• Journal of the Korea Furniture Society
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• v.10 no.2
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• pp.79-86
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• 1999

본 연구는 국내가구 디자인 산업의 경쟁력 강화를 위한 사례의 하나로 디자인 작품을 시도하게 되었다. 지존의 디자인 모델링은 소프트 모델 또는 목업(mock up)개념에서 시행되어 디자이너가 직접 제작하기 전에는 3차원의 형상을 구현하기가 어려웠으며, 더욱이 문야의 적용은 실크스크린 또는 인쇄와 같은 처리기법으로 사용되었다. 이 방법은 시간, 경비, 공간, 자료의 보관 및 축적, 기타의 많은 문제점과 생산성 향상에 애로사항이 되어왔다. 요지와 같이 많은 문제점과 렌더링의 데이터베이스 뱅크는 활용 가능한 분야와 직종에 따라서 응용 가능하기 때문에 많은 실험적 시도가 요구된다. 디자인의 발상은 우리나라 전통문화의 가구디자인을 접목시킨 사례로서 시도하였으며, 형태와 문양을 현대적 개념에서 재해석하여 대입시켰다. 적용디자인 사례는 2개의 모델에 10가지의 패턴을 복합적으로 활용한 디자인 작품의 결과물이다. 이러한 결과는 다양한 디자인 연출과 시안을 추출할 수 있으며, 디자인 활동과 설계에 능률을 배가시키는 효과를 검증할 수 있겠다.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.40-41
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• 2003

우리나라의 니트 산업은 값싼 노동력을 바탕으로 빠르게 성장하는 중국과 같은 개발도상국들의 니트 산업으로 인하여 국내 및 해외 시장에서 어려움을 겪고 있다. 이러한 어려운 시장환경을 극복하기 위해 우리나라 니트 산업은 고품격의 디자인으로써 고부가가치를 생산하는 니트 선진국의 모델로 발전해 나가야 한다는 과제에 당면해 있다. 현재 우리나라 니트제품 생산업체의 디자인과정을 보면 아웃소싱 전략에 따라 기업마다 디자인 개발과정이 다르게 나타나고 있는 것을 볼 수 있다. 즉, 어떤 경우에는 한 기업 내에서 수행되고, 또 어떤 경우에는 하도급 형태로 jobber에게서 이루어지기도 한다. (중략)

• Proceedings of the Korea Multimedia Society Conference
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• 2003.11b
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• pp.577-580
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• 2003

본 논문에서는 캐릭터 디자인 프로세스의 필요성을 충족시켜주기 위해 프로토타입 이론(prototype theory)에 대한 문제점을 파악하고 이를 보완하기 위하여 전형성과 동시에 중요하게 인지되는 또 다른 속성 즉 형태 심미성의 개념적 구조를 파악하였다. 그리고 심미성을 측정 할 수 있는 척도를 검증한 선행 연구를 바탕으로 심미적 영향요소중의 하나인 비례(proportion)를 추출 하였다. 이를 적용한 새로운 캐릭터 디자인 프로세스를 구축하여 캐릭터 디자이너의 아이디어 발상의 한계성을 극복하고 소비자가 선호할 수 있는 캐릭터 디자인을 창출하여 캐릭터 디자인의 성공확률을 높이고자 하는데 연구의 목적이 있다.

• Proceedings of the Korea Multimedia Society Conference
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• 2000.11a
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• pp.349-352
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• 2000

인터넷 쇼핑몰의 구축이 활발해 짐에 따라 독자적인 쇼핑몰을 보다 쉽게 구축할 수 있는 방법이 필요하게 되었다. 이렇게 독자적인 쇼핑몰의 구축을 쉽게 한 수 있기 위해서 미리 제공되는 여러 화면들을 조합하여 원하는 상점을 체계적으로 디자인한 수 있게 하는 템플릿 시스템의 개발이 활발하다. 본 논문에서는 비전문가들도 자신이 원하는 형태의 쇼핑몰을 손쉽게 디자인할 수 있게 템플릿 설정 기능과 설정된 페이지들을 편집하는 기능을 가진 새로운 템플릿 디자인 시스템을 설계하고 구현한다.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.182-190
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• 2012

