• 헤리티지:역사와 과학
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• 제54권4호
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• pp.152-173
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• 2021

대기치는 임진왜란 중에 새로운 군사 제도와 함께 도입된 깃발이다. 군사 훈련에서 표식으로 세워 군사들의 움직임을 통제하거나 상급자를 영접하기 위해 세우던 사방 4자 이상의 큰 깃발로 군영에서 국왕을 영접할 때 국왕 행차 앞에 세우는 어전 대기치, 사신 영접과 파견, 지방관의 행차 등에 다양하게 쓰였다. 군사 훈련권을 상징하는 대기치를 통해 무위를 과시하는 사회적 상황을 확인할 수 있다. 대기치의 깃대 장식을 영두·주락(상모)·운봉을 갖춘 I유형과 영두·주락·치미를 갖춘 II유형으로 나누어 형식적 특징을 분석하였다. I유형에는 청도기·각기·문기가, II유형에는 대·중·소 오방기와 금고기·표미기가 속하는데 각각의 용도에 맞추어 장식을 달리하였다. 깃발의 크기는 네 변이 4자 이상의 정사각형에 상하와 세로 한 면에 화염각을 달아 세로가 약간 긴 정사각형에 가까웠던 것으로 추정된다. 대기치는 음양오행의 원리에 따라 오방색을 기본으로 활용하였다. 대기치의 문양은 오방을 상징하는 신수와 도교 부적 글자를 결합한 대오방기, 오방을 호위하는 신장들을 그린 중오방기, 팔괘문을 그린 소오방기, 군문을 엄격히 지키라는 뜻의 익호 문양의 문기로 대별된다. 대기치 제작을 위한 채색 사료로 오사카부립도서관 소장품 컬러 필사본 『기제』를 18세기 중후반의 용호영의 견식으로 비정하고 본 논고 서술과 시각화 작업에서도 중요하게 활용하였다. 대기치의 바탕 재료는 군권의 위엄을 드러내기 위해 수입 운문대단을 썼다. 크기는 영조척 1자(30cm)를 적용하여 4자 깃발은 세로 170cm, 가로 145cm, 5자 깃발은 세로 200cm, 가로 175cm로 확정하였다. 아울러 국왕 의장기 중 대기 > 중기 > 대기치로 조선 후기 전체 깃발 안에서의 위계 질서를 확인하였다. 위의 문헌 및 회화 분석을 통한 고증과 유물 자료를 토대로 두 유형으로 나눈 대기치를 시각화하였다. 시각화에서는 본 논고에서 고증한 깃발의 크기, 깃대 장식, 깃발별 문양 장식을 고려하여 제시하였다. 깃발의 바탕은 운문대단으로 18세기 운보문단 유물에 표현된 운문과 보문 문양을 제시하여 원형에 가깝게 복원하고자 하였다. 색상과 크기, 재질의 문양, 부대물품 등을 함께 제시함으로써 3D 콘텐츠 제작뿐만 아니라 실물 제작까지 가능하도록 하였다.

• 복식
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• 제18권
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• 한국멀티미디어학회논문지
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• 제15권10호
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• pp.1196-1204
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• 2012

본 논문에서는 다양한 멀티미디어 매체의 제어 및 인터랙션을 위하여 별도의 입력장치 없이 사용자의 경험기반의 동작 인식을 통하여 멀티미디어 콘텐츠를 제어 하는 알고리즘을 제안하였다. 본 논문에서 제안한 사용자 경험 기반 멀티미디어 콘텐츠 제어를 위한 휴먼 동작 인식 방법은 먼저, 카메라로부터 입력받은 영상을 조명의 변화에 크게 영향을 받지 않는 YCbCr컬러 영역으로 변환하여 피부색 추출과 모폴로지에 의한 잡음제거, Boundary Energy 및 Depth 영상을 이용하여 손 영역을 검출하였다. 검출된 손 영상에서 PCA 알고리즘을 이용하여 손 모양을 인식하고 차영상 및 모멘트 이론을 이용하여 손의 중심점 검출 및 궤적을 획득한 후, 손의 궤적을 시간을 기준으로 8분할하여 8방향 체인코드를 이용하여 심볼화하였다. 심볼화된 정보로 부터 HMM 알고리즘을 이용하여 손동작을 인식, 사용자의 동작 인식을 통하여 멀티미디어 콘텐츠를 제어하도록 하였다. 제안한 알고리즘을 실험에 적용한 결과 손 영역 검출은 94.25%, 손 모양 인식은 92.6%, 손 동작 인식은 85.86%, 얼굴 검출은 89.58%의 성능을 나타내었으며 이를 기반으로 컴퓨터 환경에서 생성 구축된 영상, 음성, 동영상, MP3, e-book 등과 같은 다양한 콘텐츠들을 동작인식만으로 제어할 수 있도록 하였다.

