• 복식
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• 제64권7호
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• pp.97-113
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• 2014

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer's creative world, the formation of styles and the expression of a fashion designer's identity.

• 한국의상디자인학회지
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• 제21권2호
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• pp.109-122
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• 2019

The purpose of this study is to examine the clothing component information and attributes as the control parameters for the 3D modeling process of the biomorphic clothing sculpture using a parametric methodology. The 3D modeling parameters of biomorphic clothing sculpture were identified as exaggerated silhouette, surface texture, and digital color. The types of exaggerated silhouettes were shoulder and hip exaggeration, shoulder exaggeration, hip exaggeration, vertical exaggeration, and horizontal exaggeration. The types of surface texture were embossed, lacy, furry, and complex textures. The types of digital color were chrome, blur, blend, and acid colors. The characteristics of morphological representation due to the attributes of these control variables were identified as morphological variation, organic morphology, organizational morphology, and realistic morphology. As a result, it was found that the parameter attributes were applied to the biomorphic clothing sculpture parametric design process and developed into various shapes.

• 한국지반환경공학회 논문집
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• 제17권3호
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• pp.21-26
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• 2016

주문진 표준사와 사우디 아라비아의 Ras Al Khair 사질토 입자의 형상에 대한 분석을 실시하였다. 광학현미경을 사용하여 200배 확대하여 해상도 $640{\times}320$으로 디지털 이미지를 촬영하였다. 사질토 입자의 디지털 이미지를 영상 처리를 통해 입자 경계면의 좌표를 추출하였다. 추출한 입자의 경계면 좌표를 복소 평면에 도시하고, 극형식으로 변환 후 퓨리에 변환을 실시하였다. 퓨리에 변환을 통해 추출된 각각의 계수 값들은 입자 형상의 특징을 반영하며, 좌표의 기준점 이동에 대해 불변하는 값으로 사질토 입자의 이미지에 대해 좌표의 기준점과 회전등에 관계없이 항상 같은 값을 갖게 되어 입자의 형상 분석에 적합하다. 각각의 계수 값을 입자의 등가 반경으로 정규화하여 퓨리에 기술자를 추출하여 입자의 형상을 정량적으로 분석하였다. -3에서 +3의 범위에 해당되는 주요 퓨리에 기술자들을 분석한 결과 주문진 표준사 입자의 경우 신장(elongation)이 가장 두드러진 형상의 특징이었으며 그다음으로는 비대칭성(asymmetry)이 두드러진 특징이었다. Ras Al Khair 사질토의 형상도 주문진 표준사와 같은 형상 특징을 나타냈다. 또한 퓨리에 기술자 분석 결과 작은 구조가 전체 구조와 비슷한 형태로 되풀이되는 프랙탈의 미세구조 특성이 나타나는 것으로 판단되었다. 해상도 $640{\times}320$과 해상도 $160{\times}80$의 주문진 표준사의 디지털 이미지를 비교한 결과 -3에서 +3에 해당되는 주요 퓨리에 기술자에 대해서는 해상도가 크게 영향을 미치지 않는 것으로 나타났으나 텍스쳐 분석에는 영향을 미치는 것으로 나타났다.

• 동의생리병리학회지
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• 제21권2호
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• pp.379-386
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• 2007

