• Title/Summary/Keyword: The Visual Element

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Study on Installation of Sector Lights for the Establishment of Safe Navigation Environment in Busan Port (부산항 안전항해환경 조성을 위한 지향등 설치방안 연구)

  • JEONG, Hae-Sang;LEE, Jong-Cheol;KIM, Jeong-Rok;GUG, Seung-Gi
    • Proceedings of the Korean Institute of Navigation and Port Research Conference
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    • 2019.11a
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    • pp.87-88
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    • 2019
  • Leading Lights and Sector Lights provide a navigable channel, heading reference and a visual indication. Mariners can take easily a reference bearing or line of position. The Busan North Port needed to install a sector light to resolve blind sections because of Busan Port Redevelopment Project D-1 Block Construction Plan. And also the busan new port needed to install a sector light to give safety indication because navigation conditions will be changed due to removal of the to-island. For this reason, design development was made for installation of sector lights. In addition, the results of design development were compared with the AtoN simulation and verified. This paper is expected to be very useful for installing Sector Lights to guide the vessel to port safely in Korea.

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The Study on Color Image Analysis According to Web Site Types (웹 사이트 유형별 색채이미지 분석에 관한 연구)

  • Youn, KyoungSook;Ryu, NamHoon;Kim, EungKon
    • Proceedings of the Korea Contents Association Conference
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    • 2008.05a
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    • pp.668-674
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    • 2008
  • When various kinds of contents are developed in accordance with higher rate of Internet use to have quality conditions, added values can be elevated in genuinely strong power of Internet. As soon as visiting web site on Internet, men are invited to visit corresponding information web site by a variety of techniques and colors. The visual expression is thought to be important, and color plans of web designs play an important role. This is because the color decides on images of web design to transfer sense as an important element. The paper selected colors by each type of web site and investigated color images. The purpose of the paper is to classify local web sites by each type, for instance, identity, information/community, entertainment, shopping and learning, etc and to suggest directions of color image plan by each type of web site.

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A Study on the User Experience of Handmade Market Applications -Focused on Etsy and Idus- (핸드메이드 마켓 앱의 사용자 경험 연구 -Etsy와 idus를 중심으로-)

  • An, Jisun
    • Journal of Digital Convergence
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    • v.19 no.12
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    • pp.389-395
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    • 2021
  • This study aims to evaluate the user experience of leading handmade product market service applications, Etsy and idus. A survey about the apps was developed based on Peter Morville's user experience factors. The survey was conducted with eleven users from their 20s to 50s. In addition, problems were discovered through an in-depth interview and the resulting user experience problems were analyzed according to the five levels of Jesse James Garrett's user experience element framework. Our primary results for both apps suggest applying a universally accepted visual interface to improve the user experience, providing brief text to improve readability, avoiding repetitive delivery of similar functions in different information structures, and applying design patterns that are considerate of customers' culture and country. This study provides meaningful data to elevate handmade product platforms into global platforms by analyzing and providing improvements to their shopping experiences.

Development of Stereo Sound Authoring Tool to Modify and Edit 2Channel Stereo Sound Source Using HRTF (HRTF를 이용한 2채널 스테레오 음원을 수정 및 편집 할 수 있는 입체음향 저작도구 개발)

  • Kim, Young-Sik;Kim, Yong-Il;Bae, Myeong-Soo;Jeon, Su-Min;Lee, Dae-Ho
    • Proceedings of the Korea Information Processing Society Conference
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    • 2017.11a
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    • pp.909-912
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    • 2017
  • In implementing a computerized virtual training system, the auditory element is responsible for the human cognitive ability following visual elements. Especially, the improvement of hearing ability is closely related to the performance of the training, and it contributes to improvement of the training effect. In this paper, we propose a sound system that is necessary for constructing such a virtual training system as a test system that can use a sound source using a head related transfer function (HRTF). Functional and auditory tests were performed to evaluate system performance.

