• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.111-127
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• 2016

The study aims to examine the forms of 'image expression' and utilization of model poses in fashion photos, and to delve into the characteristics and the intents that make certain model poses effective in expressing an image. The study used the fashion photos in the fashion magazine, Vogue, to analyze the different model poses used to express different images. The results are as follows. First, image expression forms in fashion photos were categorized into 'direct product suggestion expression form', 'sensual image expression form', 'sexual image expression form', 'story telling expression form', 'everyday situation expression form', and 'fantastic image expression form'. The different utilization types of model poses were categorized into 'type utilizing intangible elements', 'type utilizing complicated elements', 'type utilizing living organisms', 'type utilizing props', 'type utilizing clothes', 'type utilizing location', 'type utilizing accessories', and 'type utilizing products'. Second, the most common expression form for fashion photos used in advertisements was the 'direct product suggestion expression form', which was followed by the sensual image expression form. The most popular form used in the editorial fashion photos was the direct suggestion product expression form, which was followed by the story telling expression form. Third, the most common model pose type for direct product suggestion form was the 'type utilizing product'. Fourth, 'direct product suggestion expression form' was mostly used in editorial fashion photos. The most common utilization types of model poses were 'type utilizing clothes', 'type utilizing props', and 'type utilizing place'.

• Journal of the Korean Mathematical Society
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• v.46 no.5
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• pp.979-995
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• 2009

As warped product manifolds provide an excellent setting to model space time near black holes or bodies with large gravitational field, the study of these manifolds assumes significance in general. B. Y. Chen [4] initiated the study of CR-warped product submanifolds in a Kaehler manifold. He obtained a characterization for a CR-submanifold to be locally a CR-warped product and an estimate for the squared norm of the second fundamental form of CR-warped products in a complex space form (cf [6]). In the present paper, we have obtained a necessary and sufficient conditions in terms of the canonical structures P and F on a CR-submanifold of a nearly Kaehler manifold under which the submanifold reduces to a locally CR-warped product submanifold. Moreover, an estimate for the second fundamental form of the submanifold in a generalized complex space is obtained and thus extend the results of Chen to a more general setting.

• Honam Mathematical Journal
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• v.43 no.2
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• pp.289-304
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• 2021

In this paper, we establish several geometric characterizations focusing on the relationship between the squared norm of the second fundamental form and the warping function of SCR-lightlike warped product submanifolds in an indefinite Kaehler manifold. In particular, we find an estimate for the squared norm of the second fundamental form h in terms of the Hessian of the warping function λ for SCR-lightlike warped product submanifolds of an indefinite complex space form. Consequently, we derive an optimal inequality, namely $${\parallel}h{\parallel}^2{\geq}2q\{{\Delta}(ln{\lambda})+{\parallel}{\nabla}(ln{\lambda}){\parallel}^2+\frac{c}{2}p\}$$, for SCR-lightlike warped product submanifolds in an indefinite complex space form. We also provide one non-trivial example for this class of warped products in an indefinite Kaehler manifold.

• The KIPS Transactions:PartD
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• v.19D no.1
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• pp.81-94
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• 2012

FORM(Feature-Oriented Reuse Method) is one of representative product line engineering methods. The essence of FORM is the FORM architecture models, which can be reused in the development of multiple products of a software product line. The FORM architecture models, however, have the following problems when applied in practice. First, they are not standardized models like UML(Unified Modeling Language) and therefore they can be constructed only through a specific modeling tool. Second, they do not represent architectural variability explicitly. Instead their variability is only managed through a mapping from a feature model. To address these two problems, we developed at first a method for representing the FORM architecture models using UML, which enables the FORM architecture models to be constructed through various available UML modeling tools. Also, we developed an effective method for representing as well as managing the variability of the FORM architecture models through a mapping from a feature model.

• Archives of design research
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• v.17 no.3
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• pp.91-100
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• 2004

Natural forms could be ultimate visual expression power that affects on the industrial design. The rule of power in nature as nature formal characteristics have a direct influence and can be also applied to productional and artificial form. All organic forms and structures in nature have unique form and shape to be self controlled and good in order. Such an order in nature comes from regular and ratio principles which has aesthetical order by mathematics. The specialty of beauty in nature can be revealed not only visual form but also the ratio, balance and rhythm of structural principles. As we examine the aesthetic source, embodied some object can be developed into basic principles. Furthermore, through this study we can find out that the form theory in nature forms share the quality attribute with geometrical form to be shown in industrial product design. In this context, this study aims to make dear visual quality of organic form and structure that is immanent in nature about a form as formative principles of industrial product design, the significancy of this study is to prove the application into functional and structural form of product design.

