• 만화애니메이션 연구
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• 통권14호
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• pp.83-99
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• 2008

일반적으로 필름에서의 화면 전환은 컷이나 디졸브 등, 화면 전체의 일괄적 전환으로 대표된다. 애니메이션 필름에서는 프레임의 이미지를 하나하나 생성하는 제작 기법의 특수성으로 인해 화면의 다양한 요소들에 전달하고자 하는 감성이나 내러티브적 요소를 부여할 수 있으며 다른 기호적 차원의 표현으로도 전환하는 것이 가능하다. 현대에 이르러 몰핑이나 메타모포시스 등 이미지 조작 기술이 다양화 되고 정교해짐에 따라 연속적 화면 구성은 2D애니메이션만의 고유한 특수성으로 보기 힘들어졌다. 그러나 캐릭터와 배경 즉, 사물과 공간을 너머 관객의 시선을 서로 다른 시각적 차원으로 지속적으로 강렬하게 몰입시키는 것은 2D 수작업 애니메이션의 강한 매력으로 볼 수 있다. 결국 이 같은 특성은 화면 전체의 구성 요소들을 통한 섬세한 은유와 개체들 각각의 함축적 의미 체계의 전달을 가능케 하는 문학적 기능을 가능케 한다. 장면에 관한 해석은 기호적 원근법의 세계와 평면적 조형 세계의 경계를 허물며 보다 다분화 되고 복잡하게 되었다. 이에 애니메이션 필름 화면상 조형 요소의 구성 기준, 그리고 그 활용 효과를 분석하는 것은 현시대의 새로운 몰입 수단을 가진 첨단 영상 화면에 있어서의 분석과 적용에 도움이 되리라고 본다.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2007년도 춘계종합학술대회
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• pp.117-120
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• 2007

영상압축 기술의 발달로 인해 아날로그 영상이 화질의 열화가 없는 고화질의 디지털 영상으로 표현 및 저장이 가능해졌다. 또한 1994년 MPEG-2 표준화 과정을 통해 디지털 영상 전송을 위한 표준이 제정되어 디지털 방송이 가능하게 되었다. 이로 인해 아날로그 방송을 서비스하던 기존의 방송사업자들이 디지털 방송으로 서비스를 전환해 가고 있다. 하지만 지방의 종합유선방송사업자(SO : System Operator)들은 고화질의 디지털영상인 HD(High Definition)급 방송 프로그램의 확보에 어려움이 있어 디지털 방송 서비스에 난항을 격고 있는 실정이다. 이에 본 논문에서는 주요 방송사(MBC, KBS, SBS 등)에서 시범적으로 송출하고 있는 HD급 지상파 디지털 방송을 수신하여 PSIP(Program and System Information Protocol)정보 분석을 통해 각각의 채널에 따른 디지털 방송 프로그램을 확보하고 이를 재편성하여 케이블 방송 가입자들에게 재전송할 수 있는 디지털 방송 송출 시스템을 설계 및 구현하였다.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.96-105
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• 2013

Branding is a process of building the relationship between a brand and consumers. This process can also happen in a space that reflects brand characteristics, and this kind of branding is called space branding. This way can strengthen a brand image by delivering its profound impressions with synesthetic experiential services for consumers. In terms of brand extension, particularly, it is possible by space branding to apply the image and value of the parent brand to spatial design so as to expect the direct effect of experiential brand recognition. As a result of case analysis for space branding - the scope of which was limited to hotels - specific ways of embodying a brand into space were largely classified into three types: the first is the 'embodiment of visual elements' that directly embodies a brand's logos, colors, forms, and textures into space; the second is the 'experience of brand content' that mainly adopts the way of giving impressions with events or customer services, or of inducing direct experiences combined with exhibition function; and the third is the 'symbolic expression of brand characteristics' that indirectly expresses the strong concept or image of a brand - a type in contrast to the first direct type. These ways of space branding change the general abstract feeling of a brand's qualities into specific spatial experiences, thus now settling as one of the ways of marketing that are direct, strongly sustainable, and the most effective.

