• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.13-25
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• 2004

The purpose of this study was to show the analysis system and the expression which is applied to fashion illustration by three major components in visual sign, metaphor and metonymy. The results of this study were as follows : Firstly, metaphor in qualisign of syntactics was revealed as a color such as realistic description, a pattern such as clothing of figure. etc. Metonymy was revealed as a social and cultural background color, a concept pattern. etc. In sinsign of syntactics. metaphor was revealed as a human body, non-human body and metamorphosis human body and metonymy as a human body and non-human body. In legisign of syntactics, the metaphor by perspective was used for a fantasy of space. and the metonymy was revealed as a color perspective representation, etc. The degree of change of texture was revealed as a metaphor and metonymy of gradation. And conventional custom sign was almost revealed in metaphor. Secondly, semantics showed about fashion image as juxtaposition of two similar objects in metaphor and as real description and simplification in metonymy Alternative fashion image in semantics was presented as a object related to fashion image. Conventional symbolic sign was presented as a role to clarify a fashion message in metaphor. Thirdly, the metaphorical and metonymical expression in pragmatics were usually presented as drawing and painting.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.33-42
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• 2011

This study, by applying the experiential and psychological thought category of "impression" as the space design strategy for drawing out "sensitivity," aims to break down the psychological mechanism forming the image held by the subject, and based on such segmentation, seek and strategize an effective design methodology. The subject's memory, pure sensation, and movement sensation are set as the preceding determinants comprising the psychological mechanism of space impression. The control determinants for achieving activation of psychological effect are reinterpreted as the relations of memory-cognition, sensation-perception, and movement-sensation and categorized into a cognitive strategy based on association, metaphor and remembrance; a direct sensation strategy based on formation, superposition and transposition of sensation; and a sensation strategy of process-formation based on expectation organization and reversal, contraction and relaxation. Each strategy is achieved through the formal, material and structural control of architecture. As a restructuring of the design methodology that has been experientially applied, the strategy categorization is important in that, by presenting the usefulness and effect by strategy according to space experience, it makes concrete the basic data that are useful for designing experience of sensitivity.

• Hwankyungkyoyuk
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• v.18 no.2 s.27
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• pp.90-100
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• 2005

This study was intended to investigate effects of building school forests on elementary school students, including changes in mental image of school, attitude toward nature and forest, and awareness of their relationship with school forest. The total number of 770 drawings and 1,124 writings were collected to be analyzed from three elementary schools. The results showed that there were significant differences between two student groups, respectively forest school group versus non-forest school group, in their mental image of school. For instance, more often observed in the drawings of forest school group students than their counterparts were natural and human elements, activities associated with nature, and natural or human elements located at central area. Also, more frequently found in the writings of forest school group students than their counterparts were letter-style sentences, stories about school forests, inherent values on nature and forest, and curiosity regarding the nature. These results seem to indicate that in order to materialize educational value of school forests, practical workshops for teachers need to be held as soon as possible and new activity models for students should be developed. In addition to that, long-term research on effectiveness of school forest have to be conducted to a number of schools.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.978-989
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• 1998

The purpose of this study is enrich the expressivity in fashion illustrations by looking into the expression of humor which is seen in the fashion illustration. In addition, this study is expected to provide a theoretical basis to the people whose works are concern with Fashion design. It is the fashion illustration that expresses the specific concept that accords with the purpose of drawing. And we need to create our own techniques freely and to develop them into higher ones. In this view, we can say that the humor in the fashion illustrations shows us the new world of expression. And we can also say that it fills the roles of social functions to purify human emotions with helping the communication between people in our highly developed society. Finally, the expression of humor in fashion illustrations can be described as followings. First, they are relate with the superiority, disparity, psychic release in the theory of humor's origin. Second, the image of humor can be induced by changing the figure of human body. Third, it can be encouraged by contrasting the different fashion images. Forth, we can use well-known icons that cause the humor does not only give us laugh but also reflect the era, society enlarge the range of expression in fashion illustrations.