THEORETICAL STUDY ON OBSERVED COLOR-MAGNITUDE DIAGRAMS

  • Lee, See-Woo
    • Journal of The Korean Astronomical Society
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    • v.12 no.1
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    • pp.41-70
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    • 1979
  • From $B\ddot{o}hm$-Vitense's atmospheric model calculations, the relations, [$T_e$, (B-V)] and [B.C, (B-V)] with respect to heavy element abundance were obtained. Using these relations and evolutionary model calculations of Rood, and Sweigart and Gross, analytic expressions for some physical parameters relating to the C-M diagrams of globular clusters were derived, and they were applied to 21 globular clusters with observed transition periods of RR Lyrae variables. More than 20 different parameters were examined for each globular cluster. The derived ranges of some basic parameters are as follows; $Y=0.21{\sim}0.33,\;Z=1.5{\times}10^{-4}{\sim}4.5{\times}10^{-3},\;age,\;t=9.5{\sim}19{\times}10^9$ years, mass for red giants, $m_{RG}=0.74m_{\odot}{\sim}0.91m_{\odot}$, mass for RR Lyrae stars, $m_{RR}=0.59m_{\odot}{\sim}0.75m_{\odot}$, the visual magnitude difference between the turnoff point and the horizontal branch (HB), ${\Delta}V_{to}=3.1{\sim}3.4(<{\Delta}V_{to}>=3.32)$, the color of the blue edge of RR Lyrae gap, $(B-V)_{BE}=0.17{\sim}0.21=(<(B-V)_{BE}>=0.18),\;[\frac{m}{L}]_{RR}=-1.7{\sim}-1.9$, mass difference of $m_{RR}$ relative to $m_{RG},(m_{RG}-m_{RR})/m_{RG}=0.0{\sim}0.39$. It was found that the ranges of derived parameters agree reasonably well with the observed ones and those estimated by others. Some important results obtained herein can be summarized as follows; (i) There are considerable variations in the initial helium abundance and in age of globular clusters. (ii) The radial gradient of heavy element abundance does exist for globular clusters as shown by Janes for field stars and open clusters. (iii) The helium abundance seems to have been increased with age by massive star evolution after a considerable amount (Y>0.2) of helium had been attained by the Big-Bang nucleosynthesis, but there is not seen a radial gradient of helium abundance. (iv) A considerable amount of heavy elements ($Z{\sim}10{-3}$) might have been formed in the inner halo ($r_{GC}$<10 kpc) from the earliest galactic co1lapse, and then the heavy element abundance has been slowly enriched towards the galactic center and disk, establishing the radial gradient of heavy element abundance. (v) The final galactic disk formation might have taken much longer by about a half of the galactic age than the halo formation, supporting a slow, inhomogeneous co1lapse model of Larson. (vi) Of the three principal parameters controlling the morphology of C-M diagrams, it was found that the first parameter is heavy clement abundance, the second age and the third helium abundance. (vii) The globular clusters can be divided into three different groups, AI, BI and CII according to Z, Y an d age as well as Dickens' HB types. BI group clusters of HB types 4 and 5 like M 3 and NGC 7006 are the oldest and have the lowest helium abundance of the three groups. And also they appear in the inner halo. On the other hand, the youngest AI clusters have the highest Z and Y, and appear in the innermost halo region and in the disk. (viii) From the result of the clean separations of the clusters into three groups, a three dimensional classification with three parameters, Z, Y and age is prsented. (ix) The anomalous C-M diagrams can be expalined in terms of the three principal parameters. That is, the anomaly of NGC 362 and NGC 7006 is accounted for by the smaller age of the order of $1{\sim}2{\times}10^9$ years rather than by the helium abundance difference, compared with M 3. (x) The difference in two Oosterhoff types I and II can be explained in terms of the mean mass difference of RR Lyrae variables rather than in terms of the helium abundance difference as suggested by Stobie. The mean mass of the variables in Oosterhoff type I clusters is smaller by $0.074m_{\odot}$ which is exactly consistent with Rood's estimate. Since it was found that the mean mass of RR Lyrae stars increases with decreasing Z, the two Oosterhoff types can be explained substantially by the metal abundance difference; the type II has Z<$3.4{\times}10^{-4}$, and the type I has higher Z than the type II.

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THREE-DIMENSIONAL FINITE ELEMENT ANALYSIS OF THE PHENOMENON PRODUCED DURING RETRACTION OF FOUR MAXILLARY INCISORS (상악 4절치의 후방견인시 나타나는 현상에 관한 유한요소법적 분석)

  • Cheon, Ok-Jin;Kim, Tae-Woo;Suhr, Cheong-Hoon
    • The korean journal of orthodontics
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    • v.25 no.5 s.52
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    • pp.525-541
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    • 1995
  • This study was designed to investigate force systems and tooth movements produced by retraction archwire during retraction of four maxillary incisors after the maxillary canine retraction into the maxillary first premolar extraction space using the computer-aided three-dimensional finite element method. A three-dimensional finite element model, consisting of 2248 elements and 3194 nodes, was constructed. The model consisted of maxillary teeth and surrounding periodontal membranes, .022'$\times$.028'-slot brackets, and 5 types of retraction archwires(.019'$\times$.025' stainless steel archwire) modeled using the beam elements. The contact between the wire and the bracket slot was modeled using the gap elements because of the non-linear elastic behaviors of the contact between them. The forces and moments, End displacements produced by retraction archwire were measured at various conditions to investigate the difference according to types of loops, magnitudes of activation force, gable angle, and anterior lingual root torque. The results were expressed quantitative and visual ways in the three-dimensional method. The following conclusions can be drawn from this study.1. When the tear-drop loop archwire was activated, the mesio-distal and lingual translational movements of the teeth helped to close the extraction space, but unwanted movements of the teeth including intrusions and extrusions, and rotational movements in each direction occurred. 2. Activation of T-loop archwire compared with those of other types of retraction archwires produced the least translational movements of the teeth helped to space closure and also the least unwanted movements of the teeth. 3. Increasing amount of activation in the tear-drop archwire led not only to increase of translational movements of the teeth helped to space closure, but also to increase of unwanted movements of the teeth. 4. Addition of gable bend in the tear-drop archwire helped anterior teeth to translational movements in the mesio-distal direction, but increased unwanted movements of the teeth 5. Addition of anterior lingual root torque in the tear-drop archwire helped central and lateral incisor to improve their facio-lingual inclination, but increased unwanted movements of the teeth.

