• Journal of the Ergonomics Society of Korea
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• v.34 no.5
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• pp.531-540
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• 2015

Objective: The objective of this research is to investigate the fundamentals of human computer interaction for wearable computers and derive technology requirements. Background: A wearable computer can be worn anytime with the support of unrestricted communications and a variety of services which provide maximum capability of information use. Key challenges in developing such wearable computers are the level of comfort that users do not feel what they wear, and easy and intuitive user interface. The research presented in this paper examines user interfaces for wearable computers. Method: In this research, we have classified the wearable user interface technologies and analyzed the advantages and disadvantages from the user's point of view. Based on this analysis, we issued a user interface technology to conduct research and development for commercialization. Results: Technology requirements are drawn to make wearable computers commercialized. Conclusion: The user interface technology for wearable system must start from the understanding of the ergonomic aspects of the end user, because users wear the system on their body. Developers do not try to develop a state-of-the-art technology without the requirement analysis of the end users. If people do not use the technology, it can't survive in the market. Currently, there is no dominant wearable user interface in the world. So, this area might try a new challenge for the technology beyond the traditional interface paradigm through various approaches and attempts. Application: The findings in this study are expected to be used for designing user interface for wearable systems, such as digital clothes and fashion apparel.

• Journal of Fashion Business
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• v.12 no.3
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• pp.99-115
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• 2008

International exchange gets active in nations with the increase of Internet use and heading toward digital age. Thus the communication conveying image of nations effectively plays an important role in an international society. Sports events are regarded as important international exchange events and good opportunities for public relations of one's own country and taken as tools of planting good images in other nations. This study surveyed the concept and history of uniform through the documents and previous studies in order to find the aesthetic characteristics of sportswear uniform applying the image of national ensign and investigates the origin and start time in Korea of selected 6 sports items. As a result of finding the expression way of ensign image and drawing the aesthetic characteristics by analyzing the use and variation of ensign colors, the use of colors other than ensign and reflection of ensign form in collected 60 sports uniforms, this study could draw the symbolical beauty, beauty of variation and beauty of brevity. First, symbolical beauty is the aesthetic characteristics expressing uniforms by using the pattern ensign symbolizes and ensign colors themselves or enlarging a part of ensign. Second, beauty of variation is the aesthetic characteristics creating geometrical new patterns in uniform through the distortion and exaggeration of ensign shape, or transforming the colors themselves of ensign. Third, beauty of brevity is the aesthetic characteristics using other colors only as decorative factor while applying the main colors of ensign to the most part of uniform, or unifying the uniforms with only one color of ensign. As a result of survey, the proportion of the symbolical beauty was highest in summer season and beauty of brevity and beauty of variation followed and the proportion of beauty of variation was highest and the symbolical beauty and beauty of brevity followed after that in winter season. This study found the way of expressing image of one's own country in sports uniform through this article, expecting the exact recognition on sports uniform and the diversity of sports uniform design in which the images of the nation are expressed more variously.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.131-138
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• 2007

Relationship between body and space is fundamental in space design. The perception and concept of human body in each age directly affected the space makings of that time. Thoughts on human body are related to various periodical backgrounds such as culture, art, technology and etc. Body-Space relationship has been changed through different epochs and is being changed in the present time too. In contemporary cities, architectural programs has been fragmented and activities of individuals become more articulated. The rigidity of each architectural program has been forced to be more flexible amalgamation of diverse behaviors by dynamic urban time-space formations and patterns. Based on this current situations, new experimental designs that question the existing preconceived relationship between body and space in different views. These design experiments attempt to overcome the solid physical fixation of architectural buildings and to directly relate human body to intelligent devices, technologies, machines as well as spaces. This research focus on the innovative design projects in which body, machine, space are smartly compound as one organization. The purpose of this study is to examine the new Body-Space relationship as well as some relevant case projects in contemporary fashion, furniture, interior design and architecture.

• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.145-154
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• 2008

Minimalism, which started with the subtle distinction between the end of modernism and beginning of post-modernism, was not limited to the fine arts but also spread through architecture, fashion, and the rest of the design industries. this historical study is considered a logical, user experience-based design process, the latest issue derived from the collision between minimalism and the digital environment is not limited to practical industrial design processes, but also their theoretical study. the results show that user experience-based design process and minimalism share many of the same qualities. based on these similarities, minimalism and user experience-based design process can be grouped together both academically and theoretically for establishing a future academic template for the digital designing process.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.766-775
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• 2016

In the era of globalization and unlimited competition, Korean universities need a breakthrough in their education system according to the changing education landscape, such as lower graduation requirements to cultivate more multi-talented convergence leaders. While each student has different learning capabilities, which results in different performance and achievements in the same class, the uniform education that most universities are currently offering fails to accommodate such differences. Blended learning, synergically combining offline and online classes, enlarges learning space and enriches learning experiences through diversified tools and materials, including multimedia. Recently, universities are increasingly adopting video contents and on-offline convergence learning strategy. Thus, this study suggests a teaching method based on blended learning to more effectively teach existing pattern CAD and virtual CAD in the Apparel Pattern CAD class. To this end, this researcher developed a teaching-learning method and curriculum according to the blended learning phase and video-based contents. The curriculum consisted of 2D CAD (SuperAlpha: Plus) and 3D CAD (CLO) software learning for 15 weeks. Then, it was loaded to the Learning Management System (LMS) and operated for 15 weeks both online and offline. The performance analysis of LMS usage found that class materials, among online postings, were viewed the most. The discussion menu most accurately depicted students' participation, and students who did not participate in discussions were estimated to check postings less than participating students. A survey on the blended learning found that students prefer digital or more digitized classes, while preferring face to face for Q&As.

