• Journal of the Korean housing association
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• v.17 no.6
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• pp.19-26
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• 2006

Along with the development of creative building design ideas, how to effectively sign design concepts is also an important consideration on environmental design. The research goals established in order to solve these problems are to develop structures of sign design and analyze the cases of it. This paper explains structures of sign design in two ways: the compositional elements of signs and the relationships of visual perception. Among various relationships among sign design compositional elements this study uses relationships based on the Gestalt theory, the balance theory by Rudolf Arnheim, and the optical away theory by Gibson. The design principles investigated on the basis of the visual perception theories include the relationships between compositional elements and background space, visual weight balance, horizontal and vertical balances, grouping, and visual layout patterns

• Journal of the Ergonomics Society of Korea
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• v.33 no.6
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• pp.543-551
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• 2014

Objective: The purpose of this study is to identify visual perception of and satisfaction with the orange peel effect of surface. The orange peel effect is a type of finish on painted or coated surface. Background: Gloss paint sprayed on a smooth surface (such as car body, smart phone, and electric home appliances, etc.) should also dry into a smooth surface. Then, a surface resembling the texture of an orange peel can be caused by some factors. The orange peel effect can degrade user's satisfaction with a product. Method: Visual perception and emotional satisfaction were subjectively evaluated using Likert scale. The significance of orange peel effect on visual perception and satisfaction were then analyzed by the analysis of variance. The correlation between visual perception and satisfaction was also analyzed. Results: Surface roughness significantly influenced visual perception and emotional satisfaction. The level of visual perception increased and emotional satisfaction decreased with the increase of orange peel effect. Emotional satisfaction decreased with the increase of visual perception level. Conclusion: It was identified that orange peel phenomenon on surface was a very important factor for emotional satisfaction. The orange peel effect on the surface of a product should be minimized to improve the emotional satisfaction of the product. Application: The result of this study can be applied to the texture design of the body of a car, smart phones, and electric home appliances, etc.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.31 no.3
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• pp.105-120
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• 2020

Although autism spectrum disorder (ASD) is a neurodevelopmental disorder characterized by social impairments, patients with ASD frequently manifest atypical sensory behaviors. Recently, atypical sensory perception in ASD has received much attention, yet little is known about its cause or neurobiology. Herein, we review the findings from neuroimaging studies related to visual perception in ASD. Specifically, we examined the neural underpinnings of visual detection, motion perception, and face processing in ASD. Results from neuroimaging studies indicate that atypical visual perception in ASD may be influenced by attention or higher order cognitive mechanisms, and atypical face perception may be affected by disrupted social brain network. However, there is considerable evidence for atypical early visual processing in ASD. It is likely that visual perceptual abnormalities are independent of deficits of social functions or cognition. Importantly, atypical visual perception in ASD may enhance difficulties in dealing with complex and subtle social stimuli, or improve outstanding abilities in certain fields in individuals with Savant syndrome. Thus, future research is required to elucidate the characteristics and neurobiology of autistic visual perception to effectively apply these findings in the interventions of ASD.

• Archives of design research
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• v.13 no.1
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• pp.111-120
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• 2000

Certain complex forces are existing at the other side of a canvas. These are visual arrangements and within the arrangement, even the simple combination of dots and lines create more than visual patterns. No matter what form that visual art has taken, it is performed in a certain space and it is constucted with various visual elements. For effective communication, visual elements must form a stable sturcture by extablishing organic relationship among each other. These requires an understanding of the human visual characteristics and psychonology, because human sight senses the same biological and psychological visual elements differently in its force and weight, according to the position within a given space. Although the structure which controls such force and weight exists within a peice of work, it is a internal plan of the work that actually controls the communication through a man\ulcorner psychological reactions towards the horizontal and virtical structures within it. Moreover it is a visual statement that effectively expresses a theme or a message. This thesis has studied visual structures through the analysis of art pieces regarding of these kind of a visual picture plane, characteristics of a picture plane formed by a structure of force existing on the other side of the picture and the theory of visual balance. In addition, the aim of this study is to help designers who deals with visual image works to understand the visual structures and psychological recognitions and to apply these picture plane compositions at their real work by recognizing the psychological power within the construction elements.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.2
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• pp.19-25
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• 2018

A scientific and systematic approach for digitally representing colours is essential for improving image quality. Therefore, there is a need for objectively analysing such approaches. Studies regarding display systems, which can reflect human visual characteristics in the digital media environment, and associated international standards at the forefront, have already caused significant impact. Colour is one of the most important factors employed for evaluating the overall image quality of displays. The proposed study focusses on colour properties which are based on the characteristics of the human peripheral vision area, with the primary objective of reproducing digital colours which can simulate human visual characteristics in the digital media environment. The proposed study aims at identifying digital colour characteristics which can vary according to the level of background lightness and the size of colour stimuli. Based on the evaluation results obtained through psychophysical experiments, a method has been proposed for determining peripheral vision characteristics which vary according to the increasing size of a colour stimulus, thereby digitally reproducing them on displays.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.21 no.4
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• pp.31-36
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• 2021

