• Journal of Science of Art and Design
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• v.5
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• pp.5-34
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• 2003

This study aims at the observation of some analytical levels-especially those of syntactico-semantical- of the visual expressions in general. As far as the syntactical parts are concerned, there were two steps to be approached. One is to select the paradigms according to the Saussure-Hambidgean suggestions, the other to derive syntagmas from what is called the 'chaos-system', one of nonlinear dynamics. In result, paradigms could be acquired 5 sorts with its so many varieties, as visual templates(VT), supplemented by their reciprocals(R) and complements(CLE), and syntagmas five orbits from each constant c=0 to c=10. In additional, in connection with semantic parts, the study introduced a Gremasian model of discourses and narratives for the interpretation of signifiers. By this, we could cover the conjunctive relationships(+) and the disjunctive(-) of the whole structure of visual expression. Finally, we certified that the above could be fully approved in terms of recent worldly cognitive scientic psychological discoveries.

• 제어로봇시스템학회:학술대회논문집
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• 1995.10a
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• pp.307-310
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• 1995

In the conventional systems, a human must have knowledge of machines and of their special language in communicating with machines. In one side, it is desirable for a human but in another side, it is true that achieving it is very elaborate and is also a significant cause of human error. To reduce this sort of human load, an intelligent man-machine interface is desirable to exist between a human operator and machines to be operated. In the ordinary human communication, not only linguistic information but also visual information is effective, compensating for each others defect. From this viewpoint, problem of translating verbal expressions to some visual image is discussed here in this paper. The location relation between any two objects in a visual scene is a key in translating verbal information to visual information, as is the case in Fig.l. The present translation system advances in knowledge with experience. It consists of Japanese Language processing, image processing, and Japanese-scene translation functions.

• International journal of advanced smart convergence
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• v.13 no.2
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• pp.136-141
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• 2024

Chang'an (Chinese: 长安三万里), also known as 30,000 Miles from Chang'an, is a 2023 Chinese 3D animated historical drama film directed by Xie Junwei and Zou Jing.This thesis aims to explore the visual expression of traditional culture in the 3D animated film Chang'an as an example to reveal the reasons for the success of this type of film. The study analyses in detail the design of the character models and costumes, as well as the use of the traditional landscape painting technique of 'white space' in the composition of the screen from the visual aspect. Through the analysis of character design and screen composition, the thesis concludes that the success of Chang'an lies in its elaborate visual design and clever use of traditional culture, which makes it a 3D animation film with both artistic and commercial values. Finally, the thesis concludes that the production of a successful 3D animation film needs to combine the visual elements of 3D animation with traditional culture in order to win audience recognition and achieve commercial success.

• Journal of KIISE:Databases
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• v.27 no.2
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• pp.151-164
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• 2000

The Visual Object Query Language (VOQL) recently proposed for object databases has been successful in visualizing path expressions and set-related conditions, and providing formal semantics. However, VOQL has several problems. Due to unrealistic assumptions, only set-related conditions can be represented in VOQL. Due to the lack of explicit language construct for the notion of variables, queries are often awkard and less intuitive. In this paper, we propose VOQL*, which extends VOQL to remove these drawbacks. We introduce the notion of visual variables and refine the syntax and semantics of VOQL based on visual variables. We carefully design the language constructs of VOQL* to reflect the syntax of OOPC, so that the constructs such as visual variables, visual elements, VOQL* simple terms, VOQL* structured terms, VOQL* basic formulas, VOQL* formulas, and VOQL* query expressions are hierarchically and inductively constructed as those of OOPC. Most important, we formally define the semantics of each language construct of VOQL* by induction using OOPC. Because of the well-defined syntax and semantics, queries in VOQL* are clear, concise, and intuitive. We also provide an effective procedure to translate queries in VOQL* into those in OOPC. We believe that VOQL* is the first visual query language with the well-defined syntax reflecting the syntactic structure of logic and semantics formally defined by induction.