• 한국실내디자인학회논문집
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• 제18권1호
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• pp.35-42
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• 2009

In this study, the author aims to examine that the image for specific space coming through vision is to reveal how people perceive the space through vision and whether the perceived space includes the role as the catalyst that causes the following activities. It is believed that the fact which elements are remembered as the whole expression as well as the memorized images that humans have regarding the space should act as the important factor in terms of space perception. The conclusions from this study are as follow; 1) By analyzing the frequency of observation time that were obtained from the examinee, it was possible to classify the property of observation with S areas. Besides, it was possible to the meanings that the design elements have in each area. The establishment of the areas are considered as the important factor to examine which design elements have drawn the attention. 2) In case of I area which showed the most design factors that would lead examinee's vision or have interests in the examinee views, it showed that it stared the lower parts from the middle of the Image spatially, which was the most stable position from the image with strong tendency for staring at this area. 3) The most frequently stared area was the lower part of the middle, however, while the I area gazed the right side of the middle, II area faced the left side more so that it was revealed that it stared at the lower part of the middle and right side, then, moved to left. 4) Despite the frequent observation, some areas had very low or few observation data records and the area which was designed with monotonous color with relatively large size was also involved here so that it was identified that the simply treated area in design was rarely gazed.

• 조형예술학연구
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• 제3권
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• 정보처리학회논문지B
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• 제13B권2호
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• pp.105-114
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• 2006

다양한 종류의 컴퓨터가 사람, 사물, 환경 속에 내재되어 있고, 이들이 서로 연결되어, 필요한 곳에서 활용할 수 있는 유비쿼터스 환경에서는 홈 네트워크를 통해 이 기종 기기간 다양한 데이터 교환을 요구한다. 더욱이 원활한 영상 데이터의 처리, 전송, 모니터링 기술은 핵심적 요소가 아닐 수 없다. 공간 및 시간적인 해상도, 컬러의 표현 그리고 화질의 측정방법 등 고전적 영상 처리 연구 분야뿐만 아니라 국한된 대역폭을 갖는 홈 네트워크의 전송 체계에서 전송률 문제에 대한 심도 있는 연구가 필요하다. 본 논문에서는 홈 네트워크 상황에서 콘텐츠의 중심이 되는 영상 데이터의 전송과 처리 그리고 제어를 위하여 새로운 움직임 추정 알고리즘을 제안하고 이를 이용하여 다중카메라에서 전송된 다차원 영상의 실시간 모니터링 시스템을 구현한다. 각도, 거리등 다양한 환경에서 전송되어지는 스테레오 카메라의 영상 데이터들은 축소, 확대, 이동, 보정 등 전처리 후 제안된 움직임 보상을 위한 변형계층 모션벡터 추정 알고리즘을 이용하여 압축 처리, 전송 된다. 기존 모션벡터 추정 알고리즘인 전역 탐색, 3단계 탐색, 계층적 탐색이 갖는 장점을 계승하고 단점을 보완한 변형계층 알고리즘은 비정형, 소형 매크로 블록을 이용하여 휘도의 편차가 큰 영상의 효율적 움직임 추정에 이용된다. 본 논문에서 제안한 변형계층 움직임 추정 알고리즘과 이를 이용해 구현된 영상 시스템은 유비궈터스 환경에서 다양하게 활용될 수 있다.

