• Journal of The Korean Digital Architecture Interior Association
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• v.6 no.2
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• pp.17-23
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• 2006

The purpose of this study was to investigate how student felt the strengths and shortness of presentation methods for formation of interior spaces. For this study, the process of the interior architecture design class was divided into three stages: the programming. the design development, and the design completion. In the design development stage, students used presentation methods: hand sketch, scale model, computer modeling, and virtual realty. The strengths of hand sketch was that quick expression. Models provided three-dimensional feelings. Computer modelling provide realistic color and texture. Virtual reality provided three-dimensional immersion and real scale. It is effective that students collect brain storm images using quick hand sketch in the beginning of design development stage. After that, they compose interior spaces in study models with small scale. Watching the models, they design details of spaces by using hand sketch and computer modelling. Using virtual reality, they can check the scale and circulation. Finally, they complete computer modelling by texture mapping and check the final design in virtual reality.

• Journal of The Korean Digital Architecture Interior Association
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• v.6 no.2
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• pp.25-30
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• 2006

The purpose of this study was to investigate how student felt the strengths and shortness of presentation methods for formation of interior spaces. For this study, the process of the interior architecture design class was divided into three stages: the programming. the design development, and the design completion. In the design development stage, students used presentation methods: hand sketch, scale model, computer modeling, and virtual realty. The strengths of hand sketch was that quick expression. Models provided three-dimensional feelings. Computer modelling provide realistic color and texture. Virtual reality provided three-dimensional immersion and real scale. It is effective that students collect brain storm images using quick hand sketch in the beginning of design development stage. After that, they compose interior spaces in study models with small scale. Watching the models, they design details of spaces by using hand sketch and computer modelling. Using virtual reality, they can check the scale and circulation. Finally, they complete computer modelling by texture mapping and check the final design in virtual reality.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.293-304
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• 2008

The objectives of this study were to investigate the images in men's hairstyle by hair color, tone, texture, and perceiver's gender, and to examine the characteristics of hairstyle appropriate to seasons. A quasi-experimental method by questionnaire was used, and the experimental design was $4{\times}3{\times}2{\times}2$(hair color$\times$tone$\times$texture$\times$perceiver's$\times$gender) factorial design. The subjects were 372 men and women in their 20s through 50s. five factors of men's hairstyle image were derived by factor analysis: individuality, dignity, romanticism, refinement, and activity. Black hair was perceived to be high in dignity and activity. Bright tone was perceived to be high in individuality, but low in dignity. Men's wave hair was perceived to be higher in individuality than straight hair, but lower in dignity. Perceiver's gender did not give significant influence on evaluation of all image factors. In brown, neutral tone was perceived to be higher in dignity. romanticism, and activity than dark or bright tone. In black, wave hair was perceived to be more refined than straight hair. Black hair matches with winter the most, and yellow matches with spring the most. In terms of tone, dark tone matches with winter; neutral tone matches with autumn; bright tone matches with summer. The results of this study verified that hair color and texture affect men's image perception, and matching hair colors are associated with seasons.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.494-504
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• 2008

The purpose of this study was to classify the romantic image by clothing design elements. This research was done by survey method with 20 kinds of romantic image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. Romantic image was classified by 4 factors. Those were sexy-romantic, retro-romantic, natural-romantic and cute-romantic images. 2. Sexy-romantic image was well-expressed by fitted silhouette, achromatic and achromatic color coordinations and see-through texture. Retro-romantic image was well-expressed by X silhouette, achromatic and achromatic color coordinations and see-through or combination texture. Natural-romantic image was well-expressed by A silhouette and chromatic and achromatic color coordinations. Cute-romantic image was well-expressed by A silhouette and soft or combination(silky and soft) texture. 3. Romantic image was positioned into mostly traditional or artificial on image scale.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.8
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• pp.1222-1233
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• 2006

The purpose of this study was to classify the modern image by clothing design elements. This research was done by survey method with 25 kinds of modern image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, MANOVA, One-Way ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. modern image was classified by 5 factors. Those were sexy-modern, elegant-modern, natural-modern, mannish-modern and minimal-modern images. 2. Sexy-modern image was well-expressed by chromatic and chromatic color coordinations. Elegant-modern image was well-expressed by fitted silhouette, fit and achromatic and chromatic color coordinations. Natural-modern image was well-expressed by A silhouette, loose apparel-fit, chromatic and chromatic coordinations and soft texture. Mannish-modern image was well-expressed by H silhouette, loose apparel-fit, chromatic and chromatic color coordinations and hard texture. Minimal-modern image was well-expressed by H silhouette, tight or loose apparel-fit and soft texture. 3. modern image was positioned into mostly hard or masculine on image scale.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.68.2-68
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• 2001

