• 한국항행학회논문지
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• 제3권1호
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• pp.13-19
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• 1999

미지 정수가 올바로 결정된 GPS 반송파 위상을 사용하면 cm 수준의 높은 위치 정확도가 요구되는 정밀 측위를 수행할 수 있다. 제주도 도깨비 도로는 착시 현상으로 인해 육안으로는 올바른 경사도를 파악할 수 없다. 본 논문에서는 반송파 보정 위성 항법 시스템의 높은 위치 정확도를 이용하여 제주도 도깨비 도로의 정확한 경사도를 계산하기 위해 동적 측위 실험을 수행하였다. 반송파 보정 위성 항법 시스템을 사용하여 실험 데이터를 후처리한 결과, cm 수준의 정확도로 도깨비 도로 노면의 정확한 형태를 알 수 있었다.

• 한국디지털건축인테리어학회논문집
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• 제7권1호
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• pp.15-20
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• 2007

This study is aimed to analyze the method of movement expression in the Space-Time of Modern Visual Art. According to the results of analysis. the following is obtained. (1) The still object is perceived by the sense or optical illusion, and its whole image is made through the information processing prodedure. The concept of Space-Time is integrated into the constructivist works by the composition of image through transforming the position of the fundamental geometry and projecting it. (2) The traditional notion that the work of art is still concept of is changed. The movement of observer is caused by inducing the direction and concept of time through the object in three dimensional space.

• 한국수학교육학회지시리즈A:수학교육
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• 제40권1호
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• pp.15-25
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• 2001

The purpose of this thesis is to search the situation of an outbreak of the fallacy and methods of its treatment. We regard intuition as origins of genuine knowledge, but it sometimes raises the fallacy by intrinsic characters of itself. It makes an examination of the fallacy of the sense of sight like an optical illusion to instance that of sense. The sense of sight is an important factor in an intuitive cognition. However, its activity without thinking raises the fallacy of intuition in the process to observe and judge the things. I point out the fallacy of intuition which originates from terms and concepts in mathematical problems. The concept of mean velocity is representative. In this case, students make a mistake which means velocity can be solved by dividing the sum of v$_1$ and v$_2$ into two. The methods which overcome the fallacy of intuition are balance of intuition and logic, overcome of functional fixedness, the development of intuitive models and the development of metacognitive ability.

• The International Journal of Costume Culture
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• 제4권2호
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• pp.94-114
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• 2001

Men's Po of (he Chosun period became simple and stable in shape as the nation moved from its early to late period. Re lines of the external structure of the clothing shows the beauty of the garment. Re lines generally derive their beauty from curved lines, gradually replacing the straight lines of the earlier part of the Chosun period. The linear beauty of the external structure of men's Po is found in the outline and silhouette. Generally in the early Chosun period it could be seen that H-shaped silhouettes, narrowed strips and flexible drapes descending to the ankles were still in use from the period of the Koryo dynasty And in the 17th century, or the mid Chosun period, considerable numbers of H-shaped drapes with wide sleeves and side Moo were seen. At the beginning of the 18th century, voluminous A-shaped outlines appeared. From the late Chosun period through the mid and late Chosun period, or the 18th and 19th centuries, the from silhouette changed from voluminous A-shapes to narrower H-shapes. The beauty of the lines of the external structure of men's Po is due to its harmonising with the straight body lines of men. The straight Git of the early Chosun period harmonises beautifully with the straight Baerae and Doryun and the curved Git of the later Chosun period similarly harmonises with the curved Baerae and Doryun lines. The shape of men's Po has a balance betweon right and left, centering around the Sup lines. The sleeves have the balanced beauty of vertical lines. Git and Sup have beauty through the balance of oblique and straight lines while Baerae and Doryun have similar balances through curves. Jikrung, Chulik, Dapho's side Moo, coat strings, Doryun and sleeves drape, all of which are manufactured by means of plane cutting, Pow together beautifully. Re Git, Sup, and the silhouette and drape of men's Po, which are also manufactured through plane cutting, make the wearer look tall and at the same time express the beauty of mature manhood. The linear beauty shown in men's Po during the Chosun Period have beauty through harmonizing with straight and curved lines, beauty balance, beauty of flow, beutity of emphasis and beauty of optical illusion.

• 복합신소재구조학회 논문집
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• 제6권1호
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• pp.6-13
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• 2015

In this paper we present the result of investigations pertaining to the buckling strength of Zelkova Serrata (Elm-like) tree column with entasis at the Muryangsujeon in Buseoksa-Temple, Korea. Wooden columns with entasis had been used in the construction of ancient architectural buildings in Korea. It was not known why did they design columns with entasis of the buildings. It is just presumed that the reason may be the compensation of optical illusion, aesthetics, and/or structural safety. The question is not answered even today and it may not be possible to answer clearly and easily. In the paper, the buckling analyses are conducted on both of the wooden column with entasis and the prismatic wooden column by the successive approximations technique and the finite element methods, respectively. The results of analyses are compared and discussed.

