• Journal of the Korean Society of Costume
• /
• v.63 no.4
• /
• pp.101-117
• /
• 2013

The purpose of this study is to consider the works of Nick Knight, the most influential fashion visual maker, to find out the characteristics of his works. For the research method, literature reviews were done by studying his book, viewing the articles on his official web site, reading journal review of his works and his interview articles. For the work analysis, fashion brands 'Christian Dior', 'Alexander McQueen', 'Martin Margiela', 'Hussein Chalayan' and 'Gareth Pugh' that have worked with Nick Knight were selected. The characteristics of his fashion works were derived from overall analysis of fashion visual works. The characteristics of Nick Knight's works are as follows. First is the 'innovation of image expression'. He used digital infra in advance and introduced digital images at the initial stage. He used fashion films as the means of communication and tried new image expressions in 3D. Second is 'breaking down the boundaries of creating process'. He worked with various field experts to make high quality works. He invited the public to participate in his creative process through the internet. Third is 'breaking down the categories of aesthetic expression'. He provided a wide variety of aesthetic standard and refused aesthetic stereotype. He broke the boundaries between fashion and art with a unique technique and high values.

• Archives of design research
• /
• v.19 no.1 s.63
• /
• pp.79-88
• /
• 2006

A human face figure is a visual symbol of identity. Each different face per person is a critical information differentiating each person from others and it directly relates to individual identity. When we look back human history, historical change of recognition for a face led to the change of expression and communication media and it in turn caused many changes in expressing a face. However, there has not been no time period when people pay attention to a face more than this time. Technically, the advent of computer graphics opened new turning point in expressing human face figure. Especially, a visual image which can be produced, saved, and transferred in digital has no limitation in time and space, and its importance in communication is getting higher and higher. Among those visual image information, a face image in digital is getting more applications. Therefore, 3d (3-dimensional) expression of a face using computer graphics can be easily produced without any professional techniques, just like assembling puzzle parts composed of the shape of each part ands texture map, etc. This study presents a method with which a general visual designer can effectively express 3d type face by studying each producing step of 3d face expression and by visualizing case study based on the above-mentioned study result.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2010.05a
• /
• pp.339-342
• /
• 2010

This thesis is the analysis of programing cases by which each broadcasting station generates visual studio. When the broadcasting stations make programs, they overcome the visual limitation of expression by using visual studio other than the real set. This trend is the progress toward more realistic and delicate image by almost perfect image expression, not just broadcasting production by mere synthesis operation. It suggests the development direction toward visual studio production by analyzing production cases using domestic visual studio.

• Journal of The Korean Digital Architecture Interior Association
• /
• v.7 no.1
• /
• pp.15-20
• /
• 2007

This study is aimed to analyze the method of movement expression in the Space-Time of Modern Visual Art. According to the results of analysis. the following is obtained. (1) The still object is perceived by the sense or optical illusion, and its whole image is made through the information processing prodedure. The concept of Space-Time is integrated into the constructivist works by the composition of image through transforming the position of the fundamental geometry and projecting it. (2) The traditional notion that the work of art is still concept of is changed. The movement of observer is caused by inducing the direction and concept of time through the object in three dimensional space.

• Journal of Korea Multimedia Society
• /
• v.20 no.11
• /
• pp.1820-1827
• /
• 2017

With the development of 3D technology, image expression has been widely used in the field of 3D animation these days for the purpose of illustrating a certain image, feeling or status. In this paper, we examine how it affects to audiences' feelings and senses when we applied the handheld camera technique to other kinetic characteristics. In addition, we analyze the scenes which the handheld camera technique is applied into each characteristic from movie contents, present the kinetic characteristics of the handheld camera technique, and study the scenes that can apply this technique with 3D animation and its influence.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.2
• /
• pp.55-65
• /
• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• Korean Institute of Interior Design Journal
• /
• v.13 no.6
• /
• pp.175-183
• /
• 2004