Hado(河圖) and Laks${\u{\lrcorner}}$(書洛) are the diagrams composed of the symbols of numbers from one to ten. And the eight-trigrams, P'al-gwoe divide into two types one is a priori eight-trigrams (先夭八卦) or the Bok-Hui's eight trigrams(伏羲八卦); and the other is a posterior eight trigrams (後夭八卦) or the king Mun's eight trigrams (文王八卦). Relating these two diagrams of Hado and Laks${\u{\lrcorner}}$ with the two types of eight trigrams, they are said to be a term of Ha-Lak-Hui-Mun (HLHM). Each of HLHM represents the process of creating and changing of 'heaven and Earth' and every beingby the symbols of numbers and trigrams. In other words, each of HLHM symbolizes the origin and the structure of the universe as well as the birth of every life represented in the diagram of theosophany (福智學) or Kabbalah. HLHM are also regarded as the origin of l-ching or Book of Change. Hado produces Laks${\u{\lrcorner}}$ through the principle of yin-yang(陰陽). Laks${\u{\lrcorner}}$ produces a priori eight trigrams through the zigzag shapes which means Heaven and Earth are mutually responding. And a priori eight trigrams produce a posteriori eight trigrams through the triangle principle of connecting Heaven and Earth. In this process, Hado and a priori eight trigrams are respectively prior to Laks${\u{\lrcorner}}$ and a posteriori eight trigrams. HLHM represent fractal shape resembling the symbol of five on the center of Hado, or Hado itself. In the dynamic process of HLHM, a diagram of Circle, Quadrangle, and Triangle (CQT) is produced as follows: Circle, the symbol of 'infinify' or Heaven, represents the origin of life or birth. Hadois the symbol of creation. Quadrangle, the symbol of Earth, represents that Laks${\u{\lrcorner}}$is scattered into four directions of front, back, left, and rifht. Quadrangle, which is immovable, represents materiality. Triangle, being described from the eight trigrams, means the movements of the process of 'mutual inclusion' of Circle and Quadrangle. Triangle also means the process of harmonizing human beings with natural law.

• 디자인학연구
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• 제16권3호
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• pp.101-110
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• 2003

인간은 자연현상으로 발생되는 소리와 인공적으로 발생되는 소리 속에 살고 있다. 인간의 생물학적 행동을 유발시키는 것 또한 소리이다. 감각기관 즉, 청각으로만 인식할 수 있는 소리의 또 다른 표현은 예술의 형식을 통해서 가능하다. 음악과 미술은 같은 감정을 표현하는 예술호서 표현방법만 다를 뿐 둘 모두 우뇌(右惱, dextrocerebral)를 사용하고 직관력이 필요하다는 공통점을 가지고 있다. 이런 관계로 지금까지 음과 시각예술을 접목하려는 시도가 계속되어 왔으며, 주관적인 해석의 예술적 작품에서 컴퓨터를 이용한 작품에 이르기까지 음의 시각화 실험은 계속 시도되어지고 있다. 본 연구는 음의 시각적 표현 중 디자인 저 표현의 본질과 특성을 규명하며, 기존의 학문적 특성과 연구 범주, 최근의 주요 동향에 대한 고찰을 바탕으로 향후 음의 시각표현의 방법론을 정리하고 재해석하여 이의 디자인에 대한 연구 방향을 제시함을 목적으로 한다. 본 연구를 토대로 향후 한국음악 특히 사물놀이가 가지고있는 음색적 특색 및 각 악기의 상징을 이용한 시각적 표현의 가능성을 모색하는 후속연구를 통해 음의 새로운 시각표현의 기능성을 모색코자 한다.

• 동의생리병리학회지
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• 제22권5호
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• pp.1057-1061
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• 2008

For the purpose of investigating the reasonable logics contained in physiognomy of east and old western medicine. hypothetical researches based on hydromechanics theory were performed concerning facial types of form and pathologic features, especially 4 types of Dr. Jisan-Essence, Qi energy. Emotional Activity and Blood(EQAB). In order to infer the functional relation between facial type forming and EQAB factors, EQAB were supposed as fluid grounded on their continual flowing or periodical change and pressure effect from its congestion. and a premise that there's a linear corresponding relationship between the appearance of organ and its physical conditions of its inner vessels is formed too. Through this work, the unit fluid model(UFM) of Essence can be assumed as circle shape formed by the high viscosity and surface tension, the UFM model of Qi energy as quadrangular shape by the scattering features to outer four directions, and the UFM of emotional activity as inverted triangular shape by the flippant and uprising features, and the UFM of blood as ellipsoid triangle by the heavy and descending features in spite of circulation. The shapes made from each UFM are reproduced in the process of human development and manifest respective facial shape through the self-reproduction method like fractal theory in the last. Conclusively. it is said that the facial form analysis method like EQAB type theory can be the useful methodology to understand the human pathological and physiological features in view of hydromechanics.