• 한국전산구조공학회:학술대회논문집
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• 한국전산구조공학회 1999년도 가을 학술발표회 논문집
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• pp.153-159
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• 1999

A material handling crane is composed of many complex structural components which require sufficient strength, stiffness and stability throughout its service life and need to be light in weight, and satisfy the required functions under the entire range of operating conditions. In this study, the analysis system for material handling cranes is presented. This program integrate various structural analyses modules with the GU(Graphic User Interface) concept. Utilizing basic variables as input data, the analysis system performs quasi-static, eigenvalue, buckling, fatigue and stability analysis. Using this program, the designer can generate optimal design data for the cranes without my actual measurements. This system will also be extended to other mechanical structures with kinematic motion like crane.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.179-183
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• 2008

A variety of design processes from 2D graphic to 3D models are meeting improved consumers' confidence of modern clients. However, the current design methods are limited to meet consumers' needs and express a design concept what a designer wants to show. Therefore the study here tries a test of hybrid space simulation combined with previous models and digital media technology, which can be used for multiple contents. The study can contribute to suggesting virtual space simulation that can help clients' spatial understanding in this media era and deliver emotional language of designers as well by utilizing the strong point of multi-sensible media.

• 한국정밀공학회지
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• 제7권2호
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• pp.95-104
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• 1990

This paper descirbes some research of Computer-aided Design of multi-stage cold forging die of rotationally symmetric parts produced by the press or former. An approach to the system is based on knowledge based system. Knowledges for tool design are extracted from the plasticity theory, handbooks, relevent references and empirical know-how of experts in cold forging companies. The deveoped system is composed of three main modules such as die design module, punch design module, tool elements design module which are sued independently or in all. Using this system, design parameters (types of dies, geometric shapes and dimensions of dies, types of punches, geometric shapes and dimensions of punches, geometric shapes and dimensions of tool elements) in each operation are determined and the output is generated in graphic form. The develpoed system, aids designer, provides powerful capability for designing dies, punches and tool elements.

• 한국연극학
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• 제48호
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• 패션비즈니스
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• 제17권1호
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• pp.64-80
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• 2013

A new technology of fashion show is opening the digital era and an imaginary fashion show is now arising as a new form of fashion show which allows one to enjoy a collection through the monitor without holding a real fashion show. Digital fashion show allows designer to create infinite ideas by articulating the designer's concept through not only garments but also other factors. In this research, We will analyze cases which are mixtures of digital technology and fashion show and will suggest a new paradigm of fashion show by producing an imaginary fashion show which cannot be easily articulated in an ordinary real fashion show, articulated by garments created by digital technology and graphic effects. The program used for this study is 'DC Suite 2.0' developed by Physan and Digital Clothing Center of Seoul National University, available for 2D pattern production and 3D simulation. In addition, in order to enhance representation of the visual effects, Maya's Qualoth and V-ray program which could be compatible with 'DC Suite' were used to make 3D digital fashion show.

• 한국실내디자인학회논문집
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• 제12호
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• pp.40-49
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• 1997

What's the direction of INTERIOR ARCHITECTURAL DESIGN in 21 Century High Tech\ulcorner The purpose of this research is to show not only practical use of Computer Graphic(CG) as simple tool function, but offering conversation with computer and other ways of method. When we consider poor CG market, investment on the research of VR(Virtual Reality) is the most urgent. The investment on VR will solve various problems. Firstly. It will solve the problems drived from Interior design process by making spatial images like reality. Secondly, It will solve high wages and financial difficulties caused by raise cost funds. Thirdly, It prevents in a road from foreign company that will bring enormous program, caused by opening the domestic market. Also, It help interior designer check in advance the problems in constructure through showing him a supposed imagination including the system and location of equipments. But it is reality that even ordinary American can't offer VR(Virtual Reality) System. We should have noted that it is normal to spend 10 billion won for such presentation as Model House in the large corporation. We must acknowledge that it is such a waist of money nationally. Therefore, investment on CG & VR System is essential in order to save cost more effective presentation & interior design. We will see great result within a year. As we can see, there is huge area we have make develop. One of them is specific technical plan on VR System and study of flow chart. We close with simple methodological way to use VR System and will study Computer System. Which is fitting to CG that we have to solve the link of hardware and software on VR System\ulcorner We know from the cases in other countries that continuous research on this subject has great value for Interior Architectural Design and its effective use. When we try hard not only for methodological use but practical use, the purpose of CG and VR System will be a factor to contribute on this subject for better Interior design & presentation.

• 한국측량학회지
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• 제15권1호
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• pp.81-89
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• 1997

인체의 형상 및 크기는 인류학뿐만 아니라 일상 생활용품의 설계에서도 중요한 요소가 되고 있다. 비록 새로운 기법의 3차원 계측이 도입되고 제안되었지만, 여전히 결과분석 및 계측방법에 대한 많은 문제점들이 있다. 본 연구에서는 취득된 영상의 내·외부 표정요소, 사진좌표를 얻고 광속조정을 통해 대상물 좌표를 계산하고 다중영상을 접합하여 대상물을 도화하고 Auto-CAD나 다른 Graphic 처리 Utility를 이용하여 3차원 수치모형을 생성하였다. 그 결과, 인체의 수치모형이 일단 생성되면, 많은 응용분야에서 설계자가 필요로 하는 정보를 얻을 수 있고, 기하학적인 많은 정보를 쉽게 얻을 수 있음을 알았다. 따라서 수치모형 생성을 통한 간접적인 인체계측의 가능성을 제시하고자 한다.

• 복식문화연구
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• 제29권3호
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• pp.361-373
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• 2021

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and three-dimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer's imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

• 복식문화연구
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• 제23권4호
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• 디자인학연구
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• 제13권
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• pp.15-24
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• 1996

No mater how brilliant brain a man has, as time goes by, it is certain to fall into a lapse of memory phenomenon in according to cease to exist as a matter of course. But as previously stated, there is no room for douby, if we make advertising information for being changed into a sign which is to be treated easily and simplified, we can easily memory and withdraw it. In other words, the information is to be coded simpler, the memory and recollection of it is to be easier as wll as we can raise the precision rate. Good many advertising today, it appears, try to raise the acknowlegement rate with shock of good-sized and exposure frequency. In this advertising form, we can aspire to the intention of advertiser to try to get lapse of the message of advertising. Of course, even if it cannot be an index of every advertising information called simplified memory and recollection rate, it should be emphasized that it cannot but have something to do with the consumer's memory. Which to be obtained by invested advertisement. As for it, there are so many things to be taken charge of a lots of content by graphic designer: to be obtained mental distribution of resources inconnected with a desire of consumer, to be converted memory information into being less than that and treated easier, and to be correlated the memory information with the previously known things.