• 천문학회보
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• 제41권2호
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• pp.48.2-48.2
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• 2016

The wide-field and the round-the clock operation capabilities of the KMTNet enables the discovery, astrometry and follow-up physical characterization of asteroids and comets in a most efficient way. We collectively refer to the team members, partner organizations, the dedicated software subsystem, the computing facility and research activities as Deep Ecliptic Patrol of the Southern Sky (DEEP-South). Most of the telescope time for DEEP-South is devoted to targeted photometry of Near Earth Asteroids (NEAs) to push up the number of the population with known physical properties from several percent to several dozens of percent, in the long run. We primarily adopt Johnson R-band for lightcurve study, while we employ BVI filters for taxonomic classification and detection of any possible color variations of an object at the same time. In this presentation, the progress and new findings since the last KAS meeting will be outlined. We report DEEP-South preliminary lightcurves of several dozens of NEAs obtained at three KMTNet stations during the first year runs. We also present a physical model of asteroid (5247) Krylov, the very first Non principal Axis (NPA) rotator that has been confirmed in the main belt (MB). A new asteroid taxonomic classification scheme will be introduced with an emphasis on its utility in the LSST era. The progress on the current version of automated mover detection software will also be summarized.

• 복식
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• 제56권8호
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• pp.148-159
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• 2006

The objective of this study is to consider the uniform as visual communication, and analyze the expression of symbol shown on the uniform design by the pattern by applying the visual symbol in the communication and operation of the meaning. Also, it is to construct the systematic modeling method of the expression of design symbol by the pattern of uniform in th e various fields. This study is to analyze the symbolic expression method of the uniform design by the pattern by suggesting the symbolic expression method as a frame through the visual symbolic approach of the uniform design and the analysis of semantic symbol according to that. As a result, there arose simplification and emphasis and a method of symbolic expression with the national flag, a conceptual factor characteristically in the sports uniform design. The characteristics of symbolic expression of uniform design were mainly used in the symbolic expression with the customary code and symbol. Also, the uniform in the enterprises were widely used in the expression of uniform with the suggestion and code by the color. As for the characteristics of symbolic expression shown on the event uniform design, the method of symbolic expression by the pattern of uniform was grasped differently asa result of symbolic expression through the image. The method of symbolic expression suggested on this study could be used on a basis of uniform design in the future. Accordingly, this study has a meaning of suggesting the methodology of uniform design that would be a parameter.

• 한국의류산업학회지
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• 제18권4호
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• pp.498-508
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• 2016

The purpose of this study is to develop an aesthetic and functional bicycle wear for new senior women in their 50s and 60s. Based on the results of the survey, we developed bicycle wear that is friendly to bicycling posture and reflects the preference of new senior women. The results are as followed: First, emphasis is placed on the simple and functional design of the experimental wear consisting of jacket and pants. Jacket is different from the color scheme with the armhole princess line in order for the waistline to look slim. Pants are designed to hold the leg muscles tightly in order to help reduce the muscle fatigue on the bicycle ride. Second, cutting lines and coloring materials are used for the wearer to look slim and the safety of the wearer is planned to secure by inserting the reflective material along the cutting lines on the bicycle ride. Third, the pattern of the experimental wear is designed in consideration of the riding motion of the bicycle. Jacket is designed to have back length longer than front length as compared to the bicycle wears available on the market. Sewing lines in the armpit are designed to be eliminated in order to move the arms smoothly on the ride. Pants are designed to minimize the seam line in consideration of the movement of muscles and ligaments and the experimental wear is produced by combining the material with the functions of cool comfort and stretch.

• 복식문화연구
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• 제18권6호
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• pp.1318-1330
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• 2010

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

• 디자인학연구
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• 제11권1호
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• pp.73-80
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• 1998

최근 들어 그 중요성이 더욱 증대되기 시작한 문화적 디자인은 주로 형태나 색채 등의 현상적 연구에만 머물고 있는 형편이다. 보다 본질적인 문화적 디자인을 이루기 위해서는 이러한 현상적 연구와 함께 제품과의 상호작용의 특성과 같은 문화적 사용자-인터페이스 디자인에 대한 연구가 이루어져야 할 것이다. 이에 본 연구는 이러한 문화적 사용자 인터페이스 디자인을 위한 방법론 개발이 일환으로 웹 브라우저를 통한 사용 성 연구를 제안한다. 본 연구는 우선 문화의 정의, 깊이, 문화 변수 등을 살펴봄으로써 문화의 본질적 성격을 이해하고, 이를 바탕으로 타 문화권 사용자들이 제품을 사용할 때 나타나는 행위 특성을 연구할 수 있는 방법의 구조를 설정하였다. 이어서 이 구조를 근거로 하여 타 문화권의 사용자들이 직접 WWW 상에서 접근하여 제품을 사용하게 한 후 이를 분석할 수 있는 사용 성 평가 프로그램을 개발하였다. 이는 사용자의 인구 통계적 사항을 조사하는 모듈, 사용자의 문화변수별 특성을 파악하는 모듈, 사용자의 스테리오타잎을 조사하는 모듈, 제품을 직접 사용하여 사용 성을 평가하는 모듈, 마지막으로 모든 인터랙션 데이터를 기록하고 문자로 저장하여 다양한 통계를 이룰 수 있는 분석 모듈 등으로 나뉘어 구성되었다. 끝으로 본 연구이 한계를 지적하고 이의 향후 연구방향을 제시하였다.

