• 복식
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• 제63권4호
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• pp.101-117
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• 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.

• 디자인학연구
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• 제19권1호
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• pp.79-88
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• 2006

사람의 얼굴은 정체성의 시각적 상징이다. 사람마다 각기 다른 얼굴 모습은 타인과 구별할 수 있도록 하는 중요한 역할을 하면서 개인의 정체성과 직결된다. 역사적으로 볼 때 얼굴에 대한 시대적 인식의 변화와 함께 표현매체와 커뮤니케이션매체가 다양해지고 발전함에 따라 얼굴을 표현하는 것에도 많은 변화가 있었다. 그러나 지금처럼 얼굴에 대한 사람들의 관심과 주목이 컸던 적이 없었다. 기술적으로는 컴퓨터그래픽스의 등장으로 얼굴표현의 새로운 전기를 맞이하게 되었다. 특히 시각 이미지들이 디지털형태로 제작, 저장, 전송할 수 있게 되어 시간적, 공간적제약이 없어지면서 시각이미지정보는 커뮤니케이션에서 그 비중이 전보다 더 커지고 있다. 그 중에서 디지털로 만들어진 얼굴 이미지는 그 활용도가 점차 확대되고 있다. 이에 따라 컴퓨터그래픽스를 이용한 얼굴의 3d (3-dimensional) 표현은 수년전부터 얼굴 각 부분의 형태와 텍스추어 맵 등 각 요소들을 필요할 때 마치 퍼즐 조각처럼 조립해서 전문적인 기술이 없이도 손쉽게 표현할 수 있게 되었다. 본 연구에서는 3d 얼굴표현의 제작단계별 내용을 연구하고 그 결과를 바탕으로 케이스 스터디에서 시각화함으로써 3d 전문가가 아닌 일반 시각디자이너들이 3d 형태의 얼굴을 효과적으로 표현하는 방법을 연구한다.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2010년도 춘계학술대회
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• pp.339-342
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• 2010

본 논문은 각 방송사에서 가상스튜디오를 활용하여 제작하고 있는 프로그램 사례에 대하여 조사 분석한 것이다. 방송사에서 프로그램을 제작 할 때 실제세트 대신 가상스튜디오를 활용하여 제작함으로써 시각적으로 표현의 한계를 넘어서고 있다. 이러한 흐름은 단순한 합성작업을 통한 방송 제작이 아니라 현실과 가상을 구별할 수 없을 정도로 자연스런 영상표현을 통해 보다 사실적이고 정교한 영상으로 진화하는 과정이다. 국내 가상스튜디오를 활용한 제작사례를 분석하여 가상스튜디오 제작에 대한 발전 방향을 제시하였다.

• 한국디지털건축인테리어학회논문집
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• 제7권1호
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• pp.15-20
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• 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.

• 한국멀티미디어학회논문지
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• 제20권11호
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• pp.1820-1827
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• 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.

• 한국의상디자인학회지
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• 제12권2호
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• pp.55-65
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• 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.

• 한국실내디자인학회논문집
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• 제13권6호
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• pp.175-183
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• 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.

• 한국의상디자인학회지
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• 제17권2호
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• pp.93-109
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• 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.

• 만화애니메이션 연구
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• 통권6호
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• pp.72-90
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• 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.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.105-114
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• 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.