• 디자인학연구
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• 제11권2호
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• pp.105-114
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• 1998

20세기초 전통적인 타이포그래피의 양식의 틀을 깨고 획기적인 타이포그래피의 표현양식을 창출한 선구적인 타이포그래퍼 들은 기욤 아폴리네르와 필리포 말네티의 작품들은 같은 시대의 같은 문화적 배경에서 태어난 타이포그래피 라고 할지라도 시각적 관점과 표현 유형의 차이가 있음에도 불구하고 그간의 연구들을 통해 볼 때, 동일한 유형, 즉‘회화적 타이포’,‘표현주의 적 타이포’로 간주되어져 왔다. 따라서 아폴리네르와 마리네티의 타이포그래피의 형성 배경과 작품을 비교, 분석하여 현대 타이포그래피 형상에 끼친 영향과 의의를 재조명해 보았다. 구상적 표현과 추상적 표현이라는 큰 차이점 이외에도 타이포그래피 표현 소재와 표현방법, 지면구성, 구문의 파괴, 문장의 해체 여부에서도 특징을 발견하였으며, 1900년대 중반과 후반에 걸쳐 구상적 표현에는 브래버리 탐슨과 허브 루발린으로 추상적 표현에는 피에트 츠바르트와 네빌 브로디로 확실히 구분되어 이어지고 있음을 발견할 수 있었다.

• 정보관리학회지
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• 제28권2호
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• pp.135-158
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• 2011

탐색자가 정보 요구를 정보검색시스템에 표현하는 능력은 검색과정의 기본이다. 시각적 예시에 의한 질의는 내용기반 이미지 검색환경에서 질의 표현을 위한 중요한 패러다임이다. 하지만, 이 방법이 질의 구성의 편의성에 있어 얼마나 효과가 있는지에 대한 실험적 입증은 아직 미미하다. 이 연구의 목적은 다양한 정보요구와 효율적이고도 효과적인 시각적 질의 구성을 지원하기 위해 탐색자의 정보요구와 질의 방법 사이에 발생하는 지식 격차를 고려하여 색을 이용한 질의 방식의 사용성을 조사하기 위한 것이다. 본 연구결과를 통하여 색을 이용한 질의 방법이 시각적 질의 구성을 적절히 지원하지 못한다는 것과 탐색자의 정보요구와 검색 패러다임의 표현력 사이에 뚜렷한 불일치가 있다는 것을 알 수 있다.

• 한국의류산업학회지
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• 제15권6호
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

• 패션비즈니스
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• 제21권4호
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• pp.127-143
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• 2017

In this study, we examine a variety of influences in the field of design and analysis about the value of visual tactile design. In hair design, through study on visual tactility, creative design inspiration in the field of hair design enables development of quality research. Research methods use Internet publications such as local and foreign data, analysis, and related research and book forms, such as network searches. library goes for consideration by a literature search. Contents of this study used review of the case and by visual tactility design, for this study, expressive characteristics by color, texture and form of hair design, from 2014-2017 trend shown in the last three years the expressions of visual tactility being used through the analysis of design by date of the case. Result of this study is, visual tactile design appearing in the areas of hair design, that are not of the rules that are active, abstract form, texture, described as a visual feel the promotion of effective, and light and high brightness is sweet tactile impression, high saturation was cold, dark color was hard and heavy, red system is warm and the blue system is cold sense. In general, design trend in hair for three years from 2014-2017, visual tactility in 2014 is a high saturation and unstructured also soft and bright colors. 2015 is on the overall shape, color, texture, hybrid design configuration is more. As of 2016, 2017 is curved and straight texture, appearance of the hybrid mix to maximize the visual tactility.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.75-85
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• 2005

The 1990s' characteristics of Ecological architectural design would be choosing the traditional materials of the region's, the creative usage of construction methods, the expressive properties of materiality in spatial forms and so on. The overall organic relationships between human and men-made environments have been sublimated by the expression of poetic qualities of perception in ecological man-made environment. Hannover Expo 2000 did set up an opportunity to exposure the fact that Ecological Architecture will be the major trend in 21st Century's Architecture and its exploration in possible ways will be the most important matter. Japanese Architect Shigeru Ban's Japan Pavilion in this Exposition has shown the meaning of this turning point in Ecological Architectural thinking, which would be recognized as the convincing possibilities for the future architectural practice to the public. Thus this research has the purpose to study the meaning of the constructing action in Shigeru Ban's recent architectural space-making practice with the Paper Tube structural system. The creative foundation of Shigeru Ban's own method to apply paper tube -that is impossible material to pre-estimate- and other materials in the creation of architectural spaces would be searched in this paper. The period to this research will be between 1990s and 2000s, and the subject will be the experimental architecture of Shigeru Ban. The range of this research Is including the process of development in the paper tube architectural structure and joint system. This study would contribute to understand the intrinsic value of Shigeru Ban's Ecological architecture of the paper tube system, in which the relationship between the regional environment and human regaining the ecological abiogenesis.

