• International Journal of High-Rise Buildings
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• v.9 no.4
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• pp.335-342
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• 2020

This article comes up with a new method which is based on the visual characteristic of the objects and machine learning technology to achieve semi-automated recognition of the personnel, machine & materials of the construction sites. Balancing the real-time performance and accuracy, using Faster RCNN (Faster Region-based Convolutional Neural Networks) with transfer learning method appears to be a rational choice. After fine-tuning an ImageNet pre-trained Faster RCNN and testing with it, the result shows that the precision ratio (mAP) has so far reached 67.62%, while the recall ratio (AR) has reached 56.23%. In other word, this recognizing method has achieved rational performance. Further inference with the video of the construction of Huoshenshan Hospital also indicates preliminary success.

• Journal of the Ergonomics Society of Korea
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• v.14 no.2
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• pp.63-73
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• 1995

An approach to quantitative evaluation of product usability during the design and implementation phases of the product life cycle is presented. The evaluation starts by defining a set of usability characteristics, viz. physical, cognitive and affective characteristic. Each of these characteristics is assessed by a set of usability criteria, such as functionality, visual clarity, learmability, etc. The usability criterion is then evaluated by a checklist consisting of a detailed questionnaire. The fuzzy weighted-checklist method with linguistic variables is used for quantitative analysis. Also, the method for quantifying usability improve- ments in iterative design processes is considered. This analysis procides a quantit- ative measure, which reflects the degree of excellence of product usability during the design and development phases.

• Journal of Science of Art and Design
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• v.10
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• pp.51-72
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• 2006

Reinterpretation of the visual characteristics of Korean folk painting in contemporary Korean painting is to seek directions of today's Korean painting. When examining expressions of contemporary painting we see that there is a reappearance of iconic images, a reinterpretation of both flatness and multi-perspectives, and an objectifying of pastiche folk icons with an experimental spirit. All of these techniques suggest methods of contemporary Korean painting through 'folk painting'. Although folk painting has been adopted in contemporary Korean painting for a long time, interest increased in the 1980s. With the prevailance of both national characteristic expressive techniques of realism and color painting, artists reinterpreted folk painting in their work, borrowing the traditional five colors, common contents, and iconic images. Particularly, an interest in 'Korean Beauty' drew people's interest back to folk painting which provided the significant 'Korean Beauty' of traditional expressive techniques. This study is to examine the characteristics of selected group of works that created a new expressive technique in today's Korean painting by either the reappearance or the reinterpreting of iconic images of the Chosun Dynasty's folk painting. To achieve these goals, the artists, who modify or reinterpret folk painting's visual characteristics with a contemporary sense, are divided into three categories in this study; 'The Readoption of the Folk Image', 'The Reinterpretation of Folk Characteristics', and 'Experimental Expressions'. As a result, it proves that folk painting is both a classical expression and national expression which was not only favored in the Chosun period, but also can be reinterpreted through today's visual methodology.

• Archives of design research
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• v.13 no.1
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• pp.103-110
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• 2000

Hangul came to life as part of the East Asian culture of the Chinese ideograph. Korean letter-culture is starkly different from that of Western letter-culture. In the Orient, letters were sacred and incantory; they were objects of awe, which incorporated elements of the majestic, mysterious, and of ritual. Here we had cultural tradition that acknowledged the intrinsic value of the letters. And it was in this context that Hangul was born as a completely phonetic system of writing. However, the characteristics of Hangul are quite different from those of Chinese ideographs, which are designed to convey a certain meaning. Despite the fact that Hangul is phonetic, its roots lie most definitely in the image of Chinese ideographs. This is something that contrasts with the roots of the Latin alphabet, which have been lost in its long journey of evolution. As a phonetic writing system, a notable characteristic of Hangul is that it has this and the attributes of image. In other words, in that Hangul is a compound, it shares some of the same attributes as Chinese ideographs, but also in that it is a phonetic writing system it is dose to the Latin alphabet. Hangul is definitely a visual writing system that has its origins in the visual culture of Chinese characters as well as being functionally a highly developed phonetic writing system. In short, Hangul has both of these attributes in one writing system. These characteristics of Hangul, for us living in the era of the image, are parts that awaken us to the meaning of existence in our visual culture. Unique among the world's writing systems, the identity of Hangul typography will become none other than the essence of our visual culture.

