• 한국주거학회논문집
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• 제17권4호
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• pp.119-130
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• 2006

Apartment houses, the representative type of urban housing, are becoming an important element in Korea urban landscape. In this regard, this study aims to consider landscape in view of city residents reflecting human's visual perceptual characteristic, and in line with this, the urban landscape of apartment houses viewed from the urban center main intersections has been embodied according to the physical components of the intersections, which was followed by preference survey of the city residents, and then based on this, the visual-perceptual characteristics were examined. The findings are as follows: 1. The findings gained from the average of the landscape types indicate that the city residents are more satisfied when the shielding by surrounding buildings is minimized, view securing is relatively good, the whole complex is clearly observed because of its proximity to the visual point, and the view of the complex is well recognized from the focus point. 2. The examination concerning the preferred factors positively evaluated in terms of architectural planning shows that when the complex view is changeable sophisticated, makes the residents feel comfortable with its stable, open plan, and it's in harmony with surroundings, such housing attracts the city residents. 3. In terms of architectural planning factors, it turned out that the complex is more preferred when the visibility of the complex and the scale of surrounding green space are in good condition, and such elements of the complex as the sky line, the overall shape, the elevation, variation of the shape and height are harmonious with one another.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.92-100
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• 2012

This study was to examine the pattern of visual interpretation in the process of eye-tracking. I categorized the subjects' observation inclination for analysis so that I could find out which element the user observing the space concentrated and explored. First, for 2 minutes of observation, there occurred 171 times of eye-fixations and 9.8 times of observation frequency on average, which showed that the subject, through this observing fixation, spent 44.5% of the entire time performing the visual activity in order to acquire the "visual understanding" of the lobby-space. Second, I found out that there was a consistent observation type as the time passed. I could categorize the subjects observing the space into 6 concentrating types and 3 discontinuing ones of observation types, which category can be utilized as data for analyzing the subjects' characteristics at space-observation. Third, the type, which was so intensive as to get the visual understanding on the space, was mostly of the case that (1) the subject had a kind of high degree of observation type, exploring the space, again having high degree of the observation type [Type A], (2) the subject repeated the concentration from the early part to the latter [Type C], which can be considered to be the observation type generally shared. Fourth, in the case of observing the space, 45.8% of the subjects showed a high rate of concentration at the time of starting the observation and in less than two minutes. The subjects of type A can be considered to understand the space visually by distinctively repeating the concentration and exploration.

• 농촌계획
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• 제14권4호
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• pp.11-19
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• 2008

The layer technique is to produce many memorable scenes by generating layers of new experiences on the existing ones as it is adding the cognitive layers on to the visually seen landscape. Its need is high for places whose landscape itself influences perception, value or expression and which determines the spatial and quality standards. The existing floor plan-based design methods have failed to be useful in generating complex visual experiences. In order to maximize the aesthetical landscape experiences in landscape planning, cognitive layers are needed which complement the input of adequate cognitive elements and the inter-element relationships. Here, layers are utilized to change the arrangement of the landscape elements and coordinate the cognitive flow so that the images could be connected and imagination could occur. A case in point is Anhyun Village in Gochang where physically distinctive layers are additionally set to make a visual experience enriching. The new landscape layers discover the fact that it provides diversity in experiencing the village landscape and forming the sense of beauty and that it is deeply immersed into the daily life of the village. Meanwhile, Guwau Village in Taebaek is an example showing the usefulness of various-layer setting in landscape planning in setting effective circulation planning. That is, the bottom line is the spacing-starting where and making it stay where for a few seconds, and the visual layers. It is also critical to encourage inducing circulation so that layers of the senses stimulating five senses could intervene. Lastly, Mulgeon-ri in Namhae is a case which directly made a parallel of the physical layers of the landscape composition and the cognitive layers of the landscape experience. Artificial landscape planning is mostly about manipulating of visual traits that people feel beautiful, but the layer technique is linked to how to make experiences enriching and renewed.

