• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.23-30
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• 2008

This thesis aims to analyze the visual perceptual effects drawn by 'axial composition and divergence' and to interpret the architecture of Kahn in respect of 'axial composition and divergence'. Axial composition of the form, the location of the entrance and divergence of internal movement were checked up about 53 works by extracting parti which is basic element of spatial composition. The 3D modeling simulation was performed for the selected 10 works in order to analyze the visual perceptual effect due to divergence of the internal movement. The reaction of the observer's actions and visual perception by 'axial composition and divergence' is presented in the following steps. 1. Divergence of the entrance/a panorama of expanding planes. 2. Divergence of internal movement/The process of perception of visual rotation and central spatial form. 'Perceptive form' created by 'divergence' is the result of diverse and flexible series of processes which must be experienced in person in order to reach the space as a room with a definite domain and center.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.63-70
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• 2007

A relationship between the museum display wall composition and the visual spatial configuration is investigated in this study. From the previous research, existing types are classified in order to define the exhibition space of room to room. Based on the classification, an open room to room of art museum is defined as a room to room of museum, and the plane of museums is investigated. With the museums under this study, the wall of a room to room exhibition space as well as the visual spatial configuration are analyzed depending on the location of an opening, centering on the composition of unit space. In addition, two types of spatial composition are compared depending on the location of the opening. One type of spatial composition is lied on a straight line with visual continuity, and the visual line is found to be simple. Whereas, the other type has an invisible configuration between spaces due to a criss-crossed opening, so the space is perceived to be closed and disconnected. When comparing these two types, the advantage and disadvantage of each space are compared. As a result, a similar type and size of unit space are derived. In addition, the ratio of the opening compared to the total wall was found to be uniform, and a distribution of the opening and walls were found.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.783-794
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• 2001

This research focuses its study on the expressions of the visual images of the fashion illustration as a part of visual art and utilizes it to formulate the theoretical basis. Main findings of our research are as follows: The structure of communications in the fashion illustration is based on the four elements. They are the expression of the texture, drawings, composition, and the human body and dress. The characteristics in expression of texture level in fashion illustration can be the expression of creative texture in pattern or crease, and also can be expressed as various collage and photomontage by computer graphics. Secondly, the analysis on the characteristics of the drawings show that the drawing skills are imagination and sequential drawings. Thirdly, the characteristics of composition method are mainly shown as the application of plane composition which was previously used in avant-garde arts. Fourthly, most of the human body in the fashion illustrations are shown as the results of simplification, exaggeration and deformation in human body and also expressed or analyzed by the method of the body modification. Based on the above findings of this research we conclude that the way of expression in the fashion illustration is very similar in its composition as in visual art. However, they also show differences between the two in expression method or the method for the image development in specific expressions.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.106-109
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• 1999

This thesis is to measure visual mass sense in the language of visual expressing architecture designs. Also, this analyzes materials which effect visual design composition theory, forms, and those that act as important factors of architecture style history. Second chapter considers visual mass, then analyzes concepts of sense of visual mass and the way they are expressed in architecture. Third chapter investigates materials that are composition factors of architecture design and classifies materials that express sense of visual mass. Fourth chapter various projects are analyzed as examples. Also analyze and arrange materials which express sense of visual mass. This thesis studies materials expressing sense of visual mass and proposes possibility to approach theoretically the materials that participate in creativity of architecture design.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.9 no.4
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• pp.992-999
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• 2008

The purpose of this study is to analyze the composition for visual character to make the process of television programs. The study can be classified as a visual communication methods into a target audiences. At the beginning of using visual character was communication method as an insufficiency of television programs. However, In recent years, television industry using visual character in many ways into television programs that it can be classified not only to developed the communication method as a function of effects, but also to changed substitute a variety of graphic pattern of visual character in television programs. As a matter of fact, this study have some implication in terms of using a visual character to making television program, therefore, the results show that different ways of using visual character into the diversity of television programs were discussed.