• 한국실내디자인학회논문집
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• 제21권4호
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• pp.3-11
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• 2012

The purpose of the study was to find out design problems of grand chapel of the Protestant church and to set analysis frame based on theoretical study on abstract symbolism and investigate cases and to give reference of abstract symbolism expression of design of the chapel. The findings were as follow: Introduction of the light was found to be the most outstanding among abstract symbolic factors, and metaphor was commonly used to express abstract symbols. First, 1) Introduction of the light was found to be the most outstanding at application of abstract symbolic factor of modern Protestant church to be the highest among pastors, office bearers, believers and non-Christians. 2) The metaphor was found to be the most noticeable among abstract symbolic expressions. Second, the findings of questionnaire survey was: The findings of questionnaire of not only abstract symbolic expression factor but also symbolic expression method was not to cognize ideas of pastor, office bearers, believers and designers often. This was because abstract symbolism was made from point of view of designers. Therefore, abstract symbolic expression factors of grand chapel of modern Protestant church, for instance, effective introduction of the light, light quoting the Bible sayings, material, color and shapes, etc should be used with metaphor and symmetry to give Christians value of symbol and to hide meaning of symbolic values to non-Christians who do not know contents of the Bible.

• 복식
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• 제58권3호
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• pp.149-162
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• 2008

The Regular rule of Sang-uiwon served as a manual of Royal Attires. According to the procedures, like as making letters about the affairs, consulting, and permission, Royal ceremonial attire was made and presented to the royal family. The materials for the Royal informal dress were presented in accordance with usual tributes. There was no difference in informal dress between the royal family and noble class. But the name of items was different such as Goa du[man's jacket], Go ui[woman's jacket], etc. The royal family continued to wear old days dress as akjurm and noui, which were not worn by common people any more, as a means of differentiating clothes. Bub-bok, which was designed only for key figures of the royal family such as the king, crown prince, queen, and crown princess, was the best status symbol. Because of its highly limited example of wearing, bub-bok was the authority of the wearer itself; with only difference in color, pattern, and material depending on social status. Yong-po is the most frequently worn by the Royal men. Yong-po worn with jong-lip served as yung-bok or gun-bok, and iksun-gwan functioned as sang-bok. Royal Attire for men was clearly divided into Yong-po as sang-bok, bub-bok as myun-bok and gangsa-po, while jeok-ui for women functioned as both sang-bok and bub-bok. However, the use of jeok-ui was defined by differentiate sang-bok from bub-bok like as the pattern of Hyung-bae, number of embroidered round badges, shoes and ornaments.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.163-171
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• 2016

The objectives of this study is to analyze the characteristics of Chinese traditionality expression at restaurants in Beijing area. 12 restaurants were selected and visited for the investigation research. The results were as follows. First, traditional reproduction was found mainly manifested through the reproduction of traditional ornaments, in particular, the facade and interior element ornaments. Second, Traditional transformation was mainly manifested in replacement material while changing the shape slightly, or to stretch or shorten prototype shape and other negative deformation methods which did not largely out of the scope of traditional reproduction. Third, Traditional reinterpretation was expressed by abstract, symbol or metaphor on designs, usually people can not directly recognize the traditional archetype. When compare with traditional reproduction or traditional transformation, traditional reinterpretation was relatively fewer, however, in this study the traditional reinterpretation and traditional transformation have same numerical result. Reinterpretation as a positive performance method of traditional modernized, it was encouraging the phenomenon, especially in the ceiling design. Chinese traditional cloud patterns have been three-dimensional and diversification of use. And in the wall design, traditional elements have been extremely simplistic or adopted a wide variety of traditional elements, it may be preferred in diversity. In addition, furniture was tinge traditional elements in modern form, lighting was added symbolize color or picture on the traditional lighting which shape was simplified to emphasize space's traditional. But the facade, sign board, floor, and window element seems the range of variation was not wild, promote more use the positive traditional reinterpretation method.

