• 한국인쇄학회지
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• 제15권2호
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• pp.15-24
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• 1997

In DTP systems, satisfactory matching the appearance of displayed image on CRT and that of a reproduced binary image is very important. Most halftoning techniques assume that the printed color dots are square. However, most printers produce roughly circular dots. Thus, there is overlap between adjacent dots, and dots accupy adjcent space that should be empty space. These results are because the significant image distortion on the reproduced images. In this paper, we proposed a new tone correction digital halftoning method based on equi-visual perception characteristic.

• 한국실내디자인학회논문집
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• 제17권4호
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• pp.42-49
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• 2008

Design concepts of light can be divided into two respects, visual plastic and metaphysical meaning. The current research focuses on the second respect. The meaning of light is abstract characteristics(for example, divinity, spirituality, or image) ultimately expressed by visual plastic. Because it makes architectural space abundant, it have been expressed frequently in architectural space until now. The purpose of this paper is to conceptualize and explain and arrange the meanings of light in the category that have been expressed in architectural space from ancient to current. The method of this study is content analysis and case study, and this is supplement by theoretical consideration on the meaning of light(relationship between perception and meaning, elements to form meaning etc.). This study consists of three steps. Firstly, through the content analysis of existing literature and documents, 17 meanings of light are confirmed. Secondly, these 17 meanings are defined and explained in 3 categories(symbolic, esthetic, and experiential character). Thirdly, they are additionally explained and articulated by case study. In the result, various meanings of light that have been fragmentarily expressed in architectural space until now is clearly arranged at a glance. Those suggested design concepts will be basic conferential material, available to the interior designers and students who want to utilize the organised study concepts.

• 한국컴퓨터그래픽스학회논문지
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• 제20권4호
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• pp.1-7
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• 2014

볼륨렌더링은 주로 의학 및 과학 분야에서 사용되는 기법이었으나, 하드웨어의 발달과 더불어 다양한 응용프로그램에서의 적용이 가능해짐에 따라 볼륨렌더링에 대한 관심이 증가하고 있다. 볼륨렌더링의 시각화에 있어서 쉐이딩은 물체의 깊이 정보를 효율적으로 전달하여 시각적 인지에 큰 도움이 된다. 전역조명을 사용하면 시각적 인지를 향상시킬 수 있지만, 많은 GPU 메모리의 사용과 긴 연산시간으로 인해 프로그램과의 상호작용에 영향을 미친다. 본 논문에서는 렌더링 속도의 저하를 최소화하며 볼륨렌더링에 사실적인 쉐이딩을 적용하기 위하여 이미지 공간 폐색 쉐이딩 모델을 제안하고자 한다.

• 디자인학연구
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• 제19권5호
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• pp.181-190
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• 2006

본 연구는 배경과 시각도, 물리적 크기, 자간, 인지방향 등의 요소가 대상 문자의 크기지각에 어떠한 영향을 미치고 있는지에 대해 검토한 것으로 실험 I에서는 숫자를 대상으로 실험 II에서는 한글을 대상으로 크기지각에 대한 실험연구를 진행했다. 실험 I에서는 숫자를 대상으로 2수준의 배경과 3수준의 시각도, 9수준의 물리적 크기를 변화시킨 54 종류의 Task에 대한 크기평가가 시행되었으며, 실험 II에서는 한글을 대상으로 9수준의 물리적 크기, 2수준의 배경, 3수준의 방향, 2수준의 자간요소들을 변화시킨 108 종류의 Task에 대한 크기평가가 실시되었다. 실험 I, II 모두 크기지각에 대한 측정방법으로는 매그니튜드 측정법이 사용되었다. 실험 I의 결과, 숫자의 크기지각에 배경과 시각도, 물리적 크기가 영향을 미치고 있음이 증명되었으며, 물리적 크기 100 (기준자극의 크기) 이상의 대상들에 대해 지각적 크기의 과소시가, 100이하의 대상들에 대해서는 과대시 경향이 나타났다. 그리고 이러한 경향은 Delboeuf 착시효과가 문자의 크기지각에도 나타나고 있음을 시사했다. 실험 II의 결과, 한글의 크기지각에 있어 물리적 크기, 자간, 인지방향 등의 요소가 대상의 지각에 영향을 미치고 있음이 증명되었으며, 자간, 인지방향에 의한 크기착시 역시 주변 문자와의 관계에 의한 것으로 고찰 검토되었다.

