• Journal of Service Research and Studies
• /
• v.12 no.2
• /
• pp.38-47
• /
• 2022

The user interface is a very important factor in application usability. The user interface of a typical application has a navigation system and the selection of the item takes place to move the movement. In this study, we would like to see if there are differences in user satisfaction depending on the location of the navigation and the number of items. The methods of in this study, a random group of 135 adult men and women who randomly selected four to six items as independent variables was conducted on the top, bottom, side, and three locations of navigation in a typical application. As a result, the navigation system rejected the null hypothesis of 0.000 and 0.008 respectively, with a significant probability of 0.05 or less than 0.000 and 0.008, respectively. It was also confirmed that the study theory of whether the interaction of navigation location and number of items creates a difference in satisfaction was significant with a significant probability of 0.016. In the post-analysis (Schefe), there were significant differences in the position of navigation, as each group was classified as a new group at the top <bottom <, and in the number of items, there were significant differences between the two groups of six <4 . Conclusion of this research, depending on the results of some significant differences in satisfaction with the location of the navigation and the number of items, it can be seen that the satisfaction of the interface increases when the navigation position is located at the bottom. However, follow-up research is needed on whether side-type navigation is suitable for different mobile sizes.

• Journal of Digital Contents Society
• /
• v.12 no.3
• /
• pp.263-270
• /
• 2011

The importance of effective delivery of information in the mobile web is increasing in Korea, due to the growing number of smart-phone users. In this study, I took a look at the characteristics of mobile devices and the mobile web, and after researching Korea's portal websites' mobile web designs, we figured out the users' preferences of mobile web designs through surveys and interviews. To provide compressed information on a small screen, it is ideal for significant contents to show up in the state that does not require scrolling. Users preferred compact and neat designs, and menus that were made with icons that are easy to touch with fingers, in the mobile web. When receiving delivered information, users preferred not only texts but texts that were provided together with photograph images. If usability evaluations and examination of preferences are achieved together, I think it will serve as a mobile web guideline that enables efficient delivery of information in the mobile web.

• Convergence Security Journal
• /
• v.21 no.1
• /
• pp.149-158
• /
• 2021

In this paper, we propose military symbols for cyber operations to understand the situation in cyberspace intuitively. Currently, standardized military symbols are mainly for kinetic operations, and they do not consider cyber operations. Although, MIL-STD-2525D includes some symbols for cyber operations, only icons that are composed of three letters are standardized. So there is a limit to effectively expressing cyber operations. That is why we propose military symbols for cyber operations compatible with existing military symbol building rules. In addition to merely presenting the symbols, we present examples of expressing various cyber situations using the proposed symbols. It proves the usefulness of the proposed symbol. The small number of symbols proposed in this paper will not be able to represent all cyber situations. However, based on the proposed symbols, it is expected that more symbols will be standardized in the future to more clearly express the cyber situation.

• Korean Journal of Community Nutrition
• /
• v.12 no.4
• /
• pp.405-416
• /
• 2007

This study was to examine the needs among elementary school dietitians (n = 115) for developing a nutrition information internet site for children. A survey questionnaire included general characteristics, internet use regarding health and nutrition information, and needs for developing a nutrition information site. The mean age of the subjects was 36.2 years. The higher working experience group (> 10 years of working as dieticians) had higher mean age (p < 0.001), had a larger number of enrolled students at school (p < 0.01) and the number of those receiving school lunch (p < 0.01) than the counterparts (${\le}10$ years group). Sources of health and nutrition information were mainly PC/internet (60.4%) and seminar (14.4%). About 95% used health or nutrition information using the internet, however, the majority of users (71.6%) used internet information only when they needed it. Major reasons for using internet information was 'to get nutrition education materials' (63.8%) and 'to obtain general nutrition information' (21%). One third of the subjects were satisfied with nutrition information internet sites; major problems with internet sites were 'lack of content' (38.9%) and 'lack of practical information' (33%). These characteristics regarding internet use were not different between work experience groups. Major problems with nutrition education were 'lack of nutrition educational materials' (41.1 %) and 'lack of nutrition education skills' (32.1%). These were significantly different between the work experience groups (p < 0.01). Subjects preferred CD/internet to leaflet/booklet as nutrition educational materials. In developing nutrition sites for children, subjects wanted topics such as obesity assessment, dietary assessment, and obesity. Subjects responded that contents of nutrition information should be 'suitable to the children's knowledge levels' (31.1%), 'interesting enough by including quizzes, games and songs' (27.8%), 'inserting many illustrations/icons' (16.3%). In terms of designing internet sites for children, they wanted that internet sites should 'be easy enough to find the sites' (29.2%), 'use illustrations and characters' (24.8%), 'use communication channels such as Q&A' (18.7%). Needs for developing internet sites for children were not different by the work experience group. This study suggests that web sites for children should be carefully developed considering the contents and design, have less information with more illustrations, designed to induce the interest of children, as well as including sections such as eating habit assessment and games.

