• 한국실내디자인학회논문집
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• 제22호
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• pp.92-101
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• 2000

This study aims to inquire into the expressive characters of Shiro Kuramata's works regarding his design languages. His design languages, based on sentimentality and aesthetics characteristic of the orient and his unique memories and experiences, can be defined as nongravitation, fioatation and transparency. And the definition can be completed by his unique extinguishing technique, eliminating the structure with materials without feature, such as glass and acrylic and expanded metal, steel mash and 'Star piece Terrazzo' a material which he has invented. This study examines Shiro Kuramata's design works from the late 1960's to 1991, the year of his death, the background of his growth and the art and people who have influenced him. It also looks into the indigenous cultural background and his unique memories and experiences. The study also considers his furniture works and interior design to read his languages properties of the materials and expressive techniques. The study presents data on Shiro Kuramata and puts forwards the significance of his works and tries to lead the way of the interior design by application techniques of materials.

• 인문언어
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• 제7집
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• pp.31-56
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• 2005

In most Asian areas Chinese writing and characters had been used as a unique recording device. The way to account for the circumstance related with the writing system could be twofold. Firstly the races inhabited around Sino-territory actually neither used the type of languages as Chinese - not isolating type but agglutinative one - nor established any independent writing letters. Secondly those people who belonged to the races accepted the writing system of China due to the frequent cultural and economical interchange between them and Chinese people. In Korean peninsula the same situation of linguistic phenomenon had been pervasive. The aborigine of the territory who acquired to use Chinese writing applied their knowledge of the second language to record the facts related with the management of the country. But the grammatical structure of Chines writing and native language showed the remarkable contrast; so, the people of the peninsula managed the specific letter system - in other words, the discrepancy between language and writing. This difference carried on the huge influence on the way of using Chinese writing and characters in Korea. Some scholars of historical linguistics of Korean language considered the alternation of Chinese writing system and characters as "the procedure of nativization" - in which the inflow of characters into Korean and the same one continuously used in China illustrated the large gap of the phonological aspects. The method of reading Chinese characters came to be named as Sino-Korean Pronunciation. In the categorization of Chinese characters' pronunciation Sino-Korean Pronunciation was also categorized as the Eastern Pronunciation(東音). It indicates the sound of Chinese characters which has been historically adapted to the phonological system of Korean language. In this paper the main point is to survey the procedure of reception of Chinese writing and characters and that of establishment and alternation of Korean phonetic feature of Chinese writing and characters.

• 한국멀티미디어학회논문지
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• 제8권6호
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• pp.790-797
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• 2005

It is well-known that there are many similarities between Japanese and Korean language. For example, the order of words and the nature of the grammatical conjugation of both languages are almost the same. Another similarity is the frequent omission of the subject from a sentence. Moreover, both languages have honorific expressions and the identical concept for expressing nouns in terms of Chinese characters. Using these similarities, we have developed a word-to-word translation system which does away with any deep level analysis of syntactic and semantic structures of the two languages. If we use these similarities, the direct translation method is superior to the internal language translation method or transfer-based translation method. Although the MT system based on the direct translation method is more easily developed than the ones based on other methods, it may have a lot of difficulties when it tries to select the appropriate target word from ambiguous source verbs. In this paper, we propose a new algorithm to extract the meaning of substantives and to make use of the order of the extracted meaning. We could select $86.5\%$ appropriate verbs in the sample sentences from IPAL-verb-dictionary. $13.5\%$ indicates the cases in which we could not distinguish the meaning of substantives. We are convinced, however, that the succeeding rate can be increased by getting rid of the meaning of verbs thatare not used so often.

• 정보과학회 컴퓨팅의 실제 논문지
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• 제24권2호
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• pp.88-92
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• 2018

