• Archives of design research
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• v.19 no.2 s.64
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• pp.355-364
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• 2006

The characters in animations have diverse distinctive features and personalities. These personalities and characteristics are composed of various elements such and feature, motion, conversation, and walking motion, and so on. Especially, walking motion is the basic element to express character action. And it plays a key role for expressing personalities of characters. In this paper, we classify characters in animations by distinctive feature and personality based on the cosmic dual forces and five elements theory. The relationships between personalities of characters and movements are suggested by analyzing motions of the classified characters.

• Proceedings of the Korea Society of Design Studies Conference
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• 1998.10a
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• pp.32-33
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• 1998

• Proceedings of the Korea Society of Design Studies Conference
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• 1998.04a
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• pp.24-25
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• 1998

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.11a
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• pp.82-83
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• 2003

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• Journal of Korea Multimedia Society
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• v.9 no.7
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• pp.872-893
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• 2006

In this study, I classify the elements of physiognomic judgment of character with regard to form and meaning from a visual perspective based on physiognomic judgment of character study in 'the cosmic dual forces and the Five Elements theory'. Individual characters for each type are designed using graphic data. Based on that, design system of individual characters for each personality type is investigated using Neural Network system. Faces with O-Haeng (Five Elements) shapes are shown to constitute the system with ${\pm}0.3%$ degree of error tolerance for the non-loaming input data. For the shapes of Chinese characters 'tree, fire, soil, gold and water', their MSE(Mean Square Error) are 0.3, 0.3, 0.2, 0.5, 0.2. It seems to be the best regarding the scoring system which ranges from 0 to 5. Therefore, this system might be regarded to produce the most accurate facial shape of character automatically when we input character's personality we desire to make.

• Journal of the Korean Society of Costume
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• v.34
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• pp.195-208
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• 1997

1) The color of JOGORI and CHIMA was such gorgeous and those garments were put on during the events of GAM-EUNG-CHUNG-BAI HO-GU-GEO-RI JO-SANG-GEO-RI DEWT-JUN and CHAN-BOO-GEO-RI. 2)BULSA-JANG-SAM(JE-SUK-GEO-RI) was white colored and had wide sleeves putting on a pink priestrobe and a pink belt on it 3) they put on HONG-CHUL-NIK(GU-REUNG) and CHONG-CHUL-NIK(DAE-GEO-RI). 4)They put on GOO-GUN-BOK(JUN-RIP JUN-BOK(BYUL-SUNG-GEO-RI) DONG-DA-RI(Expel the demon) 5) MONG-DOO-RI(MAN-SIN-MAL-BYUNG) put on the garment constructed with the color and from of a white straight collar a wide sleeve and a pink belt 6) A long robe was colored with green (GAM-EUNG-CHUNG-BAI) and was used not as a headdress but as a man's overcoat. 7) CHANG-EUI was a green colored small CHAHG-EUI(SUNG-JO-GEO-RI). As observed above the Shaman apprel during Chosun Dynasty is a part of the traditional clothing originated from THE THEORY OF THE COSMIC DUAL FORCES and THEORY OF THE COSMIC DUAL FORCES and the FIVE ELEMENTS (i.e. metal wood water fire and earth) It's basic form and wearing method were not so different from the traditional clothing silmilar to the official uniform during Chosun Dynasty and the official uniform was the symbol of authority(almost almighty) at that time of period and to that the Shaman apparel was constructed with the more gorgeous colors to emphasize the sanctity or the descent of the Divine Being from heaven. We realized that a Shaman had put on the symbolic garment suitable for the grade and nature of the Divine Body at every events to enter into " The World of Gods"Gods."

