• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.57-68
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• 2003

The purpose of this study is to develop a creative perspective technique in fashion illustration through analyzing perspective in visual art experienced a great variety. This study was analyzed by examining the general theories based on the discovery of perspective and investigating the modern perspective in fashion illustration related to the method of spatial expression in visual art. A complex perspective of existing perspective gives the effect of reapperance of actual space and three-dimentional form in a plane. Because of being used as not only one perspective technique but also some perspectives technique, its expression can be more realistic. An amplified perspective gives the effect of visual illusion just like being suck in space inside and come out from screen outside by distorting the human body. A confused perspective of space gives the visual illusional effect of collapsing actual space and misunderstanding three-dimensional form by distorting the form of the space and changing the nature as an object of fashion. A reiterated or duplicated perspective gives effect of interpreting invisible space as imaginary space by overlapping and eliminating the object of fashion. An irrational perspective of spatial illusion gives the effect of disorganization experienced thinking by strange shapes and new recognition of irrational space by extraordinary visual connection. It has a tendency to surrealism. In conclusion, the modern perspective in fashion illustration has made the best use of not only new perspective since 1980, but general perspective before 1980. By the modern perspective expression. the viewer has made a chance to experience imaginary spaces indirectly, and the author has been able to express emotions by his or her new attempt in the screen.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.467-488
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• 2023

The purpose of this study is to determine the concepts of heterotopic image and fashion space, and the characteristics of fashion space and images from the perspective of fashion brands and users. This study examines the evolution of fashion space and consumers with it, based on Foucault's theory of heterotopia, which refers to spaces that blend contradictory features not typically found within a single physical structure. This is accomplished by employing a single case study of Ader Error's Ader Space, a Seoul-based brand known for its unique approach to presenting and communicating fashion. Based on an analysis of Instagram posts of Ader Error along with the hashtag searches "aderspace" and "adererror", this study categorizes heterotopia from the perspective of fashion brands into three properties: fashion space as a medium for selling fashion products; fashion space as getaway to hybrid fashion practices; and fashion space as an illusionary place to experience fashion. From the user perspective, the heterotopic image of Ader Space portrayed on Instagram is characterized by the image of fashion products in an extraordinary fashion space, the image of a fashion space beyond space and time, and the image of exposing the hidden and the illusion-compensation of fashion space. This study contributes to a heightened understanding of the evolutionary concept of the fashion space.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.3-12
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• 2006

The renaissance architects had considered perspective system as accurate tool for the visual representation, but Palladio did not agree with this belief and demonstrated that it is a system based on optical illusionism. On the base of this faith, he created another optical illusion system can be called 'scenographic space'. But the remainder of his works reveals many perspective installations mobilized as well as it. In this context, this study aimed to analyze the meaning and usage of these two space composition systems in the Palladio's architecture. For the purpose of it, a preliminary study examine the background of his idea and make a comparative analysis between the two systems, and then finally analyze the concrete works in compliance with the building types. And then, this study comes to the following conclusion. The scenographic space create the cognition of discontinuity which was produced by the perceptual mask perpendicular to the subject's eye. In opposition to it, the perspective techniques join the space between the subject and his outer world. In result, the viewer lost or attach his attention on the connection between the real and the virtual, the secular and the divine, and the inside and the outside. Palladio applied these two illusion systems to all types of his architecture. By means of it, he could achieve the desire of his patrons and reconstruct the classical architecture of the late renaissance age.

• Journal of Korean Elementary Science Education
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• v.37 no.3
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• pp.309-322
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• 2018

There is no doubt that science -and, therefore, science education- is central to the lives of all (NGSS, 2013). This manuscript focuses on ideas in astronomy that are at the foundation of elementary students' understanding of the discipline: the apparent motion of the sun explaining the day / night cycle on Earth. According to prior research demonstrating that neither children nor adults hold a scientific understanding of the big ideas of astronomy (NRC, 1996), understanding of concepts may base students' progress towards more advanced understanding in the domain of astronomy. We have analyzed the logic of the domain and synthesized prior research assessing children's spatial representation from an earth- and a space based perspective to develop a set of learning trajectories that describe how students' initial ideas about apparent celestial motion as they take school science can be build upon. In this study elementary students' representations were compared by their resident context including urban and rural. This study may present a first look at the use of a learning progression framework in analyzing the structure of astronomy education. We discuss how this work may eventually lead towards the development and empirical testing of how children learn to describe and explain apparent patterns of celestial motion.

