• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• Science of Emotion and Sensibility
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• v.9 no.4
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• pp.385-394
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• 2006

In the present society where aesthetic designs would have product value, designs must be the ones that add flexible sensation as well as the energy of counteraction which escapes from and destroys existing concept. The 'creative expression' to reach such design objectives is one of the most important abilities which designers must possess and is an overall concept in problem solving of designing which participates in formative approach or image development as well as product concepts such as function or performance . In this research, the definition of creativity, environmental change of designing, conditions designers must possess followed by these things and creative design expressions researched in the past, etc are examined and by presenting design method for creative designing concept targeting mobile phones, it will attempt to contribute in the importance of creativity and improve creative value of designers.

• Journal of the Korea Convergence Society
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• v.10 no.2
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• pp.167-173
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• 2019

The purpose of this study is to propose the direction of competence of future designers required in the fourth industrial revolution. Designers have played an intermediary role in connecting technology and human beings. Therefore, in the fourth industrial revolution the capacity required to perform the intermediate role as a designer has also changed. The paradigm of design which changed step by step through the literature survey was studied. In addition, priorities were confirmed by comparing past and future designer competencies through prior research on designer competencies. As a result, we confirmed that the planning competence to solve complex problems and the competence of design management to realize them. Based on this research, we hope to be able to recognize the direction of competence as a designer in the fourth industrial revolution and to be a reference material for the follow - up study.

• Proceedings of the KIEE Conference
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• 2005.07b
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• pp.954-956
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• 2005

For transformer designers, eddy current loss calculation of steel structure is required to consider temperature rise on transformers. This study describes design of a lock plate for converter transformers by finite element method. The lock plate may be locally heated by fringing flux due to air-gap. 3D finite element analysis is performed and compared so as to minimize eddy loss on the lock plate with different materials and structures

• Journal of Korean Society of Industrial and Systems Engineering
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• v.22 no.49
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• pp.33-41
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• 1999

The original tolerances, which are assigned by designers on the basis of handbooks and experience, cannot always be expected to be optimal or feasible, because they may yield an unacceptable manufacturing costs. So the systematic tolerance design considering manufacturing costs should be done. Therefore, this research analyzes the tolerance within the tolerance design using Monte-Carlo simulation method and sensitivity analysis and using genetic algorithm by tolerance allocation method. The genetic algorithm was developed for allocation of the optimal tolerance under the manufacturing limitation cost.

• Journal of Science of Art and Design
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• v.1
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• pp.95-123
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• 1999

The goal of this research is a visual and auditory tool development enabling designers to have the same emotional value with users in the process of user centered design. Through the research, we intend to show the aid measure for making cognitive gaps narrow between users and designer in the process of transforming and understanding the emotional needs as a verbal image. because In the business practice of design, most of tools and techniques for assessment and analysis of emotional needs are those used usually in the marketing fields. So the information generated and transformed from users to designers have a form of physical words. When the designer's understanding of the emotional needs is considered as a product mediated communication process, the morphologic and cognitive information gaps become obvious. This difference could be a false basis in designing with emotional user needs. So the alternative needs assessment sub-tools of visual and auditory information form was embodied mainly for designer's cognitive gaps and inter-cultural emotional needs assessment. As the method of embodiment, Firstly, adjectives related to emotion were classified in their cognitive dimension. Secondly, visual and auditory data were extracted, and then the relativity verified. Finally, the practicality and effectiveness were tested through the database generation. In view of the results so far achieved, 1. We could find being of the big information cognitive gaps in the verbal assessment of emotional needs between designers and users. 2. With the visual and auditory assessment tool, we could make the big cognitive gaps narrower than we expected. 3. Also, we could find the chance that the fidelity, recognition, and friendliness of design for emotional user needs would become better.

