• Fashion & Textile Research Journal
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• v.4 no.1
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• pp.64-70
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• 2002

The purpose of this study is to know the change of somatic characteristics according to the time. To find out the change of body type of the early twenties who were in 1990 and 1999, the anthropometric and the photographic measurements of the two periods were compared respectively. T-test was applied and the figure of body frame and lateral body type were analyzed. By comparing the anthropomentric measurements of 1999 with 1990, it was known that the proportion of lower half of body increased and the legs and arms became longer. The shape of bust was slightly centered and the angle of shoulder decreased. From the analysis of the photographic measurements and the comparison the body type of 1999 with that of 1990, the tendency of change in upper body was to bend backward and the ratio of straight type increased in 1999.

• Journal of the Korea Computer Graphics Society
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• v.21 no.1
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• pp.23-31
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• 2015

We present a method for creating realistic 2D stick figure animations easily and rapidly using captured motion data. Stick figure animations are typically created by drawing a single pose for each frame manually for the entire time interval. In contrast, our method allows the user to summarize an action (e.g. kick, jump) for an extended period of time into a single image in which one or more action lines are drawn over a stick figure to represent the moving directions of body parts. In order to synthesize a series of time-varying poses automatically from the given image, our system first builds a deformable character model that can make arbitrary deformations of the user's stick figure drawing in 2D plane. Then, the system searches for an optimal motion segment that best fits the given pose and action lines from pre-recorded motion database. Deforming the character model to imitate the retrieved motion segment produces the final stick figure animation. We demonstrate the usefulness of our method in creating interesting stick figure animations with little effort through experiments using a variety of stick figure styles and captured motion data.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.14 no.10
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• pp.962-967
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• 2004

A bogie is the device that connects a car body and wheel sets of a rail vehicle. It is the critical component that determine:; the running safety, The bogie consists of a frame, suspensions, brakes and wheel sets. Various analyses including a numerical simulation using a finite element method, a static load test, a fatigue test, ai)d r running test should be carried out to design the bogie. However cracks have been found at some end beams of the bogies mounted on the freight cars running with the high speed. The cracks of the end beam results in deterioration of the brake performance an the running safety, A new design has been suggested to solve this problem by ROTEM company and it's performance has been tested in this paper. Numerical simulations and dynamic tests are carried out to figure out the causes of cracks in the conventional bogie, and the vibrational characteristics of the improved bogie are compared with those of the conventional one.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.763-780
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• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• Journal of the Korea Computer Graphics Society
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• v.20 no.2
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• pp.1-11
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• 2014

The quality of 2D-to-3D conversion depends on the accuracy of the assigned depth to scene objects. Manual depth painting for given objects is labor intensive as each frame is painted. Specifically, a human is one of the most challenging objects for a high-quality conversion, as a human body is an articulated figure and has many degrees of freedom (DOF). In addition, various styles of clothes, accessories, and hair create a very complex silhouette around the 2D human object. We propose an efficient method to estimate visually pleasing depths of a human at every frame in a monocular video. First, a 3D template model is matched to a person in a monocular video with a small number of specified user correspondences. Our pose estimation with sequential joint angular constraints reproduces a various range of human motions (i.e., spine bending) by allowing the utilization of a fully skinned 3D model with a large number of joints and DOFs. The initial depth of the 2D object in the video is assigned from the matched results, and then propagated toward areas where the depth is missing to produce a complete depth map. For the effective handling of the complex silhouettes and appearances, we introduce a partial depth propagation method based on color segmentation to ensure the detail of the results. We compared the result and depth maps painted by experienced artists. The comparison shows that our method produces viable depth maps of humans in monocular videos efficiently.