• 정보처리학회논문지:소프트웨어 및 데이터공학
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• 제5권1호
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• pp.43-50
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• 2016

본 논문에서는 ASM(Active Shape Model) 특징점(Landmark)을 이용하여 정밀한 얼굴영역을 획득하고, 외형기반 접근법으로 표정을 인식하는 방법에 대하여 제안한다. 외형기반 표정인식은 EHMM(Embedded Hidden Markov Model) 및 이진패턴 히스토그램 특징과 SVM(Support Vector Machine)을 사용하는 알고리즘으로 구성되며, 제안 방법의 성능평가는 공인 CK 데이터베이스와 JAFFE 데이터베이스를 이용하여 수행되었다. 더불어, 성능비교는 기존의 눈 거리 기반의 얼굴 정규화 방법과 비교를 통하여 수행되었고, 또한 ASM 전체 특징점 및 변형된 특징을 SVM으로 인식하는 기하학적 표정인식 방법론과 성능비교를 수행하였다. 실험 결과, 제안 방법은 거리기반 얼굴정규화 영상을 사용한 방법보다 CK 데이터베이스 및 JAFFE 데이터베이스 경우, 최대 6.39%와 7.98%의 성능향상을 보였다. 또한, 제안 방법은 기하학적 특징점을 사용한 방법보다 높은 인식 성능을 보였으며, 이로부터 제안하는 표정인식 방법의 효용성을 확인하였다.

• 한국실내디자인학회논문집
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• 제11호
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• pp.57-63
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• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.

• 복식
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• 제59권4호
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• pp.41-53
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• 2009

This study analyzed expression types of dot patterns and derived out inherent characteristics to provide fundamental resources for advancement of high value added creative designs. As a result of the study, Firstly, the circular motive was used to form silhouettes or as a symbol of a decoration. Secondly, a simple form and color dot pattern was used to create one side, or a circular shaped accessory was used to be recognized as a construction line or a decoration line. Thirdly, textile printing is mainly used but handicraft and decorative images were used to add vitality through piece technique, embroidery, collage, cut-out, patch work, etc. Fourthly, different circular motives were integrated, partitioned and duplicated for abstract geometrical images. Fifthly, variations were added by mixing different dot patterns that are arranged regularly and irregularly in different sizes and gaps creating compounded designs with handicraft touches, different angles or on top of each other. Sixthly, hybrid images were created with rearrangement of dot patterns and by adding floral shapes, stripes or other abstract and geometrical shapes. Such various and creative attempts construct new formative beauty in fashion design and I believe that it can establish the development of unique images that satisfies the taste of today's consumers.

• 복식
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• 제56권7호
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• pp.115-125
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• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.

• 한국실내디자인학회논문집
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• 제25호
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• pp.184-190
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• 2000

If we take account of the Architectural Tradition which aims a construction of better environment, we can see that this tradition has ended historically toward Utopia. It is a continual trend from ancient to contemporary epoch especially in each transitional periods. Utopia is an ideal commonwealth in which inhabitants exist under perfect conditions, ideally perfect places or state of things. But, Dystopia implies skeptical perspective on the future which has emerged as a result of the increasing awareness about crisis concerning negative aspects highlighted by progress of science and technology since Modern era. Dystopia is the opposite of Utopia which was a propaganda used by Modern architecture and has characteristics of Post-Modernity. Utopias plans are complete projects of image, its goal is an improvement according to the eras. Its plans are characterized by rigid geometrical pattern as circle and square, which contain generally center·axis·enclosure·boundary·symmetry. Recent architectural circumstances no longer reflect utopian visions. Dystopias plans have described extreme mechanism, destructive offense, expression of fragmentation and differentiation in contemporary architecture. Therefore, as the Utopian architecture describes characteristics of the era unlike the continuity of its concept, the Dystopian architecture will find its expression differently while maintaining its basic concept and intention.

• Structural Engineering and Mechanics
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• 제24권1호
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• pp.107-136
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• 2006

The present paper proposes a semi-empirical analytical expression that is capable of determining the shear strength of reinforced concrete beams with longitudinal bars, in the presence of reinforcing fibers and transverse stirrups. The expression is based on an evaluation of the strength contribution of beam and arch actions and it makes it possible to take their interaction with the fibers into account. For the strength contribution of stirrups, the effective stress reached at beam failure was considered by introducing an effectiveness function. This function shows the share of beam action strength contribution on the global strength of the beam calculated including the effect of fibers. The expression is calibrated on the basis of experimental data available in literature referring to fibrous reinforced concrete beams with steel fibers and recently obtained by the authors. It can also include the following variables in the strength previsions: - geometrical ratio of longitudinal bars in tension; - shear span to depth ratio; - strength of materials and fiber characteristics; - size effects. Finally, some of the more recent analytical expressions that are capable of predicting the shear strength of fibrous concrete beams, also in the presence of stirrups, are mentioned and a comparison is made with experimental data and with the results obtained by the authors.

