• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.39-49
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• 2011

The presented study was designed to investigate the attribution of the visual perception of decorating techniques that have often been witnessed in the realm of modern fashion since 2006. The form is more impressive, more suitable to convey a message and, most of all, more memorable. In this study, attempts were made to categorize and create an order of prioritization among components such as surrounding, pattern (closure), space arrangement, area, overlapping, and community (proximity) surrounding that comprise the place and arrangement of decorating techniques in modern fashion. The results were as follow: First, centered decorating technique surrounded by other techniques is prioritized. Second, the more standardized the clothing with patterns, the more it was noticed. Third, the space arrangement also had an impact on prioritization in the following order: center of the sight, horizon, vertical, and diagonal in relation to the central axis. Fourth, concentrated area attracted more attention. Fifth, when overlapped, what is placed in the front became the center of recognition. Sixth, the technique that formed a community was more recognized. Therefore, the study suggests that as the decorating technique is gaining more significance, these findings would help to find the most effective method to utilize an acute visual stimulus to apply for a technique and maximize its aesthetic effects.

• Proceedings of the Korean Society of Computer Information Conference
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• 2024.01a
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• pp.403-406
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• 2024

본 논문에서는 비눗방울에 나타나는 반사와 굴절 효과를 상용 게임엔진인 유니티 쉐이더(Unity shader)를 사용하여 구현하고 다양한 배경에서 합성할 수 있는 효율적인 프레임워크를 제안한다. 본 논문에서 제안하는 방법은 계산량이 큰 유체 시뮬레이션을 이용하지 않고, 스넬(Snell)의 법칙을 이용하여 박막 내부의 굴절 벡터를 계산하고, 막 표면의 표현을 위해 다양한 텍스처(Texture)를 적용하였으며, vertex의 조정을 통해 비눗방울 자체의 움직임을 나타낼 수 있다. 결과적으로 실시간으로 높은 품질의 비눗방울을 표현할 수 있기 때문에 게임뿐만 아니라 가상현실 및 다양한 실시간 애플리케이션에 활용될 수 있다.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.102-109
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• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.