• Journal of the Korean Chemical Society
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• v.52 no.5
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• pp.488-494
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• 2008

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.109-110
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• 2003

위편성물을 제편할 때, 편직기에서 동일한 편사를 사용한다고 하더라도 편성 조직(knit, tuck, miss의 구성비율)이나 편성밀도에 따라 짜여진 편성포의 구조 및 외관특성은 매우 다르게 나타난다. 편성포의 편성조직, 폭, 길이, 두께, 무게, 밀도 등은 기본적인 구조적 특성이지만 그 용도에 따라 편성포의 성능을 결정짓는 중요한 평가요인이 된다. 또한 니트웨어의 맞음새를 위한 원형설계나 치수체계를 설정하는데 있어서 매우 영향을 미치는 요인이 되므로, 니트웨어의 디자인을 할 때 고려되어야 할 매우 중요한 인자이다. (중략)

• Proceedings of the Korea Society for Energy Engineering kosee Conference
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• 2003.05a
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• pp.563-566
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• 2003

여과포 표면상에 도달하는 입자의 농도를 낮추거나 균일하게 유지시킬 경우, 부착된 입자층 두께의 성장으로 인한 압력손실의 증가율을 줄일 수 있고 이로 인하여 탈진 주기 또한 감소시킬 수 있다. 탈진 조작의 저감으로 인하여 여과포의 수명 증대로 여과포의 교체 시기를 연장시킬 수 있으므로 여과포 집진장치의 운전 및 유지 보수비의 저감을 이룰 수 있다.(중략)

• Journal of Hospice and Palliative Care
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• v.8 no.2
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• pp.190-199
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• 2005

Purpose: Objectives of this study was to investigate the level of anxiety and depression according to the stages of autologous and allogeneic hematopoietic stem cell transplantation (HSCT). It would be provide the basis for effective psycho-emotional nursing intervention. Methods: We report on 52 patients, including 19 with autologous HSCT, and 33 with allogeneic HSCT from August 2002 to August 2003, at a university hospital. Spielberger's State-Trait Anxiety Inventory and Jung's Depression Inventory were used to measure levels of anxiety and depression, respectively, at admission time, the day before HSCT, and discharge time. Data was analyzed using SAS program that included Chi-square test, Fisher's exact test, repeated measures ANOVA and Stepwise multiple regression analysis. Results: In all stages of HSCT, the level of anxiety of patients who underwent allogeneic HSCT was significantly higher than that of autologous HSCT (P=0.047). The depression at the day before HSCT was significantly higher than that at admission. The major variable affecting anxiety in autologous HSCT was depression. Specially depression and gender were significant predictors to explain anxiety in allogeneic HSCT at admission time (61%). Experience of relapse and gender were significant predictors to explain anxiety in allogeneic HSCT at discharge time (36%). Conclusion: We recommend that the anxiety and depression be researched during the stages of allogeneic HSCT, specifically in the day before HSCT. It is necessary to develop an effective psycho-emotional nursing intervention according to the stages of HSCT.

• Cartoon and Animation Studies
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• s.33
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• pp.363-382
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• 2013

Up until about ten years ago, the use of typography played only an auxiliary role on broadcast television programs, primarily by transmitting information in order to facilitate a basic understanding of content. Recently, however, kinetic typography has become an important component in broadcast production. In fact, kinetic typography has developed into a visual language and a means of artistic expression, one that is increasingly used in the production of entertainment programs on television. This paper analyzes six aspects of kinetic typography: manner of development, location, intent, expressive techniques, color and font selection. Particular attention is placed on their use in three highly rated television entertainment programs: "2 Days & 1 Night", "Running Man", and "Infinite Challenge". The development way consists of the technique : starts off with cut and ends with cut. While, other techniques show conversation and situation representation using Z axis : zoom-in, zoom-out in , X axis : pan in <2 Days & 1 Night>. and Y axis : tilt in . Typographic design elements, expression technique, color, font are shown up according to the feature of each program. The resulting analysis suggests new ways for motion arts designers and the broadcast media to use kinetic typography in the development of television programs.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.162-175
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• 2020

