• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.876-887
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• 2018

In this paper, we propose an robust CAMShift method to track stage objects with a camera. In order to solve the problem of tracking object misdetection in existing CAMShift technique, MBR region is detected to separate the background and the subject, and the subject size of the region of interest is calculated to solve the problem of erroneously detecting a large region having a similar color distribution ratio. Also, by applying the color corelogram and MB-LBP to the part that can not be solved by the color ratio and the size limitation, accurate texture tracking is enabled by reflecting the texture characteristics. Experimental results show that the proposed method has good tracking performance for objects that do not deviate from the size of the subject set in the area of interest and accurately extracts the texture characteristics of different subjects with similar color distribution ratios.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.361-370
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• 2005

This study was intended to investigate intertextuality expressed in fashion; intertextuality within fashion as sex, T.P.O., texture, and coordination and intertextuality between fashion and other genre like animation, music, film and technology. Intertextuality obtained by mixing the masculine and feminine text, coordinating various element without regarding T.P.O., texture has contributed to expending aesthetic realm and redefining the aesthetic value of traditional fashion design. The influence of animation, music, film on fashion and the interaction between these genre and fashion integrated high-class fashion and street-fashion, created the multicultural hybrid. Moreover according to the change of lifestyle the fashionable technical clothing was needed and developed. The intertextual tendency in the 21st-century fashion has given the new possibility of fashion design.

• Journal of the Korean Home Economics Association
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• v.42 no.6
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• pp.111-121
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• 2004

This study focused on the development of creative materials by applying tapestry to produce original and high-grade dresses with consideration the modems' tendency to place high value on personal taste and style. The development remained sensitive to current trends and attempted to expand into high value-added dresses. Materials in modem fashion design, as a basis of the fashion industry, can lead to a current of new fashion and produce novel and creative ideas by stimulating the designers' creativity. Designers can diversely express a form according to their intention, since tapestry allows the expression of various feelings of texture and forms according to the combination mode of technique, structure and materials on a basic plane. Moreover, tapestry encrourages the development of varied designs because it can effectively display the texture and color of a textile surface through the careful selection of materials even under the same technique. Tapestry can apply forms similar to a textile's basic structure to fashion design and can create high added value with the merit of being 'handmade'.

• The International Journal of Costume Culture
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• v.7 no.2
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• pp.87-102
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• 2004

By introducing Mondrian's creative world into the field of fashion design, I examined how its application can satisfy not only visual expressions but also the desire of fashion design for its simplicity, individuality, and sensitivity. As a program developing designs and guiding how to produce, the textile CAD system helps to develop a variety of textile systems. In case of dying or textile printing, a variety of free expressions of print patterns and functional color simulations are possible by the configuration of colors or enlargement of design. It can also confirm the flexible simulation with a variety of color changes through the monitor by treating the knit design with dots. Especially in case of consulting for the design with ordering customers, the system is very speedy and effective, because it is possible to correct on the spot those complicated elements of designs and color sensation and see the prints in the light of marketing, processing and artistic value. Mondrian's Art, beauty of balance and proportion in the Mondrian's plastic forms, the changes of coloring and texture were added into vertical and horizontal lines and the divisions of faces for the dressmaking. Whether they were the reciprocal action of human body, texture and color or the reciprocal action of human body and colors, these changes will be interpreted differently, depending on the individuals' experiences and psychological moods of situations. The emphases of the sense are also different, depending on the activity and functionality.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.33-42
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• 2013

The purpose of this study was to analyze the design trend of the vertical garden design in the indoor space through the examples of green wall in the lobby space. For the analysis, this study looks into the 'Guide for the Building Greening System' to understand the technical consideration for the green wall. After that, the key design elements was drawn from existing green walls through the literature review and field survey and field-survey. The study picked six green walls which was completed after 2000 in the lobby space in Seoul. The major findings of this study were as follows: First, the design factors mainly depend on the plant selection, which leads to the outlook and texture of the vertical walls. The texture is expressed by the two-dimensional or three-dimensional planting methods which is related to the selection of plant species. Second, the vertical walls in the lobby area should be planned for the function of space which could be transition, human traffic, mood and attraction. Third, the vertical wall should be integrated with the surroundings in order to reinforces the dynamic or static space experience.

