• Cartoon and Animation Studies
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• s.11
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• pp.137-151
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• 2007

This study is based on Tim burton's 'The nightmare before christmas' and analyzation was made to see how he used lights and to understand his unique color visual story telling style. The analyzation revealed that Tim burton used second class hollywood movies of $1930{\sim}60's$ and classical lighting style. He used this lighting style in 'The nightmare before christmas' as a really strong visual structure which substantially attributed to maintains it's fantastic mood consistently.

• Journal of Fashion Business
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• v.15 no.2
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• pp.96-106
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• 2011

The purpose of this study is to analyze the style of swimsuits shown in collections from 2007 to 2010 and to extract main expressional words for the development of semantic differential scales of visual images according to the change in the style of swimsuits. The results of this study are as follows: 1) 1171 swimsuits shown in collections were composed of 569 bikini, 400 one piece and 202 monokini swimsuits. 2) The design types according to changes in the shoulder strap of the one piece swimsuits are ranked in the order of 300 two straps, 59 strapless and 41 one strap. The bikini swimsuits are ranked in the order of 444 two straps, 116 strapless and 9 one strap. And the monokini swimsuits are ranked in the order of 161 two straps, 23 one strap and 18 strapless. 3) Main expressional words of visual images for swimsuits differ greatly depending on the style of swimsuit. The visual images for one piece swimsuits are ranked in the order of 'stuffy', 'making shoulders look wide', 'simple', 'plain', 'neat', 'basic', 'making legs look long', 'boring' and 'dull'. The visual images for bikini swimsuits are ranked in the order of 'hot', 'underwear-like' 'refreshing', 'making legs look long', 'gaudy', 'basic', 'looking slim', 'cute', 'plain'. The visual images for monokini swimsuits are ranked in the order of 'gaudy', 'hot', 'underwear-like', 'making legs look long', 'embarrassed' 'scanty' 'looking slim', 'awkward', 'making waist look slim'.

• Journal of the Ergonomics Society of Korea
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• v.16 no.2
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• pp.29-38
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• 1997

The research on the factors which effect on legibility is mainly utilized as the basic data of selecting the standard guideline of VDT screen. But the research on Korean is scarcer than that of English. Furthermore, it is unreasonable to apply the results of the foreign language to Korean, beause of the difference between the typography of English and that of Korean. Therefore, more systematic and ergonomic research of the Korean typography on VDT screen is needed. In this paper, an experimental study on search speed and error rate is designed and performed according to different Korean letter size and font on search task with VDT. The experimental screen based on popular Ming and Gothic style is made up of total 12 artificial screens, each 6 different font size. As the criteria of the performance, searching speed(s.s.) and error rate (e) are selected, and CFF value is measured to evaluate user's visual fatigue. The results of experiment in font show that the Korean Gothic style is superior to the Korean Ming style in user's visual performance. The letter size that gives user the optimal performance ranges from the visual angle 39.8' to 55.5' in Ming style, from the visual angle 39.8' to 52.6' in Gothic systle. In visual fatigue experiment, the better performance of letter size is, the less tired user feels. And the smaller letter size is, the more tired user feels. There is no relationship between font and user's visual fatigue.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Archives of design research
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• v.15 no.1
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• pp.135-142
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• 2002

To show the analytic approach to website sue, this paper discusses style's function that is immediately related to users emotional and aesthetic satisfaction. And we make an analysis of several websites based on various visual factors. Style provides emotion, a shared experience, context that makes the message arts function immediately apparent, and interests. It is a principle design feature that parallels cognitive function. Visual factors of website interface could be extracted from various aspects which are organization level, medial level, and formative level. Based on the extracted visual factors, we analyze the style which convey emotional idea. We select several sites which are opposite side in the image map with son-hard and warm-cool axis, and then make an analysis of them in two points which are organization and formative factors and communication means for emotional effect. To understand the systematic approach to website style could be helpful for figuring out the design problems and bringing out many solutions. It could be base for concrete guideline for website page design.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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• pp.1-16
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• 2024

