• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2004년도 추계 학술발표대회 논문집
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• pp.226-227
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• 2004

• 한국방송∙미디어공학회:학술대회논문집
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• 한국방송공학회 1999년도 KOBA 방송기술 워크샵 KOBA Broadcasting Technology Workshop
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• pp.133-140
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• 1999

In this paper, we propose a method of image-based three-dimensional modeling for realistic facial expression. In the proposed method, real human facial images are used to deform a generic three-dimensional mesh model and the deformed model is animated to generate facial expression animation. First, we take several pictures of the same person from several view angles. Then we project a three-dimensional face model onto the plane of each facial image and match the projected model with each image. The results are combined to generate a deformed three-dimensional model. We use the feature-based image metamorphosis to match the projected models with images. We then create a synthetic image from the two-dimensional images of a specific person's face. This synthetic image is texture-mapped to the cylindrical projection of the three-dimensional model. We also propose a muscle-based animation technique to generate realistic facial expression animations. This method facilitates the control of the animation. lastly, we show the animation results of the six represenative facial expressions.

• 한국측량학회지
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• 제33권6호
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• pp.527-536
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• 2015

Recently, the demand for three-dimensional spatial information has continuously been increasing, and especially, studies of indoor/outdoor spatial information or data construction have actively been conducted. However, utilization of spatial information does not universally spread to the private sector, but it is mostly used for the government offices. Thus, this study deals with the creation of three-dimensional right objects and the technique of expression to further vitalize the private sector, three-dimensional right objects, aiming to create and express three-dimensional right spaces in a particular system or open platform more conveniently. Unlike a plane text or apartment building used in existing maps was iconified and displayed simply, this study proposes a method of extracting data from the outer border of the building by the relevant level based on the existing structured three-dimensional building, a method of providing two-dimensional right spatial objects in XML, and expressing them as three-dimensional right objects efficiently. In addition, this study will discuss a method of creating right objects in a way in which an owner who was provided with a cross section of a building involves the direct detailed right objects in additional production or reproduction to utilize three-dimensional data (right objects) produced through this study.

• 한국생산제조학회지
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• 제26권3호
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• pp.328-336
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• 2017

The exit surface of a lens is designed using a three-dimensional free-form expression in order to easily modify a curved surface. This enables the design of numerical values and mathematical things using three-dimensional free-form expression, and enhances precision because it can be fine-tuned via numerical control. The standard of "Classification of Luminaire Light Distribution" for outdoor lighting fixtures by IESNA is adopted in order to examine the correlation between three-dimensional free-form surface expression and lighting performance. The variation of light distribution type and range is analyzed using the values of maximum light intensity and 50% light intensity. The actual tolerance occurs owing to parameters such as the thickness of the lens, the distance between LEDs, and the movement of the center of the incident surface; the effects of changes in these parameters on the performance are compared and analyzed.

• 복식문화연구
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• 제29권3호
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• pp.361-373
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• 2021

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and three-dimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer's imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

• 한국실내디자인학회논문집
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• 제23권5호
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• pp.25-32
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• 2014

The purpose of this study is to analyze the expression method and visual characteristics of material utilized the lighting in terms of a visual aspect. The method of study is to establish standards for analysis and to classify type of visual effect and expression of that focused on preliminary study. And It is to grasp the visual expression characteristics of new materials. through analysis standards. The results of the study are as follows. First, 'decorativeness', 'symbolization', 'motion-images' and 'interactivity' were selected as the type of visual expression through the precedent studies. And it was classified the visual effects as 3 types like 'a light-emitting effect', 'steric effects' and 'movement effect'. Second, We could know that 'light-emitting effect' was expressed in 7-new materials, 'three-dimensional effect' was expressed in 3-new materials, and 'motion effect' in 4-new materials. Through that. We could know that the new materials represented with 'light-emitting effect' are much more than the other new materials. Third, the results of this study show that 'decorativeness' in the visual types was appeared to 'light-emitting effect' and 'three-dimensional effect'. 'symbolization' to 'light-emitting effect' and 'motion effect', 'motion-images' to 'three-dimensional effect' and 'motion effect' and 'interactivity' to 'light-emitting effect', 'three-dimensional effect' and 'motion effect'. And It was appeared to three effects in 'interactivity'. We could know that it is more effective to be presented the visual effect simultaneously to communication with the visual perception.

