• Science of Emotion and Sensibility
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• v.22 no.3
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• pp.91-102
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• 2019

Tibet has a long history and many traditions that feature colorful costumes. This study analyzes the similarities and differences in the use of multicolored stripes in the Korean Saekdong (색동: stripes of many colors) and Tibetan folk costumes. The analyses were done within the framework of Tibet's cultural and religious background and the characteristics of the region's traditional costumes. For this study, literature and photographs from books and the Internet that record the history of Tibet's traditional costumes were analyzed. The results show that the use of various colorful stripes was common in the Bangjeon (帮典) apron, one of the greatest costumes in Tibetan history. A Bangjeon is made of wool of multiple colors and has horizontal lines as compared with the silk Saekdong's vertical lines. In addition, they have a multicolored striped band on the sleeves which reminds one of the traditional Korean jacket with its Saekdong sleeves. However, these multicolored stripes appear in more parts of the Saekdong (such as the hemline and front collar) when compared with contemporary Korean costumes. Moreover, the multicolored bands are noticeable in several ornaments from the time, which suggests that Tibetans and Koreans were very fond of using multicolored stripes. Costumes from the Goguryeo (高句麗) dynasty indicate that Tibetans, like the Mongols and Manchus, were very similar to Koreans as they had multicolored garments and Paji pants in common.

• Journal of the Korean Society of Costume
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• v.23
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• pp.53-65
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• 1994

The images signifying flight in modern costumes are not made of one characteristic but the combination of complex meanings. Among the distinctive features some of them are as follows. First, the flying styles found in the costumes showed the birds as agents which sent human spirit to the celestial body. By simplifying the images of the wings connecting the present age with the heavenly body, the transforming emotions towards rhythm, direction, and organic curves transcending the real objectively constitutes a new space for expression. Second, colors appeal directly to man's emotions and incites emotional responses. The flying was shown in lines and colors. By using horizontal , vertical, oblique, and spiral lines and contrasted and paralleled colors, man's desire to fly dwells in newly colored space by reflecting speculative emotion through uniting surface. Third, the flying except for the costumes can be found in the advertisement through model's pose and camera technique, the flying itself is described through model's pose, the materials of the costumes, details, and sustaining stuffs. This symbolizes man's wish towards the unknown world vividly and dynamically. As discussed above the spirit of flying was, when expressed distinctively , in accordance with the varying cultural traits and transitions. The shape made by the vitality of symbolizing flying birds and animals along with the flying in the natural aspects such as wind and cloud were reappeared, simplified and symbolized , in modern costumes as consituting a new modeling space.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.45-52
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• 1995

Frank Lloyd Wright, a master of the 20th Century Ar-chitecture, contributed tremendously in creating a wholly new form of American architecture called Prairie Style. His idea behind the development of the building structur-al system, organic relationships between inner and outer space, horizontal vertical lines, and idea of extending and expanding interior spaces came from nature. He had completed over 390 projects throughout his life and 90% of those projects were residential design. The most typical characteristic shared by many of his residential design was that each design element, whether it is functional or aesthetical, has close relationship to or-ganic nature, human scale, theoretical floor plants, and maximum emphasis on horizontal lines in respect to na-ture. His concept of "flow of spaces" reformed common the-ory of room next to room in a enclosed space. His sense of "wall" was no longer the side of a box. Careful selec-tion of finishing materials, colors, and natural images en-hance the design as well. F.L. Wright was an artist, designer, and architect who believed the exterior space should have direct relationship to the interior space. His architectural philosophy was not only to design exterior of architecture but also to ful-fill his space through the careful development of interior elements such as furniture, and lighting fixture. Even the patterns for leaded glass windows were designed to have unified appearance from outside to inside of the house. The objective of this study was to analyze floor plans, spatial organizations, and interior design elements of the houses which represent the best of F.L. Wright's design principles and philosophy behind Prairie Style. The meth-od used to collect informations for this study was based on books, articles, journals, and actual site visits. actual site visits.