This study aims to investigate the differences in blue jean styles and the visual images associated with them. To achieve this, literature reviews, case studies, and surveys were conducted. The results are as follows. 1) Based on previous studies, it was found that the design elements influencing the style of blue jeans and their visual images include waistline position, silhouette, details, decorations, and color. Additionally, differences in the preferences and visual evaluations of Korean and Chinese individuals regarding the style of blue jeans were confirmed. 2) Skinny blue jeans are typically characterized by a high waistline and a length that reaches the ankles, featuring a snug fit with stretchy fabric. Straight blue jeans, on the other hand, usually have a natural or high waistline and cover the instep, with a straight silhouette descending from the thigh to the hem. Bell-bottom blue jeans are primarily high-waisted and cover the instep with a silhouette forming a bell shape from the knee to the hem. 3) Korean and Chinese women in their 20s evaluated skinny, straight, and bell-bottom styles of blue jeans as having a 'casual' image. However, they also associated bell-bottom style blue jeans with 'unique' and 'attractive' images. Interestingly, Korean women described skinny-style blue jeans as making someone look 'youthful', while Chinese women perceived them as 'sophisticated', 'making the waist look thicker', and 'unassuming'. As for straight-style blue jeans, Korean women saw them as 'well-fitting', while Chinese women described them as 'making one appear taller', 'desirable', and 'free-spirited'.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.125-141
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• 1994

Alois Riegl's aesthetic theory of visual perception provided one of important conceptual backgrounds for Vienna Art Nouveau architecture. Riegls theory of visual perception consists of geometric style and two-dimensional transformation. Riegl's theory of geometric style is based on the modern aesthetic theory of abstraction, which says that the artistic perfection can be obtained not from a direct imitation of natural objects, but from an abstract transformation of them. Riegl's theory of two-dimensional transformation, on the other hand, aims at obtaining artistic perfection by disintegrating volumetric conditions of natural things into planes and combining the planes thus obtained into another new world of art. These two theories of Alois Rigl's provided an important aesthetical background for the design strategy of 'abstract ornamentaion of two-dimension' in Vienna Art Nouveau architecture. This paper is to review the basic concept of Alois Rigl's theory of geometric style and two-dimensional transformation.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.3
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• pp.85-97
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• 2024

In recent years, the Guochao style of virtual idols has proliferated, and the virtual idol market in China has witnessed gradual growth. As Guochao combines traditional Chinese culture with modern aesthetics, it shapes a distinctive visual identity for Chinese virtual idols. We address the current research gap by exploring the characteristics of Guochao style in virtual idol design through literature analysis, semiotics, and comparative studies. We examine how Guochao virtual idols represent the convergence of Chinese culture and modern technology, reflecting cultural characteristics of the era. Through our analysis of virtual idol design, we identify key design features of Guochao virtual idols, bridging a theoretical void in this area. We propose recommendations to foster a more dynamic and culturally enriched virtual idol industry in China. Our research provides new insights into integrating Guochao elements into virtual idol design as an approach to differentiate amid competition while promoting traditional Chinese culture through digital media. We demonstrate how this design approach enhances the uniqueness and cultural value of Chinese virtual idols, contributing to the field's theoretical foundation and practical applications.

• Archives of design research
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• v.16 no.3
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• pp.175-182
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• 2003

The objective of this study is to systematically understand the swiss graphic style and examine the design ideology of designers and the visual features, with the focus on the posters that played the largest role in the formation and settlement of the swiss graphic style. Although through other visual designs such as editorial design, from the outside beyond posters, the swiss graphic style has evolved to exert a large influence around the world, based on the posters that served as the main medium for expression by designers and that were used the most in instigating the public, this study aims to cast light on the swiss graphic style, which has become recognized as the textbook of the graphic design around the world since the mid 20th century. First, the study casts light on the meaning of the creation of the graphic style through the background and the formation process, aiming to examine the visual features of the swiss graphic style and how they are integrated through the posters of Swiss designers. The personal activities and efforts of individual designers contributed significantly to the formation and development of a certain design style; however this study intends to identify the other equally important elements: the underlying social and cultural influence, the legacy of previous design styles and ideologies, the collective enthusiasm of designers, and the active progress of experimental research.

• The Mathematical Education
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• v.50 no.3
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• pp.367-381
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• 2011

It is important to concern about individual difference on every subject and every class. How can we know the individual difference? It is helpful for that to find out students' math learning style and learning type. In this paper, I conducted a survey to look for math learning style and math learning type of 4th, 5th and 6th grade students, and analyzed those data. The research findings are summarized as follows; First, 4th, 5th and 6th grade students prefer the visual learning style to the verbal style, and they have more wholistic tendency than analytical tendency in the domain of the cognitive learning style. Second, they prefer the authoritative and goal-oriented learning style to the practical and recreational learning style, and they have more interior-oriented than exterior-oriented in the domain of affective learning style. Third, the representative math learning type of 4th, 5th and 6th grade students is visual/holistic/authoritative and goal-oriented/interior-oriented. The math learning styles of students have a lot of influence on their learning, so that an appropriate teaching method for each student could arouse a maximum effect in the math study.