글자의 외곽선 정보가 포함된 UFO 파일을 Metafont로 변환하기 위해 'UFO2MF'와 '한글 메타폰트 생성기'가 연구되었다. 두 가지 연구사례는 외곽선 편집 방식을 이용하여 Metafont 코드로 구성된 폰트파일을 생성할 수 있지만, 'UFO2MF'는 외곽선 정보인 기준점과 조절점 중에 기준점만을 사용하므로 원만한 곡선을 표현할 수 없으며, '한글 메타폰트 생성기'는 글자의 곡선을 자유롭게 표현할 수 있지만 한글 글자만을 대상으로 변환하기 때문에 확장성이 부족하다. 본 논문에서는 한글과 로마자를 모두 외곽선 정보에서 Metafont 코드로 변환할 수 있는 UFO2xMF 시스템을 제안한다. UFO2xMF는 외곽선 정보를 Metafont 코드로 변환하는 과정에서 글자의 스타일을 변화시킬 수 있는 속성 값들을 적용할 수 있다. 또한 글자에 기준선과 무게중심선을 적용하여 한글과 로마자뿐만 아니라 다양한 언어의 글자들도 Metafont 코드로 변환할 수 있는 호환성 높은 시스템이다.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 1998년도 하계종합학술대회논문집
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• pp.929-932
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• 1998

In this paper we propose a method of representing emotional experessions and lip shapes for sign language communication using 3-dimensional model. At first we employ the action units (AU) of facial action coding system(FACS) to display all shapes. Then we define 11 basic lip shapes and sounding times of each components in a syllable in order to synthesize the lip shapes more precisely for korean characters. Experimental results show that the proposed method could be used efficiently for the sign language image communication between different languages.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제16권4호
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• pp.1166-1186
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• 2022

Artistic font design has become an integral part of visual media. However, without prior knowledge of the font domain, it is difficult to create distinct font styles. When the number of characters is limited, this task becomes easier (e.g., only Latin characters). However, designing CJK (Chinese, Japanese, and Korean) characters presents a challenge due to the large number of character sets and complexity of the glyph components in these languages. Numerous studies have been conducted on automating the font design process using generative adversarial networks (GANs). Existing methods rely heavily on reference fonts and perform font style conversions between different fonts. Additionally, rather than capturing style information for a target font via multiple style images, most methods do so via a single font image. In this paper, we propose a network architecture for generating multilingual font sets that makes use of geometric structures as content. Additionally, to acquire sufficient style information, we employ multiple style images belonging to a single font style simultaneously to extract global font style-specific information. By utilizing the geometric structural information of content and a few stylized images, our model can generate an entire font set while maintaining the style. Extensive experiments were conducted to demonstrate the proposed model's superiority over several baseline methods. Additionally, we conducted ablation studies to validate our proposed network architecture.

• 한국산학기술학회논문지
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• 제11권3호
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• pp.951-957
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• 2010

본 논문에서는 GSM 핸드폰 단말기에 사용할 폰트를 제작 처리할 수 있는 효율적인 시스템을 제안한다. 문자를 컴퓨터상에 표현하는 방법으로는 초기에는 아스키코드(ASCII code)가 개발 되어 사용하다가 문자 표현의 개수의 한계로 유니코드(Unicode)가 개발 되었으며 이에 대한 표준화 작업이 계속 되고 있다. 유니코드를 무선 단말기상에 적용하고자 하는 노력이 계속 되어 왔으나 각 나라마다 각기 다른 언어를 표현해야 하는 무선 단말기 상의 하드웨어적 제한이 있기에 이를 개선하기 위한 많은 시간과 노력이 필요하게 되었다. 본 연구에서는 이러한 문제를 개선할 수 있는 방법으로 유니코드를 무선 단말기에 적용시키는 일련의 과정을 단축하여 처리할 수 있는 효율적인 폰트 처리시스템을 설계 및 구현하였다.

• 비교문화연구
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• 제38권
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• pp.215-243
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• 2015

This paper looks at the literary mood of southwestern Russia in the late Russian Empire, while examining the writers of this area and their literary tendencies. Southwestern literature was formed in the late Russian Empire, and prospered centering around Odessa. Because of the uniformity in the Soviet culture, however, it could not stay alive but disappeared in the history of Russian literature. Odessa, the center of southwestern literature was a multiracial region unlike other Russian cities. A unique culture was created, therefore, combining the western European culture and local ethnicity. Jews in Odessa could enter into the Russian society and assimilate naturally. They could utilize their talents as a strength to enrich the Russian culture without giving up their cultural heritage. For example, in lingual aspects, using Yiddish was not against the Russian culture. In addition, it contributed to interesting new coinages and led to efforts among writers to minimize the gap between the two languages. Many Jewish writers showed special interest not only in Yiddish but also in French, German and other languages. Therefore, they took the lead in translating and introducing west classics. As evident in the way Yiddish language was formed, mixing their language with other languages enabled jews to soak their way into other cultures naturally. Their yearning for the Russian and western European cultures, combined with their unique sense of humor, led to generic twists and problematic experiments. From another point of view, it is also unusual that southwestern literature diversified locational settings and heroic characters in literary works. European style heros, appearance of multiracial people, pain or waggery experienced by Jews in their assimilation process, thrilling revenge to unfair violence of Russians, and espiegle swindlers are the new domains that southwestern literature pioneered. In summary, southwestern literature was formed in a heterogeneous cultural climate, which was entirely different from the Russian Empire. In this regard, it was in deviation from the Russian literary tradition. From the Soviet point of view, it existed as a heresy which was against the Russian Empire.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2006년도 추계 종합학술대회 논문집
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• pp.227-231
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• 2006

