• International Journal of Internet, Broadcasting and Communication
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• v.16 no.2
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• pp.81-86
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• 2024

Advancements in generative AI are reshaping graphic and 3D content design landscapes, where AI not only enriches graphic design but extends its reach to 3D content creation. Though 3D texture mapping through AI is advancing, AI-generated 3D modeling technology in this realm remains nascent. This paper presents AI 2D image-driven 3D modeling techniques, assessing their viability in 3D content design by scrutinizing various algorithms. Initially, four OBJ model-exporting AI algorithms are screened, and two are further evaluated. Results indicate that while AI-generated 3D models may not be directly usable, they effectively capture reference object structures, offering substantial time savings and enhanced design efficiency through manual refinements. This endeavor pioneers new avenues for 3D content creators, anticipating a dynamic fusion of AI and 3D design.

• Journal of Fashion Business
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• v.2 no.1
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• pp.25-34
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• 1998

This study has it's purpose in examining the materialized background. characteristic of African traditional costume and the A fro fashion of the year 1960. and it's influence on the contemporary fashion. Then the findings are applied to suggest a new way of image creation. 1960' s was the year in which people tried to free oneself from the ruling culture of the social standards. war. and the development of science. By such movement. people started to get interested in the environment and ecology. This then lead to the interest of the rights of the minority. With the youngs as the central figure A fro hair style and dashiki appeared as the street fashion. The characteristics of African costume applied to A fro fashion in 1990' s is as below. First. the North African style. Djellaba. and wrap style in the most common silhouette. Second. heavy materials such as stone. copper. silver. and gold are used. Necklace can be classified according to it's simple but. modern style. delicate but grand style. Bracelets are however. broad in width and many rings are worn widely. Third. Multi colored stripe and prints inspired by tattoo and deformation using red brown. dark beige. and orange are printed on textiles such as see through. Fourth. image of tattoo and deformation are applied to make-up. A fro hair and corn beads are also African taste. Fifth. African taste in recent fashion showed off the black beauty by appointing black models at the collection. In analyzing the study done above. characteristic images of African costume. accessaries and body painting was applied in presenting 3 creative designs. The first design named "Geometric I", took it's motif from the geometric pattern of the body painting with the afro hair. "Geometric II", the second design, showed it's application of geometric pattern of mutilation and the silhouette of the costume by using the see through. The third design called the "Geometric III" showed that the aesthetic and decorative side of clothing can be satisfied by applying various form and color of accessaries as the motif. A fro fashion is chosen as one of the folklore mood and it's beauty is conveyed on till today.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.874-885
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• 2013

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

• Asian Journal of Atmospheric Environment
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• v.9 no.2
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• pp.146-157
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• 2015

Emissions of ozone precursors ($NO_x$ and VOCs) and photochemical ozone creation potentials (POCPs) of VOC emission sources were investigated in the largest port city (i.e., Busan), Korea during the year 2011. This analysis was performed using the Clean Air Policy Support System (CAPSS) national emission inventory provided by the National Institute of Environmental Research (NIER), Korea. For $NO_x$, the emissions from off-road mobile sources in Busan were the most dominant (e.g., $31,202ton\;yr^{-1}$), accounting for about 60% of the total $NO_x$ emissions. The emission from shipping of off-road mobile sources (e.g., $24,922ton\;yr^{-1}$) was a major contributor to their total emissions, amounting to 47% of the total $NO_x$ emissions due to the port-related activities in Busan. For VOCs, the emission source category of solvent usage was predominant (e.g., $36,062ton\;yr^{-1}$), accounting for approximately 82% of the total VOC emissions. Out of solvent usages, the emission from painting was the most dominant ($22,733ton\;yr^{-1}$), comprising 52% of the total emissions from solvent usages. The most dominant VOC species emitted from their sources in Busan was toluene, followed by xylene, butane, ethylbenzene, n-butanol, isopropyl alcohol, and propane. The major emission sources of toluene and xylene were found to be painting of coil coating and ship building, respectively. The value of POCP for the off-road mobile source (61) was the highest in ten major activity sectors of VOC emissions. Since the POCP value of ship transport of off-road mobile source (72) was also high enough to affect ozone concentration, the ship emission can play a significant role in ozone production of the port city like Busan.

