• The Journal of the Korea Contents Association
• /
• v.8 no.12
• /
• pp.81-90
• /
• 2008

The development of digital technologies has changed the paradigm of an information-oriented society. Accordingly, the media-art and the net-art using digital media have been developed more interactively. Under the this influence, various experimental works using digital media are being produced and having a try to combination of art and digital on the network. In this paper, we looked into the relation between characteristics and playful of the net-art and analized the relation among interactive, network characteristics and intuitive play implemented on the net-art. Based upon these analyses, we intend to offer new aesthetic experiences through playful expression for humorous emotion on a traditional character, Dokkaebi.

• Archives of design research
• /
• v.20 no.2 s.70
• /
• pp.103-116
• /
• 2007

Art education in design has repeatedly stressed the importance of developing creativity. In the digital period, however, which shows rapid change in both forms and contents, it needs to be equipped with more flexible and systematic ways of approaching to the creativity development, especially involved with cultural diversity of the digital world. This paper primarily proposes a maximally efficient, productive creativity learning program in which the integration of expressive media and communication generates a comprehensive network of communicative information in the development of digital technologies, which, consequently, brings forth valuable cultural contents of art. The amalgamation of Won (2006)'s Prism Effect, with distinctive three devices, and the facilitator factors, with two different facilitators such as self-controlled and controlled plays, would function as a catalyst for cultural diversity in the digital forms and contents of art. And this will, consequently, result in producing a number of practices that can be classified and assorted for a later performance. This paper thus suggests a roadmap of how to develop the creativity learning program in which two categories of facilitators based on three thinking devices function to classify four activities. In addition, selected activities are shaped as a creativity learning program by generating learning practices with the formalizing instructional strategy that fit into a specialized educational environment and learners. The samples of loaming practice design show guidelines for practice and the results of learning activity. Therefore, the eventual goal of this paper would be to establish a creativity learning program that constitutes a highly systematized and modularized database to maximize the efficiency and productivity of the creativity development.

• Journal of Digital Convergence
• /
• v.14 no.8
• /
• pp.399-406
• /
• 2016

Drawn-on-film animation technique is one that neither is actively used nor receives attention in any video content area. This paper means to strengthen animation genre's future direction and aesthetic aspect by seeking to newly discover previous experimental techniques through this paper. Taking into account the details of paper, it was intended to systematize and introduce results and experiential information obtained by researcher from applying drawn-on-film animation techniques in actual educational arena and utilizing these in learning and newly created techniques and the like through this. Production processes were comparatively demonstrated after suggesting an alternative digital production system in this process. And ultimately, a study and proposal was made so as to be helpful in developing the techniques of animation genre.

• Korean Institute of Interior Design Journal
• /
• v.19 no.1
• /
• pp.137-147
• /
• 2010

The purpose of this study is to research a method of creating a new type of boundary by repeated disposition of single unit of modularized membrane successively. In the contemporary architectural indoor space, more highly dimensional analysis of boundary is required and the necessity of establishing boundary of a new concept that may satisfy cultural value, social value and artistic value as a whole as well as aesthetic and functional merit has been increased. In order to create a membrane that may fulfil the requirements of the diversified programs of space like this, an approach of complicated mechanism and high-dimensional calculation are required. At this time, digital GA modelling, parametric modelling technique may expand its range of possibility. One thing to be noted at this juncture is that indefinite expandability involved in digital modelling technique, modelling by grid of absolute and relative coordinates and convenience of systematization may surpass limitation of analogue or simple numerical calculation being progressed in the past. And in order to create solid process including unit modelling or pattern formation, Precise calculation process of computer is necessitated inevitably.

• Fashion & Textile Research Journal
• /
• v.21 no.4
• /
• pp.420-431
• /
• 2019

This paper evaluates the potential of dynamic graphical patterns in future-driven fashion design using computer graphics that enables changes to the visual appearance of a textile for aesthetic, expressive or communicative purposes. In particular, it focuses on experimenting with the possibility of creating digitalized dynamic fashion garments that are illustrated digitally using motion graphics developed collaboratively in a virtual space. Three objectives were formed and addressed. First, a dynamic graphical pattern was defined that also investigated the cases of tangible and virtual dynamic patterns in textiles and garments to identify current situations and future prospects in terms of functional techniques and expressive effects. Ten digital fashion illustrations were then created in collaboration with a group of graphic designers and motion artists to visualize dynamic graphical patterns changing over time. Four types of dynamic fashion illustrations were also introduced in their methodological and expressive aspects. Last, some findings resulted from digital works that led to implications for future studies on tangible dynamic fashion designs. This study proposed that computer graphics and digital imaging technologies integrated into a virtual fashion that creates eye-catching and futuristic dynamic fashion designs that can customize colors and patterns according to the desires of wearers or users.

