• 한국안광학회지
• /
• 제3권1호
• /
• pp.181-188
• /
• 1998

한글 자의 가독도를 조사하기 위해, ㄱ, ㄴ, ㄷ, ㄹ, ㅁ, ㅂ, ㅅ, ㅇ, ㅈ, ㅋ, ㅌ, ㅍ, ㅎ의 14 자음과 ㅏ, ㅓ, ㅗ, ㅜ, ㅡ, ㅣ의 6 모음 자들로 조합된 총 98개의 ($14{\times}7$) 고딕체 글자들로 3가지 형태의 시표를 레이저 프린터로 제작했다. 시력이 1.5인 사람들로 하여금 인쇄된 글자들을 판독하게 하는 방법과, 레이저 프린터의 해상력을 이용하는 방법을 사용했다. 이들 방법으로 구해진 데이터는 글자가 판독될 수 있는 최대거리 값들과 글자의 최소크기 값들이다. 값들로부터 ㄱ자의 가독도를 1로 하는 상대적 가독도를 구하였다. 이 상대적 가독도 값들을 분석한 결과 ㄱ, ㄴ, ㅅ, ㄷ, ㅈ, ㅇ, ㅁ, ㅋ, ㅌ, ㅍ, ㅎ의 순서에 따라 이들 자음이 사용된 글자의 가독도가 점점 낮아 졌다. 또한, ㅣ, ㅡ, ㅏ, ㅗ, ㅓ, ㅜ의 순서에 따라 이들 모음이 사용된 글자의 가독도가 작아졌다. 그리고 글자의 가독도는 자음이 바뀜에 따른 변화가 모음자가 바뀜에 따른 변화 보다 더 컸다.

• 대한치과보철학회지
• /
• 제56권2호
• /
• pp.120-125
• /
• 2018

기존의 의치 인상채득 방법은 치조제 흡수가 심한 환자에게 사용하기에 한계점이 있으며, 의치상을 과도하게 연장하여 문제를 발생시킬 수 있다. 특히나 가동성조직이 존재하는 경우에는 정확한 인상 채득을 하기가 어렵고, 따라서 총의치의 적절한 안착을 방해할 수 있다. 치조제 흡수가 심한 환자에서 폐구법 인상을 이용하여 총의치를 제작하면 더 나은 안정성과 유지를 얻을 수 있다. 본 증례는 86세의 여자환자로 상악 전치부에 치은열성비대가 존재하며 하악의 심한 치조제 흡수를 보이는 무치악 환자이다. 따라서 Centric tray를 이용하여 잠정적인 교합고경을 결정 후 고딕아치 장치를 부착한 맞춤형 트레이를 제작하였고, 폐구법 인상채득을 시행하여 상하악 총의치를 제작하였으며, 의치의 충분한 안정성과 유지력을 얻어 환자의 만족도를 높였다.

• 복식
• /
• 제50권4호
• /
• pp.147-164
• /
• 2000

This thesis examines the origin, the change and the symbolic meanings of class representation, and offers a comparative study on the differences of class representation in the history of Korean and western costume on the basis of class representation methods and types shown from ancient times to 18C. In both eastern and western costume, the differences in status are commonly represented in the width and length of costume, color, textile, ornamental design, wearing, decoration, etc. The costume of noble class was wide and long, while that of common class was narrow and short so that it could be convenient for them to move around. Especially, from 16C to 18C in the west the costume of noble class was expanded to the extent that it was inconvenient for them to move around not only by skirt swelling by using hoop, but also by pad, ruff, lace, etc. This appears to show that they are not working class. Wearing and decoration of noble class were much more colorful, complicated and varied, while those of common class were simple and plain. In the west, the wearing of chiton and toga in Greece and Rome was different depending on social status. More specific look at the differences in class representation shown in the eastern and western costume reveals that the higher the rank, the more the women in both Gothic and Chosun period covered the body, thereby representing rank. In 18C, the women in both Rococo and Chosun period commonly showed excessive decoration and lavishness on their hair, and in this period the width of skirt was also commonly expanded to the longest extent, with a slight difference put aside.

• 복식
• /
• 제54권6호
• /
• pp.101-117
• /
• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• 한국의류학회지
• /
• 제16권4호
• /
• pp.357-369
• /
• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.

• 한국문헌정보학회지
• /
• 제24권
• /
• pp.113-137
• /
• 1993

The purpose of this study is (a) to investigate the general characteristics of bookjacket of children's books in Korea and (b) to observe general directions of the changes of those characteristics. For that purpose, children's books are gathered in alphabetical order of titles which has been published in the past 30 years and classified into three groups: 'books of 1966-1975', 'books of 1976-1985' and 'books of 1986-1993' according to the date of publication of those books. The important elements of the bookjackets belonging to these three groups are analyzed and compared. Main findings and conclusions made in this study are summarised as follows : (1) The style of illustration which has been appeared very often on the bookjacket of children's books is realistic art style. But a new tendency is that cartoon art style is above everything else. (2) The media which has been commonly used for illustration is watercolor. A new tendency is that various media is used for illustration. (3) People have been most commonly used as characters of illustration, and this tendency is continued from the past. (4) Visual representation of characters is usually simplified, and simple outlines is used for objects. The latest tendency is the same. (5) Visual content is arranged within bookjacket illustration as a whole, and this tendency is continued. (6) Lines for special emphasis are commonly used in depicting objects wi thin bookjacket illustration. (7) Realistic color has been most commonly used in depicting objects within bookjacket illustration. But the tendency is turned into unrealistic color. (8) Light grayish and strong as tone have been commonly used for bookjacket. A new tendency is that pale as tone is above everything else. (9) Gothic type has been commonly used for title within bookjacket. A new tendency is that various types are used for titles.

