• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.13-24
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• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

• Journal of Digital Convergence
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• v.12 no.12
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• pp.601-609
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• 2014

This kind of goal orientation in Art Nouveau has provided nature-friendly designs to modern people living in a post-industrial society. For these people who want to have their own style in a natural and comfortable space and take a break from daily hectic daily routines for a moment, hair-by-night styles were created by adding the images of Greek goddesses to the nature-friendly features of Art Nouveau patterns known as 'flower pattern', 'wave pattern', and 'vine pattern'. In terms of the scope of this paper, four designs (Eos, Hestia, Artemis and Demeter) were created by using Art Nouveau patterns which are connected with flowers in an organic manner based on Rene Lalique and Emile Galle patterns.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.787-799
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• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.412-419
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• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.22 no.1
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• pp.61-72
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• 2019

With the diversification of research using UAV(Unmanned Aerial Vehicle)s, the possibility of remote sensing research for urban green spaces is increasing. UAVs can be used as an investigation method to monitor the successful construction of the park and the planting of vegetation since its creation. This study was carried out to investigate UAVs utilization of urban green space monitoring in Dosol Square. It was photographed three times on May 21, July 13, and September 16, 2018 using DJI Phantom3 pro, Inspire2, and Parrot Sequoia multispectral camera. Orthographic images were overlaid on the planting plan of the site and the construction results were checked, the change of vitality of the plantation area was analyzed by NDVI(Normalized Difference Vegetation Index) and SAVI(Soil Adjusted Vegetation Index). As a result, it was confirmed that the UAVs are very effective for surveying the view of the urban green space after the construction and recording the results, which can be grasped quantitatively by overlaying the planting plan map. UAVs are more likely to be used in terms of monitoring vegetation vitality. It is interpreted that SAVI is better than NDVI in the green space just after composition. Chionanthus retusus and Pinus strobus were analyzed for their low level of vitality, and partially damaged and their vitality was lowered. In addition, there was difficulty in grass planting area and flower garden due to drainage and summer drought problems. In the future, it is expected that orthoimage and multispectral data using UAVs will be useful in the early vegetation monitoring and management field of urban green spaces.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• Journal of the HCI Society of Korea
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• v.10 no.1
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• pp.29-41
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• 2015

Technologies for video reality (e.g., 3D displays, vibration, surround sound, etc.) utilize various sensory input and many of them are now commercialized. However, when it comes to the use of olfaction for video reality, there has not been much progress in both practical and academic respects. Because olfactory sense is tightly associated with human emotion, proper use of this sense is expected to help to achieve a high degree of video reality. This research tested the effects of a video's color-temperature related scent on reality improvement when the video does not have apparent object (e.g., coffee, flower, etc.) which suggest specific smell. To this end, we had participants to rate 48 scents based on a color-temperature scale of 1,500K (warm)-15,000K (cold) and chose 8 scents (4 warm scents, 4 cold scents) which showed clear correspondence with warm or cold color-temperatures (Expt. 1). And then after applying warm (3,000K), neutral (6,500K), or cold (14,000K) color-temperatures to images or videos, we presented warm or cold scents to participants while they rate reality improvement on a 7-point scale depending on relatedness of scent vs. color-temperature (related, unrelated, neutral) (Expts. 2-3). The results showed that participants experienced greater reality when scent and color-temperature was related than when they were unrelated or neutral. This research has important practical implications in demonstrating the possibility that provision of color-temperature related scent improves video reality even when there are no concrete objects that suggest specific olfactory information.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.138-149
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• 2015

In order to search for the reasonable planning directions for representing traditional landscape, this study conducted the comparative analysis of the designs on the panels and their constructions from both winners of "The Landscape Design Competitions for City Infrastructure of Minlak(2) District in Uijeongbu" and "The Design Competition for Dongtan(2) District Land Development Phase 1". The representing targets and views, the composition and placement of representing space, the design of representing facilities and landscape planting were examined based on the text, master plans, elevations and cross sections, diagrams, images, and perspective drawings proposed from the competition panels. Then, the landscape constructions were reviewed. The results are as follows: First, the types of the representing targets and views are the agricultural landscape, as the local landscape of target area, which are divided into the life space of a traditional village, the traditional water space, and the traditional culture. Second, as to the composition and placement of representing space, the traditional theme spaces are formulated considering the surrounding land use and the local cultural heritage. However, some spaces were changed to the exercise space or convenient facility spaces required in a neighborhood park. Third, in the case of the representing facilities, a round island in the square pond, a traditional pavilion and Hwagye(terraced flower bed) were made without the facilities designed creatively. Fourth, the application of traditional planting techniques was focused on planting trees in the village forest on an island in the square pond and on Hwagye. Fifth, the traditional representing work has gradually advanced with the selection of subject and experimental facility designs based on the professional references. Sixth, the choice of the realizable subject, the expertise for information analysis and the creative design of the traditional facility are required in the future.

• Journal of Intelligence and Information Systems
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• v.18 no.3
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• pp.1-12
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• 2012

There are many trees in a roadside, parks or facilities for landscape. Although we are easily seeing a tree in around, it would be difficult to classify it and to get some information about it, such as its name, species and surroundings of the tree. To find them, you have to find the illustrated books for plants or search for them on internet. The important components of a tree are leaf, flower, bark, and so on. Generally we can classify the tree by its leaves. A leaf has the inherited features of the shape, vein, and so on. The shape is important role to decide what the tree is. And texture included in vein is also efficient feature to classify them. This paper evaluates the performance of a leaf classification system using both shape and texture features. We use Fourier descriptors for shape features, and both gray-level co-occurrence matrices and wavelets for texture features, and used combinations of such features for evaluation of images from the Flavia dataset. We compared the recognition rates and the precision-recall performances of these features. Various experiments showed that a combination of shape and texture gave better results for performance. The best came from the case of a combination of features of shape and texture with a flipped contour for a Fourier descriptor.