• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.159-162
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• 2008

The main consumers of wedding market are young people. They prefer differentiated and unique wedding and with the deregulation of using five-star hotels as wedding spaces in 1999, the wedding market has entered into an era of new competition. Under the background like above, this study tries to provide the basis for the effective and systematic interior coordination of wedding spaces. For this study, large banquet halls at 16 five-star hotels in Seoul were selected. Theoretical and field examinations, and interviews were conducted. The elements of wedding space include the architectural elements of floor, walls, and ceiling and lighting, color, fabric, table setting, and flower coordination. This study found that uniformity or repetition is used for the walls while modules are used for the ceiling. Unlike the past, LED is used for lighting to create diverse colors and the range of colors used has been broadened. In addition, fabric, table setting, and flowers are used actively to create overall atmosphere of the space. When these elements are aggregated and analyzed by hotel for interior design style, Hotels H and S have modern style, Hotels L and P have elegant style and Hotel IP have classical style.

• 한국의류학회지
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• 제35권12호
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• pp.1409-1417
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• 2011

This study examines King Louis XVI costumes and his portraits according to symbolic meanings. This study analysis of costumes comes from portraits related various domestic and overseas literature, preliminary study papers, and web sites. Omnipotence, activity, nobility, openness and benevolence were distinguished in the symbolic meaning expressed in the portraits of King Louis XVI. Louis XVI in a portrait was drawn with god or expressed as a martyr and symbolically showed the omnipotence of god. Louis XVI was symbolized as almighty god by maximizing the authority and dignity of the king through the hands of justice that were used as a background or portrait accessory and a costume with the symbol of House of Bourbon. Kings of many generations were expressed as authoritative through portraits. However, Louis XVI showed a proletarian aspect in ordering portraits to reflect the daily working image of communicating with citizens. Active images such as the king riding a horse or administering the state affairs were emphasized in a political and military perspective; in addition, the benevolence of the king was symbolically presented through a family portrait. This symbolically signified that the king is a warm-hearted person who passionately takes care of state affairs and loves the people through a noble element coming from pastel colors and attributes of red colors. Historically, the political incompetence and indifference of kings was fragmentally emphasized; however, these portraits considered the king as one who tried to fulfill duties as the true king with a great interest in politics and the people.

• 패션비즈니스
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• 제28권3호
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• pp.48-68
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• 2024

In recent years, with the international spread of traditional Chinese culture, traditional auspicious patterns have been used idely in modern textile design. In particular, a bat pattern has the same pronunciation as 'fu' in Chinese. It symbolizes good luck and longevity. It has auspicious meanings such as happiness, prosperity, wealth, longevity, and good luck. This study aimed to explore how cultural elements could be utilized in modern textile design by incorporating the traditional Chinese bat pattern into scarf design. Through literature research and case analysis, we aimed to understand the historical background and design characteristics of the bat pattern and develop it into a textile design suitable for modern scarf design to promote modern reinterpretation of traditional culture and cultural integration. From a design perspective, the shape of the bat pattern was analyzed to derive five main shapes and characteristics (symmetry, verticality, repetition, totality, and relativity). Based on this, 10 patterns were created by combining them with popular styles of modern scarf patterns. In addition, five product designs were completed considering 23/24 Pantone trend colors, 24spring/summer fashion trend colors, and silk scarf pattern characteristics.

• 복식
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• 제54권4호
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• pp.145-156
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• 2004

This study is regarding closed and open forms, which have relatively high recognition among visual perception phenomena in costumes. In particular, this study reviewed closeness and openness of ethnic look, which is a representative open costume. Closed form can be summarized as simple and clear silhouette, conspicuous differentiation from the background, simple construction of the costume and colors with low brightness and clearness. It Is modern, functional, rational and modest. On the other hand, open form can be summarized as complicated and inconspicuous edge line, complicated inner shape and colors with high brightness, high clearness and vividness. It includes concepts of pleasure, entertainment, joy, eroticism, rebel and resistance. Modern costumes have been simplified for a long time and they have functional and closed characteristics in their shape, structure and form. On the other hand, modern open form costumes are usually found in sub-cultural styles such as punk, hippie, kitsch and vintage, and some ethnic looks. Following is a summary of the characteristics of open form shown in the ethnic look. 1. The shape, structure of costumes, hair accessories, lace, ruffle and ornaments are complicated and irregular. 2. The silhouette is inconspicuous because of ambiguity between backgrounds and ABC (Apparel-Body-Construct) or the use of see-through materials. 3. It makes complicated visual shapes because it does not have a single type but is composed of various clothing items together. 4. It gives complex feelings by matching various colors or more than two different fabrics. 5. It looks like the open type because of the complex patterns shown in the costumes.