• Korean Chemical Engineering Research
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• 제52권1호
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• pp.1-7
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• 2014

전통적 관점에서의 유기염료 혹은 색소재료는 섬유, 종이, 플라스틱, 가죽 등의 재료를 착색시키는 목적으로 사용되어 왔다. 하지만 최근에 이르러서는 이들 유기염료, 즉 색소재료를 이용하여 전자재료와 기록, 영상재료를 이용하는 하이테크산업 및 고성능산업에 대한 적용으로 중요한 관심 및 주목을 끌고 있다. 이 논문에서는 이런 내용을 바탕으로 하여 색소재료의 이용 및 색소재료화학에 대한 다양한 예와 설명을 제안하고자 한다. 고기능재료로서의 색소재료를 이용하기 위해서는 각각의 필요한 요구조건에 충족하기 위한 색소재료분자의 설계 및 합성이 필요하며, 이를 이용한 흥미로운 적용의 도전이 새로운 주목과 관심을 이끌고 있다. 이러한 관점에서 다음의 내용들은 학문적 그리고 산업적 관점에서 색소재료의 중요한 적용에 대한 필요한 연구내용 및 접근에 대해서 논하고자 한다.

• 복식문화연구
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• 제21권2호
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• pp.151-166
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• 2013

This study aims to shed light on the diversity and complexity of design represented through modern fashion and to identify growth opportunities for globalizing and modernizing traditional clothing designs. To this end, formative trends and aesthetic characteristics of $21^{st}$ century fashion were analyzed, with an emphasis on Japanism reflected in the works of Western designers. The research methodology consisted of an analysis as well as a literature review. A total of 217 designs with Japanism characteristics were identified from the 2001 S/S collection to the 2011 S/S collection in Paris, Milano, New York, and London, and these were analyzed in terms of image, color details, pattern, and accessories. The research findings with regard to the characteristics of modern fashion designs that reflect Japanism were as follows. First, sensuality was projected by highlighting the erotic elements of Japanese clothing. Second, the underlying principles, styles, and elements of Japan's traditional clothing were embodied in a cross-cultural and eclectic manner that blurred the boundaries between styles by mix-and- matching the traditional and the contemporary, the East and the West, and different styles. Third, a variety of patterns, colors, accessories, and design techniques associated with Japanese traditional clothing played a critical role in creating flamboyant and decorative images in contemporary fashion. Fourth, the overlapping of the kimono style, the flat design that accentuates body curves, and the layered style has created a beautifully free-form fashion that demonstrates non-structural features.

• 한국의류학회지
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• 제4권1_2호
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• 한국의류학회지
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• 제26권8호
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• pp.1216-1227
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• 2002

The objective in the part H of this study was to investigate the effects of materials, sleeves, trimming, and perceivers gender on impression formation. Stimuli consisted of 13 color photographs of a female model wearing a wedding dress which were manipulated according to clothing cues. A semantic differential sale of 4 dimensions was used. These were attractiveness, neatness, femininity, and prettiness. Samples were 312 males and females. For the effect of sleeves, there were significant main effects in attractiveness, femininity, neatness, and prettiness. Three-quarters lace ruffled sleeves increased the perception of positive attractiveness, femininity, and prettiness. Flounced sleeves had a positive effect on the perception of neatness. Long-tight sleeves had a negative effect on the perception of attractiveness, femininity, and prettiness. Sleeveless dresses increased the perception of negative neatness. There was an interaction effect between sleeves and the perceivers gender on neatness. For the onぉ of material, there were significant main effects in neatness, femininity, and prettiness. Solid cloth had a positive effect on the perception of neatness and negatively on prettiness. The combination of lace and solid cloth increased the perception of positive femininity and prettiness. lace had a negative effect on the perception of neatness. Satin increased the perception of negative femininity. There was an interaction effect between material and perceivers gender on prettiness. The main effect of trimmings was its effect on prettiness. Ribbons increased the perception of positive prettiness. Not having any trimmings had a negative effect on the perception of prettiness. There was an interaction effect between timings and the perceivers gender on neatness. The results of this study confirm that image perception of wedding dresses becomes different according to the materials, details, and perceiver's gender.

• 미술이론과 현장
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• 제3호
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in