• Journal of Biosystems Engineering
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• v.37 no.4
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• pp.271-278
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• 2012

Worldwide trends in animal welfare have resulted in an increased interest in individual management of sows housed in groups within hog barns. Estrus detection has been shown to be one of the greatest determinants of sow productivity. Purpose: We conducted this study to develop a method that can automatically detect the estrus state of a sow by selecting optimal texture parameters from images of a sow's pudendum and by optimizing the number of neurons in the hidden layer of an artificial neural network. Methods: Texture parameters were analyzed according to changes in a sow's pudendum in estrus such as mucus secretion and expansion. Of the texture parameters, eight gray level co-occurrence matrix (GLCM) parameters were used for image analysis. The image states were classified into ten grades for each GLCM parameter, and an artificial neural network was formed using the values for each grade as inputs to discriminate the estrus state of sows. The number of hidden layer neurons in the artificial neural network is an important parameter in neural network design. Therefore, we determined the optimal number of hidden layer units using a trial and error method while increasing the number of neurons. Results: Fifteen hidden layers were determined to be optimal for use in the artificial neural network designed in this study. Thirty images of 10 sows were used for learning, and then 30 different images of 10 sows were used for verification. Conclusions: For learning, the back propagation neural network (BPN) algorithm was used to successful estimate six texture parameters (homogeneity, angular second moment, energy, maximum probability, entropy, and GLCM correlation). Based on the verification results, homogeneity was determined to be the most important texture parameter, and resulted in an estrus detection rate of 70%.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.225-232
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• 2006

This study purposed to review the concept and characteristics of subculture theoretically and then to analyze subcultural hairstyles shown in the 20th century's fashion in terms of form, structure, texture, design line and design principle, which were formative factors of beauty art. The range of this study was from the 1950's to the 1990's, during which subcultural hairstyles, which were selected for this study, kept a unique formality as subcultural characteristics of each time were reflected in hairstyles. The hairstyles found in subcultural styles were reviewed as follows. From the formative analysis as the above, it was concluded that layer form was seen most frequently in the subcultural hairstyles. This may be because it has a lot of layers in hair, and enables to make more various forms with a simpler care than other hairstyles so that it is easy to show one's own characteristic or differentiate oneself from others. Thanks to the characteristics of layer form, horizontal and convex were often seen as design lines. As for a texture, straight often appeared. The texture of straight is naturally formed without any care applied on hair. The reason may be that most subcultures refused artificiality. Therefore, the characteristics of subcultural hairstyles may be that hairstyles are transformed into various forms and created into the styles appropriately for individual tastes so as to clearly express one's own idea and thought.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.446-460
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• 2007

This study shows that digital technology is adapted practical method in fashion design process and virtual simulation and cyber fashion gallery based on virtual reality are researched. This study is proposed the 3D fashion design simulation in the virtual space used on 3D studio max, poser, photoshop program according to fashion design process. The main design concept is "temporary bridge" from rainbow. This study is supposed six fashion design in accordance with three sub-theme under main concept by changing color and texture used on 3D simulation. The results of this study are as follows: 1. This study produced Cyber Fashion Gallery in virtual space to the form of CD Rom title and web title by Macromedia Director 8.5, Macromedia Flash, Sound Forge. And it is enlarged the field of expression in aspect of Fashion Exhibition, beyond restriction of time and space. 2. Clothes modelling tools is able to easily adapt to various textiles and patterns in 3D dynamic virtual mannequin before making clothes. Digital technology is able to express image changed color and texture, especially new material, multi-finishing material and brilliant material and so on. So this study is able to develop tools for study of fashion coordination. 3. Cyber Fashion Gallery consists of gallery, story, painting, symbolism, example, image, quit. This study is enlarged the range of clothing expression by digital technology and open to possibility customized-manufacture.

• Journal of the Korean Society of Clothing and Textiles
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• v.9 no.1
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• pp.9-16
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• 1985

This study was an attempt to survey, the relationships between women's self-concept and preference in clothing design. For the measurement of the self-concept scale was to select the somatic self and the social self which were explained Jung Won Sik's. The preference rate in clothing design consists of 58 items and 3 factors. (color, form, and texture). The questionnaires were administered to a sample of women (between the ages of 20 and 50) who lived in Seoul, Korea. The data for 658 respondents were analyzed by Pearson's correlation coefficient, $x^2$-test, F-test and Duncan-test. Through this study, the followings were founds: 1. There were significant relations between the self-concept and the preference for clothing color in value, chroma and warmth. 2. There were no significant relations between the self-concept and the preference for clothing form in line, silhouette and style. 3. There were significant relations between the self-concept and the preference for texture in touch, thickness, weight and luster. 4. There were significant differences in the preference of clothing design according to their age. That was largely devided into two groups; one's 20' s and the others 30's$\~$40's.

• Journal of the Korean Ceramic Society
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• v.43 no.11 s.294
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• pp.693-699
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• 2006

Textured $Bi_{0.5}(Na,K)_{0.5}TiO_3-BiFeO_3$ ceramics were prepared by the reactive-templated grain growth process, using platelike $Bi_4Ti_3O_{12}$ particles. The effects of chemical composition in $Bi_{0.5}(Na,K)_{0.5}TiO_3$ on texture development and densification were examined. Textured ceramics were obtained by using $Bi_{0.5}K_{0.5}TiO_3$ as an end member of the solid solution but densification was limited. Dense ceramics were obtained by using $Bi_{0.5}Na_{0.5}TiO_3$ but texture did not develop. Dense, textured ceramics were obtained by using $Bi_{0.5}(Na_{0.5}K_{0.5})_{0.5}TiO_3$.