• 한국콘텐츠학회논문지
• /
• 제7권5호
• /
• pp.102-109
• /
• 2007

회화에서 프레임의 미학을 연구하는 것보다 애니메이션 화면구성에 대한 프레임을 분석하는 것은 더욱 더 중요한 의미를 지니고 있다. 단편 애니메이션작가 조르주 슈피츠게벨의 이미지 형상은 캐릭터를 지우는 흔적을 통하여 작가 신체의 촉각적 감각으로 형상화된 구체적인 표현이라고 말할 수 있다. 이는 들뢰즈가 언급한 형상지우기에 의한 흔적의 변형(메타모포시스 Metamorphosis)과 비유된다. 애니메이션에서 살아 숨쉬는 캐릭터는 들뢰즈가 기술한 형상과 같이 실사영상과는 구별된다. 애니메이션은 프레임 안에서 움직이는 캐릭터의 형상과 큰 움직임이 없는 배경으로 나눠질 수 있는데, 움직이지 않는 배경의 구성은 들뢰즈가 언급한 아플라와 유사한 성격을 갖는다. 이는 실사영상을 프레임 단위로 기록하는 영화와는 다르게 애니메이션은 실제와는 다른 경계인 아플라를 배경으로 표현하고 있으며, 캐릭터는 최소한의 구상성을 갖고 대상에 대한 형상의 일그러짐을 통하여 새로운 형상으로 재탄생되고 있다. 다음은 프레임의 시간지속에 대한 문제이다. 슈피츠게벨의 작품은 프레임과 프레임사이의 상관관계에 의하여 의미가 생성된다. 그의 작품에서는 프레임과 프레임 간의 구성에 따른 형상 묘사 자체가 프레임으로 구성된다. 이러한 과정을 통하여 슈비츠게벨의 작품은 각 프레임 사이에 연결되어 있는 개별 프레임이 새롭게 생성되는 대상의 형상을 묘사하고 있다. 이는 대상에 대한 지시체의 근본이 적용되지 않는 현대영화에서 극히 적게 찾아 볼 수 있다고 들뢰즈는 언급한다. 바꿔 말하면 슈비츠게벨의 작품은 현대영화의 특징을 갖춘 애니메이션으로 프레임과 프레임 사이의 형상을 묘사하고 있다. 이는 들뢰즈가 언급한 대상세계의 법칙과 논리에서 벗어나 이루어지는 크리스털적 묘사임을 알 수 있다.

• 디자인학연구
• /
• 제18권4호
• /
• pp.297-302
• /
• 2005

몸을 건강하게 하고 정신을 자유롭게 하는 집이란 디자인 기능의 효율성과 물리적 합리성의 측면을 넘어 인간의 육체와 정신에 관계되는 커뮤니케이션과 몸의 근본이라고 하는 기(氣)의 순환을 고려한 집으로서 사람을 활(活)하게 할 수 있는 집을 말한다. 한옥에서의 집이란 인간의 행위와 감정 및 이성의 모든 정신을 담는 형태가 없는 가변적 형태이며, 다양한 삶의 행위들을 이끌어 스스로의 삶을 생성하고 창출해 나가는 통합된 전체였다. 이러한 의미에서 동양인에게 좋은 집이란 몸을 편리하게 하기보다는 건강하게 하는 기능을 가져야 했고 그러기 위해서 끊임없이 변화하고 운동하며 기를 생성하여 통하게 하는 생명과 같은 역할을 해야 했다. 본 논문은 인간에 대해 거주공간이 건강한 육체와 자유로운 정신의 공간으로 실천되기 위하여 기(氣)의 순환을 중심적으로 고려한 주택 설계안을 연구한 것이다. 이에 기(氣)를 정신과 육체의 두 가지 측면으로 보고 이들의 순환을 이루는 집이 인간의 삶 속에서 생명을 가진 것처럼 기운생동(氣運生動)하게 하는 방법을 고려하여 설계된 중암의 설계 과정을 사례로 제시한다.