• Journal of The Korean Digital Architecture Interior Association
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• v.8 no.2
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• pp.57-64
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• 2008

The walls of art museums become the background of exhibits, and they form a unit space depending on the of each exhibit. In addition, the walls are configured and presented depending on the rhythm of space, or the structure of an axis. In this study, according to the axis composed for each unit space, the presentation methods of walls were classified as follows: The central type, the skewed type, the crossed type, the one-side corridor type, and the two-way corridor type. By analyzing visual configurations formed by the arrangement of each unit space, the value and the hierarchy of walls are discussed To analyze the classified types with the physical change of unit space, the factors of visual integration, connectivity, depth, and visual axis are compared, and various configurations of walls and space change are applied.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.190-202
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• 1995

The Optical Art is based on the principle of visual perception of the illusionary effects which induce psychological responses. It has influenced greatly on the Texile Design in that unique iJlusionary creativity of pattern simulates the visual sense of special movement; the dynamic psylosophy of vitalism. The Optical pattern has become a highly valued item due to its innovative effect in aesthetic direction. According to Vitor Vasarely the pioneer in this area, the integration and the inseparability of form and color which he calls 'Plastic Unity' provides the basis for the composition of infinite variety. The composition of infinite variety. The composition reveals the complex interaction between the space and form relating to order, repetition, combination and permutation. It is not simple to create optical patterns due to the extreme complexity composed by the multi-dimension and the infusion of form and color giving immensely varied movement. The purposes of this study are as follows; 1) to classify the complex processes of optical pattern on the basis of formative method. 2) to develop creative ideas for progressive contemporary textile design In this study, the analysis of applied methods is concentrated, which is based 1) on the gradual modification and on the transformation of the basic plastic elements which depend on thle direction of visual points involVing contradictory perspectives 2) on the composition varied special situations by repeating, overlapping and converging a series of idetUical units or by means of irrdiation, radiation and etc.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.139-147
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• 2008

Modern architecture's optical mechanism focused on Ocuularcentrism neglects the tactility of vision and tends to eliminate the optical and tactile dualism of traditional spaces by representing spaces and surfaces that are abstract and cold-hearted. In other words, all sensory experiences, except for visual experiences, are eliminated to make it impossible to create the substantial core of architecture that combines time, image, and surface textures. The fast-changing social trends, the emergence of new materials and technologies, and the corresponding development of various types of media since the Industrial Revolution have changed the paradigm of human perception and representation. With the development of media, other sensory experiences besides visual experience have been stressed and human perception has converted from single perspective to complex perspective. In result, new sensory items, such as visual tactility, have replaced the traditional vision-centered hierarchy. The composition of architectural surfaces has represented the functional and commercial needs of technology, structure, as well as the socio-cultural needs of the community. In contemporary times, it is being changed and developed by the new tactility and the corresponding expression of modern architecture. Based on the visual representation of tactility of architectural surface, this study used a composition of surface that combines various events, meanings, and senses to examine how architecture can mediate and reproduce viewers' visual experiences and discover the existential relationship between architecture and men.

• International journal of advanced smart convergence
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• v.13 no.2
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• pp.136-141
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• 2024

Chang'an (Chinese: 长安三万里), also known as 30,000 Miles from Chang'an, is a 2023 Chinese 3D animated historical drama film directed by Xie Junwei and Zou Jing.This thesis aims to explore the visual expression of traditional culture in the 3D animated film Chang'an as an example to reveal the reasons for the success of this type of film. The study analyses in detail the design of the character models and costumes, as well as the use of the traditional landscape painting technique of 'white space' in the composition of the screen from the visual aspect. Through the analysis of character design and screen composition, the thesis concludes that the success of Chang'an lies in its elaborate visual design and clever use of traditional culture, which makes it a 3D animation film with both artistic and commercial values. Finally, the thesis concludes that the production of a successful 3D animation film needs to combine the visual elements of 3D animation with traditional culture in order to win audience recognition and achieve commercial success.