As the information-oriented society makes progress, the role of Image has much influence on human being in space as a medium for information delivery and a means of artistic communication. These influences are appeared as expressional characteristics of the image such as the reproducibility of reality and unreality in the real world, the synchrony of expression of time, visual formality, a sign and the transmission of moaning. For these, the investigator examined the meaning of image in aspace, taking into consideration of the interrelationship of image, space, and human being. As study findings show, the expressional characteristics of image in space have such visual effects as a space in which pictorial formality and object exists, in which the mutual understanding of communication exists, and that realizes immaterial membrane in the aspect of time and space, according to the electronic light, color, and formation of the image media. In addition, it become clear that the characteristic could be staged on various circumstances by constructing the relationship between an object and a point of time interactively with bidirectional communication through combining technology and art. This suggests that the image develops as the form of sensory communication via interacting of space and human being.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.2
• /
• pp.93-109
• /
• 2015

Advent of diverse media and advancement in digital technology significantly affected our perception of time and space. By utilizing digital media actively, fashion illustration has come to go beyond the limitation on conventional perspective expression. This study aims to examine the phenomenon of deconstruction of perspective in fashion illustration, and to analyze a variety of space expressions and effects of visual expression in fashion illustration. By way of literature research for the study, theoretical data are reviewed about basic concepts of conventional perspective and the characteristics and aesthetic concept of perspective deconstruction expression in visual art. By way of an empirical study, fashion illustrations that represent the deconstruction of perspective are classified and analyzed characteristics and image effects of such expressions. Deconstruction of perspective in fashion illustration find in expression of spaces by means of multi-space, multi-layer space, reverse perspective, perspective through the exaggeration, multi-perspective space, and panoramic visual condition. Fashion illustration expresses visual confusion or fantasy rather than creating realistic spaces that have utilized reasonable perspective. Fashion illustration is moving toward a trait with disharmony and an in-depth visionary space by overlapping or mixing spaces differing from each other, and by means of such peculiar and unrealistic expressions, unfamiliar images are created.

• Cartoon and Animation Studies
• /
• s.6
• /
• pp.72-90
• /
• 2002

The nature of animation is to create a moving image. Also, it creates a narrative space and visual image which is different form a reality. Therefore, image expression is very important in the animation. Although the domestic animation has a movement, it has not an image which has meaning. For instance, Korean fiction animation ${\ulcorner}$My beautiful girl, Mary${\lrcorner}$ has grand prize in Anncy International Animated Film Festival, 2002. Such achievement give new vision and present a clue of development to our national animation. However, not many people went to the cinema to watch it. The reason is that although 'Mary' has the Fantastic image, she doesn't show a true life image. The film is revival of reality through the image. However, animation is revival of reality through the 'transformation' of the existing image. Therefore, reviving exactly the same as a reality is not the most important fact in the animation image. Preferably, the most important fact in the animation image is that reviving reality into highly wrought image. This paper will study an expression form of animation trough the image. This paper will study an expression form of animation trough the image. Especially, it will concentrate on poetic image. For this, It will associate 'poetic' in literature with 'poetic image' in animation. For this, It will associate 'poetic' in literature with 'poetic image' in animation. Also, a variety poetic animation image will be divided into 1)mongtage 2)rhythm 3) compression 4)metaphor & symbol, and will be looked 'poetic image' effect.

• Korean Institute of Interior Design Journal
• /
• v.22 no.1
• /
• pp.105-114
• /
• 2013

This study investigated the application and the change of various architectural models by analyzing expression viewpoint media, which were applied to the visual information of digitalized 3D contemporary architectural models. The purpose of this study was to specify how modern architects have changed 3D architectural models to conceptual, logical, and formational visual information in the process of design. This study discovered a framework of analyses by theoretically investigating a relationship between expression media and expression change in the process of visualizing architectural models. Using the framework of analyses, this study analyzed how the expression viewpoints of architectural model information have been changed and applied. The transformation media of the visual information of digitalized 3D architectural models can be classified into conceptual, analytical, and formational information: 1) Contemporary architects used author-centered subjective viewpoints to express architectural concepts, which were generated in the process of their design. They selected a perspective viewpoint and a bird's eye view in order to present their architectural concepts and to depict them with one architectural model by expanding the visual scope of conceptual information. 2) Contemporary architects adopted observer-centered objective bird's eye view expression media to effectively present their architectural information to building owners and viewers. They used transformal media, which integrate architectural information into 3D and change it to different scales, in order to express their architecture logically. 3) Contemporary architects delivered model information about the generation and change of forms by expressing the image of a project from an author-centered viewpoint, instead of objectively defining formational information. They explained the generation principle of architectural forms via transformal media which develop and rotate an architectural model.