• 한국멀티미디어학회논문지
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• 제16권6호
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• pp.689-699
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• 2013

로봇 원격조종 방법은 1:1, 1:N, N:1, 그리고 N:N의 다양한 방법이 있다. 오퍼레이터가 원격지 로봇을 제어하기 위해서는 로봇의 주변 상황, 모바일 장치의 충돌 가능성, 그리고 매니퓰레이터의 힘을 인지할 수 있어야 한다. 원격조종에서는 데이터 통신과 처리에 소요되는 시간에 따른 지연이 발생하는데, 이 시간 지연은 로봇의 충돌과 햅틱 기반 제어에 있어 양방향 힘 반영에 따른 매니퓰레이터의 바이브레이션과 과도한 힘 반영을 초래할 수 있다. N:N 제어 방식은 근래 개발 중인 조종 기술로 멀티 오퍼레이터가 멀티 로봇을 스위칭하면서 제어하는 구조를 가진다. 이 구조를 구현하기 위해서는 오퍼레이터가 어떤 로봇을 제어할 것인지, 또는 그 로봇의 어떤 장치를 제어할 것인지에 대한 스위칭 기능이 필요하며, 다수의 오퍼레이터가 함께 원격조종을 수행할 때에는 이 스위칭 알고리즘이 반드시 필요하다. 또한 오퍼레이터의 성향에 따라 조종 성향이 달라지므로 이를 일반화하기위한 방안도 요구된다. 본 논문에서는 다수의 로봇과 다수의 오퍼레이터가 원격으로 로봇들을 제어하여 작업을 수행할 수 있는 햅틱 기반 제어 환경을 구축하는 방안과 구현에 대하여 기술한다.

• 한국의상디자인학회지
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• 제22권2호
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• pp.71-85
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• 2020

The purpose of this study was to study the beauty-coordination characteristics of Genderless fashion, which is emerging as a new trend by analyzing the trend in the latest collection and classify the resulting expression characteristics of make-up. Methods and scope of the study were based on collections published in the 2020 S/S season and 35 out of 84 designers with design elements were selected to analyze the garments most likely to be genderless. The characteristics of the expression of the genderless derived through this analysis were classified into compromise, androgyny, sensuality, exaggeration, enjoyment, and historicity. Compromise was the highest, and the lowest was for enjoyment of the classifications. The designer's work according to the characteristics of each expression shows that the pieces by Saint Laurent were the highest in compromise, sensuality, and historicity, and the pieces by Maison Margiela were the highest in androgyny while Balenciaga was the highest in exaggeration and enjoyment. Compromise represented a mixture of discord, such as incongruous bonding and coloring of heterogeneous materials, and androgyny led to the use of silhouettes and colors, with sensuality utilizing see-through material and incision lines allowing for physical exposure. Exaggeration intentionally destroyed the existing concept by breaking the overall balance of the human body through the enlargement of certain parts of the body, while enjoyment showed unexpectedness by destroying the line and sides of the garment. Lastly, historicity was analyzed for its retro design that transcends time and space with regional cultural and period characteristics.

• 복식
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• 제65권8호
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• pp.50-63
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• 2015

The purpose of this study is to explore the potential of digital graffiti as a new creative tool in fashion through analysis of its expressive features and methods merged in fashion. The results from the analysis of fashion cases using digital graffiti may be summarized as follows. First, 'Mixing of Materials and Non-materials' matched immaterial lights and images with physical clothing materials and space, effectively expressing imaginary spheres that were not expressible with the existing materials. Second, 'Fantastic Storytelling' expressed theme such as 'Sun', 'UFO', 'Science Fiction Film', 'Fantasy Fairy Tale', and 'Universe' through lasers, lights, augmented reality and LED graffiti. Third, 'Convergence with Human and Digital Media' accentuated the active participation of spectators thereby causing human and digital media to interact with each other. Designer's ideas and unexpected responses of spectators realized various digital graffiti effects, which came across by sheer chance. Fourth, 'Utilizing of Site-Specificity' met with the best results when the digital graffiti was expressed in context of a place or location where fashion performance is taking place. Fifth, ' Playfulness by Consumer Participation' intended to induce voluntary participation from consumers by providing the fashion digital graffiti as play tools, and created new fashion digital graffiti or altered existing stereotypes, thereby invoking new visual and tactile experiences. Likewise, today's digital graffiti are emerging in various fields, and the trend of fashion-digital graffiti integration has already created interesting works.

• 복식문화연구
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• 제24권6호
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.

• 건축역사연구
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• 제17권4호
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• pp.43-64
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• 2008

Kyeongbokgung succeeded in regaining its status as a royal palace after the reconstruction that began in the second year of King Gojong(1865) only to have most of its buildings taken down in the early 20th century. Fortunately, however, there is the Pukkwoldohyong(Map of North Palace), which drew out each of the buildings of Kyeongbokgung and their arrangement in details in 1907 when the royal palace lost its original appearance. And there is another plot plan of the royal palace at the Korea University Museum, which labeled it Kyeongbokgung-Baechido(Planning Map of Kyeongbokgung Palace). The map presents almost the same plan as Pukkwoldohyong in terms of making and expressive methods, being estimated to have been made in 1888 since its building arrangement doesn't show the changes made after 1890. The map also offers more information about the uses of each building than Pukkwoldohyong and matches the excavation results of the relics. Kyeongbokgung-Jeondo(Map of Kyeongbokgung Palace), which is recorded to be made during the reconstruction of the palace in the early years of King Gojong in historical materials, describes the shapes and arrangements of the buildings in a concrete and realistic fashion. The Kyeongbokgung-Baechido seems to be one of the plans made in the process of restoring and repairing buildings that were lost or destroyed in fire. The Kyeongbokgung-Baschido has the following historic values; 1) it provides dues to estimate the early state of the palace after the reconstruction during the reign of King Gojong. In fact the Sujeongjeon and Heungbokjeon show the early state of the reconstruction; 2) it contains data with which to understand the changes to the palace after 1890, around which they added Hamhwadang and Jibokjae; and 3) it offers information about the uses of the palace's buildings from 1885 to 1880 with its descriptions of the building purposes and relationships regarding the life in the palace.