• Journal of Digital Convergence
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• v.17 no.12
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• pp.451-459
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• 2019

This study is aims to examine how the skeleton character in Pixar's Animation is visualized for the narrative of the film and suggests the direction of attractive character development corresponding to the story. First of all, it was conducted the case studies on the narrative of animation, character design, character's emotion expression, and animations featuring skeleton character. Based on this study, it was derived the visual representation of the skeleton character featuring in and analyzed the role and function in the animation. As a result, the expressions by the skeleton's eyes, eyebrows, mouth, lips, and jaw played the most important role for the emotional expression and lines in , and the major characteristic for human facial expression was reflected in the design of the skeleton character. In addition, the various props were used to provide the detailed informations of the skeleton's character, and it was expressed the movement emphasizing its essential attribute. Finally, the skeleton's symbolic image was strengthened by composing and arranging the skeleton's image through Mise en scene. It is expected that this study will be used as a reference for the animation character related researchers and practitioners in the business and it helps develop attractive characters fir the narrative animation in the future.

• Journal of Biomedical Engineering Research
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• v.24 no.4
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• pp.355-361
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• 2003

In the present study, a new Real Time Subjective Evaluation (RTSSE) system was developed. The system is composed of two parts: a sensibility input part and sensibility evaluation part. The sensibility input part receives values, which are recorded on an input board using a stylus and digital tablet, from each subject's evaluation of his/her own subjective sensibility towards a particular stimulus. The sensibility evaluation part displays the level of pleasantness and arousal on one or two dimensions in real time. An experiment was conducted in order to investigate the feasibility and effectiveness of the RTSSE system. The present study compared Galvanic Skin Response (GSR) with the RTSSE by presenting 28 subjects in their 20s with pictures arousing either positive or negative sensibility. Following the experiment, an off-line subjective assessment using a questionnaire was given to the same subjects. According to the correlation coefficients, changes in subjective sensibility caused by the positive visual stimulus were related more closely to GSR, from the positive visual stimulus, and changes in subjective sensibility caused by the negative visual stimulus were related more closely to GSR from the negative visual stimulus. The questionnaire results showed marked similarity to the average responses of the RTSSE. In conclusion, the most remarkable characteristic of the present system is that it not only assesses the average sensibility when stimuli are presented, but also shows the changing strength of sensibility over time.

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Journal of Fashion Business
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• v.14 no.1
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.331-336
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• 2015

The texture mapping used for the low-polygon models is one of the important workflows in the graphical representation of the 3D game. Only one hand painted texture is mapped on the surface of the 3D model and represents the color of the material and visual sense of touching by itself in that process. In the 3D game graphics, it is very important to visualize the textile sensation such as protruding and denting. It can be interpreted by the Gestalt Law to recognize a plane as a 3D sense of volume. Moreover, the concept of Affordance is necessary to recognize and perceive the textile sensation. It means visual recognizing of that relationship in the learning process. In this paper, The questionnaire survey targeting 3D game graphic designers is carried out. By analyzing the survey results, we suggest the important characteristic in the process of making hand painted texture.

• Journal of Digital Contents Society
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• v.2 no.2
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• pp.199-208
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• 2001

The industries of culture contents is the trend to enforce the power of National competitions in the world economy knowledge foundation which tries to exchange a labor industry to the knowledge business. The spread of internet is the apparently turning point to be devide the world economy into the industrial society and the digital society. Also the communication with internet has been recognized as it is not any more newly means of communication in Korea. Net value which is a multinational internet survey corporation clarified that Korea was the most nation in the world by the result of its research in the rate of using internet. This research look into the characteristic of the media and type of the animation in internet, also analysis a need of user and a degree of convenience of using internet in the web of education site. This study is designed to study the evaluation criteria of web interface with visual perception and to seek its development in relation to the quality of visual perception in case of web animation.