• Archives of design research
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• v.14
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• pp.193-207
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• 1996

Until recently, ind ustrial designers designed the product packaging of Eletronic Media, and userInterface designers focused primarily on software design, But as computer related technology continues to evolve, this distinction has become ambiguous, As a natural consequence of these trends, industrial designers are getting more involved in user-interface design to develop interactive objects, Moreover, In the future, the whole Information of a product whIch means product packaging, marketing, training matenals, support as weIl as hardware and software will be regarded as a product, and user's entIre expenences including the material elements of product will be taken for the factors of user interface to expand the category of user interface design. The importance of interface design and its applications within industrial design has been stressed in the recent years, However researches on practical process in interface design developments have been rarely established. This paper aims to develop the interaction design process for the useful user-interface design by theoretical study and actual analysis of user-interface design.

• Journal of the Ergonomics Society of Korea
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• v.35 no.5
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• pp.413-423
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• 2016

Objective:The aims of this study are to understand the effects of task (pushing, pulling, and clockwise and counter clockwise twisting) direction on the maximal output and their grip forces and to explore the relationship between the maximal output and the grip forces. Background: Knowing the normative maximal grip force is not enough to design a good hand tool. The industrial designers should understand the required grip forces in various motions toward a specific direction to make an effective and efficient hand tool. Method: Eighteen healthy volunteers participated in the series of isometric maximal output force tests. A custom-made force measuring equipment collected the output and the grip forces for three seconds. Force measurements along the vertical, coronal and sagittal axes were randomly repeated three times. Results: The pulling was strongest and the pushing was weakest in all directions. The effect of motion on the output forces varied in different directions. The corresponding grip force increased in the order of pushing, pulling, clockwise twisting, and counter clockwise twisting in all directions. The maximal output and their grip forces were highly correlated but the relationship was affected by motion and direction. The regression coefficient was greatest in pulling and smallest in clockwise twisting. Conclusion: The effect of motion on the output forces varied in different directions. The maximal output and their grip forces were correlated but the relationship was affected by motion and direction. Application: Findings of this study can be valuable information for industrial designers to develop more productive hand tools and work stations to help preventing the musculoskeletal disorders at work.

• Journal of the Korea Furniture Society
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• v.24 no.3
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• pp.273-285
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• 2013

The bent wood technique has been used for making the bow, the musical instruments and the wagon wheel, The Winsor chair of England in 1730's was the first Lfurniture product by using this method. This method was spread out by Michael Thonet in Austria after the Industrial Evolution. Early making technique of Winsor chair was relatively easy, but Michael Thonet's bent chair was mass produced by the machine and launched the revolution in the industrial furniture. 20th-Century European furniture designers applied the method of layering and forming plywood to bent chairs, enhanced the function and conformability. The bent chair had a big impact on modern chair design. The bent chair has the formative beauty and convenience from the character of softness and colors of wooden materials and has been developed variously by furniture designers. This study is a new approach to use Dyed-Gathered Wood with various colors and patterns as a material of the bend wood. First, bent wood with the Dyed-Gathered Wood enhances a close texture of wooden material textures instead of coating the surface. Second, flexibility of the bent wood with the Dyed-Gathered Wood enables wood bending techniques. Lastly, the Dyed-Gathered Wood is made with relatively cheap woods, replaces expensive imported woods which cause product price rise. This method enables a material cost saving and a stable supply of material.

• Proceedings of the ESK Conference
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• 1997.04a
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• pp.212-226
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• 1997

Industrial design aiming the mutual benefit of both user and manufacturer demands grasping and analyzing the needa and wants of consumer for the establishrment of the optimum plan and production by attribute oriented approach. Inspite of its usefulness, however, it might be impossible to help industrial designers to develop a new product effectively without full understanding of industrial design activity in attributes of products and using the appropriate methodology for grasping the main attributes. This thesis is purposed for developing the guideline of research models of consumer for industrial design by studying characteristics of industrial design activity in attributes of products through bibliography and defining the clear limit of design research focused on consumer selection through comparison with real purchase decision making procedure at every phase. Through the observation and analysis of the real purchase decision making procedure following the proposed guideline, the possibility of difference between the two cases has been shown in both theoretical and practical aspects.