• Acta Via Serica
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• v.3 no.1
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• pp.119-138
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• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.3
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• pp.366-370
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• 2010

This paper presents an automatic Oriental ink-rendering technique that recreates the artistic style of Oriental paintings from a single image. In Oriental paintings are characterized by strokes with various thickness and disordered dispersion. In this study, a stroke drawing method was developed based on the canny edge detector and radial curvature that are suitable for lines with varied thickness even along a single stroke. A dispersion-shading method was likewise developed by applying a set of iterated dual-filtering, and intensity exaggeration methods. The dispersion-shading method is designed to increase the local shade details, to decrease the global shade. Unlike the existing watercolor-rendering and abstraction system the proposed dispersion-shading method achieves disordered shade details rather than simplification.

• The Korean Fashion and Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.33 no.6
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• pp.557-567
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• 2015

With the increasing demands of 3D spatial information in urban environment, the importance of point clouds generation techniques have been increased. In particular, for as-built BIM, the point clouds with the high accuracy and density is required to describe the detail information of building components. Since the terrestrial LiDAR has high performance in terms of accuracy and point density, it has been widely used for as-built 3D modelling. However, the high cost of devices is obstacle for general uses, and the image-based 3D reconstruction technique is being a new attraction as an alternative solution. This paper compares the image-based 3D reconstruction technique and the terrestrial LiDAR in point of establishing the as-built BIM of outdoor structures. The point clouds generated from the image-based 3D reconstruction technique could roughly present the 3D shape of a building, but could not precisely express detail information, such as windows, doors and a roof of building. There were 13.2~28.9 cm of RMSE between the terrestrial LiDAR scanning data and the point clouds, which generated from smartphone and DSLR camera images. In conclusion, the results demonstrate that the image-based 3D reconstruction can be used in drawing building footprint and wireframe, and the terrestrial LiDAR is suitable for detail 3D outdoor modeling.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.398-405
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• 2018

In the HCI, hand gesture recognition is attracting attention as a method for interaction and information exchange between users and devices along with the development of IT devices. In hand gesture recognition through image processing, palm region detection is a key process contributing to improvement of processing speed and recognition rate. In this paper, we propose a new method for image segmentation between the hand and wrist for palm area detection. The anatomical characteristics of the hand are used to calculate the distance between the iliac bones of the thumb and little finger, which have the widest width, by the horizontal projection histogram of the hand image, and then the palm area is detected by drawing a circle having the width as the diameter. In order to verify the superiority of this method, multiple stage template matching is used to compare and evaluate recognition performance against the four conventional methods for 10 hand gestures. Note that the literatures to offer palm area detection performance evaluation are few although there are many studies on hand gesture recognition.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.804-818
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• 2005

The purpose of this study is to investigate the effect of tone-on-tone coloration on the visual images of traditional Korean dress. The materials in the experiment developed for this study were made up of various stimuli and the response scales for each stimulus. The stimuli were 48 color pictures with various combination of colors, in which the tones of jackets and skirts were manipulated by computer drawing. 24 bi-polar adjectives, each of which was graded into seven in its degree, were used to evaluate each image. The subjects were 576 female students in Jinju City. This experiment was based on the $3{\times}4{\times}4$ factorial designs: color (red, yellow and green), jacket tone (vivid, light, dull and dark) and skirt tone (vivid, light, dull and dark). The results of the study can be summarized as follows; Impression factor of the stimuli consisted of the 5 different dimensions - youthfullness and activity, attractiveness, gracefullness, visibility, and tenderness. The colors and the tone of jackets and skirts used in this experiment influenced 5 impression dimension by interaction of two valuables or working independently. Yellow and green with vivid or light tone had an effect on the formation of youth and activity image, and dark-light combination had an effect on the formation of attractiveness image. In case of green color, light tone of a jacket and vivid or dull tone of a skirt affected gracefulness, while yellow has no impact on visibility image regardless of skirt tone. Red and yellow with vivid or light tone were a factor to decide tenderness.