• Archives of Reconstructive Microsurgery
• /
• v.18 no.2
• /
• pp.79-83
• /
• 2009

Purpose: Avulsion injuries of digits have been presented for a long time as complex management problems. Despite of microsurgical advances, it is difficult to achieve good functional results and their management remains somewhat controversial. However, in a finger there are three transverse digital palmar arches. The middle and distal transverse digital palmar arches are consistently large(almost 1 mm) and may be used for arterial vessel repairs either proximally or distally, depending on the length and direction needed. 39-year-old man presented with avulsion amputation of the ulnar three digits, was operated using only arterial anastomosis with rerouting the transverse digital palmar arches. Methods: Replantation was performed using the artery-only technique. Because the digital arteries had been damaged, we did that the transverse digital palmar arches were transposed in an inverted Y to I configuration and were lengthened with rerouting them for the purpose of direct anastomosis of the digital artery. Venous drainage was provided by an external bleeding method with partial nail excision and external heparin irrigation. Results: The authors conclude that complete avulsion amputations with only soft tissue at the distal to insertion of the flexor digitorum superficialis tendon were salvageable with acceptable functional results. All three fingers survived. Conclusion: With technical advancements, the transverse digital palmar arches play an important role for finger amputation. Three digital palmar arches give us additional treatment option for the finger amputation. In this case, replantation with only-arterial anastomosis was successful and we obtained good aesthetic and functional outcome.

• The Research Journal of the Costume Culture
• /
• v.30 no.5
• /
• pp.732-751
• /
• 2022

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of "futurism." Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

• Trans-
• /
• v.3
• /
• pp.1-28
• /
• 2017

As the field of film aesthetics expands, the concept of classical the mise-en-scene expands too its scope. This paper examines the concept of mise-en-scene through spatial connections. The primary goals of this study are understanding the relation between the frame and the shot, the continuity between the scene and the sequence, and the aesthetic dimension to the plan-sequence. In modern cinema theory, the elements of mise-en-scene are more emphasized in terms of efficiency, but this study is concerned that the classical aesthetic system is still important. To this end, we examine the concept of plan-sequence, which was called the best technique of past visual realism aesthetics, is utilized in digital cinema. Finding significance for the modern use of plan-sequences is a secondary goal of this paper and we expect it to be a stepping stone to search for the aesthetics of digital cinema. The plan-sequence is one of the important factors that can be evaluated in the preparation and application of the event for the movie director. In the real world where the film itself is used commercially, digital film will have a conceptual tool that can utilize allegorics of 'geopolitical unconsciousness' through plan-sequences.

• The Journal of the Korea Contents Association
• /
• v.9 no.2
• /
• pp.173-180
• /
• 2009

In the recent past, the impression expressed by a human body expanded from that of aesthetic beauty to deformed organic medium influenced by environment. And the advancement in digital technology had made it possible to represent the deformed and distorted images of human body more realistically. Consequentially, these exaggerated physical images leave audiences with a feeling of grotesqueness. Chris Cunningham is a British director who mainly focuses on grotesque body as his subject matter using digital media. This paper will explore Chris Cunningham's work and his final goal through analyzing his carnivorous, uncanny grotesque body images, making use of the figital media, at each of his different levels.

• KIEAE Journal
• /
• v.3 no.2
• /
• pp.59-66
• /
• 2003

To be the design method supporting aesthetic ability of human, CAAD system should essentially recognize architectural form in the same way of human. In this study, visual perception process of human was analyzed to search proper computational method performing similar step of perception of it. Through the analysis of visual perception, vision was separated to low-level vision and high-level vision. Edge detection and neural network were selected to model after low-level vision and high-level vision. The 24 images of building, tree and landscape were processed by edge detection and trained by neural network. And 24 new images were used to test trained network. The test shows that trained network gives right perception result toward each images with low error rate. This study is on the meaning of artificial intelligence in design process rather than on the design automation strategy through artificial intelligence.