• Human Ecology Research
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• v.61 no.3
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• pp.493-503
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• 2023

Since ISO 20471 regulations(2013) were enacted, high-visibility clothing made of fluorescent fabric and retroreflective materials has been standardized to distinguish the wearers from the surrounding background in a dark place and to protect them. Accordingly, we made high-visibility safety clothing based on the international standards, and examined the positions of the retro-reflective materials on the attached sites to evaluate the suitability of the positions, by 3 types of safety clothing and the body regions when the wearers work or move. Two retro-reflective films of 5cm-horizontal lines were attached to the front/back of the upper-wear, and the lower-wear. Vertical lines were attached from the shoulder to the horizontal waistline. To analyze the motion in 3-dimension, we took pictured infrared-reflective markers on the retro-reflective film covered with yellow-tape on the front-side when 6 subjects wearing experimental garments performed 6 types of motions. According to the metronome tempo, the motions were performed for 30 seconds and repeated 6 motions ①~⑥ by 3 experimental clothing. Among the 6 motions, significant differences in the appearance rate of the markers by body region during the motions were found in 5 types except for motion ③. Significant differences by the post-hoc test were shown in motions ④ and ⑥ as well. Therefore, for high-visibility safety clothing, it is necessary to anticipate the worker's motion and consider the attaching position of the retro-reflective material. It is considered desirable to attach the retro-reflective materials to several places where the clothing is hard to wrinkle.

• Journal of the Korea Society of Computer and Information
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• v.17 no.4
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• pp.41-49
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• 2012

This paper proposes a detection method of wipes including horizontal wipes with linear moving borders, such as horizontal or vertical wipes, Barn Doors, and Iris Rounds with circular moving borders. The suggested method first obtains a difference image between two adjacent frames, and extracts lines and circles by applying Hough transformation to the extracted difference image. Then, we detect wipe transitions by employing an evaluation function that analyzes the number of moving trajectories of lines or circles, their moving direction and magnitude. To evaluate the performance of the suggested algorithm, experimental results show that the proposed method can effectively detect wipe transitions with linear and circular moving borders rather than some existing methods.

• The korean journal of orthodontics
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• v.43 no.3
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• pp.113-119
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• 2013

Objective: To compare three-dimensionally the midfacial hard- and soft-tissue asymmetries between the affected and the unaffected sides and determine the relationship between the hard tissue and the overlying soft tissue in patients with nonsyndromic complete unilateral cleft lip and palate (UCLP) by cone-beam computed tomography (CBCT) analysis. Methods: The maxillofacial regions of 26 adults (18 men, 8 women) with nonsyndromic UCLP were scanned by CBCT and reconstructed by three-dimensional dental imaging. The frontal-view midfacial analysis was based on a $3{\times}3$ grid of vertical and horizontal lines and their intersecting points. Two additional points were used for assessing the dentoalveolar area. Linear and surface measurements from three reference planes (Basion-perpendicular, midsagittal reference, and Frankfurt horizontal planes) to the intersecting points were used to evaluate the anteroposterior, transverse, and vertical asymmetries as well as convexity or concavity. Results: Anteroposteriorly, the soft tissue in the nasolabial and dentoalveolar regions was significantly thicker and positioned more anteriorly on the affected side than on the unaffected side (p < 0.05). The hard tissue in the dentoalveolar region was significantly retruded on the affected side compared with the unaffected side (p < 0.05). The other midfacial regions showed no significant differences. Conclusions: With the exception of the nasolabial and dentoalveolar regions, no distinctive midfacial hard- and soft-tissue asymmetries exist between the affected and the unaffected sides in patients with nonsyndromic UCLP.