Based on the study, the issues and trends in the current functional sandal designs on the same product line will be examined for the future developments for the functional sandals and the results were obtained as follows. First, the sandals must have a high front heel with wide floors that meet the ground. Second, the preference for the chromatic colour is stronger than the achromatic colors. Third, the sandals must be designed in curves in terms of the height and shape of the heels and design must consider the shoe's balance. Fourth, the product must appear big to provide a sense of stability. However, the sandals must not be designed too big to make them look crude or cause inconvenience while exercising. Fifth, the sandals must not be designed in too complex ways. This study has investigated and analyzed the external design of functional sandals and the user reviews on the actual sandals were not done. Through more detailed studies, the diversity in the design of functional sandals must be south and Korea's competitive edge in the industry and design must be secured for the future.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.15 no.1
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• pp.217-222
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• 2015

As a Creative Director one is always looking forward to formative elements of new design. The fractal image that is generated by a computer program instead of by hand suggests a geometric pattern that can grafted into a new design for each field. In this paper we look for information about the creation of a Mandelbrot fractal image that is being utilized in the design of various sectors like textile design, architectural design, exhibition design from pure painting by convergence of both technology and art composites. And it analyses about forms based on the formative principle of creation images.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.93-104
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• 2020

This paper focuses on the spatial changes that create a three-dimensional or deep feeling on the surface of a scarf centering on the cube shape. Through this, consumers with various tastes were able to satisfy their image presentation. The cube form has simplicity and order and is likely to be used as a formative object. The cube shapes can be expressed in various forms through visual and perceptual spatial changes by presenting various shape changes based on the viewpoint of the two-dimensional silk surface, that is, by changing the eyes' position and orientation. Various visual theorists' discussions about cube-shaped visual changes were discussed. In addition, the three-dimensional spatial illusion caused by the shape and color of Victor Bazaarelli's cube was examined. The cube shape was printed silk surfaces to give a three-dimensional sense of space on a two-dimensional scarf design using the size change, the difference in the length of the line, and the color change. As such, the cube shape has infinite possibilities as a method that can express three-dimensional depth and space on the flat surface of a scarf. Therefore, it is hoped that this study will be applied to various aspects as the basic data for the scarf design that expresses the spatial changes in the form of cubes.

• Archives of design research
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• v.17 no.4
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• pp.37-50
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• 2004

As web-based programming tools(such as flash action script, javascript, java and etc.) has been improved and it has become more aware to take interactivity importantly as users' whole experience, web sites have evolved from the form of webzine to the form of interactive application that displays more interactive interface and gives instant feedbacks for the users' inputs. Web, rather than software, is used to execute relatively easy tasks by users of various levels, so that web sites could give more fun and less cognitive burden by supporting users' tasks in more interactive way. This paper examined design strategies to make more interactive web by figuring out definition of web interaction as users' experience and by analyzing web interaction design trends from cases of interactive web sites. The ultimate objective of this paper is show how design strategies can be adapted in the web interaction design process. Thus, case study of designing interactive bookshell in E-book site was done and is demonstrating one way of adapting strategies to design web interaction.

• The KIPS Transactions:PartD
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• v.9D no.5
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• pp.847-858
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• 2002

A purpose of the object-oriented programming is to promote reuse and development time, and to improve software quality. A way for this purpose is using a design information well-defined and tested in previous time when developing software. Such design information is called design patterns. The design patterns are descriptions of abstract solution to recurse software design problems In a systematic and general way. But because the design patterns are descriptions of abstract solution, the specification and application of patterns generally rely on manual implementation and is applied to various forms. As a result, we need to spend a lot of time to develop software program not only because of difficulty in analyzing and applying to patterns consistently, but also because of the frequent programing faults. And because the applied design patterns don't express inside application visually, it is difficult to analyze and test for this design patterns. In this paper, we propose automatic source code generating technique to be able to efficiently apply the element of design patterns when developing application. And we show a way to analyze and use the applied design patterns in application. As a result, the design patterns in application provide the consistent structure and efficiency, and make analysis and using effect increased.

• Science of Emotion and Sensibility
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• v.12 no.1
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• pp.87-96
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• 2009

Recently, there is a tendency of consumer's participation gradually increasing in the design shaping process. Consumers make evaluation or suggestion about the shape of the product, and the industries lay out schemes to elicit consumers' participation. However, when it comes to dealing with the shape of the product, consumer and designer has a fundamental difference in their point of view, and it works as interruption to the efficient communication between the consumer and designer. Therefore, this study will examine the difference of consumer's and designer's view of products' shape, and the guidelines of effective molding which elicit the consumers' affective responses. First, I established the sensible image vocabulary based on the shape of the product. And based on the vocabulary, I carried out the same experiments to the consumers and designers. As a result, the affective responses of the two groups toward the shape have similar characteristics and designers' reactions found out to be more dramatic than consumers.