The purpose of this study is to deal with practical investigation, which blends symbolism on spatio-temporal level-especially typography in three-dimensional environment-and the symbolism of written language in the context of visual communication. Up until now, typography research and education have mainly been centered on two-dimensional environment and printing technology, such as the paper. However, this study is the result of this researcher's direct design and implementation of projects on typography aside from paper. Accordingly, this study is to provide an opportunity to raise the level of reason and expression used in visual communication to a new level and to expand its scope. To ensure the efficient progress of the project, this study was to identify the structure, system, and process of communication first. Furthermore, this study was to investigate two-dimensional and three-dimensional typography as the backbone of visual communication. In addition, several representative 3D typography works are analyzed in context and used as the conceptual framework of the project conducted for this study. Based on these results, this research verifies and suggests the possibility practically and objectively by creating the project series entitled Rhetorical Space in 3D typography. In addition, this research gives an opportunity to visualize ideas aimed at the development of character-based visual language and visual communication design in the realm of the more spatial, physical, and three-dimensional public environment.

• Journal of Korea Multimedia Society
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• v.16 no.7
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• pp.888-896
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• 2013

The existing interface study has been focused on rhetorical metaphor based on a cognitive viewpoint in traditional objectivism. But the existing study viewpoint about the interface shows logical limitation by the changes in media environment. This study suggests conceptual metaphor based on embodied cognition for an alternative to solve the limitation, and research logical suitability of the existing interface environment. The result of this study is as follow; The first, the embodied cognitive viewpoint provides the interface as a space for holistic recognition communication, and the conceptual metaphor based on embodied cognition provides a well-structured metaphor logic and is a suitable metaphor to explain complicated metaphor structure. The second, the container image schema provides concrete and detailed metaphor structure than previous metaphor when it comes to explaining desktop metaphor by offering subsidiary image schema from 'IN-OUT-BOUNDARY' image schema. The third, path image schema is possible to make a concrete logic and works off the laxity and confusion of logical structure in existing metaphor by offering subsidiary image schema from 'SOURCE-PATH-GOAL' image schema. The conceptual metaphor based on embodied cognition is expected to be a basic theory to explain interfaces for various media environment by thinking of human physical experience as container and path image schema.

• Defense and Technology
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• no.11 s.11
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• pp.35-44
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• 1979

• Archives of design research
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• v.12 no.3
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• pp.43-52
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• 1999

For Bauhaus, the vaious typography experiments developed around the printing workshops, and it was only in the later Weimar Period that L. Moooly-Nagy, who came to be in charge of the rxinting workshops, approached it from the functional way of thinking and demanded print type reforms Using this as the basis, a new form of typograph called "typophoto" was developed by combining images and characters together using photography techniques and Bauhaus Unification Chaacter producyion. Harbert Bayer, striving at molds based on the ideologies of L. Moody-Nagy, prepared the framework for modern informational advertisements by producing a variety of advertisements based on several law of psychology and physiology. Bayer's successor, Joost Schmidt focused on lettering based on functionalism and typographic training and practice, while pioneering in the new area of display design wiwh efficient usage of space for exhibitions a1d dsplays. Thus, despite being carried doWl by the same leader in the sane era, the series of typographic experiments undertaken by the artists Bauhaus present guidelines to the direction modern visual communication must take through creativity and insight into the upcoming future that is not contained within the boundaries of traditions and customs.and customs.

• Archives of design research
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• v.14 no.4
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• pp.99-108
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• 2001

The Charm is composed of various kind of ancient signs, letters and systematic characters so that they delivers messages with many expressions. They, compared with the experimental typography, are more logical and experimental than we generally think. Also, they have meanings and attributes as characters do, in which there are symbols, hieroglyphs, pictures and other similar words. Each attribute diverse from symbolic meaning, associates to deconstruction of letters. It is needed to review the experimental attributes of charms with the view of structural typography for potentialities of expression. The purpose of the study is to analyze and classify the morphologic construction of charms so that we can find the possibilities of applying the attributes to visual languages and typography. Future study seems to be extending the area of expressing of typography fit for our own culture, not for Western