• 제어로봇시스템학회:학술대회논문집
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• 2003.10a
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• pp.2753-2758
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• 2003

Tactile sensation is essential for many manipulation and exploration tasks not only in a real environment but also in a virtual environment. In this paper, we discuss a conceptual design of an integrated tactile display system. The system comprises two parts: a 2 DOF force feedback device for kinesthetic display and a tactile feedback device for displaying the normal stimulation to skin and the skin slip/stretch. Psychophysical experiments measure the effects of fingerpad selection, the direction of finger movements and the texture width on tactile sensitivity. We also investigate characteristics of lateral finger movement while subjects perceive different textures. From the experimental results, the principal parameters for designing a tactile display are suggested. A tactile display device is implemented using eight piezoelectric bimorphs and a linear actuator, and is attached to a 2 DOF translational force feedback device to simultaneously simulate texture and stiffness of the object.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2005.06a
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• pp.1145-1150
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• 2005

The aim of this paper is to investigate the effect of surface texturing on metal surface and to understand the potential of friction reduction through micro-scale dimple to fabricate by photolithography on pin-on-disk test using flat-on-flat contact geometry. It was verify that the friction property with respect to the same pitch has been influence on the size of dimple under lubricated sliding contact. Also, we can recognize from Stribeck curve that the friction property has a connection with the size of dimple. It can explain a relationship between the friction coefficient and a dimensionless parameter for lubrication condition. The friction property has been an effect on the size of surface texture on reduction friction, not only because the density of dimple, but also because the ratio of diameter/pitch. This ratio of approximately 0.5 is recommend under the tested friction condition. It suggested that the ratio of d/p is an important parameter for surface texture design.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.51 no.spc1
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• pp.292-296
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• 2006

Three rice cultivars of Goami2 (G2), Ilpumbyeo (IP), and Baegjinju (BJJ) of which physicochemical properties are significantly different, were blended by a simplex-lattice mixture design. The effect of blending those rice cultivars on pasting and texture properties were observed. Rapid Visco Analysis (RVA) indicated that the onset gelatinization temperature of pure blend of G2 rice $(83.80{\pm}0.07^{\circ}C)$ was higher than that of IP $(68.08{\pm}0.01^{\circ}C)$ and BJJ $(68.08{\pm}0.04^{\circ}C)$. Increasing G2 rice resulted in lower peak and breakdown viscosity, and adhesiveness and cohesiveness, whereas higher setback viscosity and hardness. Pasting and texture properties of IP and BJJ indicated that G2 rice has quite different physical characteristics compared to IP and BJJ. Thus, it is expected that blending those three rice cultivars can be used to formulate a desirable rice blend on purpose, furthermore to promote the consumption of G2 rice, which has higher indigestible carbohydrate contents.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.1
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• pp.34-44
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• 2004

The purpose of this study was to provide effective design strategy and distinguish productions for the consumer's emotion satisfaction by analyzing formative properties of fashion sensibility and emotion. 54 photos of contemporary costume have been selected which represented the Izard' DES. The questionnaire consisted of bi-polar 25 pairs adjective scale of fashion sensibility and the 18 noun scale of emotion was distributed to 970 male and female living in Pusan area. The data were analyzed by GLM using the statistic SPSS package. The major findings of this research were as follows. 1. In the clothing formative properties following fashion sensibilities, aestheticism shows significant differences in the silhouette and texture, maturity in the silhouette and color, character in the texture and decoration and feminity in the pattern and color. 2. In the clothing formative properties following emotions, negative emotion shows significant differences in the pattern and silhouette, distressㆍfear in the silhouette and pattern, arousal in the texture and color, shame in the color and texture and enjoyment in the silhouette and pattern. 3. In the fashion sensibility and emotion following clothing formative properties, each formative property shows differences in fashion sensibility and emotion. This study result will be utilized in the clothing design development in special usage like theatrical costume, discriminated display and advertisement stratge.