• Archives of design research
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• v.19 no.5 s.67
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• pp.313-322
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• 2006

Among many modelling factors which consist of a screen, a form brings a child's psychological response, according to its being drawn and expressed shape, and would be defined as a visual descriptive method which transmits the relation between the subject and background by a story content and the circumstance and emotion of characters in the story. In this study, to analyze how an expressed form on a screen works to a child visually and psychologically, I, first have examined how differently a child's perception development and its experience to the form is come out by the age of a child, and have found that it influences on a child's originality and creativity development, visual and psychological thinking development, and the stimulation on dream and imagination. And I have examined each characteristic by discriminating the expressive style of the form into a reproductive, a simplified, an exaggerated and a distorted form expression, and by utilizing it as substantiative data through the 1st and 2nd stage, have analyzed responses and preferences according to a style of a child's expression form. In conclusion, I have considered that the analysis result through the substantiative study would be a help not only to the form expression which is based on an illustrator's personality and creativity, and also would be utilized in the effective expression method study and experiment of students who learns the illustration.

• Cartoon and Animation Studies
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• s.42
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• pp.177-194
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• 2016

This study investigated an evolutionary process of In-game Animation and researched on the action of realization establishing virtual reality. In-game Animation, functioning as contents to visualize games, is responsible for conveying information to achieve goals of games. In-game Animation which is affected by graphic technology was initiated with setting up indicators by dot and line. Followed by the development of technology, In-game Animation has pursued realization, after passing through processes of iconography, materialization, and dimensionalization. The realization of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is very important to provide the experience of immersion, as it forms a sense of presence through such visual tactility. The process to create meaning of reality provides gamers with experiences, and leads them to expand senses through visual perception and finally absorb the virtuality as reality. Therefore, the image of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is not limited to blindly portray a realistic image. In addition, the process of realization pursued by In-game Animation is an action to immerse in the game rather than a mere product of technological development.

• The Korean Journal of Vision Science
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• v.20 no.4
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• pp.431-442
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• 2018

Purpose : The purpose of this study was to investigate subjective symptoms according to the wearing, purchase and fitting status of soft contact lens wearers, and consumer perception of base curve. Methods : A survey was conducted for those who visited optical shops and lens shops in Seoul from June to August 2018. A total of 98 answer sheets they submitted were used for the analysis. The chi-square test and Fisher's exact test were used to compare subjective symptoms (dryness, glare, uncomfortable fitting, and decreased vision) according to whether fitting condition is screened (case history and push-up test, ect relevant to wearing sensation), and the odds ratio (OR) was obtained by the logistic regression analysis. Results : When the contact lenses were purchased, the rate of which the visual acuity test was performed was 86.6% at optical shop and 64.7% at lens shop. When purchasing contact lens and the contact lens was not tested for fitting, they more experienced dryness (OR 4.41, 95% CI 1.25-15.62) and uncomfortable fitting (OR 2.68, 95% CI 1.08-6.64) than testing for fitting. In addition, it was investigated that 87.8% of contact lens wearers did not know about the term base curve, 92.9% did not listen to an explanation related to the base curve when purchasing contact lenses, and 96.9% did not experience with base curve test. Conclusion : It would be thought that satisfaction of the contact lens fitting of existing consumers should be improved by changing a proper base curve by confirming the fitting condition when prescribing soft contact lens.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.108-117
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• 2013

Modern city doesn't have its own identity that differentiates itself from others despite the fact that each city has a historical value. This is due to the demolition of historical and regional values. As such problems are connected to urban problems, they become even more serious. Thus, the researchers of this study set Gyeongbokgung(Palace) as an object to look into landscape factors and found out the relations between psychological variables and preference. Then, the researchers analyzed the quantitative relations between the physical attributes of historic cultural landscape and human response. As such, the researchers aimed to set and propose a confirmed standard in terms of identity and regional & historical values of historic cultural landscape. Since this study was performed with an object of historic cultural landscape that was reproduced based on original landscape in the past, a future study should be on the difference in preference based on the proportion of modern landscape. Based on such studies, a new plan should be made for forming the urban historic cultural landscape.