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• Archives of design research
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• v.11 no.2
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• pp.31-45
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• 1998

Human beings receive experiences and education in viewing and manipulating objects since birth, These experiences in forms and colours influence signifrcantty the formation of the person's humanity, sensibility and constituOOn until he becomes an adult. Considering that all objects coexist through space and time with human beings from birth to an adulthood, we can imagine how these things shape a person, Human beings' perception of form and colour might be different according to the person's living environment, experiences, education, age and job, However, when we see there are certain kinds of form and colour of that most people favor, we can understand that human beings have a certain inherent feelings about forms and colours, Let's suppose a man faces an object that dosen't correspond with his basic feelings about form and colour, He would avoid that object at least unconsoousty, All of his acts dealing with form and colour probably satisfy a desire for beauty which can be required from certain proper forms and colours, By revealing the feelings about forms and colours that human beings originally have, this study is going to explore what kinds of form and colour have what kinds of psychological and physical influences on human beings. Another purpose of this study is to be a theory suggesting more profitable and effective forms and colours psychologically and physically to the consumer. this study demonstrates that the basic feelings about forms and colours which human beings possess are different according to the individual's psychology and the body's condition. It also establishes the reality of the principle of how human psychology and the body change according to the surrounding environment. Finally, it will be appropriate for the suggested theory from this study to be used as fundamental material in deciding the forms and colours used in the design field in the future in that these forms and colours are more profitable and efftient.

• Journal of Korean Academy of Nursing
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• v.23 no.1
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• pp.118-129
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• 1993

In order to approach the nursing care of clients who are using oriental medicine and to understand the perception of the client who uses oriental medicine practices and the need to develop a model of nursing related to oriental medicine it is important to examine the major nursing concepts as they are found in oriental medicine and as they are differently defined according to the basic thought, theory and philosophical perspectives between East and West. Oriental medicine developed based on Sung Confucianism the teachings of Chut-zu, especially Tai-Chi-Tu Shuo and energy thought which are similar to traditional Korean Sasang Constitutional medicine. The basic theory on which oriental medicine is build is the theory of the five elements of Yin / Eum-Yang Theory(cosmic dual forces) and Meridian Theory. The most important attribute of Yin Yang is the concept of duality, confrontation and dependence, within Yin Yang but which do not exist separately. That is, the universe is a vast, indivisible entity within which all things exist in harmonious interdependence and balance. Harmony is achieved only when the two primorial forces, Yin and Yang, are brought into perfect balance. Each is contained within the other and there is a continuing interchange between the two. This also applies to the human body including human health which is defined as balanced harmony. The most universal connection of Yin and Yang is found in the universe where the five elements of life, fire, water, earth, wood and metal can be explained as having either Yin or Yang and therefore being in a state of connectedness but systematically circulating between the two, that is essentalilly one (the control of the unified ) or as coexistant poles of individual wholes (the pluralism of Yin Yang Theory) so that it is all unified(balanced) in the Great Absoulte. Human beings also maintain a balance of Yin and Yang in the five elements and this relationship is very important in approaching ·oriental medicine, The meridians are the channels in the body through which the life force flow throughout the body. In oriental medicine the meridians are seen as the railroad, the acupuncture points on the meridians as the stations and energy as the train. In the normal healthy organism, all are maintained in balance and in a contiuous circulation of energy. illness is the result of the energy flow becoming disarranged. Although practitioners of oriental medicine approach the client differently than do practitioners of Western medicine and their method of examining the patient is different, the basic objectives of the examination are the same for practitioners of both types of medicine. Therefore if each could be used to supplement the defiencies in the other and achieve a harmonious cooperation between the two, a higher level of care which is culturally appropriate to korean culture could be achieved. The traditional korean concept of health is a naturalistic view which emphasizes being in harmony with nature. Any manifestation of disease is considered a sign that the body is in a state of disequilibrium and is thus no longer in harmony with the universe. The wholistic view of the world held by practitioners of oriental medicine can be used by nursing in the development of a world view of nursing in which the human being is seen within the macrocosm as part of the natural phenomenon of the universe and but also as a microcosm of the universe, a universe which is a vast and indivisible entity within which all things exist in harmonious interdependence and balance. Interaction between human beings and their environment and the relationship of this interaction to health are concepts that are also found in nursing. Nursing views human brings, not as an accumulation of separate cells and organs but, as unified wholes interacted in very close relationship nth their environment. Nursing also maintains a view of human beings in which emphasis is placed on the role of the mind in explaining the concepts of harmony and balance in health. Although there are differences between oriental medicine and nursing in approaches to clients, the basic point of view and philosophy have many fundamental similarites. An understanding of the basic thought and philosophy of oriental medicine if applied to nursing, would allow for the development, not only of nursing related to oriental medicine, but of a nursing theory appropriate to the korean context.