• 복식
• /
• 제56권7호
• /
• pp.126-141
• /
• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Archives of Plastic Surgery
• /
• 제34권6호
• /
• pp.807-812
• /
• 2007

Purpose: The presence of epicanthal fold and the absence of supratarsal fold are characteristics of Korean eyelids. There has been many surgical procedures to eliminate medial epicanthal fold but those procedures focus on the lengthening of horizontal palpebral fissure and the shortening of intercanthal distance so that the shape of eye had tendency to be sharp. The authors suggest that the supermedial shifting of epicanthal fold enhance the aesthetic result. Methods: From Sep 2006 to May 2007, total 17 women(mean age 22) with Type III epicanthal fold underwent epicanthoplasty using author's modified Uchida method. The design for epicanthoplasty was drawn superolaterally along epicanthal fold and split V-W plasty was done to shift the epicanthal fold superomedially. Also non-incisional double-eyelid operation was underwent. Results: The epicanthal fold was shifted in superomedially, intercanthal distance was shortened and double-eyelid was achieved. The patients were satisfied with the result and no major complication was noted. Conclusion: This method can be effective in correcting the epicanthal fold of Korean eyelid by shifting the epicanthal fold superomedially to make the shape of eye aesthetically without noticeable scar.

• 디자인학연구
• /
• 제6권1호
• /
• pp.23-46
• /
• 1993

The development of technology in modern industrial world which grows and changes every day is shortening the cycle of life span of products, so there is a flood of products around us. It is enough to say that this phenomenon leads to further emphasis on the aspect of design for human being. It is not a new fact that to design for the rational function and the modeling from to make a combination and to satisfy consumers' desire is a short cut to gain competitive superiority in developing new products for MIS security. Therefore the design which plays a leading role in the activity of creating more convenient, more aesthetic, and more econemical products is called 'NEW CORPORATE WEAPON'. The amount of effort made for developing products is different in each company, but recently the plan to develope new products and its process arouse more interest. This thesis purports to improve objective understanding about the development of design by investigating products development research and the process of analysis and designing as a case study on developing a domestic supersonic humidifier. This thesis consists of five chapters in all. In chapter one as a preface, the purpose the method and the scope of the study is described. Chapter two contains my effort to grasp the background of study on the design and the basic structure of supersonic humidifier. Chapter three is an examination into the present conditions of supersonic humidifier used in domestic and foreign area, and the shape of design. In chapter four, a guide for the development of design is established. The idea sketch based on a fundamental shape and the drawing are added to this. In chapter five on the basis of the result of analysis in the preceding research I describe the development of design of products on the premise that marketing gives proof for them but the products oriented by manufacturer are not included in this case. In this thesis, I try to recognize the process of the develpment of design and the importance of the plan for design in developing products by examining an investigative and analytic study on the design of products.

• 한국CDE학회논문집
• /
• 제13권6호
• /
• pp.403-411
• /
• 2008

The alignment of facial images is crucial for 2D face recognition. This is the same to facial meshes for 3D face recognition. Most of the 3D face recognition methods refer to 3D alignment but do not describe their approaches in details. In this paper, we focus on describing an automatic 3D alignment in viewpoint of quantitative analysis. This paper presents a framework of 3D face alignment and normalization based on feature points obtained by Active Shape Models (ASMs). The positions of eyes and mouth can give possibility of aligning the 3D face exactly in three-dimension space. The rotational transform on each axis is defined with respect to the reference position. In aligning process, the rotational transform converts an input 3D faces with large pose variations to the reference frontal view. The part of face is flopped from the aligned face using the sphere region centered at the nose tip of 3D face. The cropped face is shifted and brought into the frame with specified size for normalizing. Subsequently, the interpolation is carried to the face for sampling at equal interval and filling holes. The color interpolation is also carried at the same interval. The outputs are normalized 2D and 3D face which can be used for face recognition. Finally, we carry two sets of experiments to measure aligning errors and evaluate the performance of suggested process.

