• 디자인학연구
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• 제5권1호
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• pp.45-56
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• 1992

In the 1970s, the term Post - Modernism came into use to lable work of graphic design who broke up the Swiss style that had defined clarity and order. The characteristics of Post - Modernism graphic design include pluralistic and eclectic style. Those innovation of graphic design concerned with our social, political. cultural, and econonic changes. Deconstruction is one of the theory of Post-structualism. Deconstruction refers to the breaking down of metaphysics, rationalism, totality and so on. Deconstructive graphic design destroys traditional harmony even more than Marinetti's claim. Totality in graphic design seems to be ignored. Post - Modernism in architecture appears as historical revivalism and pluralism. The eclectic revivals and eccentric reinventions in graphic design are far too pluralistic and diverse to fit such as a simplistic system of style. Another innovation in graphic design occurs by electronic revolution. The impact of computer upon graphic design is becoming even more pronounced. Most importantly, Post-Modernism can consider the rediscovered freedom in graphic design. Graphic design is undergoing profound changes. But the essence of graphic design as com$$\mu$ication tools will remain unchanged.

• 한국CDE학회논문집
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• 제5권4호
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• pp.327-335
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• 2000

The spent fuel rod extracting machine is automatically operated in high radioactive environment, so high reliability of operation is required. In this paper, to enhance the reliability of this machine by providing a close monitoring capability. a real time graphic simulation method is suggested. This method utilizes conventional IGRIP (Interactive Graphics Robot Instruction Program) 3D graphic simulation tool to visualize and simulate the 3D graphic model of this machine. Also, the dedicated protocol is defined for transmission of the operational data of the machine. The real time graphic simulation is realized by developing the socket module between a graphic workstation and a machine control computer through the TCP/IP network and by dividing the 3D graphic simulation GSL(Graphic Simulation Language) program as a small sized sub routine. The suggested method is implemented while automatically operating the rod extracting machine. The result of implementation shows that the real time 3D graphic simulation is well synchronized with the actual machine according to the operational data.

• 한국군사과학기술학회지
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• 제5권2호
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• pp.72-82
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• 2002

This paper presents the design technology of a Graphic Generator which drives the embedded aircraft display equipments such as HUD(Head-Up Display) and MFD (Multi-Function Display) those provide pilot with the most important mission information. The main issue of this design is how we can implement the real-time embedded graphic generator using a general purpose processor as a substitute for the obsolete the production of specific graphic processor in the military market. So we proposed two kinds of method that one is a software solution so called graphic kernel system, interpreting the display file, controlling the graphic system and pre-processing graphic primitives, the other is a hardware solution so called graphic engine, interpreting passed commands through the graphic kernel system, post-processing the looping calculation taking much of time as implemented by software. We have tested and verified the functionalities and the required performance of Graphic Generator.

• Child Studies in Asia-Pacific Contexts
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• 제2권1호
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• pp.45-60
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• 2012

This project examined 2, 3, and 4-year-old children (N = 34) in a university campus child care setting to assess their understanding of the graphic features they use in their emergent writing (to distinguish it from a drawing of the same referent). The graphic features present in samples of the children's work were examined and compared to the graphic features children could identify through verbal and nonverbal communication. We examined the frequencies of graphic feature identification, as well as significant differences between graphic feature usage and graphic feature identification. The most frequently used graphic features were linearity, unidirectionality, and small size of units. The most frequently identified graphic feature was conventional letter. Overall, children used significantly more graphic features than they were able to identify. Significant relationships comparing the 2-year-old group and 4-year-old group's usage and identification were also found. The findings are discussed in terms of their application to early childhood classrooms. Teachers can apply these findings when engaging children in conversations about their emergent writing; these discussions are explored as a beneficial teaching tool.

• 전자공학회논문지B
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• 제30B권1호
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• pp.1-9
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• 1993

In recent days high perfermance graphic operation is needed, since computer graphics is widely used for computer-aided design and simulator using high resolution graphic card. In this paper a graphic accelerator is designd with the functions of graphic primitives generation and geometrical transformations. 1-D Systolic Array Processor for Matris Vector operation is designed and used in main ALU of a graphic accelerator, since these graphic algorithms have comonon operation of Matris Vector. Conclusively, in case that the resolution of graphic domain is 800$\times$600, and 33.3nsec operator is used in a graphic accelerator, 29732 lines per second and approximately 6244 circles per second is generated.

• 영어영문학
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• 제56권4호
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• pp.575-596
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• 2010

The modes of narratives and communication have expanded due to social and cultural changes and technological development. Thus texts have become multimodal and media hybridities and media crossover have been increasing as well. Multimodality requires new literacy to understand and interpret those multimodal texts other than existing traditional literacy approaches. The New London Group (2000) argues that multiliteracies are needed to serve today's changing multimodal texts. Kress (2003) also argues, visual texts have been prevailing, being mingled with other modes of texts such as linguistic, audio, gestural, and spatial modes. Literary texts are not exception in this trend of multimodality. The recent renaissance of comics, in particular, the new light on graphic novels can be interpreted in this historical vein. In comparison to comics, no consensus has been made in defining graphic novels, however, many studies have been recently conducted in order to look into the potential of graphic novels in building multiliteracies. In this paper, the graphic novel as a literary genre are explored from a histocial perspective and the definition of graphic novels was attempted to be made. In the light of multiliteracies, this paper presented cases that show how graphic novels can be utilized to build multiliteracies. Lastly, the use of graphic novels for English as a foreign language was introduced as well. The author hopes that at the age of multimodality, the potential graphic novels have in language and literacy education can be taken into account by language teachers and students in expanding their territory of literacy.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 1990년도 한국자동제어학술회의논문집(국내학술편); KOEX, Seoul; 26-27 Oct. 1990
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• pp.200-203
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• 1990

A multiloop programmable controller using graphic control language and a configuration graphic editor for designing control algorithm in graphic windows are developed. Using the graphic control language, large and complex control algorithm can be designed easily and the modification of control algorithm is simple. The proposed controller using graphic language can be effectively used for complex plants like power plants.