• 패션비즈니스
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• 제19권4호
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• 한국의상디자인학회지
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• 제16권2호
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• pp.1-13
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• 2014

Hundertwasser's paintings have the characteristics in his works continue to emerge organical spirals, geometric pattern of squares, mysterious and gorgeous colors. This study by applying them, it has been purposed of expansion of representation outstanding artistic formative knitwear by using yarn of various textured fabrics and leather, felt, beads of the materials. The methods of this study are through the analysis of literature of Hundertwasser's paintings and art world and formative traits. It has been studied the literature of the theoretical background on general examination of knitwear and knit, felting, needle punching techniques. Conclusions from this study are as follows: The first, It could know the organic spirals and geometric square patterns and gorgeous colors of Hundertwasser's paintings are suitable as a decorative and rich motif of knitwear design. The second, It was possible unique and various texture expression of decorative patterns of Hundertwasser's paintings by expressing variety of materials of knit, felt and fabric, leather, beads. The third, It was expressed knitwear of unique texture to express Hundertwasser's image of the painting by using hand knitting, felting, needle punching, patchwork, beading of complex techniques. The forth, It was reflected well Hundertwasser's idea which was affected nature and art nouveau that all production processes are composed of handcraft techniques. It was suitable to express the naturalness of hand knit and not mechanical or artificial image. The fifth, It was analyzed lines and patterns of Hundertwasser's painting. The spiral is simultaneously constituted curve shape and area that square patterns also have devided area.

• 한국의사학회지
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• 제26권1호
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• pp.55-71
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• 2013

Objectives : In physiognomy, human emotion such as joy, anger, sorrow, and pleasure in social relation is one of important factors for impression formation. Various emotional feelings exert significant influence on the endocrine action and the muscle activities as well as changes of one's impression, which results in changes of one's life. On the other hand, such alterations in life may also bring changes of one's impression. The method of physiognomic examination is not different from the inspecting colors that makes a diagnosis of physical conditions. Thus, based on "Yeongchu Ohseak(靈樞 五色)", the present study compares similarities and differences between the two views of the physiognomy and the Korean medicine. Methods : The similarities and differences between the two approaches will be compared to each other and analysed with the respect to inspecting colors suggested by preceding research in physiognomy and "Yeongchu Ohseak(靈樞 五色)". Results & Conclusions : From this study, we found physiognomy and the Korean medicine shares the same theoretical background. The differences that we found in the present study are as follow. The inspection diagnosis in the Korean medicine focuses on the prevention and treatment of diseases; however, physiognomy focuses on the prognostication of one's life in order to lead a happy life. As the ultimate goals of the two approaches differ with each other, it is peculiarly challenging to compare these two in detail. Therefore, the future study should address physiognomy as a part of the Korean medicine so that the Korean medicine can contribute to mankind for a better and healthy human life.

• 한국결정성장학회지
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• 제34권1호
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• pp.22-29
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• 2024