21세기의 새로운 뉴미디어의 시대를 살아가는 오늘날 만화 및 애니메이션은 각종 영상매체에서의 중요성과 더불어 모든 예술분야에서의 그 비중은 갈수록 커지게 되었다. 특히 날이 갈수록 발전하는 시각문화에 대한 유저들의 소구는 감성공학과 더불어 감성디자인의 필요성을 절실히 깨닫게 해주고 있다. 더군다나 한국과 같은 지리적인 위치에서 일본 문화 중에서도 가장 중독성이 있는 만화, 애니메이션의 영향은 청소년부터 장년층까지 두루 미치고 있는 이유로 한국적인 만화 언어에 대한 체계적인 연구가 필요한 실정이다. 본 연구는 이러한 상황에 따른 적절한 연구가 필요하다 생각되어 그 중에서도 만화 캐릭터의 표정에 대한 연구를 위해 일본 만화에 등장하는 캐릭터들의 표정을 크게 "희(기쁨), 노(분노), 애(슬픔), 락(즐거움)"과 공포(무서움), 놀라움, 혐오(역겨움)으로 나누고 이것을 기준으로 만화에서 감정을 표현하는 최소한의 도식적인 표정 요소들을 도출하여 사람의 감정을 표현하는 단어들과 연관시켜 이미지맵을 작성하고, 이를 기반으로 독자들이 만화의 표정언어를 어떻게 인지하는지에 대한 측정도구를 만들어보았다. 표정 요소 도출을 위해 선택된 일본 만화의 샘플들은 우선 출판만화로 한정하였으며, 차후에 애니메이션 캐릭터의 표정분석을 위한 발판을 마련하였다.

• 한국콘텐츠학회논문지
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• 제7권2호
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• pp.246-254
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• 2007

21세기의 새로운 뉴미디어의 시대를 살아가는 오늘날 만화 및 애니메이션은 각종 영상매체에서의 중요성과 더불어 모든 예술분야에서의 그 비중은 갈수록 커지게 되었다. 특히 날이 갈수록 발전하는 시각문화에 대한 유저들의 소구는 감성공학과 더불어 감성디자인의 필요성을 절실히 깨닫게 해주고 있다. 더군다나 한국과 같은 지리적인 위치에서 일본 문화중에서도 가장 중독성이 있는 만화, 애니메이션의 영향은 청소년부터 장년층 까지 두루 미치고 있는 이유로 한국적인 만화 언어에 대한 체계적인 연구가 필요한 실정이다. 본 연구는 이러한 상황에 따른 적절한 연구가 필요하다 생각되어 그중에서도 만화 캐릭터의 표정에 대한 연구를 위해 일본 만화에 등장하는 캐릭터들의 표정을 크게 '희(기쁨), 노(분노), 애(슬픔), 락(즐거움)'과 공포(무서움), 놀라움, 혐오(역겨움)으로 나누고 이것을 기준으로 만화에서 감정을 표현하는 최소한의 도식적인 표정 요소들을 도출하여 사람의 감정을 표현하는 단어들과 연관시켜 이미지맵을 작성하고, 이를 기반으로 독자들이 만화의 표정언어를 어떻게 인지하는지에 대한 측정도구를 만들어보았다. 표정 요소 도출을 위해 선택된 일본 만화의 샘플들은 우선 출판만화로 한정하였으며, 차후에 애니메이션 캐릭터의 표정분석을 위한 발판을 마련하였다.