• Proceedings of the Korea Society of Design Studies Conference
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• 1999.10a
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• pp.10-11
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• 1999

초등학교의 디자인 교육은 생활 속에서 디자인 학습의 기본이 되는 조형적 요소와 원리를 발견할 수 있게 하고, 조형 감각을 높이며 창조적인 사고 능력을 기르는 디자인 소비자 교육이라는 데 그 의의가 있다. 그러나 현행 초등 미술교육은 회화 중심으로 운영되고 있으며, 디자인 학습에 필요한 참고자료나 참고작품, 디자인 이론 등의 제시가 매우 미흡한 실정이다.(중략)

• Archives of design research
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• v.13 no.3
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• pp.221-234
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• 2000

This thesis aims to study the space concept of the constructive mode in the work space of the postmodernism artists since 1970s. According to the changing view of the world artists, they are searching for the characteristics of having the parameter of formative organization on how they are related to the constructive system which represents the work styles. First, this study searches for the theoretical approaches of the constructive system and parameters that were studied by Le Corbusier - the module concept as the meaning of order system being used for the basic formative construction Second, when it is regarded as a formative construction in making art as the'principles of organization'(the law of living form), which was defined by Suzanne Langer in the formative theory as the organized structure shown in growth structure in mu and ecological system, the principles governing the module rules were arthmetically analysed art-work space through the dynamic symmetry of Jay Hambidge. Therefore, this study shows the principles working on the parameters for new formative organization as follows: First, the module in the work space should be designed and built from the dynamic symmetry. Second, the module should satisfy the human needs that it must be acceptable, efficient, flexible, which are the necessary and sufficient condition for the dynamic symmetry. Third, the dynamic symmetry which has the principle of Reciprocity and the principle of Complement as its primary construction principle has the common properties and the reciprocity in the construction of the work space and when it has the self similarity, it segments organically the total space without damaging the continuum.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.23-31
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• 1996

The purpose of this study was to prove that there is inherently golden ratio and color harmony in nature and to investigate some examples that have applied this elements in and out of construction . This is to provide a momentum to explore another new principles of nature and apply them to not only interior but also another design field. Under this purpose, the author of this study reviewed general theories on golden ratio and colour harmony and related them to leaves of plant and flowers to consider. As a result, it has revealed that theoretical golden ratio and colour harmony coincide with the order of nature, and this has made the author to investigate certain examples applied some orders owe can see in the plants to the interior or exterior parts of construction. There are lots of principles in nature still unrevealed to us, and therefore we must consistently make efforts to study new formative orders to apply them.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.5 no.1
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• pp.141-148
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• 1985

This paper is a study on a analysis of geometrical composition about two Back-Jae stone pagodas-stone pagoda at the site of Mir$\bar{u}$k-Sa Temple in Iksan and five storied stone pagoda at the site of Ch$\check{o}$ngrim-Sa Temple in Puy$\check{o}$, existing stone pagodas which Were built in Back-Jae Dynasty. By using P31 terrestrial metric camera and A-10 for precision stereo plot, Ch$\check{o}$ngrim-Sa stone pagoda which has Bock-bal and Mir$\bar{u}$k-Sa stone pagoda which has many broken area are analyzed comparatively. From this result same geometric composition principle; orthotrigon is drawn in respect to module and the length ratio of the widths of Okgesuks which exist at the end-point of the orthotrigon, is found to be decrease as 9 : 8 : 7 : 6 : (5) also the height up to Bock-bal before broken, is able to estimate.

• The Journal of the Korea Contents Association
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• v.8 no.3
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• pp.86-96
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• 2008

General development basis of letter system is recognized by formative value in terms of its function and structure. principle of clustered writing is the most significant feature of Hangeul typography as considered that it is based on function and formativeness. Thus, not only by changes with its form but also by its characteristic syllable combination, space structure is made as consonants and vowels are combined in single letter, then the combination develop into word, sentence, paragraph to make second, third space structure character. This character has significant impact on readability that is core function of typography. With this property, space structure character is regarded as very important component of Hangeul typography. First, space structure character of Hangeul typography is reviewed by relating it to visual perception of gestalt psychology and compared square-framed letter and framed latter By applying square-framed letter and framed latter in same sentence, legibility and readability were studied. Researcher has found that space structure character of Hangeul typography has significant impact on its function, and in terms of future design, it is very critical not only for design but also for communication environment as space structure formativeness of Hangeul typography interact with communication that is basic concept.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.2 no.1
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• pp.54-64
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• 1984