• 한국실내디자인학회논문집
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• 제33호
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• pp.19-26
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• 2002

This study analyzed the characteristics of spatial expression in the Barcelona Pavilion to be based on tectonics. Mies pointed out the image of materiality about the material rather than the process of tectonics using the material, and he also expressed demateriality in the image of each material through the reflection. To be liberated from structural matters, the wall has been introduced. He intended to show the design plan as the independent structural system, however, the wall actually seems to be supporting the roof that shows rather clearly self-contradictory because of the expression of materiality in the material. In terms of architectural elements; wall, roof, column, floor, and so forth, tectonic expression and abstract aesthetics stands face to face, because of hiding the productional process and transforming to line and surface in the image of materiality. The interior of the glass wall seems fairly closed space from the exterior, because materiality and reflection of materials of columns and podium. The character of experiential space is inconsistent and fragmentary because of the splendid images from maternality and reflection on the wall, and collision with the reality and the image the wall reflects, even though the geometrical space of the Pavilion's plan has the mutual penetrability and organic character.

• 대한의용생체공학회:의공학회지
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• 제20권4호
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• pp.419-425
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• 1999

본 논문에서는 흑백 동영상을 사용하여 얼굴 표정 및 제스처를 실시간으로 인식하는 시스템을 개발하였다. 얼굴 인식분야에서는 형판 정합법과 얼굴의 기하학적 고찰에 의한 사전지식을 바탕으로 한 방법을 혼합하여 사용하였다. 혼합 방법에 의해 입력영상에서 얼굴 부위만을 제한하였으며, 이 영역에 옵티컬 플로우를 적용하여 얼굴 표정을 인식하였다. 제스처 인식에서는 엔트로피를 분석하여 복잡한 배경영상으로부터 손 영역을 분리하는 방법을 제안하였으며 , 이 방법을 개선하여 손동작에 대한 제스처를 인식하였다. 실험 결과, 입력 영상의 배경에 크게 영향을 받지 않고서도 동일 영상에서 움직임이 큰 부위를 검출하여 얼굴의 표정 및 손 제스처를 실시간적으로 인식할 수 있었다.

• 산업공학
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• 제19권3호
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• pp.174-180
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• 2006

This paper deals with the robot system of recognizing human's expression from a detected human's face and then showing human's emotion. A face detection method is as follows. First, change RGB color space to CIElab color space. Second, extract skin candidate territory. Third, detect a face through facial geometrical interrelation by face filter. Then, the position of eyes, a nose and a mouth which are used as the preliminary data of expression, he uses eyebrows, eyes and a mouth. In this paper, the change of eyebrows and are sent to a robot through serial communication. Then the robot operates a motor that is installed and shows human's expression. Experimental results on 10 Persons show 78.15% accuracy.

• 한국의류학회지
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• 제36권7호
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• pp.727-740
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• 2012

This study is for the enhancement and utilization of future graphic design for T-shirts and deals with the expression styles and features of T-shirt graphic designs that appear in modern fashion. A literature examination about graphic design and T-shirts was performed for the research method and the analysis followed 378 pieces of graphic design featured in four major international collections for females from 2001S/S to 2011S/S. The research results from the expression type of T-shirt graphic design in the modern fashion are as follows. Expression in graphic figure accounts for the largest portion of 40.8% that includes illustration or cartoon characters, personal figure or part of the physical body, object in daily life or landscape pictures, animals and plants, and others. Expression given in text with typography or logo accounted for 27.5%, expression combined with letter/text, graphics and geometric figures accounted for 24.3%, geometrical expression accounted for 7.4%; most of which are given in print. Characteristics found in modern fashion graphic design are as follows. First, role of sort of public relations marketing was accompanied with utilization of brand logo or symbol. Second, visual play was shown in a sense of humor with diverse graphic figures and playful texts, witty layout with graphic motives, and a free design formation. Third, it denoted a front burner issue delivering the message for various current events or arguments via the way of texts, slogans, and symbolic pictures. Fourth, it depicted artistry through the self-expressive creation of the designer.