• 한국실내디자인학회논문집
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• 제38호
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• pp.48-56
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• 2003

This study is purposed to find the transition of the perspective connected with visual modality. The perspective based on Greek optics and euclidean geometry and rediscovered in Renaissance represents the object according to the particular moment and the point of view, is a principal fact which affect architecture, the form of a city and the spatial organization and symbolizes an ideal of the times. It embodied perception which treats the space rationally on the basis of realism and became visual modality based on the separation of the seeing subject and the world of the object. The point of view became one with the vanishing point which made up the shape and after Renaissance for four hundred years a straight line, a right angle and a circle got to be favorite geometrical choices in architecture. A fixed point of view of the subject is getting to change and break up fundamentally by the new visual technologies of the modem times.

• 한국실내디자인학회논문집
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• 제27호
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• pp.57-63
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• 2001

It is believed that visual exposure to nature in the interior environment can make human healthier. But little about the effect of visual environment on human health is known. This article employs some existing evidences that perceptual experience of natural elements in the interior environment could reduce mental fatigue. The results of this article are shown as follows: First, the perception of natural elements is a physiological activity in terms of psychological health. Secondly, the visual stimulation of nature provoking proper arouse helps psychological balance. The aim of this article is to provoke further thinking and research on this possibility that visual exposure to nature may make people healthier.

• 한국실내디자인학회논문집
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• 제18권1호
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• pp.35-42
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• 2009

In this study, the author aims to examine that the image for specific space coming through vision is to reveal how people perceive the space through vision and whether the perceived space includes the role as the catalyst that causes the following activities. It is believed that the fact which elements are remembered as the whole expression as well as the memorized images that humans have regarding the space should act as the important factor in terms of space perception. The conclusions from this study are as follow; 1) By analyzing the frequency of observation time that were obtained from the examinee, it was possible to classify the property of observation with S areas. Besides, it was possible to the meanings that the design elements have in each area. The establishment of the areas are considered as the important factor to examine which design elements have drawn the attention. 2) In case of I area which showed the most design factors that would lead examinee's vision or have interests in the examinee views, it showed that it stared the lower parts from the middle of the Image spatially, which was the most stable position from the image with strong tendency for staring at this area. 3) The most frequently stared area was the lower part of the middle, however, while the I area gazed the right side of the middle, II area faced the left side more so that it was revealed that it stared at the lower part of the middle and right side, then, moved to left. 4) Despite the frequent observation, some areas had very low or few observation data records and the area which was designed with monotonous color with relatively large size was also involved here so that it was identified that the simply treated area in design was rarely gazed.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 춘계학술발표대회 논문집
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• pp.176-179
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• 2004

Space is comprised by the movements of human beings, and draws a complex locus within it. That form seems to be complex of movement around in all directions of space axis, and be ever-changing process as time goes by. Although Human are able to move uninhibitedly, the movements are restricted to a narrow sphere during locomotion. However, the pattern of these movements delineates a certain frame within the space, and provides not only visual effects but also relevance tomovement itself. Also, critically dividing and organizing this sphere is what is realized into this tangible indoor space. This study recognized importance of human being as a core of making indoor space and brought out experimental approach on relationship human with space, and visually perceptual standpoint. And this presented the recent possibility of action and attitude though sight and walking by arranging space on the basis of modern artists' perception of human body.

• 한국실내디자인학회논문집
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• 제23호
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• pp.132-138
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• 2000

Architecture should deviate from euclidean ideas of abstract space while helping to accommodate individual perceptions and experiences of a given space. Concepts for making space should be cognitively processed. The process of gathering information from the environment represents a new spatial concept as expressed in the cognitive structural relationship between the environment and the individual as the subject of architecture. Additionally, the cognitive experience of space is primarily perceived visually, and visual perception is the basis for information-gathering and decision-making. Therefore architecture should be excluded from the conceptual focus on the existing space design rules, being expressed instead in experimental architectural spaces connected to subjective human experience. While some research has been done on this topic regarding architecture, further study is required in the area of interior design. This study proposes the possibility of composing effective living space through an investigation of cognitive space concept theory and expression elements, and includes a case study of Interior architectural spatial analysis.

• 조형예술학연구
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• 제13권1호
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• pp.39-60
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• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.