• 한국조경학회지
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• 제20권4호
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• pp.54-75
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• 1993

The purpose of this thesis is to suggest objective basic data for the super graphics in the urban landscape through the quantitative visual quality analysis. For this, the image structure of super graphics have been measured mainly by questionnaries and semantic differential scle method and analyzed by the method of factor analysis, means and multiple regression. Degree of visual preference have been measured mainly by questionnaries and likert attitude scale method and finaly these data have been analyzed by using the stepwise method. The data were collected by presenting 12 super graphics photographs-4 each sample pictures from the 3 each selected districts representing typical urban landscape style(central business district, shopping district, apartment complex). Observer groups were categorized as professionals, students, the others. Result of this thesis can be summarized as fallows: 1. From all 12(3${\times}$4) sample super graphics, the value of each semantic differential scale among the observer groups were presented significant group difference. But no significant difference of the S.D. scale value were observed among central business district, shopping district and apartment complex super graphics. 2. For all experimental points, 4 types of factor have been observed. Factors covering the image of super graphics were found to be the evaluation, the intimacy, the potentiality and the tidiness. 3. Main factors of the super graphics image and factors indicating the group variations yielded high significance between areas. 4. The harmony with surrounding environment, the proper selection of super graphics subject yielded high values for all groups. Especially, the good color sense with building was the most important variable determining the degree of visual preference. 5. The urban C.B.D. super graphics obtained 5∼12 ranks of regional visual preference and the shopping district super graphics obtained 2∼11 ranks, and apartment complex super graphics obtained 1∼7 ranks.

• 아시안잔디학회지
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• 제17권2_3호
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• pp.87-97
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• 2003

The growth characteristics of creeping bentgrass seeded in the seaside landfill golf course are as follows. 1. As a result of analysis on the chemical characteristics of soil mixture used for turfgrass ground in this experiment, soil pH was 7.9, which is somewhat higher than the creeping bentgrass reference value of pH 5.5∼6.5; T-N(%) was 0.02, which is proper for the reference value, and trace element too lacked. 2. The cultivar with the fastest water infiltration was Seaside II recorded as 226.2cm/sec, while that with the slowest water infiltration was Pennlinks recorded as 141.1 cm/hr which was too faster than the USGA water infiltration reference value of 15∼30cm/hr. For the surface hardness of turfgrass ground with different cultivars, no statistically significant variation was found between the Penncross grass and the Pennlinks recorded as 18.6mm and 19.1 mm, respectively. The soil penetration was the highest in Pennlinks recorded as 7.6kg/$\textrm{cm}^2$ and lowest in Penn A-1 as 6.1kg/$\textrm{cm}^2$. 3. As a result of evaluation on visual quality at the early stage of growth, Penncross showed the most excellent visual quality compared to the others. However, Penn A-1 showed the most excellent visual quality at a late stage of growth around Sep. 17, 2003, and it was also excellent in the evaluation of visual color. Seaside II showed higher density around the root and the longest root length and was highly resistant to salt compared to others, but the initial sprouting rate was not satisfied, and the visual quality in the summer season was inferior to others. 4. As a result of measurement of the traffic injury, Penncross showed the most tolerant to the traffic stress and Pennlinks showed the most susceptible.

• 대한인간공학회지
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• 제26권4호
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• pp.135-142
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• 2007

Icon conveys symbolic information which they have become ubiquitous as main element of GUI. However, users often cannot intuitively understand its functional meanings. Icon has to be designed for users to easily understand functional meanings. In order to evaluate icon, the spreading activation model can be used to effectively understand the process of information retrieval. In asymmetric spreading activation model is that in the two nodes the degree of spreading activation is different according to direction. Thus, asymmetric spreading activation theory was performed evaluating the strength of association when users see visual image to associate their verbal meaning (visual image - verbal meaning pair) and users see verbal meaning to associate their visual image (verbal meaning - visual image pair). According to the direction, this study hypothesizes that the well-designed icons have symmetric relationship rather than asymmetric relationship between the two pairs. The strength of association is measured through the reaction time and the accuracy rate. In performing SAT (spreading activation test), the ten icons were selected as word processing software icons. After first SAT, newly designed icons were developed based on Korean mental model, and second SAT was conducted using them. The results showed that the accuracy rate of newly designed icon has been improved. Also there is significant difference of reaction time between current icons and newly designed icons. Well-designed icon is confirmed that the strength of association relationship arises symmetrically rather than asymmetrically between the two pairs. User centered icons could be designed by improving the strength of association between the two pairs. Asymmetric SAT evaluates the strength of the association between the visual image and the verbal meanings to contribute to the development of icon which it related to human's association structure.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2010년도 춘계학술대회
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• pp.347-350
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• 2010

