• 한국의상디자인학회지
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• 제7권3호
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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.

• 감성과학
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• 제9권4호
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• pp.385-394
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• 2006

미학적인 디자인이 상품가치를 갖게 될 현재 사회에서 디자인은 기존의 개념을 탈피하고 파괴하는 반동의 에너지와 부드럽고 유연한 감성을 불어넣는 것이어야 한다. 이러한 디자인 목표에 이르기 위한 '창조적 발상'은 디자이너가 갖추어야 할 가장 중요한 능력 중의 하나이며, 형태적 접근이나 이미지 개발은 물론 기능이나 성능 등 상품 컨셉(Concept)까지 관여하는 디자인 문제해결에 있어서의 총체적인 개념이다. 본 연구에서는 창조성의 정의, 디자인의 환경변화와 그에 따른 디자이너가 갖추어야 할 조건, 선행연구 된 창조적 디자인 발상법 등을 살펴보고 휴대폰을 대상으로 창조적 디자인 사고를 위한 디자인 방법을 제시함으로써 창조성의 중요성과 디자이너의 창조적 가치 향상에 기여하고자 한다.

• 한국융합학회논문지
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• 제10권2호
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• pp.167-173
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• 2019

본 연구는 기술의 발전으로 인해 변화한 4차 산업혁명 시대에 요구되는 미래 디자이너의 전문 역량의 방향성을 제안하는 데 목적이 있다. 디자이너는 단계별 산업혁명을 거치며 기술과 인간을 연결하게 해주는 중간자적 역할을 수행했다. 4차 산업혁명 시대에 역시 디자이너로서 중간자적 역할을 원활히 수행하기 위해 요구되는 역량이 변화하였다. 문헌 조사를 통해 단계별 변화한 디자인의 패러다임을 연구하였다. 또한, 디자이너 전문 역량에 관한 선행연구를 통해 과거와 미래 디자이너 전문 역량을 비교함으로써 우선순위를 확인하였다. 그 결과 디자이너의 고유 영역이라 여겨졌던 시각적 표현 능력 이외에 복잡한 문제 해결을 위한 융합적인 프로젝트 기획 역량과 이를 실현할 디자인 경영 역량이 대두되었음을 확인하였다. 본 연구를 바탕으로 4차 산업혁명 시대에 디자이너로서 갖추어야 할 역량의 방향을 인지하고 후속 연구에 참고 자료가 될 수 있기를 기대한다.

• 대한전기학회:학술대회논문집
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• 대한전기학회 2005년도 제36회 하계학술대회 논문집 B
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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

• 산업경영시스템학회지
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• 제22권49호
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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.

• 조형예술학연구
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• 제1권
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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.

• 디자인학연구
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• 제14권
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• pp.193-207
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• 1996

지금까지 전자 미디어 관련 제품을 디자인하기 위해서는 일반적으로 산업디자이너는 제품의 하드웨어인 팩 키지를, 그리고 사용자-인터페이스 디자이너들은 그 제품의 소프트웨어적인 요소를 디자인하는 것에 주력하여 왔다. 그러나 컴퓨터 관련 테크놀로지가 끊임없이 진화하면서 이러한 역할의 이분화는 그 개념이 모호해져 대화형 제품 개발을 위해 점차 산업디자이너들의 사용자 인터페이스 디자인에 더 깊이 관여하게 되었다. 나아가 앞으로는 하드웨어 및 소프트웨어뿐만 아니라 제품의 제반 정보들이 하나의 제품으로 인식되어 제품의 물리적 요소 외에도 이에 대해 사용자가 가지고 있는 모든 경험들이 총체적인 사용자 인터페이스 요소로 간주되어 인터페이스 디자인 범주가 확대될 것이다. 이렇듯 인터페이스 디자인 개념의 확대와 그 중요성이 크게 부각되고 있음에도 불구하고 산업디자인 분야에서느 아직까지 인터페이스 디자인 개발 프로세스에 대한 체계적이고 실질적인 연구가 미미한 실정이다. 본고에서는 사용자 인터페이스 디자인의 이론적 고찰과 실증적인 분석을 통하여 효율적인 인터페이스 디자인 개발을 위한 인터렉션 디자인 프로세스의 연구를 그 목적으로 한다.

• 대한인간공학회지
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• 제35권5호
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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.

• 한국가구학회지
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• 제24권3호
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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.

• 대한인간공학회:학술대회논문집
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• 대한인간공학회 1997년도 춘계학술대회논문집
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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.