• 건축역사연구
• /
• 제21권5호
• /
• pp.19-32
• /
• 2012

The purpose of this paper is a study on the dome plan of S. M. del Fiore Church of F. Brunelleschi. The results of study are as follows: 1. The planning of floor, elevation and cross section plan of S. M. del Fiore church is basically planned by each other correlation. In particular, the octangular form of geometrical standard which is formed with altar as the center at the crossing part is important component elements which is decided by not only the dome, but form and size of the drum and floor plan form of the lantern 2. The dome which has been planned by F. Brunelleshi has completed the new dome, preserving gothic thought intended by the church plan after study on architecture of ancient Rome with Pantheon. And the dome which is a main space of church through all aspects of plan, structure, function and construction about the dome is a opportunity in the beginning of Renaissance architecture which is a new epoch and a turning point of architecture on various point of view. 3. The dome which is constructed by F. Brunelleshi has been planned through the innovative solution by the refusal of traditional semicircle form dome, centering use and creation double-shell structure form for the first time in history. And the construction of dome has been solved with the invention of various construction equipments and machineries, the stone rib planned for connection and reinforcement about shells of the octangular form, the support method for reduction the gravity of bricklayers work and the brick work of nock-patterned shape which is masonry construction method of the architecture of ancient Rome.

• 대한가정학회지
• /
• 제24권1호
• /
• pp.17-26
• /
• 1986

War has been a reason for the culture of one conservative country to make contact with the culture of another country. The Crusade, among other wars, caused cultural exchange between the orient and the occident and had a great influence on the western costume. This paper has made an attempt to find out the influence of the Crusade with respect to the cultural exchange between the orient and the Occident and to study the influence which the Crusade has had on the western costume. The Crusade was the war in which the European Christians tried to retake the Holy Land, Jerusalem, from the Islamites through the 11th century to the 13th century. As a result of this war,the autyority of the Pope was weakned, the nobles were ruined and royal authority was consolidated. Due to the contact with the Orient, trade had become active, cityes had developed and the middle class of rich merchant had grown. Gothic architecture also appeared in the Occident at this time due to the religious influence of the Crusade. Turban type headdress and the brink decoration of clothes had been very popular under the influence of the Orient. Embroidery and applique had developed and silk fabrics which had been imported from the Orient had made the costumes more fabrics which had been imported from the Orient had made the costumes more gorgeous and luxurious. Many accessories were imported from the Orient. The Oriental culture contributed to the use of rich and bright colorsm, various ornaments and splendid textiles of the western costume. Owing to the influence of war itself, many costumes had been newly made in order to adapt to the hot desert climates of the Orient. Blazon decorations, uniforms and armour had also developed.

• 복식
• /
• 제64권8호
• /
• pp.20-36
• /
• 2014

This research aims to identify and analyze the expression elements and features of Goth style observed in clothing of unique characters in movies directed by Tim Burton, and to build the database on diverse features movie costumes, so that such data can be used to develop new fashion design. The research-classified features of Goth style into romanticism overturns Satanism, grief, and sensuality. The results are as follow; First, Goth expressed romanticism by reminding the gloom and fear of medieval times through the image of clowns, medieval knights, werewolves and vampires. Second, The costumes in Tim Burton's movies overthrew the rules in reality using flexible changes, ambiguity of gender, distorted human beings, half-man-half-beasts, and ghost images. Furthermore, the positive expression on characters in gloomy and fearful costumes showed the overturn of common idea and value system in a society. Third, Tim Burton created fear using the image of a live dead body, shape of a devil, shape of death. Also, accessories suddenly changed into arms in his movies. He expressed Satanism by positively describing satanic shapes and shapes meaning death. Next, characters in Tim Burton's movies are mainly losers, aliens or outsiders. Sorrow, alienation and darkness inside them expressed the sadness through embodiment of mean animals in darkness, masks, veils and extreme black costumes. Finally, Sensuality was rarely shown in Tim Burton's movies, but expressed in various ways including pursuit of new beauty in excessive exposure, skintight silhouette, suggestion on sexualized violence and frightfulness.

• 대한인간공학회지
• /
• 제28권4호
• /
• pp.1-7
• /
• 2009

The purpose of this study was to evaluate the legibility of one-syllable Korean characters with the participation of sixteen subjects. The experiment considered nine factors including age (young and old), gender (male and female), illuminance (150lx and 600lx), viewing distance (50cm and 200cm), material type (paper and LCD), typeface (Ming and Gothic), thickness (plain and bold), color contrast (black letter/white background and white letter/black background), and complexity (simple, complex, and number) to examine main effects with a $2^{6-3}\times3$ fractional factorial design. The dependent variables were minimum character size of 100% correctness, maximum character size of 0% correctness, and minimum character size of comfortable reading preference. The results of analysis of variance (ANOVA) revealed that age, illuminance, viewing distance and complexity were significant for all dependent variables, except gender which was significant only for the minimum character size of comfortable reading preference. In general, the young could see twofold smaller size letters than the elderly. The subjects could see smaller sized letters with the illuminance of 600lx and viewing distance of 50cm than 150lx and 200cm, respectively and also with numbers, simple characters, and complex characters in that order. The findings of this study could be characterized about the legibility of Korean characters and be good resources for developing its standard.