• Journal of Science of Art and Design
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• v.4
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• pp.5-25
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• 2002

It is not easy to get more attention as a prominent advertising expression among various types of numerous advertisements. Due to the voluminous expansion of advertising communications and the change of the media, new advertising creatives must be needed for serving to differentiate the message , inviting audiences to participate more positively in advertising communications This thesis aims at reviewing the absence as an advertising creative. And this thesis is about the significations of the absence. Chapter I describes the aim of this thesis about the absence as an advertising creative And Chapter II introduces the general concept, perception of the absence and its possibilities as an advertising creative And also mentions about the absence as one of paradoxical expressions with rhetorical theories as well as semiotics. Chapter III deals with the signification of the absence with introducing semiotic methods such as the theory of R. Barthes Chapter IV discusses the signification of the absence as an advertising creative talking into consideration of semiotic theories. And I categorize the types of the absence in advertising expressions. The absence is categorized into 5 types in this thesis. Type (1) is the absence of product which is supposed to be advertised, type (2) is the absence of product and make product image located out of main image of an advertising expression for introducing features of a product itself. And type (3) is the absence of the imaginary audience to invite an audience to participate more spontaneously. Type (4) is the absence of headlines, and type (5) is the absence of almost all visual images and verbal message but a corporate symbol or brand logo. The signification of S types of the absence can be described on the basic of semiotic theories, especially the theory of R. Barthes. It's my hope that this thesis about the absence as an advertising creative will serve as the basic theory for the empirical research about advertising expressions containing images of the absence.

• 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.

• KIPS Transactions on Software and Data Engineering
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• v.3 no.8
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• pp.299-308
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• 2014

Various literatures related computing of information processing have been recently shown the researches inspired from the remarkably excellent human capabilities which recognize and categorize very complex visual patterns such as body motions and facial expressions. Applied from human's outstanding ability of perception, the classification function of visual sequences without context information is specially crucial task for computer vision to understand both the coding and the retrieval of spatio-temporal patterns. This paper presents a biological process based action recognition model of computer vision, which is inspired from visual information processing of human brain for action recognition of visual sequences. Proposed model employs the structure of neural fields of bio-inspired visual perception on detecting motion sequences and discriminating visual patterns in human brain. Experimental results show that proposed recognition model takes not only into account several biological properties of visual information processing, but also is tolerant of time-warping. Furthermore, the model allows robust temporal evolution of classification compared to researches of action recognition. Presented model contributes to implement bio-inspired visual processing system such as intelligent robot agent, etc.

• The KIPS Transactions:PartB
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• v.18B no.5
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• pp.305-314
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• 2011

Research into the visual perception of human emotion to recognize an intention has traditionally focused on emotions of facial expression. Recently researchers have turned to the more challenging field of emotional expressions through body posture or activity. Proposed work approaches recognition of basic emotional categories from body postures using neural model applied visual perception of neurophysiology. In keeping with information processing models of the visual cortex, this work constructs a biologically plausible hierarchy of neural detectors, which can discriminate 6 basic emotional states from static views of associated body postures of activity. The proposed model, which is tolerant to parameter variations, presents its possibility by evaluating against human test subjects on a set of body postures of activities.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.4
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• pp.160-165
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• 2023

The pixel art style evolved from the shortcomings of computer image display technology has gradually transformed from a technical limitation into a widely recognized form of artistic expression since development in the early 20th century. This study analyzes the application and characteristics of the expandability of pixel art style design content in sub industries such as physical goods, environmental design, website design, digital art and illustration in the design field. It aims to explore the visual expression and sustainable development form of pixel art style under the development of new media technology that contradicts traditional technological concepts. The research results show that although the pixel art style generally pursues external visual features such as pixelated visual effects, sawtooth and matrix arrangements, its expansion in the art field shows a unique diversity of visual expressions. It has become an important means to convey nostalgic emotions and cultural values. Through this research, we hope to inspire more academic researchers and technology practitioners to explore the development potential of the pixel art style in emerging fields and promote its innovative application in design practice.

• Journal of Fashion Business
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• v.21 no.4
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• pp.127-143
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• 2017

In this study, we examine a variety of influences in the field of design and analysis about the value of visual tactile design. In hair design, through study on visual tactility, creative design inspiration in the field of hair design enables development of quality research. Research methods use Internet publications such as local and foreign data, analysis, and related research and book forms, such as network searches. library goes for consideration by a literature search. Contents of this study used review of the case and by visual tactility design, for this study, expressive characteristics by color, texture and form of hair design, from 2014-2017 trend shown in the last three years the expressions of visual tactility being used through the analysis of design by date of the case. Result of this study is, visual tactile design appearing in the areas of hair design, that are not of the rules that are active, abstract form, texture, described as a visual feel the promotion of effective, and light and high brightness is sweet tactile impression, high saturation was cold, dark color was hard and heavy, red system is warm and the blue system is cold sense. In general, design trend in hair for three years from 2014-2017, visual tactility in 2014 is a high saturation and unstructured also soft and bright colors. 2015 is on the overall shape, color, texture, hybrid design configuration is more. As of 2016, 2017 is curved and straight texture, appearance of the hybrid mix to maximize the visual tactility.