• 패션비즈니스
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• 제8권3호
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• pp.49-58
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• 2004

In the modern society, already a popular and public part of fashion, hair coloring has the effect of optical illusion on image. This study therefor aims to reveal the effects of varied and fashionable hair coloring on the body images. This is a combination of an actual examination and an experimental study. In order to know the effects of hair colors on body image, 230 female collegians residing in Busan were given a questionnaire on the reality of hair dyeing. Based on the actual research, one subject was selected and stimuli were manufactured. The analysis and examination of the effects of hair dyeing have produced the following conclusions. (1) As a result of dispersion analysis about the image effect according to hair colors, a meaningful difference is recognized in the item and indicates that hair color variation influences the image effect. (2) As a result, extracting the factors that hair colors can influence the image, 3 factors were extracted. The first factor is an intellectual image, the second factor is an active image, and the third factor is a comfortable image. (3) Image effect in hair colors are as same next. Red and Orange color clearly indicate the image of 'charismatic', 'lively', 'positive', 'active', 'light' and 'gorgeous'. Blue and Green color indicates the image of 'unfriendly', 'hard', 'cold' and 'uneasy'. White color indicates the image of 'unfriendly', 'charismatic', 'gorgeous' and 'impure' then Black color has images of 'friendly', 'intellectual', 'indignified' and 'pure'. In other words, the result indicates rather a different tendency comparison with the general color image.

• 복식
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• 제64권7호
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• pp.82-96
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• 2014

This study views the shadows cast by the light and a subject provides new interpretations rather than it simply being an additive product. Particularly in fashion photograph, light and shadows are often used as tools to convey meaning. Accordingly, this study aims to classify the utilization of the shadow created by light and deriving its expressive characteristics in fashion photograph. To achieve these research aims, literature and case studies were conducted. The results are as follows. First, the shadows were mainly focused on a subject. Secondly, shadows caused by lighting is casted directly into the inside of the main subject in a frame takes a role of omission or emphasis. Third, shadows caused by a second unseen object outside the frame are utilized with the main subject in the frame. Based on these results above, spatial third dimensionality, optical illusion and accentuation were derived as expressive characteristics of the shadow in fashion photograph. As such, in fashion photograph, shadow is an important element for photographers. The variability of the shadow makes it possible for creative changes as its amount, angle and direction can be altered by adjusting the light in accordance with the intention of the artist. Therefore, its utilization methods will be diversified hereafter. Accordingly, it is required to recognize that shadow may be recreated as an independent object in fashion photograph.

• 디자인학연구
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• 제11권3호
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• pp.25-33
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• 1998

오뜨꾸뛰르 복식은 새롭고 독창적인 아이디어를 창인 할 뿐 아니라 복식의 고유한 요소 즉, 수공예 적이며 전통고수의 성격을 강하게 갖으면서 20세기에 들어와서는 대중적 요소가 결합되어 세계모드에 영향력을 행사하는 것으로 파악된다. 이러한 요소는 개더의 고유한 구조 자체가 갖고 있는 기술 구사 적 측면으로서만이 아니라 기본적인 기술적 요소가 현대의 여러 사조 및 소재나 복식디자인 적 요소와 유합 하여 복식의 기능적 측면과 장식적인 측면이 융합되어 착용 자나 디자이너에게 있어 미적 표출과 감성적인 측면에까지 영향을 미친다. 20세기는 새로운 예술운동의 범람과 전위적 운동의 전개로 전통적 장르가 붕괴되거나 혼합되어 나타났다. 이러한 믹싱 현상은 트랜드의 부재, 패션의 부재라 할 수 있는 해체주의 적 경향을 띄게 되어 최근 오뜨꾸뛰르에 나타난 개더의 유형으로 아이템이나, 소재, 디자인에서 혼합적 양상이 개더의 디테일 적 요소와 유합, 상충, 병치되어 등 인위적인 구성인 복합구성의 자유로운 형태로서 다종다양하게 나타났다.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2000년도 추계종합학술대회
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• pp.590-594
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• 2000

피혁 제품의 품질을 결정함에 있어 제일 중요한 요인은 눈에 보이는 표면상태이다 지금까지는 피혁공장에서 대부분의 피혁을 육안으로 선별하여 오고 있는데 이러한 방법은 등급을 구분하는데 많은 노동력과 시간이 소모되고, 일관성이 부족할 뿐만 아니라 미세한 결함이나 정밀한 치수를 감지할 수가 없어 그 등급의 품질에 문제가 발생한다. 이런 문제를 해결하기 위해 본 논문에서는 실시간 영상처리와 A.I를 이용하여 피혁 자동 등급 선별 시스템을 설계하고자 한다. 제안한 선별 시스템의 설계는 세계 피혁업계와 차별을 기하고 검사시간을 단축하여 생산 효율성을 증대하며, 등급의 표준화 및 품질의 고급화를 도모할 수 있다.

• 복식문화연구
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• 제18권3호
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• pp.397-407
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• 2010

This study is about the strife patterns in modern fashion and the characteristics inherent in them. The study was aimed at offering the basic materials to develop the creative design that can show various visual expression effects. In terms of method, the study was led by the analysis of documents; domestic and foreign fashion, collection magazines etc were used to analyze the strife patterns in modern fashion. According to the findings, the study used the rearrangement of the strife patterns at the same intervals, the arrangement of different strife patterns within one single item, the hybrid arrangement of strife patterns and different patterns, and the use of strife patterns for a certain part of clothing for the purse of emphasis or decoration. First, the characteristics inherent in such strife patterns showed clear simplicity using the same repetition of simple lines or the two colors of black and white. Second, strife patterns changed silhouettes by causing optical illusion, and showed the rhythm effects, such as swelling, wave or movement by distorting and controlling lines or forms. Third, based on irregular intervals or multi-strife, the concept of unclear disharmony and inconsistency was shown with the beauty of hybridharmony by blending various strife patterns with each other, or strife patterns with different patterns, and thus expressing composite images.