This paper is a study on structural measurement by using a terrestrial camera. The aim of this paper is to understand the method of a composition by analyzing the geometrical compositive ratio of threestoried pagodas at Gamun-Sa, Gosun-Sa, Bulguk-Sa, Seated iron Buddha in Kwang-Jn, and Main-Seat Buddha at Sukkuram Cave-temple. Measured data and contour maps are accurately obtained by means of photogrammetry, and the following points are able to he found by analyzing them. At first, for Stone Pagodas. the breaths of the Okgesuks are made to the ratio, 8 : 7 : 6. And when an equililateral triangle and an 45$^{\circ}$ isosceles triangle are drawn of which the bases are the length of the upper Gabsuk, and then a circle is drawn whose radius is the length between the vertexes of the two triangles and its center is the vertex of the former the circle passes the upper line of the third Oksin. Also it can be found that an $70^{\circ}$ isosceles triangle being drawn at base line, the triangle passes the edge point of the upper Gabsuk and the center of the third Okgesuk. Also for Budha statues, it can be found that circles whose center is that of eyes can be drawn, and if 2 lines which pass the shoulder and the center of Buddha's body are extended, they intersect the knees.

• Cartoon and Animation Studies
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• s.36
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• pp.45-74
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• 2014

We can anticipate that animations will form one of the axes and lead popular culture in our future visual age. Recently, research has been actively conducted, but it mainly focuses on their value in culture industry or technologies and methods of producing animations. Of course, research that deals with animation characters has constantly come out. This study focuses on the 'formative elements' of 3D animation characters and attempts differentiation from other research by inducing new logic theoretically. Being freed from the research on characters that has been merely focused on theoretical grounds, this study intends to figure out how audience that is consumers who actually get to watch and feel animations recognizes them and find out related problems and also solutions for them. In particular, this study intends to examine the formative characteristics of 3D animation characters with the characters appearing in , one of the animations that have achieved artistic value as well as commercial success. And for that, the study conducted not only literature review but various surveys and Delphi method as well. Also, the researcher devised an analysis frame to evaluate the formative elements through in-depth discussion with experts. And with this, the study created the forms such as the Elements of Form, Formation Methods of Form and Visual Recognition Elements of Form, examined how audience recognized 3D characters. The process of recognizing an image is influenced by socio-cultural environment or sex, age, and the level of knowledge differently. This was meant to investigate current visual culture and the public's perspective through characters in that represent the visual mode.

• Archives of design research
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• v.18 no.3 s.61
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• pp.209-218
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• 2005

Consciously or not, producers have to make many aesthetic choices in creative process of video production. If there are general acceptable aesthetic principles to make right choice it would be guideline of aesthetic decision to somewhat reduce mistakes and errors in the process. This paper proposes a theoretical approach on establishing the media aesthetic principle of 3D animation camera working, which is the most suitable for animation production context. We describe the Herbert Zettl's applied media aesthetics related directly to the camera, which is about the two-Dimensional field focusing on aspect radio and forces within the screen, three-dimensional field focusing on depth, volume, and four-dimensional field focusing on time and motion. In order to have theoretical approach we made an analysis on comparing a camera working of movie with 3D computer animation's one, and reconstructed these basic principles to be suited for the 3D animation production. When applied media aesthetics of the traditional camera working are applied to the 3D animation production, it could be an efficient guideline for it. Futhermore, if we develop the research for the relationship with various visual languages with the basis of these principles, the theory of creative picture composition method for the 3D animation production will be logically and systematically established.

• Archives of design research
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• v.18 no.4 s.62
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• pp.225-236
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• 2005

As a fresh trial using humorous items to escape from economic recession and uncertain state of mind regarding politics and society, fun is emerging as a keyword in design area. This study classified various use of fun reflected in modern fashion design according to the theme, and analyzed the mod of expression to identify formative characteristics. Through these processes, this study built conceptual structure of fun in fashion design. 412 fashion designs which represent fun were collected from 2001 $S/S{\sim}2005$ F/W collections. Data were analyzed and categorized. Results showed that the theme of fun in the modern fashion design could be classified into humor, kidult, irony, satire/parody, storytelling, and play. The design elements mainly used were color silhouette, letter, object, and drawing, while the design principles were distortion/exaggeration, incongruity, and repetition. In addition, these expressions were related to the traditional humor theory: incongruity-resolution, superior, and relief theories. The fun in modern fashion design has such value as affirmation, warmness, entertainment, youth, contradiction, surprise, deviate, allusion, attack, and description, Finally, in regard to the subject, the fun provides active experience like play as well as passive acceptance.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.