• The Journal of Art Theory & Practice
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• no.7
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• Journal of Science Education
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• v.46 no.2
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• pp.151-164
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• 2022

The 2015 revised science curriculum textbook of 6th graders describes 'day and night' as an astronomical phenomenon observed on a daily basis. Textbooks use only visual materials from a space-based perspective to explain the causes of day and night. This study aims to investigate what changes in spatial representations of 5th graders when additional visual materials of the Earth-based perspective were presented to them. It also shows that the Space and the Earth-based perspectives appear to be interconnected. The following are found in this study. First, when students were presented with a visual material of an Earth-based perspective, their spatial representations of both the Earth and the Space-based perspectives changed. Second, the visual material of an Earth-based perspective confirmed the possibility that students' spatial representation types could be different in many ways. Third, the effect on the spatial representation of each perspective is different depending on gender and the level of spatial representation.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.217-226
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• 2012

The purpose of this study had started from trying to look for a new standard in new media era and sounding out possibility of perspective of digital poetry, and had been extracting interpretational elements based on characteristics of otology in digital poetics research in technical method. Through examination of many documentary records, we suggested interpretive elements of medial space based on meaning and the theory of digital poetics. We deduced three perspectives based on relationship between the basic thesis in poetics and interpretive elements of medial space. We used them as tool for analysis of example. We chose as an example that change of program in space is clear through connection of media and space in where new form of creation happens through digital instruments and chose article as subject to which digital technology is applied and had been since 2000, The result of this study is as following: First, epistemological analysis about a space of digital media in new media era requires poetical approach unlike aesthetic approach. We can endow creative action and creation process with significance and pay attention to technical method of manufacturing, stating appropriateness of perspective in digital poetics. Second, the justice of digital poetics and its basic thesis help derive analytic elements from medial space and study purpose of production, technical method, ontological characteristics, which are three perspectives of digital poetics. Third, it analyzed characteristics of example according to three perspectives above and we can analyze characteristics of spacial expression in space of digital media into potential, trans-active, and semiosis space. It would be possible through analyzing examples in digital poetic perspective to overlook new methods of design in 21th and various perspectives and possibilities of medial space design.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.8
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• pp.3981-4004
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• 2019

This paper proposes a novel method for locating objects in real space from a single remote image and measuring actual distances between them by automatic detection and perspective transformation. The dimensions of the real space are known in advance. First, the corner points of the interested region are detected from an image using deep learning. Then, based on the corner points, the region of interest (ROI) is extracted and made proportional to real space by applying warp-perspective transformation. Finally, the objects are detected and mapped to the real-world location. Removing distortion from the image using camera calibration improves the accuracy in most of the cases. The deep learning framework Darknet is used for detection, and necessary modifications are made to integrate perspective transformation, camera calibration, un-distortion, etc. Experiments are performed with two types of cameras, one with barrel and the other with pincushion distortions. The results show that the difference between calculated distances and measured on real space with measurement tapes are very small; approximately 1 cm on an average. Furthermore, automatic corner detection allows the system to be used with any type of camera that has a fixed pose or in motion; using more points significantly enhances the accuracy of real-world mapping even without camera calibration. Perspective transformation also increases the object detection efficiency by making unified sizes of all objects.

• Journal of information and communication convergence engineering
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• v.22 no.1
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• pp.70-79
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• 2024

Bad weather conditions such as haze lead to a significant lack of visibility in images, which can affect the functioning and reliability of image processing systems. Accordingly, various single-image dehazing (SID) methods have recently been proposed. Existing SID methods have introduced effective visibility improvement algorithms, but they do not reflect the image's perspective, and thus have limitations that distort the sky area and nearby objects. This study proposes a new SID method that reflects the sense of space by defining the correlation between image brightness and haze. The proposed method defines the haze intensity by calculating the airlight brightness deviation and sets the weight factor of the depth map by classifying images based on the defined haze intensity into images with a large sense of space, images with high intensity, and general images. Consequently, it emphasizes the contrast of nearby images where haze is present and naturally smooths the sky region to preserve the image's perspective.

• Journal of Digital Convergence
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• v.12 no.12
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• pp.513-520
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• 2014

Since the beginning of history, men have done mimesis and produced illusion and succeeded art and culture instinctually. The subject which mention above included the object which can order and space around that. Perspective which began the Renaissance age was dominant way about understanding space in western history and it made modern visual system. Direction way of space which based perspective is changed as horizontal data included multi-layer structure in digital media age. This character make us possible to represent the space more efficiently. So we must have pay attention the direction way of space based on digital media, because it has meaning to show human value beyond a methodology of visual art culture.