뉴 미디어 시대의 도래로 우리는 움직이는 영상 이미지의 세계에 살고 있다고 해도 과언이 아니다. 매체의 발달과 함께 일상에서는 이미지와 함께 순간을 지나며 느끼며 그것을 일부처럼 공존하며 소통하고 있다. 이러한 시대에 논리적이고 현실적인 사고보다 감각적이고 형상적인 이미지가 더 많은 것을 전달하고 설명하기도 한다. 움직이는 이미지를 보는 행위는 언어적이고 개념적인 의미의 전달 이전에 색채와 화면을 구성하고 있는 조형적인 요소와 그것들이 만들어내는 변화가 먼저 인식된다. 특히 서사의 구조를 가지는 영화영상 애니메이션에서는 그 영역이 더욱 크게 작용하며 이러한 장면의 이미지를 연결시키는 트랜지션의 기법 역시 본연의 단순한 기능에서 의미소통의 기능으로 확대되고 있다. 이러한 트랜지션 효과는 단순한 장면전환의 전통적 기법에서 시각적 유희성을 제공하고 서사의 흐름에 도움을 주는 내러티브 기능으로 수행되는 관점에서 시각적 표현의 연구는 지속되어야 한다.

• 조형예술학연구
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• 제7권
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• 복식
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• 제63권3호
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• pp.17-32
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• 2013

This study examined the visual elements of the Trompe l'oeil design and the combination conditions of each element in order to deduce the form generation diagrams of Trompe l'oeil fashion design. The following is what the study found: First, Trompe l'oeil fashion design can be divided into two based on its subject: 'the combination of internal elements of dress' and 'the combination of external elements of dress'. Looking at the visual components of each type, depending on the subject, 'the combination of internal elements of dress' design was achieved by combining internal dress elements: including textile, detail, item, accessory, layering, etc.. In case of 'the combination of external elements of dress' design, the object of Trompe l'oeil was expanded in scope to environment, which includes the actions of a wearer. Second, as for Trompe l'oeil fashion design through the combination of external dress elements, the condition to combined visual components of the work in the process of creation was related to 'the popularity of object', 'the similarity of shapes and sizes', and 'the probability of location'. Third, deriving a form generation diagrams of Trompe l'oeil fashion design was very effective in delineating specific relationships and conditions, directions among elements combined in fashion design.

• 생물환경조절학회지
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• 제1권1호
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• pp.37-51
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• 1992

Quantizing and extracting visual features of mushroom(Lentinus edodes L.) are crucial to the sorting and grading automation, the growth state measurement, and the dried performance indexing. A computer image processing system was utilized for the extraction and measurement of visual features of front and back sides of the mushroom. The image processing system is composed of the IBM PC compatible 386DK, ITEX PCVISION Plus frame grabber, B/W CCD camera, VGA color graphic monitor, and image output RGB monitor. In this paper, an automatic thresholding algorithm was developed to yield the segmented binary image representing skin states of the front and back sides. An eight directional Freeman's chain coding was modified to solve the edge disconnectivity by gradually expanding the mask size of 3$\times$3 to 9$\times$9. A real scaled geometric quantity of the object was directly extracted from the 8-directional chain element. The external shape of the mushroom was analyzed and converted to the quantitative feature patterns. Efficient algorithms for the extraction of the selected feature patterns and the recognition of the front and back side were developed. The developed algorithms were coded in a menu driven way using MS_C language Ver.6.0, PC VISION PLUS library fuctions, and VGA graphic functions.