저 들어오는 Bayer Data Format은 인터폴레이션을 수행하여 컬러영상을 표현하기위한 한 픽셀 표현 R, G, B값을 구한다. 본 논문에서는 연산량과 필요한 레지스터의 수를 줄이고 칩의 성능을 향상시키기 위해 기존 3${\times}$3라인 쓰지 않고 2${\times}$2라인을 이용한 인터폴레이션을 수행한다. 또한 Bayer Data입력에 대한 이미지 스케일링 작업과 인터폴레이션 수행 작업을 동시에 수행한다. 이를 구현하기위해 원본 이미지 사이즈를 640${\times}$480으로 입력 데이터를 사용하고, 소프트웨어로 전처리하여 이미지 결과를 확인한 후, 최적화된 알고리즘를 적용하여 VHDL설계언어를 이용한 하드웨어 설계후, ModelSim 6.0a를 이용하여 데이터를 검증한다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• v.9 no.2
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• pp.607-610
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• 2005

상황에 따라 조명의 밝기나 종류 등에 영향으로 CMOS 이미지 카메라 센서로부터 입력 받은 영상의 색상은 원색과 차이가 있다. 이러한 왜곡된 색상을 Red, Green, Blue와 휘도를 이용하여 원래의 색으로 표현하는 과정이 White Balance이다. 사람은 색이 눈으로 입사되는 물리적인 자극 외에 대뇌의 작용으로 광원이 바뀌어도 같은 색으로 인지하는 특징이 있다. 따라서 이러한 과정이 없을 시에는 우리의 눈으로 보는 것과 영상장치를 통해서 모니터에 표시되는 영상의 색상과 차이가 생긴다. 본 논문에서는 RGB와 휘도를 이용하는 방법과 논문에서 제안한 히스토그램을 이용하는 방법에 대해 소프트웨어를 사용하여 각각의 상황에 따라 알고리즘을 적용하여 WB를 수행한 결과에 대하여 PSNR을 구하여 비교 분석한 후 최적화된 알고리즘을 이용하여 하드웨어 설계 언어인 VHDL을 사용하여 구현하고, ModelSim6.0a를 이용하여 데이터를 검증한다.

• Proceedings of the Korean Information Science Society Conference
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• 2000.10b
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• pp.440-442
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• 2000

필기 한글 문자 인식을 위해서는 패턴을 구성하는 획 성분을 분석하는 작업이 필수적이다. 획 성분 추출을 위해 사용한 세선화 방법은 입력 영상을 왜곡하는 단점을 가지고 있다. 이를 극복하기 위하여 본 논문은 입력 영상을 왜곡하지 않고 의미 있는 부품 단위로 분할하는 방법을 제안한다. 의미 있는 부품이란 유사 볼록하게 분할된 영역을 의미한다. 분할 방법은 먼저 입력 영상에 볼록 헐 연산을 적용하여 오목 영역을 생성한다. 이 오목 영역에서 분할 기준(anchor point)점을 탐지하고 획의 반대편 외곽선 상에서 분할 끝(terminal point)점을 찾아 분할 경로를 구성하여 획을 분할한다. 모든 부품이 유사 볼록 조건을 만족할 때까지 위 과정을 반복 수행한다. 제안한 방법은 두 개의 파라미터만을 가지며 간단한 프로시져로 구성되어 있다. 또한 필기 한글 패턴뿐 아니라 여러 언어에 적용 가능하다는 장점을 갖는다.

• Proceedings of the KIEE Conference
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• 2001.07d
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• pp.2377-2379
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• 2001

본 논문에서는 인터넷 기반의 이동로봇의 원격제어를 위한 시스템의 효율적인 구성을 제안하고 구현한다. 구현된 원격제어 시스템의 인터페이스로 일반적인 웹 브라우저를 사용하며, 이동로봇의 제어용 서버와 이동로봇의 감시용으로 외부에 설치된 CCD 카메라 제어용 서버의 효율적인 구성을 위해, 기존의 Unix나 PC상에서 구현되었던 제어용 서버를 내장형 웹 서버로 대체한다. 외부에 설치된 CCD 카메라의 영상은 프레임 그래버로 전송되며 전송된 영상은 Microsoft Visual C++ 프로그램 언어를 사용하여 할당된 메모리에 저장한다. 저장된 영상은 클라이언트 풀 기술(client pull technique)을 이용하여 웹 브라우저를 통해 직접 보여줌으로써 현장의 실시간 감시가 가능하도록 한다.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.837-841
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• 2007

최근 영상을 중심으로 여러 형태의 정보를 결합하여 저장하거나 전송하는 멀티미디어가 많은 관심을 받고 있다. 현재 카메라와 관련된 동영상 캡처기술은 Motion JPEG이 주류를 이루고 있으며, 텔레비전, DMB 등의 방송 분야 및 DVD, VCR 분야에서는 MPEG-2, MPEG-4, H.264 및 WMV9 등의 압축 코덱이 채용되고 사용되고 있다. 그러나 이러한 다양한 영상 표준방식은 디코딩시 호환성 문제가 발생하게 되고 이에 따라 통합 코덱 연구가 필요하다. 이에 본 논문은 일반적 스텝 양자화외에 데드존 양자화를 사용하고 "$4{\times}4$", "$4{\times}8$", "$8{\times}4$", "$8{\times}8$"의 다양한 블록크기의 변환을 지원하는 VC-1을 기반으로 한 ITIQ C언어를 통해 시뮬레이션하고 최적화된 결과를 VHDL로 구현하여 향후 통합코덱 연구에 응용 가능하도록 연구 및 분석평가 하였다. 설계결과 4:2:0의 YCbCr포맷의 최초 $16{\times}16$블록을 복원하는데 483~510클록이 소요되었고 Xilinx XCVPC100 FF1696-6 환경에서 93,128개의 게이트 수와 71.469MHz의 동작속도를 나타내었다. 이는 640*480 크기의 컬러영상을 디코딩 하는데 프레임 당 최대 0.0074초가 소요됨을 의미하며 초당 30프레임의 영상에서도 0.222초면 디코딩이 가능한 결과이다.