• Journal of Fashion Business
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• v.21 no.5
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• pp.136-150
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• 2017

3D printing has grown tremendously as the most noteworthy new technology in the manufacturing industries. In addition, the rapid development of computer science technology with 3D printing has created a new paradigm called Fractal Geometry, or a new form of digital art. This study explores the formative characteristics of 3D printing jewelry based on presentation of fractal geometry by classification of 3D printing jewelry's morphological types that except for producible shape with traditional mold manufacturing methods. The results of the study are as follows. The morphological characteristics of 3D printed jewelry are divided into their constitutive shapes by the repetition of the unit. The organic shape determined by superposition or overlapping, the systematic shape by distortion caused by distortion, and the variation in scaling by scaling. The formative characteristics, which are drawn from a study on the shape expression of 3D printed jewelry design using fractal geometry, consist of continuity, geometrical characteristics, and exaggeration. Continuity creates a new and self-assigned new space through a recursive structure through a cyclic structure that is formed along a single directional basis. The geometry of the geometry forms a three-dimensional and constructive structure comprised of the same size and structure of the same sized unit under the mathematical order of the geometry of Fractal's geometry. Exaggeration demonstrates the informal beauty and the maximization of the shape by expanding the scaling or superposition of a unit, by scaling the scale or he distortion of the units.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1025-1033
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• 2016

It is important to compare and analyze digital camouflage from different countries to promote the continuous development of a camouflage combat uniform. This effort should lead to developing a camouflage pattern suitable for the domestic environment and expand its performance of night camouflage. This study investigates digital camouflage by comparing camouflage fabrics sampled from Korea and eight other countries (USA, UK, Singapore, Croatia, Colombia, and Mongolia) in terms of textile, near-infrared reflectivity of colors, and color distribution. First, the fabric construction of camouflage from Korea, UK, US, Singapore, Span, and Croatia were all characterized by derivative plain weaves, while derivative twill weaves were generally used in Croatia and Mongolia. It is assumed that derivative plain weaves are adopted to improve the tearing strength of fine yarns. However, twill weaves enhance the flexibility of coarse yarn fabrics. Next, reflectivity change was analyzed based on camouflage color. The reflectivity of a combat uniform in Korea, Colombia, Croatia, and UK increased before 780nm in the visible light range, but remained consistent from 800nm which falls under the near-infrared range. In contrast, camouflage samples in Mongolia, Span, Singapore and USA showed a gradual increase of reflectivity in the near-infrared range. Finally, the color distribution analysis of digital camouflage found that camouflage of countries with desert or woodland combat settings dominantly contained brown colors. It indicates the color pattern consideration of different geographic regions is important to determine camouflage performance. This research involves basic study that will have implications for developing patterns and colors suitable for the South Korean environment and expand its use as night camouflage that helps achieve continuous improved camouflage performance.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.455-463
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• 2020

This researcher has sorted out the development process of death aesthetics contained in human art through advanced research. This research is a follow-up study of related research, which studies the aesthetic meaning of death in Alexander McQueen's fashion works. This study first classifies the aesthetic characteristics of death, and then analyzes and sorts out the aesthetics of death in Alexander McQueen's clothing works based on this. The results of this study are as follows: first, the aesthetic manifestations of death are divided into three categories: reproducibility, symbolic and religious. Among them, the representation of reproducibility includes the representation of real objects and the representation of virtual objects, and the symbolic performance includes two types of external performance and internal performance. Second, in Alexander McQueen's works, the reproducibility of death was mainly reflected by virtual stage scenes and costumes. Thirdly, the symbolic death is not only reflected in the skeletons and blood etc. directly related to the death of the body, but also in the various emotions and psychological states caused by the death. Fourth, the religious nature of death was represented in Alexander McQueen's works through such representative things as crosses and religious stories.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.127-144
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• 2016

The purpose of the study was to investigate the self-esteem, appearance satisfaction, and clothing benefit pursuit the gap between subjective age and real age according to gender and age of middle-aged consumers. For the study, the questionnaire was developed by the authors and distributed to male and female consumers in their forties or fifties on september 1~10, 2014. A total of 470 questionnaires was collected and used for the final analysis. Data were analyzed by frequency analysis, reliability analysis, factor analysis, cluster analysis, ANOVA and Tukey's test, using the SPSS 18.0 Package Program. The findings were summarized as follows. There were significant differences in the subjective age of middle-aged consumers according to gender and age. Female consumers in their fifties perceived their subjective age to be younger than male consumers in forties and fifties. There were no significant differences in self-esteem among the groups according to gender and age. Significant differences were found in appearance satisfaction of male consumers in their fifties having higher appearance satisfaction than female consumers in their forties. There were significant differences in some factors of clothing pursuit benefits including pursuit of fashion, pursuit of youth, pursuit of rationale, pursuit of leisure, and pursuit of loyalty, among the groups according to gender and age with female consumers placing more importance on clothing-related benefits than their male counterparts. Local fashion businesses to consumers who target middle-aged consumers, this study can provide a basic data.