• Journal of the Korean Wood Science and Technology
• /
• 제1권2호
• /
• pp.3-10
• /
• 1973

This study was carried out to examine the characeristics of waste sanders(S)from. plywood and pre-finishing plywood surface sanding and double saw finishing, as a new extander in urea-formaldehyde resin(UFR) in plywood adhesive, and to focus, adhesive strength using the glue extended with milled sanders(MS) as extender, leveling the optimum amount of MS to be added, and examining the physical properties of glue extended MS & S. Also economical good feasibility of substitution for wheat flour(WF) with MS as a new extender is analyzed and presented in details. Selecting three standard samples of 80, 100 and 180 mesh, sorking them in distilled water at $20^{\circ}C$, 24 hours, redrying at $105^{\circ}C$ and rescreening the sample with standard screen, again, the 3 samples of 80, 100, and 180 mesh are passed 23 percent through 80 mesh sander standard sample 27 percent through on 100 mesh and only 10.9 percent through 180 mesh, respectively. The particle size of retained parts are greater in size of redried form. It seems undoubtly that particles to be extended in glue are got swollen and become greater in size and coarser in shape. The shape of fresh S particles are irregular thin needle with small scale, as shown in Figure 5. PFS are so finer than plywood S that only 9.8 percent of the S retained on 100 mest screen, 24. 30 percent on 100-160 mesh, and 65.9% on 160-180 mesh. But particle size of the fresh S is large enough to make the viscosity of glue direct extended with S too high to apply it glue spreader. The glue extended with milled sanders(MS). 3 hours milled PFS or 6 hours milled plywood S, having particle sizes shown in Tables 7 and 8, as ratio of Reain/MS/WF/water: 100/8/8/10, indicate good viscosity of 16 to 24 ps, as shown in Figure 5, for applying direct to glue spreader, have high tensile-shear strength (adhesive strength), 102.4 kp/$cm^2$, and 94 percent wood failure.

• 한국의류학회지
• /
• 제34권2호
• /
• pp.318-335
• /
• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• 한국의류학회지
• /
• 제15권4호
• /
• pp.341-349
• /
• 1991

This study was done to provide basic data for clothing design and thus to contribute to the academic development of the clothing and textile area. The focus of this study was to charac­terize the somatotype based on each individual's lateral view. For this purpose, firstly, categorization of the subjects based on their lateral view and definition of each category, secondly, characterization of each somatotype, and thirdly, sugges­tion of the deterministic criteria of each category were complished. The subjects in this study were female college students of 18 to 26 year-old whose somatotypes were comparatively invariable after cessation of physical growth. The metrical items characterizing upper body lateral view were chosen. Data were collected through Anthropometry and Photometry and analyzed by Factor analysis. The results were as follows; 1. Each subject's side view contour was classified as straight type, lean-back type, bend­forward type, and swayback according to its position to the relative plumb line. Straight type was defined as the type in which the plumb line passes through the lobe of the ear, the shoulder joint, and the mid abdominal region laterally. Lean-back type positioned the plumb line more posteriorly than straight type. Bend-forward type positioned the plumb line more anteriorly than straight type. Swayback positioned the plumb line at about the same line as straight type. And curvature of side view contur was more prominent in this type than in straight type. 2. Seven factors were figured out. The first factor was representing upperbody volume, and the second factor was representing size, the third factor was horizontal distance from lateral view representing size view contour. The fourth factor was front body length, the fifth factor was back body length. The sixth factor was shoulder length and shoulder width representing shoulder shape. The seventh factor was the bust shape.

• 한국의상디자인학회지
• /
• 제23권2호
• /
• pp.133-146
• /
• 2021

It is important to conduct an anthropometric study to develop garment patterns to accommodate the changes found in the body size and type of men in their 30s, to effectively address fit dissatisfaction. Thus, this study aims to explore changes in the lower body sizes and body types of men in their 30s, and provide basic measurements for designing pants patterns. For this purpose, key anthropometric dimensions for the lower body of men in their 30s, which were acquired by the 6th (2010) and 7th (2015) survey conducted by Size Korea, were analyzed using SPSS 24.0 for Windows. Independent sample t-tests were conducted on major lower body sizes to track changes over time. Factor and cluster analyses were used to classify lower body types. From the comparison of the 6th (2010) and 7th (2015) surveys, it was found that the overall lower body size of men in their 30s were increasing in the height-related aspects, circumference, thickness, and width-as well as body weight and BMI. The five factors were derived to determine the typical lower body types of men in their 30s and the body types were classified into three categories through cluster analysis: (1) those with the largest body size, body volume, and obesity, (2) those with smallest body size, lower body volume, and obesity degree, visually the most skinny type, (3) those with BMI and weight that are the smallest, like Type 2, but the main circumference of the lower body is lower. In order to visually look at the statistical analysis, results were presented by producing a avatar based on the main lower body values.