• Science of Emotion and Sensibility
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• v.5 no.1
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• pp.49-60
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• 2002

The aims of the study are first, in other to meet the demand for a new product design process, to review the prototype theory and to find out the conceptual structure of product aesthetics, which is another properly thought to be as important as the typical pattern in an effort to patch up the theory second to help designers overcome the limits of idea generation and create consumer oriented designs with a high success rate by setting up a new product design process that is established through the application of the aesthetically influential factor 'proportion'based on the preceeding studies that tested product aesthetics measuring devices. In other words, this study tries to find out product categories, making use of the prototype theory to introduce an ideal proportion for product design, recognizing the importance of proportion by conducting product pattern analysis: to create a differentiated method that can product consumer oriented designs, even if it only manipulate proportion and to establish a new design process that can systematically explain the methodology for various form generation that applies proportion. This study reviews the theoretical aspects of concepts pertaining to the above … and, based on them, empirically tests them by patting to use the programs, for proportion manipulation. This study was conducted in the following way: To begin with, this study takes out proportion out of some aesthetically influential factors that has a great impact on the way consumers prefer certain product designs and tries to see how proportion affects the consumer preference when consumers select a product. In addition, we could analyze the difference between the ideal proportion that consumers prefer and the traditional golden proportion produced through theoretical studies. The correlations between preferred proportion and ideal proportion, and preferred proportion and golden proportion could be shown. In order that we may create form variations through more detailed proportion manipulation on the basis of the ideal proportion verified as preferable, we again applied the proportion factor to the process utilizing PDS(proportion Distortion System). In the way the restraint of form generation could be pursued. All in all, this study makes an attempt to set up a design process to create new product forms through the application of Proportion.

• Archives of design research
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• v.15 no.1
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• pp.369-388
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• 2002

21th century that is repealing change is making the world that can enjoy human spiritual character and freedom wholeheartedly. Therefore, meet hereupon arid design may have to bring conversion to position of beginning that can be software at position that is hardware look raw and result look who is wrapping last result arts provide cause. Therefore, user supposes that do difficult form in that recognize things form, and that difference about attribution reaction may do differ and contradictory attribution reaction while specially 40s and 50s recognize product form laying stress on external form embodiment of product form meaning by guess and this research compares and investigates attribution process for human's attribution reaction instinct and attribution reaction type through scientific, theoretical considerations about form and things theoretically and defined cause reasoning in design. And designed product that things are recognized whether felt thing in product form is what hearing example relation sex between analysis and form of meaning induction by attribution leading person about subjective estimation reaction through literature arrange, and analyze and defined if cause some effect to designed product because drawing urea about attribution reaction through an experiment. And presented model about design access method and forward pratical use possibility and hereafter subject together with conclusion.

• Science of Emotion and Sensibility
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• v.7 no.4
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• pp.7-17
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• 2004

Recently, design has emerged as a key factor of successful product development. This study reviewed the elements of form with a view point of addressing and defining the elements of aesthetics and how they influence consumer aesthetic response. Though past researches related to form aesthetics reported that form aesthetics exist as a single element with other sub-elements, this research made further investigations into form aesthetics and reported that form aesthetics in product design can be broadly divided into form aesthetics and content aesthetics. Empirical studies on each category was undertaken and from the results obtained, it was concluded that typicality is a dominant element in content aesthetics while balance is a dominant element in form aesthetics. Also, the study investigated the effect of conditional variables such as price and people on each category and it was observed that both content and form aesthetics elements are affected by conditional variables such as price, people. Furthermore, the study reports that both content and form aesthetics elements are mutually correlated and both categories affect user's aesthetics response. It is intended that the results obtained from this work will contribute to theoretical knowledge of aesthetic elements and can be put to use by product design and manufacturing companies.

• Archives of design research
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• v.17 no.2
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• pp.279-288
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• 2004

Corporate design activities have expanded from being exclusive and passive responsibilities to active participation in planning, marketing, technology and corporate brand image differentiation for successful business. Thus the communications between designers and other functions come to include critical decision making, information sharing, and objective reasoning. Given that design activities now have to involve various functions in product development, the styling-related design process, which is still developed by designer's intuition and experience, poses as an obstacle not just between various functions involved, but even within the design function. To overcome this obstacle and to lead more effective design decision process, a means for product form development assessment and management is necessary. This research proposes a foundation for managing and assessing product form based on the hypothesis and demonstration of discovering a system of formative factor and order a product form expresses that can be shared as an objective and logical system. As a result of this demonstration, the form as a unique visual expression and the factors related to the form and its co-relationship are examined. The factors are called formative parameters and the system is named as the product form alignment method. Based on the logic derived from the system, the process for developing an image that aligns with the predefined goal is explained. The method defines a balance between a designer's intuitive creativity and the extracted logic, which can act as a basis for designers to share design language among themselves and for communication between design and other functions. Based on this system, designers are able to align design work with the set goal, and focus and limit the range of form development, which is anticipated to result in lead-time reduction and minimizing unnecessary obstacles and mistakes.

• Archives of design research
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• v.17 no.3
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• pp.179-188
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• 2004

Recently, design has emerged as a key factor of successful product development. This study reviewed the elements of form with a view point of addressing and defining the elements of aesthetics and how they influence consumer aesthetic response. Though past researches related to form aesthetics reported that form aesthetics exist as a single element with other sub-elements, this research made further investigations into form aesthetics and reported that form aesthetics in product design can be broadly divided into form aesthetics and content aesthetics. Empirical studies on each category was undertaken and from the results obtained, it was concluded that typicality is a dominant element in content aesthetics while rhythm is a dominant element in form aesthetics. Also, the study investigated the effect of conditional variables such as price and brand hierarchy on each category and it was observed that both content and form aesthetics elements are affected by conditional variables such as price and brand hierarchy, Furthermore, the study reports that both content and form aesthetics elements are mutually correlated and both categories affect user's aesthetics response. It is intended that the results obtained from this work will contribute to theoretical knowledge of aesthetic elements and can be put to use by product design and manufacturing companies.