• Cartoon and Animation Studies
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• s.45
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• pp.417-434
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• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.

• Journal of Broadcast Engineering
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• v.15 no.2
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• pp.163-172
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• 2010

The free viewpoint video delivers an active contents where users can see the images rendered from the viewpoints chosen by them. Its applications are found in broad areas, especially museum tour, entertainment and so forth. As a new free-viewpoint application, this paper presents a stereoscopic free-viewpoint TIP (Tour Into Picture) where users can navigate the inside of a single image controlling a virtual camera and utilizing depth data. Unlike conventional TIP methods providing 2D image or video, our proposed method can provide users with 3D stereoscopic and free-viewpoint contents. Navigating a picture with stereoscopic viewing can deliver more realistic and immersive perception. The method uses semi-automatic processing to make foreground mask, background image, and depth map. The second step is to navigate the single picture and to obtain rendered images by perspective projection. For the free-viewpoint viewing, a virtual camera whose operations include translation, rotation, look-around, and zooming is operated. In experiments, the proposed method was tested eth 'Danopungjun' that is one of famous paintings made in Chosun Dynasty. The free-viewpoint software is developed based on MFC Visual C++ and OpenGL libraries.

• Journal of the Korea Convergence Society
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• v.12 no.5
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• pp.139-145
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• 2021

Through this study, we intend to study user satisfaction in order to verify whether there is a need for full-scale research, development and commercialization of document viewers in a VR environment. VR content consists of realistic 3D graphics and 360-degree video, and provides a synesthesia experience and immersion. We developed and tested a VR document viewer prototype that can utilize this concept as a document viewing system. It can act as a viewer that provides an interactive viewing environment according to the user's body interaction and the direction of the field of view, and it can be said that the feature of VR document viewer is that it can draw the user's high level of immersion and concentration when using the viewer. The developed prototype was tested in a test group consisting of 100 VR experiences and device owners for about 1 hour and 3 days a day, and then a questionnaire survey in the form of a fixed selection question was conducted. This study is a prototype study of a document viewer suitable for a virtual reality environment, and can lead to a sense of immersion when reading a document, and suggest a new document viewer direction that is effective for visual fatigue and visual perception of the document.

• Journal of Dental Rehabilitation and Applied Science
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• v.29 no.2
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• pp.119-126
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• 2013

The concept of extraction in orthodontic treatment has been changed many times. Even today, criteria of extraction or nonextraction is still changing. In this study, changes depending on the evaluator's perception of treatment outcomes were compared in both extraction and nonextraction cases. In this study, premolar extracted 59 patients and nonextracted 60 patients, totally 119 patients who finished orthodontic treatment in Dankook University Dental Hospital orthodontic clinic were enrolled. Evaluation sections made up of specialists and laypersons assessed soft tissue traced from lateral cephalometric radiographs with visual analogue scale before and after the treatment. And the results were statistically analyzed. Thus, the conclusions drawn are as follows: 1. Average score is 5.76 in extraction, which is larger than 5.28 of nonextraction case. Improvement of facial profile was more favorably accepted in extraction case. 2. 5.875 in the group of specialists were higher evaluation than 5.165 in the group of layperson. 3. Specialists gave significantly higher ratings in the extraction than nonextraction. 4. A higher rating in extraction case of the layperson group has no significant difference with nonextraction case. 5. Nonextraction patients were given higher ratings from specialist group. 6. A higher rating of specialist group in extraction case has no significant difference with layperson group.

