• Title/Summary/Keyword: 투시도법

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A Study on the Modelling Interface in Design With an emphasis on linear perspective and CAD programs (디자인의 모델링 인터페이스 투시도법과 CAD 프로그램을 중심으로)

  • Park, Hae-Cheon;Lim, Chang-Young
    • Archives of design research
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    • v.20 no.1 s.69
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    • pp.203-218
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    • 2007
  • Does CAD technology have a possibility to promote new logics of design thinking and form-creation? Starting with such a question, this study inquires into soical constructions of linear perspective and CAD programs. Using a concept of the modelling interface as an analytical frame, this study discusses; 1) a historical process in which the linear perspective, as a drawing-oriented modelling interface, had permeated its geometrical principles into the artificial environment and justified them in a dimension of the aesthetic discourse, 2) technological contexts in which computer-based modelling interfaces such CAD programs were developed and separated from the tradition of the linear perspective, with the introduction of new kinds of modelling algorithms and graphic user interfaces.

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Basic Modeling Class Method to Improve the Spatial Perception Ability for Jewelry Design Majors (주얼리 디자인 전공자의 공간지각능력 향상을 위한 기초조형 수업 방법)

  • Chang, Chin-hee
    • Journal of the Korea Convergence Society
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    • v.12 no.10
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    • pp.249-254
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    • 2021
  • This study is about the class model that can demonstrate the modeling ability using the spatial perception capability on basic modeling required for jewelry design majors and the most important perspective method in jewelry design. The outputs were obtained by presenting the topics for creative activities to students after theoretical explaining how to present a spatial sense and presenting practical classes on basic shapes, stereoscopic shapes and perspective methods. While the existing basic molding classes were only practical classes, this study presented students with a class model that allows them to use creativity, basic perspective, and spatial sense together. And it was found out evaluation method that both students and professors can relate to each other through the intensive education effects and clear evaluation standards. I hope that this paper will continue to study more diverse materials and convergent class models.

A Study on the Transition of the Perspective connected with Visual Modality (시각양식과 관련한 투시도법의 변천에 관한 연구)

  • 곽기표
    • Korean Institute of Interior Design Journal
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    • no.38
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    • pp.48-56
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    • 2003
  • This study is purposed to find the transition of the perspective connected with visual modality. The perspective based on Greek optics and euclidean geometry and rediscovered in Renaissance represents the object according to the particular moment and the point of view, is a principal fact which affect architecture, the form of a city and the spatial organization and symbolizes an ideal of the times. It embodied perception which treats the space rationally on the basis of realism and became visual modality based on the separation of the seeing subject and the world of the object. The point of view became one with the vanishing point which made up the shape and after Renaissance for four hundred years a straight line, a right angle and a circle got to be favorite geometrical choices in architecture. A fixed point of view of the subject is getting to change and break up fundamentally by the new visual technologies of the modem times.

A Study on the Orientation and Mean of Anamorphosis in Architectural Perspective (투시도법에서 왜상(Anamorphosis)의 의미와 위상에 관한 연구)

  • 이승우;정례화
    • Korean Institute of Interior Design Journal
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    • no.21
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    • pp.94-100
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    • 1999
  • After fifteenth century artists sought for a method on representation of nature through perspectiva artificialis. Perspectiva artificialis is become a tool for establishment of their theory and value. This study aim to study Orientation and mean of Anamorphosis in Architectural Perspective and transitional procedure of perspective in appealing the will of Architects. Initially, the concern of perspective is begun with optics in the Middle Ages. In Renaissance Ages perspective are presented a scientific and real world to a transformation of non-scientific world with visual cone, vanish oint and anamorphosis. In artists anamorphosis specially is a effective means to emphasize a affect of mannerism. Accordingly, perspective is discoursed to approached between art and technique. After renaissance perspective is become the driving force of the representation in spirit of scientific investigation ; while anamorphosis such a manneristic present in art is motived to prevent from obtaining its universe and implicity through their methodology.

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A Study on the Non-representational Architecture in Comparing between Perspectiva artificialis and Digital Modelling Method (투시도법과 디지털 표현방식의 비교를 통한 비표상적 건축에 관한 연구)

  • Jung, In-Ha
    • Journal of architectural history
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    • v.12 no.2 s.34
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    • pp.21-39
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    • 2003
  • After a digital modelling method has been introduced into architectural design in 1990s, a radical change was taken place in generating architectural form and space. Many architects have a view that digital modelling method is the most Important invention in the visual presentation since the moment that architect Philippo Brunelleschi experimented initially the linear perspective. Therefore, in this study, comparing between perspectiva artificialis and digital modelling method, we clarify 1) the relationship of architectural design and presentation method, 2) the practical and philosophical background inherent in digital modelling method which played key role in developing non-representational architecture, 3) and the principles of non-representational architecture like diagram, folding, and trace.

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The Influence of Landscape Painting Concepts on Garden Design Principles in East-Asia - Focused on the Relationship between Chinese Painting Theory and Garden Theory - (동양그림의 경관관이 작정원리에 미친 영향 - 중국화론과 원림론의 관계를 중심으로 -)

  • Kim, Han-Bai
    • Journal of the Korean Institute of Landscape Architecture
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    • v.37 no.6
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    • pp.85-95
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    • 2010
  • East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

A Study on 'the Depth of the Film Image' and its aesthetic implications in the Wes Anderson's films: Focusing on the film and (웨스 앤더슨 감독의 영화에서 '화면 깊이감'의 활용과 미학적 함의 - <그랜드 부다페스트 호텔>과 <문라이즈 킹덤>을 중심으로)

  • Choi, Hyun-Ju
    • Cartoon and Animation Studies
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    • s.43
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    • pp.343-362
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    • 2016
  • The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.