조류를 모티브로 디자인한 작품은 예나 지금이나 꾸준히 인기를 끌고 있다. 특히 신화에 나오는 조류를 모티브로 디자인 작품들이 큰 사랑을 받고 있다. 그래서 본 연구는 중국 신화의 대표작인 산해경 중에서 조류를 모티브로 한 주얼리 디자인을 연구하고자 한다. 본 연구에서는 산해경에서 등장한 조류의 특징을 분석하였으며, 그 조류들을 모티브로 한 디자인 사례를 조사하였다. 산해경에 등장하는 조류는 크게 신조(divine birds)와 괴조(monstrous birds)로 구분되며, 신조는 주로 다양한 색상의 조합 및 통일된 색조로, 괴조는 주로 대비가 강한 적색, 녹색 및 흰색으로 표현하고 있다. 산해경 속의 조류를 모티브로 한 장신구의 형태, 색상 및 상징성을 분석했다. 이러한 작품들은 주로 다양한 색상(multicolored color), 녹색 및 적색을 사용했다. 시대 배경 및 디자인 형태의 관련성을 통해 산해경의 기원과 관련된 시대에서 형태와 패턴을 적용하여 디자인했다. 이러한 연구 결과를 바탕으로 신화적인 조류 디자인에 관심을 가지는 디자이너들에게 도움이 될 것으로 기대한다.

• 한국환경농학회지
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• 제35권1호
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• pp.46-54
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• 2016

주요 온실해충인 담배가루이와 꽃노랑총채벌레를 대상으로 크기가 다른 백색의 여섯 가지의 방충망(0.2, 0.3, 0.4, 0.6, 0.8 mm과 TW30)과 세 종류의 색상(흑, 백, 적)을 가지고 차단율을 조사하였다. 담배가루이와 꽃노랑총채벌레는 0.2 mm 방충망에서는 각각 100%와 86%의 높은 차단효과를 보였다. 그러나 0.3 및 0.4 mm 망에서 담배가루이는 96% 이상의 높은 차단율을 보인 반면 꽃노랑총채벌레는 40% 미만의 낮은 차단효과를 나타냈다. 담배가루이에 대한 0.6와 0.8 mm의 백색과 적색망의 색상별 차단효과를 조사한 결과 0.6 mm 망에서는 백색이, 0.8 mm 망에서는 적색이 우수하였지만 큰 차이는 보이지 않았다. 꽃노랑총채벌레에 대한 0.2 mm 백색과 흑색망에서는 백색보다 흑색에서 100%의 완벽한 차단효과를 나타낸 반면, 0.6과 0.8 mm의 흑, 백, 적 또는 백, 적의 반응에서 백색보다는 적색의 차단효과가 높았다. 공기 순환과 경제성 측면에서 생각해 보면 담배가루이 방제에는 0.4 mm 백색 방충망을, 꽃노랑총채벌레 방제에는 0.2 mm의 흑색 방충망을 사용하는 것이 효과적이다.

• 한국컴퓨터정보학회논문지
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• 제11권2호
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• pp.25-33
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• 2006

본 논문에서는 영상을 자동적으로 객체와 비객체 영상으로 분류하는 방법을 제안한다. 객체 영상은 객체를 포함하는 영상이다. 객체는 영상의 중심 부근에 위치하고 주변 영역과는 상이한 칼라 분포를 가지는 영역들로 정의한다. 영상 분류를 위해 객체의 특징에 기반을 두고 네 가지 기준을 정의한다. 첫 번째 기준인 중심 영역의 특이성은 중심 영역과 주변 영역간의 칼라 분포의 차이를 통해 계산된다. 두 번째 기준은 영상 내의 특이 픽셀의 분산이다. 특이 픽셀은 영상의 주변영역보다 중심 부근에서 더욱 빈번하게 나타나는 상호 인접한 픽셀들의 칼라 쌍에 의해 정의된다. 세 번째 기준은 중심 객체의 평균 경계강도이다. 세 번째 기준은 분류 기준들중에서 가장 우수한 분류 성능을 나타내지만 특징값을 추출하기 위해서는 중심 객체를 추출해야 되는 많은 연산을 내포하고 있다. 이에 이와 비슷한 특성을 나타내는 네 번째 기준으로 영상 중심 영역에서의 평균 경계강도를 선택하였다. 네 번째 분류 기준은 세 번째 분류 기준에 비해 분류 성능은 조금 낮지만 빠르게 특징값을 추출할 수 있어 많은 데이터를 빠른 시간 내에 처리해야 되는 대규모 영상 데이터 베이스에 적용가능하다. 영상을 분류하기 위해 신경회로망 및 SVM을 사용하여 이들 기준들을 통합하였으며 신경회로망 및 SVM의 분류 성능을 비교하였다.