• Journal of Korea Game Society
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• v.19 no.3
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• pp.33-42
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• 2019

This paper is the result of research on how to represent 'Landscape' of Oriental painting in 3D space within virtual reality. Based on the similarities between the characteristics of Oriental painting and virtual reality put together three features of painting and put them into the digital content. For the expression of painting style, we produced texture, represented spaces and shadows as a content development environment, and the view point with helper storytelling.

• ETRI Journal
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• v.32 no.5
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• pp.695-703
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• 2010

Training is one of the representative application fields of virtual reality technology where users can have virtual experience in a training task and working environment. Widely used in the medical and military fields, virtual-reality-based training systems are also useful in industrial fields, such as the aerospace industry, since they show superiority over real training environments in terms of accessibility, safety, and cost. The shipbuilding industry is known as a labor-intensive industry that demands a lot of skilled workers. In particular, painting jobs in the shipbuilding industry require a continuous supplement of human resources since many workers leave due to the poor working environment. In this paper, the authors present a virtual-reality-based training system for spray painting tasks in the shipbuilding industry. The design issues and implementation details of the training system are described, and also its advantages and shortcomings are discussed based on use cases in actual work fields.

• Journal of the Korea Computer Graphics Society
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• v.26 no.2
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• pp.1-9
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• 2020

In this paper, we propose haptic interfaces based on force feedback to provide a physical painting experience to virtual reality users. Through this system, the user can create surface-based painting holding a haptic stylus, while utilizing both visual feedback from the worn HMD and haptic feedback during painting. In particular, the haptic interfaces simulate the physical interaction between painting brush and painting, which can help to improve the spatial perception of users and compensate for visual feedback. This can reduce laborious drawing works to repeatedly paint strokes and therefore yield a better painting performance. As a result, users can experience more effective and realistic VR painting with this system.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.123-127
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• 2024

In the early 20th century, Walter Benjamin analyzed the changes in the value of traditional art forms under the industrial era and the changes in the aesthetic attitude of the masses. A century later, in the contemporary multi-art world, the traditional medium of shelf painting is once again experiencing a similar situation as the last century. Emerging technology display modes such as digital virtual reality and digital immersive experience can achieve digital reproduction of paintings on shelves and reach a certain level of performance, which once again shocks the public's aesthetic perception. This paper attempts to illustrate the outstanding characteristics of the new art form after digital reconstruction by exploring the transformation and sublimation of digital technology to shelf painting. We predict that art research on future reality and augmented reality according to the artificial intelligence era will be conducted in depth in the future.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.172-173
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• 2004

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.505-516
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• 2008

Image which appears in fashion illustration on the late twentieth century is not the representative image as an equivalence to the real fashion styles but the virtual image which bears no relation to any reality. The purpose of this study is review the concept of virtuality and analyze in which way virtual image is expressed in fashion illustrations on the background of Jean Baudrillard's simulacre theory. In post-modem paintings the expression methods of image-virtualization were image mixing through photo-image appropriation, image overlapping, and the icons inserted unreasonably, the focus-out effect through scrubbing and the over-painting on the photograph. Image-virtualization in fashion illustration was expressed through image mixing and expression of image uncertainty. Image mixing was made by photo-image appropriation, image overlapping, connection of heterogeneous images and using interface image, and uncertain image was expressed through the expression of visual ambiguity and virtual movement.

• 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 Science of Art and Design
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• v.5
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• pp.159-174
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• 2003

'Fantasy', the central notion of this essay, is discussed here more as a new paradigm in order to describe the structure of a work of art than as a stylistic characteristic proper to a specific genre of art. It means the whole situation and experience produced by two connected terms 'corporeal subject - screen'. Roland Barthes explained the 'semiographic painting' by Andre Masson as a field in which happens a certain connexion between the impulse of subject and the image, which views the painting not as a physical object but as a 'cinematic screen' ; painting may be redefined as a dream or a fantasy of the corporeal subject. And such an idea of 'art as fantasy' is closely related to the recent theoretical attempts consisting in abolishing the vision-centered conception of art since Renaissance. In this essay, the notion of fantasy as an aesthetic model is sketched by means of the Freud's notes on the fantasy 'A child is being beaten' and Lyotard's more advanced analyse on its attributes and operations. In Lyotard's analysis, fantasy is defined as a 'bloc' or a 'matrix-figure' featuring simultaneous conversion between the active and the passive, sadism and masochism, and coexistence of imcompossible meanings. In this sense, fantasy may be given to us as an analogical model from which we can outline the aesthetic characteristics of electronic media art involving virtual reality and interactivity.

• Journal of The Geomorphological Association of Korea
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• v.27 no.4
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• pp.53-70
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• 2020

Silgyeong sansuhwa (Realistic landscape paintings) are drawn in Korea since 17th century. It has characteristics of more realistic description of landscape than painting from previous periods. Kim Hong Do's 'Haedong Myeongsan docheop (The album of paintings of famous mountains in Korea)' has been recognized as fine example of realistic description of geomorphic landscapes. Kim Hong Do and Kim Eung hwan did official travel to Gwandong and Geumgangsan area by order of King Jeongjo in 1788. As a result of that travel they draw about 100 piece of landscape painting. About 60 pieces of the paintings are still remaining. These are open to public by Korea National Museum in 1996. 14 pieces of painting, Daegwanryeong and Gangneung, Gyeongpo-dae, Hohae-jeong, Gahak-jeong, Cheonggan-jeong, Mun-am, Mangyang-jeong, Wolsong-jeong, Neungpa-dae, Naksan-sa, Mureung-gye, Gyejo-gul, and Hyeonjong-am, are analysed in this study. Coastal depositional landforms, like lagoon, sand beach and spit or barriers, erosional forms, like sea stack, sea cliff and sea cave, depicted in the paintings are analysed. In addition, structural landforms, colluvial landform and bedrock incision form by the running water in mountain area were analysed and weathered forms of granite and excursion to karst cave also discussed. It is found that sea arch in the printing destroyed since 1788, though exact position and reason is still unknown. There are strong need for discovery and identification of geomorphic landscape resources, for applied geomorphological studies and for prepare educational materials for non-face-to-face education. It also be emphasized that it can be used of the course work materials for future education using augmented reality and virtual reality technology.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.15-31
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• 2023

This study aimed to propose a fashion design development method using the external and internal characteristics of the flower and bird paintings in traditional Korean folk paintings. As a research method, external and internal characteristics of folk paintings were examined through previous studies and literature research, and folk painting patterns were developed into digital textile designs. Five 3D digital fashion designs were proposed using the CLO 3D program. The external characteristics of folk paintings were as follows: simplification and planarization of object representation, diversification of viewpoints, ignorance of perspective and symmetrical enumeration, strong colors and contrast effects, and the simultaneous representation of time. The internal characteristics of folk paintings were as follows: symbolic meaning, the beauty of free humor, modest aesthetics, complexity of reality and fantasy, and desire of shamanism. The results are as follows. Firstly, the flower and bird painting was a decorative painting style that emphasized decorative beauty and was suitable for developing fashion designs with Korean originality because of the symbolic and internal meanings. Simple layouts and bold free-spirited representations were effective ways to fill the screen with objects and gave the pattern a decorative effect. Secondly, developing a virtual clothing prototype based on digital design method using the external and internal characteristics of folk paintings and producing realistic fashion designs suggest the integrated use of science and technology, embodying modern fashion through the combination of digital fashion content and traditional cultural content. Thirdly, as a result of the development of 3D digital fashion designs, an eco-friendly and sustainable fashion design methods with virtual clothing can suggest a design development method that saves time and cost in the fashion design process while considering the environment.