• 디자인학연구
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• 제18권4호
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• pp.5-14
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• 2005

국내 각 지방자치단체의 커뮤니티아이덴티티 (community identity) 프로그램은 지역 활성화를 중요한 목적으로 한다. 커뮤니티아이덴티티는 타 지자체들과 차별화 된 이미지를 확립하고 동시에 지역주민의 애향심과 소속감을 높일 수 있는 매우 효과적인 방법 중 하나이다. 커뮤니티아이덴티티 외에도 지방자치단체의 아이덴티티를 형성하는 요소로서 꽃, 새, 동물 등의 각 지자체 상징물이나 그 지역과 연고가 있는 인물, 전통, 특산물 등을 시각화한 캐릭터가 있다. 최근에는 시티브랜드와 같은 마케팅지향의 브랜드 계획, 지역이벤트 등 다양한 프로그램들을 도입하고 있다. 본 연구는 현재 도입된 국내 지방자치단체 커뮤니티아이덴티티의 시각요소 중 심벌마크, 로고타입, 색상 등의 가장 기본적인 요소와 각 지자체의 상징물, 캐릭터의 시각요소 현황을 조사 분석하였다. 그 결과 각 지방자치단체의 커뮤니티아이덴티티 및 기타 디자인요소들의 차별성이 부족하고 여러 시각 요소들 간의 일관성도 결여된 것으로 나타났다. 지방자치단체의 차별화 된 이미지 형성을 위해서는 지역이 갖고 있는 보다 특색 있고 다양한 소재 개발과 커뮤니티아이덴티티를 중심으로 여러 시각요소들의 일관성과 상호작용을 통한 시너지효과를 유도해야 할 것이다.

• 복식문화연구
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• 제7권6호
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• pp.98-115
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• 1999

As sports infiltrates each field of modern society and becomes familiar, sports wear was changed functionally and was introduced and enveloped into everyday dress. Modern sports wear has been the settled in everyday life deeply and become the clothes of life which are worn regardless of place, time and age. The aim of this paper was to clarify what kind of fashion of sports style would be given to the modern people. In this study, sports wear which has become everyday dress classified from a gender point of view. It was divided into masculine image, feminine image, and neutral image. Sports wear of masculine image generated a silhouette which emphasized the shoulder with the aspiration for youth and health. Wide shoulder was considered as the symbol of masculine beauty and the expression of healthy beauty. It was reflected well in body conscious look. And owing to the development of up-to-data materials, innovation of design, and the study of human body technology, the functional character was settled in the sports wear which showed masculine image. Sports wear of feminine image was represented fashion of body exposure, body feet with body conscious look, and romantic mode. This image was expressed fashion as comforts, pleasant, active design, materials, color, and romantic feminine beauty. Sports wear of neutral image was expressed into unisex clothes. This cloths have no difference in gender, age, and class. It was used as casual sports wear. In the 1960s, young generation participated in such street sports as street basketball and skate. They usually sore the sports wears of neutral image such as cycling, skating, and ski. In the materials of sports, the development of up-to-data material like lycra made the sayings lifelike, “up-to-data material is the second skin” It show that glamorous feminine image and strong masculine image coexisted. The contemporary concept of sportswear is no longer limited to those clothes for sports found in such places like tennis court or swimming pool. Now, the sports wear become more like casual activity wear all classes of people can enjoy in their life regardless of where they are, when they wear, and even how old they are.

• 복식
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• 제60권7호
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• pp.14-30
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• 2010

The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.

• 대한교통학회지
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• 제29권6호
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• pp.57-65
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• 2011

3색 화살표 신호등(3색 신호등)을 시범 설치하여 운영하던, 2011년 5월 대한민국은 열띤 토론에 휩싸였다. 논란의 핵심은 두 가지로 요약 할 수 있다. 첫째 3색 화살표 신호등이 운전자에게 혼란을 일으켜 교통사고를 유발 할 수 있다는 것이고, 둘째 예산낭비라는 것이었다. 본 연구에서는 이러한 핵심 논란 중, 3색 화살표 신호등이 운전자에게 혼란을 초래하는지에 대해 초점을 맞춰 연구를 수행하였다. 효과척도(MOE)로는 차두시간을 선정하였다. 운전자가 교차로에 진입하면서 혼란스러워 머뭇거리면 출발손실시간과 차두시간에 영향을 주기 때문이다. 따라서 3색 화살표 신호등 설치 전/후 비교분석을 통해 기존 4구 신호등과 차이가 있는지에 대해 분석을 실시하였다. 현장조사는 총 3개 지점에서 실시하였으며, 설치 전/후 비디오 촬영을 통해 정지선을 통과한 차량의 차두시간을 측정하여 각 지점별 설치 전/후 차두시간을 비교분석하였다. 분석결과, 3개 지점 모두 3색 화살표 신호등 설치 전/후에 차두시간은 통계적으로 차이가 없는 것으로 분석되었다.