• Journal of the Korea Convergence Society
• /
• v.12 no.8
• /
• pp.23-30
• /
• 2021

Various customizing services are also being introduced in the fashion industry in line with the diversification of consumer tastes and the demand for small production of multiple varieties. However, barriers to entry are high for consumers who are not customized, and various functions are rather complicated. This study selected the three platforms that provide the most similar services to Marple, the No. 1 fashion platform sales, as comparative models and used them as a basic study for web-based fashion customization platform design through case analysis. As a research method, theoretical examinations were conducted through literature surveys, followed by web analysis based on layout, menu, color, icon, and interaction. The study found that the placement of options, the composition of menu windows, the number of point colors, and the use of icons without functions of metaphores hindered the use of customizing platforms. This work proposes a solution, and aims to contribute to increasing the usability of future customizing web by comprehensively analyzing the visual shaping elements of web platform design.

• The Journal of the Korea Contents Association
• /
• v.14 no.9
• /
• pp.141-152
• /
• 2014

The user interfaces of electronic-book (e-book) readers in the e-book market are highly diverse, and this has led to major usability issues. In this paper, we analyze user preferences in terms of feature-setting options and the use of touchscreen actions in the six most commonly used e-book readers for smartphnoes. We identify alternatives for these features, which can enhance the usability of e-book readers, based on these user preferences. The survey results for the feature-setting options show that it is desirable to support at least eight background colors, as well as the ability to specify the color of the background icons. Adjusting the screen brightness using a setting bar with the support of an auto-brightness option is desirable, as in using +/- buttons to adjust the font size, as well as approximately 10 font faces. We find that it is desirable to support fade, slide, scroll and curl page-turing options, in addition to a simple non-animated page-turning effect, and that page movement should be accomplished using a scroll bar with the support of the page movement features by entering a page number, and by using the table of contents as well as bookmarks. The survey results on the use of touchscreen options indicated that it is useful to be able to configure the screen layout of an e-book reader by dividing it into three areas: left, right, and center. And then, when users briefly touch the left and right areas, it is ideal to move to the previous and subsequent pages, respectively; and when they briefly touch the center region, it is desirable to display a touch feature menu. We believe that the results of this study may provide guidance in the design of user interfaces for e-book readers.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.3
• /
• pp.63-74
• /
• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.4
• /
• pp.112-131
• /
• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Cartoon and Animation Studies
• /
• s.42
• /
• pp.293-313
• /
• 2016

The target stimulating human's sensitivity can include several things; the first is human like us including beautiful women and cute babies. The next ranking is the dog animal that established itself as a human's companion. It is the 3B law(beauty, baby, beast - much used in the ad or election due to the positive image) that is widely used in the advertising. This relationship is being expressed in the art history for a long time. Dogs that have lived a history more than 10 thousand years with humans hunted, protected flock of sheep, and kept the farmer's house and property. They have been human's assistants and companion who entered into the modern urban culture. Like this, dogs have adapted to several situations endlessly such as the nomadic life, farming, country life, and urban life. This paper will explore the close relationship of humans and companion animals through various icons of dogs and pups that appeared through a number of artists' skills. The companion animal means an animal that lives with people, which means the relationship of round-trip rather than the one-way relation those each other gives a help. Therefore, there artist tries to examine the figure of great hunter for survival, highly evaluated figure as the royal dignity, and the mascot-like figure delivering the daily happiness to modern people as presenting joy through a discussion of the 'countenance', a visual signal of the dogs and pups. They have been influenced by screen and popular media in 20C. Snoopy, a main character of and the movie <101 Dalmatians> made a success on the theater and television when Beagle and Dalmatian were prevalent. These main characters make audience feel happy involuntarily. Like this, the continuous and old friendship of the human and dogs will be confirmed again through the icon of dogs and pups consisting of the communication of artists and readers in the modern shape art, and it is hoped to be a psychological stabilizing effect to modern people living in the intense modern society. Therefore, it is expected this study paper will be reborn as a new text and be expanded as an effective communication in the journey of dogs and human in the future in investigating the communion of dogs and human.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.155-180
• /
• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.