• 한국과학예술포럼
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• 제35권
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• pp.145-155
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• 2018

본 연구는 일반인에게 접근과 해석에 장벽이 있는 수면다원검사 데이터를 바탕으로, 사례분석과 작품 제작을 통해 새로운 형태의 시청각화 방법을 제시한다. 대부분의 예술작품은 깨어있는 동안 행하는 의식적인 행동을 바탕으로 완성된다. 본 작품에서는 수면 중 발현되는 무의식을 관찰하여 이를 예술로 표현하고자 한다. 수면다원검사를 통해 측정된 수면장애 그래프를 중점적으로 분석하여 정상 군과 기면증, 불면증, 수면무호흡증으로 분류했고 습득한 생체데이터를 정제 후 수치화 시켰다. 정제된 데이터는 MAYA를 통해 3D 애니메이션 이미지로 렌더링 했고, 심장박동 데이터 스크립트는 midi형태로 변형시켜 garage band에서 청각화 시켰다. 이후 After Effects로 이미지와 사운드를 결합했다. 총 4개의 는 각각 3분 20초의 싱글 채널 영상으로 제작했다. 는 수면 의학 데이터를 예술로 표현함으로써 난해한 정보를 직관적으로 이해시키는 데에 목적이 있다. 또한 의식적인 활동이 일어나지 않는 수면 상태에서 무의식 데이터로부터 예술 표현의 가능성을 드러내고자 한다.

• 디자인학연구
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• 제15권2호
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• pp.101-114
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• 2002

On the threshold of year 2000, the elderly account for more than 7% of the whole population in Korea, which means that the nation is greeting welcoming an aging society. Accordingly, it is expected that silver businesses and services targeted at the silver generation will prosper with "silver advertising design" becoming active. Under such circumstances, this study was aimed at reviewing the recent silver marketing advertisements in terms of their cultural and moral implications, and thereby, redefining and reestablishing the status of silver consumers to help them find their identity, aware of marketing activities and therewith, establish their "consumer sovereignty". This study consists in large of 5 chapters. The introduction parr describes background, purpose, method and scope of the study. The first chapter reviews the silver marketing theories. The second chapter classifies the silver marketing advertisement positioning of four style - upper classes style, effloresce progress style, self- sufficiency style, dependent style - and reviews the expression strategy of each positioning. The third chapter examines the domestic conditions of silver marketing advertisements for each positioning type classified. The fourth chapter designs the ′creative′of silver marketing advertisements and suggests the methods thereof. The analysis of ′creative′was tested in terms of graphic gestaltung, and how the sliver marketing advertisement positioning should be discerned depending on silver generation consumer′s characteristics was discussed. The fifth chapter puts forwards the suggestions for the ′creative′ strategies to enhance the effects of the silver marketing advertisements, based on the preceding discussions. In addition, the Perspective into the keyword of 21 st century or "silver design" is discussed, together with the limitations of this study. It is hoped that this stuffy will be conducive to our efforts to face the upcoming′age\ulcorner society′more effectively. To this end, this study discusses the "silver advertising design" in light of ′societal concepts′and ′customer-oriented value′, and thus, explores some creative presentation strategies whereby individual companies interests and social or public interests can be compromised through ′creative activities′ and ′equal-value consumerism′ for an ultimately effective management strategies for silver businesses and services.

• 복식
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• 제56권4호
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.22-29
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• 2015

The purpose of this study is to investigate the details of the overall interior design of the department store supermarket retail space, interior design and development, seeks to help change. In this study, a range of research the department store supermarket located in the major department store. Since 2012, new construction or renewal has been done in a department store, was investigated by selecting a total of five locations of two places in the premium supermarket. Conclusions are as followings ; First, In-store merchandising strategies, store configuration strategy, product mix strategies, and the layout plan considering the advanced strategies. Secondly, the interior guidelines are, (1)VP should be planned as an expression of a company or brand management strategies to visualize a concept image of product planning stages of merchandising to entering the store to induce curiosity to customers. (2)PP is by planning purposes, the use of lighting, directing structure, color harmony, by utilizing such as props and small parts must be able to attract attention. (3)IP is the customer to organize display, depending on the type of the display items to facilitate fraud, and the fixture plan in association with it, the customer selects a product must induced to purchase.