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Analysis of the Korea Traditional Colors within the Spatial Arrangement and Form of the Traditional Garden of Seyeonjeong (보길도 세연정(洗然庭)의 공간구조 형식에 내재한 전통색채 분석)

  • Han, Hee-Jeong;Cho, Se-Hwan
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.4
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    • pp.14-23
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    • 2014
  • The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).

A Study about the Aesthetics of Oriental in Modern Fashion design (현대패션디자인에 나타난 동양의 미의식 연구)

  • 임영자
    • Journal of the Korean Society of Costume
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    • v.30
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    • pp.261-274
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    • 1996
  • In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

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A Study on the Characteristics of Change by Observation Area which changes as the observation time passes in Interior Space (실내공간에서 주시시간의 경과에 따른 구역별 주시특성에 관한 연구)

  • Kim, Jong-Ha;Ban, Young-Sun
    • Korean Institute of Interior Design Journal
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    • v.21 no.2
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    • pp.84-91
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    • 2012
  • The total data of observing interior space was divided into a few time frames for analysis. If we can understand the changing process of observation degree as the observation time passes, we will be able to analyse the characteristic and process of information obtainment in the case of space observation. For this purpose, the observation time was parted into 30 second units and the changing characteristic by time frame and observation area was analysed. The conclusion derived from this study is as the following: First, analysis of observation frequency and time on the basis of the average data of each subject showed that the observation time increased compared with the subject's frequency and the overall trend but that it was difficult for me to think there was a certain trend in the observation time of each subject. However, when I examined the time change by using the trend line which is a dynamic average line representing the observation time from the subjects as the trend element of time series, I could see the trend that the subject's observation time increased at a fixed rate as the frequency increased. Second, when I compared and analysed the average observation area at Area I set up by the time of 30 second unit and the observation area of Area I from the all data, I could see that the former had more degree of concentration at Area I. This analysis enabled me to get the degree of concentration on the observed area every time, and accordingly I could also see that when the data of intensive observation by time frame is analysed, the degree of concentration is dispersed for the subjects to observe very intensively or the area with overlapping observations each time frame can be seen as Area I out of the entire observation data. Third, when I analysed the observation characteristics by time frame at the 6 areas divided at 30 second unit at the rate of the number to the time of observation areas, I could see that as the observation time passed while the number of the observation areas defined as decreased the observation time increased, which means that when the area numbers decreases the area intensively observed by the subjects decreases as the time passes. In spit of that, the increase of time can be interpreted as more intensive observation of a specific area.

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A Study on the Androgynous Phenomena in Contemporary Fashion from the Feminist's Viewpoint (페미니즘적 시각에서 본 현대복식의 앤드로지너스 현상에 관한 연구)

  • 김혜연
    • Journal of the Korean Society of Costume
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    • v.43
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    • pp.203-224
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    • 1999
  • As androgny presented by feminism still appear in contemporary fashion since mid 1980's feminism as a social phenomenon can be considered to habe influenced fashion history. This paper surveys the sex images of androgynous look that appeared in contemporary fashion into bisexual image and neutral images based on the feminist aspects of changes in contemporary fashion. As stated above bisexual images and neutral images of androgynous look shown in clothing are an attempt to reach one single integrated complete being by overacoming 'femininity' or 'masculinity' and combining the element of the two sexes. Consequently androgynous look creates new attraction by harmoniously coordinating characteristics of the two sexes instead of totally differentiating between masculinity and femininity that are represented in the form of clothing that has conceptual visual characteristics. Following are the conclusions of the reseach of this paper. First 'androgynous' as a feminist sex concept reflects the spirit of the times. Since the sex roles are divided and diversified and the concept of femininity is changing the concept of androgyny requiring both masculine and feminine characteristics in an essential sex concept for sucessful conduct of roles in a complex modern society. Second the integrated human image of androgynous look has led to a new culture with fashion trends that has been ahead of times by curing the functions of fashion to differentiate between men and women. Third androgynous look at the turn-of-the-centuy will not cease to exist but be a lasting fashion phenomenon while the sex concept presented by feminism has become the core to destrov the dichotomous fashion style of the 20th century. Fourth androgynous look is expressed in various manners in contemporary fashion since it shown how human beings accipt the adaptation method desperately required by the contemporary times. Androgynous look can be viewd as the desire for ultimate freedom that can be acquired by destroying the dichotomous sex concept and as the will to become a subject of the world as integrated human being. As we look into fashion culture creation of fashion is not the result of an accidental cause or an individual's work but the reflection of the spirit of the times. In this sense androgynous look introduced by a new sex concept to contemporary fashion has reflected the spirit of the times and led the cultural atmosphere and moreover it is an important fashion style that can characterize the contemporary times while lasting in the future.

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