• Journal of Science of Art and Design
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• v.3
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• pp.33-61
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• 2001

Dans les arts modernes, nous ressentons souvent un $probl\`{e}me$ $disloqu\'{e}par$ rapport aux humains. Ceci ne viendrait-il pas $peut-\^{e}tre$ do notre $pens\'{e}e$ dans l' $\'{e}change$ culturelle entre le monde et nous qui s' appuie trop une $temporalit\'{e}$ et logique? Cette $the\`{s}e$ approche ce $probl\`{e}me$ $\`{a}$ travers one perception anthropologique do monde, en $\'{e}tudiant$ les arts tridimensionnels avec ses $\'{e}schelles$ qui deviennes plus on plus agrandis. Maurice Merleau-Ponty, dans son livre 'la $ph\'{e}nom\'{e}nologie$ de la perception', bien $r\'{e}sumait$ une $intersubjectivit\'{e}$ entre l' espace et nous. Selon lui, l' homme prend conscience do la forme des objets avec son environnement parce quil est un corps on interaction avec eux. Donc nous $r\'{e}f\'{e}rons$ ce livre pour notre set. Et on essayera ici d' $\'{e}tudier$ le travail do Constantin Brancusi, de Alberto Giacometti, do Richard Serra et do quelques d' autres travaux d' artistes L' oeuvre do Brancusi 'la Colonne sans fin', la taille plus de 29 m, produit one impression sur le spectateur relativement $\grave{a}$ la forme continue et $r\'{e}p\'{e}t\'{e}e$ $\`{a}$ linfini de $mani\'{e}re$ unifome. La pratique de Giacometti qui tenait compte do son envergure et de la longueur do son corps ainsi que do distance et de la mesure do sos bras, Il $d\'{e}formait$ aussi les silhouettes et transformait les objects en les $\'{e}tirant$ dans la perspective. Rosalind Krauss parler $\`{a}$ loeuvre do Serra, dans son livre 'l' originalit de lavant-garde et sutres mythes modernistes' (pp. 319-333), le spectateur est toujours on mouvement on liaison entre l' horizon do corps et celui do monde. Cette $transitivit\'{e}$ abstraite $r\'{e}ciproque$ entre le regardeur et le $regard\'{e}$, qui est comme le sujet de nombreuses oeuvres do Serra. Cependant le Maximalisme est $\`{a}$ l' origine Minimalisme qui s' $\'{e}tend$ dans ses efforts $th\'{e}oriques$ jusqu' au l' espace architecturale. Ces sculptures do grandes dimensions so situent autour de $b\^{a}timent$ ou dans lespace environnementale, comme ils sent l' architecture et le paysage. On suppose ici, leurs concepts de l' espace $\'{e}largit$ $\`{a}$ celui d' architecture. La sculpture et l' architecture $r\'{e}ciproque$ l' espace tridimensionnel entre eux, mais selon l' argument do Herbert Read pour la distinction de ces deux arts originaux sont, deux saisies de l' espace, ici englobant, $l\`{a}$ $englob\'{e}$. On $\'{e}tudie$ dans co set de concept de l' espace et de l' $\'{e}chelle$ d' objet par rapport au corps humain.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.48-68
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• 2024

Due to the global pandemic aftermath of the coronavirus, the importance of health care is being emphasized more socially. Due to the influence of these changes, domestic pharmaceutical companies have introduced regular drug delivery services, that is, drug and health functional food subscription services. Currently, this market is continuously growing. However, these regular services are causing new environmental problems in which the number of waste drugs increases due to the presence of unused drugs. Therefore, this study proposes a service that not only promotes health management through regular medication adherence to reduce the amount of pharmaceutical waste but also aims to improve awareness and practices regarding proper medication disposal. As a preliminary survey for service design, a preliminary survey was conducted on 51 adults to confirm their perception of drug use habits and waste drug collection. Based on the Honey Comb model, a guideline for service design was created, and a prototype was produced by specifying the service using the preliminary survey results and service design methodology. In order to verify the effectiveness of the prototype, a first user task survey was conducted to identify the problems of the prototype, and after improving this, a second usability test was conducted on 49 adults to confirm the versatility of the service. Usability verification was conducted using SPSS Mac version 29.0. For the evaluation results of the questionnaire, Spearmann Correlation Analysis was conducted to confirm the relationship between frequency analysis and evaluation items. This study presents specific solutions to the problem of waste drugs due to the spread of drug subscription services.