• Archives of design research
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• v.15 no.4
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• pp.47-56
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• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• (The)Study of the Eastern Classic
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• no.41
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• pp.445-476
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• 2010

In this essay I aimed to analyze the concept of cultivation in east asian aesthetics. Most people regarded traditional asian paintings as an artwork that was obviously an artwork by artists. Moreover, they emphasized the cultivation of artists in their creation and used to accept the concept of cultivation which means cultivating one's mind. Generally speaking, to cultivate one's mind meant enlarging one's ethical behavior and he or she became a better person. And in creation, it meant considering all things more deeply. In this point of view, it was too vague to notice the meaning. What is an accurate meaning of cultivate artist's mind? What was the relation between creation and cultivation? In confucian philosophy, the concept of cultivation had two meanings. One was to enlarge one's ethical behavior and the other was to improve one's knowledge about things. The knowledge implied all of the one's experiences about things. Thus, the knowledge meant what he communicated with under his surroundings and created. In this perspective, to analyze the case of "Dohwaguenmungi" and "Limchungochi", cultivation was related to 'you(游)' and 'jing(精)'. It implied all of the artist's efforts to make communication with his objects deeper and wider, at last, he created his own meaning about object that he experienced. Therefore, I suggest that when we use the concept of cultivation in the context of creation, it should be used as the meaning related with improving one's knowledge about things.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.545-557
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• 2020

With the increasing interest on K-fashion all over the world, it's the important time to create the items which can express the unique identity of Korea for promoting the globalization of Korean fashion. Accordingly, this study aims to suggest the modern applicability of traditional patterns by designing the bags using the Dancheong patterns(traditional multi-colored decorative painting) which can effectively express Korean images in a variety of shapes and definite visual features and then expand the scope of fashion items. To this end, this study concentrated on expressing the Dancheong patterns to fit to the modern fashion trends by re-interpreting them. The bag was designed using the laser cutting technique, without weaving or digital printing, to imbue the technical emotion and 3D effect to the patterns. In accordance with the analysis results, the features of patterns could be delicately expressed around the shaping and structuring method in terms of the design, and the scope of design for leather goods could be expanded using the laser cutting in technical aspects. For the industrial aspects, it is required to develop differentiated goods expressing the unique emotion of the Korean for globalization of Korean design.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.65-77
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• 2003

Due to the rapid changes occurring in many aspects of contemporary society, the need for a means to actively combat widespread feelings of emptiness and alienation among the public, while satisfying its visual pleasure, is increasing. Thus the need for humorous elements which bring freedom to the human psyche is urgently requested. Of course, the field of fashion cannot be left out in this trend, and humor image design is a good example of this. Humor image in fashion endeavors to release the tension accumulated in the modern world, while trying to find a way to recover the original pureness of mankind. Another aspect currently important is computers. The creation of images in modern visual art relies a lot upon computers. Traditional visual processes such as painting, photography and video are now merged within digital technology. and are now quite symbiotic to each other. With the development of computers came computer art. which uses all applicable functions of a computer to create art. Any artistic action which uses a computer in any stage of its creation can be called computer art. The common factor in humor and computer art in modern fashion can be classified as follows : repetition, deformation and distortion. exaggeration and abridgement. juxtaposition. and Tromp l'oeil. This study has placed its objective on the fusion of humor image fashion and computer art, by manufacturing a work with humor and computers, two important aspects of modern culture. Expanding the field of fashion design while promoting creativity In fashion by finding a verging point between art and science is also necessary. I have designed and made five costumes using the above cited techniques in computer humor images, on a theoretical basis.

• Journal of Digital Convergence
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• v.11 no.10
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• pp.679-687
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• 2013

Currently, we are living in the era of digital media that puts the technologies in front which is called digital. Based on the characteristic of 'de-materialistic', human senses have been extended more than ever and there is no exception on those influences. Even though the existence of media seriously brought the identity and value of the painting into a question after the emergence of analog photos, advent of digital photos are raising the wind of new paradigms and values creation more seriously than ever. Unlike analog photos of the past which go through chemical process, true nature of digital photo goes through the digital process which is represented by 0 and 1. This didn't bring the loss of the original, but rather brought the creation of the copy which excels the original through retouching and consequently, destroyed the traditional value which is referred as an original. Like this, digital photo image has aesthetics and value of existence which is differentiated from analog photo because it has essentially different structures and characteristics with analog photo.

• Journal of the Korea Safety Management & Science
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• v.10 no.3
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• pp.43-53
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• 2008

This study is carried out for the fire safety of the factory building, the fire risk reduction measure in compliance with an example approached in fire risk reduction systematically, contribute to reduce the fire risk. The analytical fire risk process of discovering, identifying, estimating and evaluating risk and control measure as risk reduction measures are core concept, applies loss prevention with loss control techniques. The painting process in the workplace where the fire hazard and death accident accompanies coexists. Loss prevention problem of creation prevention of dangerous atmosphere at workplace is health and human services problem of normal circumstances, must be inspected with problem of combustible gases at the time of fire explosion. Static electricity measure accomplished the risk control process thoroughly as the fire risk reduction process model with the ignition sources measure which is presented. Fire risk from within organizing will be able to classify with each field by detailedly but risk treatment process will be able to apply basically all the same concept. Consequently about risk management example from before, this study is proposed risk management techniques that standardized rightly in the actual condition of organization with one plan, with discovery of fire risk, the feedback process in compliance with a fire risk reduction and the review which control the result is joint responsibility of engineer, technical expert and manager as part of safety management to practice with the fact must be supervised.