• 한국의상디자인학회지
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• 제14권3호
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• pp.37-49
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• 2012

The purpose of this study is to provide basic data of dress design by researching three-dimensional decorative techniques representing flowers, a popular motif in dress design. This study analyzed 44 dresses that were presented in Valentino collection. The result of this study is as follows: First, the detailing expression method can show various patterns and colors through embroidery technique, sub-materials, and bonding techniques in embroidery, beads flower, and ribbon flowers. Second, the fabric flower technique expressed flower image in three-dimension in more various images than do either the ribbon or beads flower technique. Fabric flowers are mostly made from the same material as dresses. The expression technique of fabric flower is classified into the following three classifications: 1) A technique underlying a flower image with one, two and three large flowers, 2) a technique decorating a large area with a number of an identical motif, and 3) a technique highlighting a part of the body or design line by attracting eyes to one point, creating a corsage decorated where a designer wants to emphasize. Third, a silhouette technique realizes a flower image with a silhouette of a dress like sculpted structure and it is thus used less than a detailing expression technique. A flower image is expressed by making use of body lines or emphasizing the face. Finally, flower images on a dress were realized as a full blossomed flower, through visually streamlined shapes and curved lines.

• 로봇학회논문지
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• 제4권3호
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• pp.210-217
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• 2009

This paper introduces a design of multi-dimensional complex emotional model for various complex emotional expression. It is a novel approach to design an emotional model by comparison with conventional emotional model which used a three-dimensional emotional space with some problems; the discontinuity of emotions, the simple emotional expression, and the necessity of re-designing the emotional model for each robot. To solve these problems, we have designed an emotional model. It uses a multi-dimensional emotional space for the continuity of emotion. A linear model design is used for reusability of the emotional model. It has the personality for various emotional results although it gets same inputs. To demonstrate the effectiveness of our model, we have tested with a human friendly robot.

• 한국게임학회 논문지
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• 제8권2호
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• pp.47-55
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• 2008

본 논문에서는 스켈레톤(skeleton)의 리깅(rigging)방식을 사용하여 해부학을 기초로 한 14개의 표정근과 동일한 기능을 수행하게 얼굴의 표정을 표현하는 SSFE(Skeleton System for Facial Expression)를 제안한다. SSFE는 3차원애니메이션저작도구(MAYA 8.5)에서 제공하는 스켈레톤을 Deformer로 이용하여 메시모델(mesh model)의 눈, 코, 입 주변의 얼굴표정을 단위 동작별로 구분하여 조합하여 얼굴표정을 만들어 내는 방식이다. 이 결과, SSFE식 스켈레톤은 다른 모델에 무한대로 변형하여 재활용 할 수 있게 해준다. 이러한 재활용성은 애니메이션의 제작방식의 OSMU(One Source Multi Use)로 이해 될 수 있으며 애니메이션의 제작비용을 줄일 수 있는 대체방식이다. 또한 3차원 애니메이션 관련업체 즉 가상현실이나 게임, 제작에 활용될 수 있다.

• 복식
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• 제24권
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• pp.143-155
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• 1995

Unlike pure art such as painting and sculpture, dressmaking , a field of special plastic art, is characterized by its physical and functional nature. Having an inseparable relation with form, it is a field of art expressiion the human innersense of beauty in correlation with other various fields of art. In this respect, I think it should be necessary for us to study the forms of art from the past in order to study the forms of art from the past in order to study the correlations and mutual influencies between forms of pure art and dressmaking and to understand modern dressmaking from the standpoint of art. In this context, this study is an attempt to analze how the form and characteristics of OP ART , which represents the trends of the 1960's is embodied in modern dresses. The results are as follows : Fist , the expression of OP ART in dresses have visual effects harmonizing with bodily movements and , also, expanded the range and dynamics of expression which resulted from the introduction of visual phenomena in a fresh new sense by not limiting itself to the suggestion of patterns of OP ART. Second, OP ART paintings expressed the mobility and rhythimicity of a body in a limited space in a two-dimensional plane way of expression . When a dress is worn, however, it expands such mobility and rhythmicity in a cubic , three-dimensional way, maximizing the effects of , and boldly expression, OP ART, it can also create a new silhuette and ability of formation by seeking an open expression of OP ART rather than an expression of OP ART it self , due to the infinite possibility and unpredictability by the dynamics of movements and the elements principle of designs. Third , by applying the patterns of OP ART to dresses, we can obtain special visual effects of design, cover up the body's weak points, and create a desired three -dimensional sense by highlighting the beauty of the body's curved lines. Although modern dresses and OP ART are different genres of art, both have something in common in their pusuits. Since there is a infinite possibility in OP ART, there should be continuous attempts to combine dresses and art satisfying the sense of the times, which will lead dressmaking to a higher-dimensional dressmaking plastic art.