• 한국주거학회논문집
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• 제14권6호
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• pp.147-154
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• 2003

This study examines and analyzes the current status, characteristics and properties of Super-Graphic as a visual element with Super Graphic designed on the wall of apartment housing, typifies them and explains the preference and evaluative structure by each type. The results of this study are as follows： According to color environment of Super-Graphic, N-tone colors are 21.4％ and YR-tone colors are 14.5％. In the whole distribution, cold color tone is 41.4％ and warm color tone is 37.2％. In the brightness, 72.9％ of the entire Super Graphic use high brightness and in the saturation, 51.2％ show low saturation, achromatic colors are 21.4％ and high saturation is 16.5％. As a result of conducting SD test to analyze the preference of Super-Graphic, 'wonderful' is most negative variable, followed by 'heterogeneous', 'splendid', 'romantic' variety'. Positive variables are 'monotone', 'stable' and 'calm'. As a result of factor analysis to reveal the evaluative structure of Super Graphic image based on the above results, five factors including brightness, saturation, stability, harmony and ordered are extracted and it is considered that these are important variables to be reflected in designing Super Graphic in future.

• 디자인학연구
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• 제14권3호
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• pp.7-14
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• 2001

현대의 그래픽 디자인은 컴퓨터와 전자기술의 발달로 다양하고 첨단적인 이미지들의 스타일로 기존의 그래픽 디자인의 세계를 변화시키며 새로운 그래픽 디자인의 영역을 만들어가고 있다. 하지만 오늘날 그래픽 디자인 스타일의 기본 원리나 이미지들은 지난 20C초부터 중반까지 그래픽 디자인 사조들의 시각적 특징들이 반영된 각종 창작물들에 의해 다듬어지고 변화되어진 시각적 원리나 방법들의 영향을 받아 온 것이 사실이다. 일반적으로 모던 그래픽 디자인이라 부르고 있는 이 시기의 그래픽 디자인 스타일들은 20C 디자인의 시작이 되는 아르누보 이후 회화적 모더니즘, 구성주위, 신조형 주의, 바우하우스를 거치며 현대 그래픽 디자인의 기본적인 원리와 스타일을 형성하게 되는 스위스 그래픽 디자인 양식에서, 그리고 뉴욕파 그래픽 디자인에 이르러 전 세계로 퍼져가게 된다. 본 연구에서는 21C 급속한 그래픽 디자인의 표현 기술 발달과 다양한 그래픽 디자인 환경 속에서 현대 그래픽 디자인 원리의 바탕이 되는 20C 초반부터 중반까지 그래픽 디자인의 시각적 특징과 흐름의 조망을 통해 좀더 그래픽 디자인에 대한 체계적이고 근본적인 인식의 확보와 그래픽디자인의 시각적 특징을 이해하고 새로운 그래픽 스타일을 생산해 내는 하나의 연구 과정으로 삼고자 한다.

• 디자인학연구
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• 제18권2호
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• pp.5-14
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• 2005

그래픽디자인은 인류와 함께 하여 왔으며 인간은 동영상으로 사물을 파악한다. 그리고 꿈에서조차 영상으로 꿈을 꾼다. 도구의 발전은 인간의 신체 연장선상에서 발전하였다. 눈의 연장선에서 본다면 카메라, 비디오, 캠코더 등은 인간의 눈을 대신하는 도구들이고 결과물은 영상이다. 종이 위에 그려진 그림이나 이미지에 시간이 더해져 움직임이 부여 된다면 '움직이는 그림' 즉 모션 그래픽이 된다. 하지만 이 모션 그래픽은 애니메이션, 영상, 또는 영화라고 불리어 왔다. 이제 모션 그래픽은 영상 또는 영화, 애니메이션과 구별되어야 하는 시점이다. 영화와 애니메이션은 고유 영역을 확보하고 있으며 영상은 이들을 통합한 의미이지만 이 용어들이 '일러스트레이션이 동영상으로 움직인다면?'의 해답을 제공하기에는 부족해 보인다. 다양한 영역과 표현을 가진 일러스트레이션 또는 그래픽에 시간이 더해져 나타나는 결과물을 '모션 그래픽'이라 부르는 것이 타당할 것이다. 모션 그래픽은 다각적인 관점, 다양한 방법의 접근 그리고 해석 가능한 모든 방법과 표현이 종합적으로 시도되면서 매체간의 융합과 합성(meta-synthesis), 각기 다른 종과 종의 융합과 합성(media hybrid) 그리고 감각적 합성을 통해 변화하고 있다. 모션그래픽은 다양한 장르에서 활용도가 늘어나면서 하나의 분야로 자리 잡아 그래픽디자인 영역에서 독자적 장르로 성장하고 있으며 시각으로 인지되는 인식정보, 청각으로 인지되는 감성정보 그리고 몸 전체로 접촉되는 촉각정보가 통합(convergence)되는 새로운 국면으로 전개되고 있다. 모션 그래픽은 이러한 시대적 변화와 요구에 대처하는 신 메타포가 움직임의 결과로 출현한 새로운 커뮤니케이션 방식으로 이해되어야 할 것이다.