• The Transactions of the Korean Institute of Electrical Engineers C
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• v.53 no.8
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• pp.407-414
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• 2004

In this paper, a new gray scale expression method that divides the scan lines into multiple blocks is suggested. The proposed method can drive 16 sub-fields per 1 TV field in the panel with XGA ($1366{\times}768$) resolution. The on and off states of even subfields depend on the condition of odd subfields. The write address mode is used in the odd subfields, while the erase address mode is used in the even subfields. Because the ramp reset pulse is applied every 2 sub-fields, both the contrast ratio and the dynamic voltage margin are sufficiently obtained in comparison with previous AWD (Address While Display) methods. In realizing 16 subfields, shortening the scan time in the erase address period was important. The X bias voltage in the erase address period affected the minimum address voltage but did not the delay time of the address discharge. The delay time of the address discharge was affected by the address voltage and the time interval between the last sustain discharge and the scanning time. We also evaluated the dynamic false contour. New method shows an improved image quality in horizontal moving, but discontinuous lines were observed at the boundaries of each block in vertical moving

• Maxillofacial Plastic and Reconstructive Surgery
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• v.15 no.4
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• pp.329-337
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• 1993

Improvement of orthognathic surgical techniques make it possible to design esthetic surgical correction for total esthetic face. In order to find the esthetic line which guide esthetic surgical correction in patients of orthognathic surgery, cephalometric soft tissue analysis of esthetic faces were performed. In esthetic Korean young adults, 25 males and 25 females who were within 1 S.D. of E-line, ANB, P/A facial height ratio, were analyzed in natural position keeping their face eye level. 1. Sn position is constant in males and females. The Sn-N'-N' Vertical plane angle is $5.3^{\circ}$ in both sexes. Sn is positioned in front of 5 mm in female 7 mm in male from the N' vertical plane. 2. The Sn-Ls line make constant angle to horizontal plane with $72.5^{\circ}$ in both sexes, which is called "upper esthetic line". The Ls-Pg' line makes constant angle to $72.4^{\circ}$ (range $72.2^{\circ}$ in female to $72.6^{\circ}$ in male), which is called "lower esthetic line". 3. When inter-esthetic line angle (the Sn-Ls line to Ls-Pg' line) has $144.9^{\circ}$, lower third face has esthetic upper and lower lip. 4. In treatment planning, Sn is first corrected in proper position, and then upper and lower esthetic line are established with the angle of 144.9. The maxilla is moved to tangent Ls to the upper esthetic line, and mandible is moved to tangent Li and Pg' to the lower esthetic line, according to the "y"-shaped esthetic lines, then lower third face showes esthetics.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.29-36
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• 2005

The original members of the De Stijl group, formed in neutral Holland during the First World War, included the painters Piet Mondrian, Bart van Leck and Theo van Doesburg, and the architects J.J.P. Oud and Jan Wils. The aim of the group was to create a language of form and color applicable to every sphere of modern life. The means of expression selected by the De Stijl artists was rigorously restricted, using only vertical and horizontal lines with the right-angle created where they cross, and for color, black, white and the primaries- red, yellow and blue. Of these simple elements consisted the compositions painted by Mondrian and van Doesburg during the years around the end of the First World War, and the famous red-blue chair made by Gerrit Rietvelt in 1917. They did share a common influence, Cubism, and they both emphasized contemporaneity. Otherwise they were quite different movements, both in theory and practice, except lot one further point of similarity.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.767-775
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• 1999

The purpose of this study is to investigate the visual sensibilities of brassiere design. Brassieres were divided into three types according to connection of a cup and a strp. In each type Lace was used where the part of the cup divided by Lines which were constructed such as a mold a horizontal a vertical a mixed and an oblique design. As a result 39 brassieres were obtained. The experiment has been done for seven groups which were divided by the type line and lace with 5 semantic differential bi-polar scales and 10 specialists. The data was analyzed using the statistical SPSS package. The major findings of this research were as follows. An oblique design line in the brassiere were effective in making the breast look bigger more buxom and more voluminous. To make the breast look small and unvoluminous the use of a mold in the 1/2 cup brassiere was effective. Also a mold using lace ion the 1/2 cup brassiere had an effect in making the breast look flatter and broader.