Colour properties can be classified based on hue, brightness, and saturation, and the characteristics of colour perception vary by colour property. In terms of colour perception, surrounding colours are viewed together rather than independently, and the characteristics of the original colour perception may vary depending on the colour characteristics of the surrounding. Thus far, research on colour perception and sensibility has focused on a monotonic environment, which is different from colour perception in real life. As such, a fundamental study on colour perception considering surrounding colours must be conducted. In this study, a psychophysical experiment was conducted, and the results were analysed to study the colour perception characteristics by edge brightness, Edge brightness was set as a variable based on the visual traits that are most sensitive to brightness, and the experiment was conducted using the Munsell colour system to specify the stimulus colour. Based on the analysis of the experimental outcomes, this study reveals the significance of fundamental research data on the visual and perceptual characteristics of colour perception with regard to edge brightness and provides directions for future research.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.166-173
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• 2014

This study analyzed visual-perceptual centrality as a measure to solve the confusion that might occur in visitor's movement in analyzing contemporary museums that have recently expand. Also, this study proposed a new methodology to understand the relationships of the occurrence and convergence of visual-perceptual power. The existing visibility graph analysis mostly ends up in identifying nodes corresponding to the physical environment of museums while the newly proposed visibility graph analysis is a methodology that can analyze the landmark on which the visual-perceptual power occurs and converges, by setting visible space elements as analysis variables, which showed a possibility to draw more reliable results in parallel to the existing analysis, and the results of this analysis are as follows. A public museum located in downtown has a limitation that it cannot but be multi-layered as a way to enlarge for the accommodation of a variety of programs on a limited site. Also, this study found that the problem of visitor orientation occurring in the multi-layer process was solved by a major space which was visual-perceptually void. Also, its types can be summarized into two types: One is setting parameter spaces (ramps, staircases, hallways) linked visual-perceptually to the major space and the other is solving the confusion of the visitor's movement by composing a simple exhibition space. In particular, it is judged that the type solving the confusion of the visitor's movement by composing a simple exhibition space also had a relationship with changes in the characteristics of the exhibited works by period. In addition, it was found that the entrance also appeared in two types: dependent type and independent type in the major space according to the characteristics of the major space.

• Journal of Korean Society of Forest Science
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• v.88 no.3
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• pp.309-319
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• 1999

This study was conducted to get forest scenic beauty management information toward forest working systems; characteristics in Larix forest stands. 35 different alternatives were simulated to visualize on basis of actual forest working methods. The options were illustrated as photos produced by computer software. Each alternatives were evaluated by 3 groups with total 593 respondents after reliability test. Visual preference evaluation was used 1 - 10 point rating scale. The ratings were scaled using SBE analysis program of RMRATE. To compare the relationship of visual preference and image scale, Spatial images of 13 thinning alternatives were measured by Semantic differential scale. In general, the respondents preferred refreshing and ordering forest stand after forest working to natural forest stand before forest working. Visual preference decreased with the increasing intensity of bare ground area and slash area in forest stand. And also, visual preference was high related to tree density, clear length of stem, and ground vegetation. Farm line of small clear cutting area was preferred straight line to curve line. Visual preferences were significant differences in certain socioeconomic variables of the respondents. Results indicate how to conduct forest working system for forest scenic beauty management.

• Journal of Animal Science and Technology
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• v.63 no.3
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• pp.614-625
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• 2021

This study investigates how visual appearance of pork cuts affects consumer preference. Images of pork belly, Boston butt, and loin were chosen on the basis of visible fattiness and used to analyze consumers' perception of the appearance of each pork cut. Meat color and visible fat proportion of images of pork cuts were analyzed by the researchers before conducting the survey. A total of 211 pork eaters evaluated the pork cuts based on appearance (lightness of color, redness, visible fat proportion, and fat distribution), preferability, and overall acceptability. Also, muscle pieces from different pork cuts were taken and the relative area composition of muscle fibers was measured. Based on survey results, correlation between visual traits and preferences of each pork cut was analyzed. The survey results showed that preferred pork appearance varied as per each individual's favorite pork cut. Also, the respondents evaluated visual characteristics and preference for each pork cut differently possibly due to the different visual characteristics of each cut. Correlation analysis between visual traits and preference indicated that overall acceptability of pork cuts was mainly influenced by fat preference, followed by color preference. Fat and color preferences for each pork cut were affected by various visual attributes including redness, lightness of color, visible fat proportion, and fat distribution, but their effects were considerably varied among different pork cuts. Thus, Korean consumers perceived and assessed pork appearance using various quality cues but the evaluation depended on which cut was being observed.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.197-204
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• 2007

In the spatial configuration of room-to-room art museums, openings and walls are important physical factors, and openings are a medium for connecting spaces. Also, by spatially composing walls and openings, spaces can be connected visually and physically, and movements and directions may vary depending on the location or size of walls and openings. In this study, 5 museums are investigated: Sainsbury Wing in London, Gemaldegalerie In Berlin, Alte Pinakotkek in Munich, Neue Pinakothek in Munich, and Staatsgalerie Stuttgart in Stuttgart. Using DepthMap program, the characteristics of visual-spatial composition of each museum are derived by comparing the Connectivity, Visual integration, and Isovist maximum radial. From an analysis of spatial distribution, a relationship with visibility is investigated. The results of this study showed that the combination of visual axial lines affect the spatial configuration of the room-to-room museums. Depending on the location of opening, the museums can be classified as follows: 1) Museums with the 1st visual axial line and the 2nd and 3rd auxiliary visual axial lines ; 2) museums with several equal visual axial lines; and 3) museums with only center axial line.