• Journal of the Korean Academy of Esthetic Dentistry
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• v.30 no.2
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• pp.71-90
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• 2021

The virtual patient dataset is a collection of diagnostic data from various sources acquired from a single patient into a coordinate system of three-dimensional visualization. Virtual patient dataset makes it possible to establish a treatment plan, simulate various treatment procedures, and create a treatment planning delivery device. Clinicians can design and simulate a patient's smile on the virtual patient dataset and select the optimal result from the diagnostic process. The selected treatment plan can be delivered identically to the patient using manufacturing techniques such as 3D printing, milling, and injection molding. The delivery of this treatment plan can be linked to the final prosthesis through mockup confirmation through provisional restoration fabrication and delivery in the patient's mouth. In this way, if the diagnostic data superimposition and processing accuracy during the manufacturing process are guaranteed, 3D digital smile design simulated in 3D visualization can be accurately delivered to the real patient. As a clinical application method of the virtual patient dataset, we suggest a decision-making method that can exclude occlusal adjustment treatment from the treatment plan through the digital occlusal pressure analysis. A comparative analysis of whole-body scans before and after temporomandibular joint treatment was suggested for adolescent idiopathic scoliosis patients with temporomandibular joint disease. Occlusal plane and smile aesthetic analysis based on the virtual patient dataset was presented when treating patients with complete dentures.

• The Journal of Advanced Prosthodontics
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• v.6 no.2
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• pp.71-78
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• 2014

PURPOSE. The objective of this study was to evaluate the clinical acceptability of all-ceramic crowns fabricated by the digital veneering method vis-$\grave{a}$-vis the traditional method. MATERIALS AND METHODS. Zirconia specimens manufactures by two different manufacturing method, conventional vs digital veneering, with three different thickness (0.3 mm, 0.5 mm, 0.7 mm) were prepared for analysis. Color measurement was performed using a spectrophotometer for the prepared specimens. The differences in shade in relation to the build-up method were calculated by quantifying ${\Delta}E^*$ (mean color difference), with the use of color difference equations representing the distance from the measured values $L^*$, $a^*$, and $b^*$, to the three-dimensional space of two colors. Two-way analysis of variance (ANOVA) combined with a Tukey multiple-range test was used to analyze the data (${\alpha}$=0.05). RESULTS. In comparing means and standard deviations of $L^*$, $a^*$*, and $b^*$ color values there was no significant difference by the manufacturing method and zirconia core thickness according to a two-way ANOVA. The color differences between two manufacturing methods were in a clinically acceptable range less than or equal to 3.7 in all the specimens. CONCLUSION. Based on the results of this study, a carefully consideration is necessary while selecting upper porcelain materials, even if it is performed on a small scale. However, because the color reproducibility of the digital veneering system was within the clinically acceptable range when comparing with conventional layering system, it was possible to estimate the possibility of successful aesthetic prostheses in the latest technology.

• The Journal of Korean Academy of Prosthodontics
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• v.60 no.4
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• pp.313-319
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• 2022

Complete dentures are one of the most basic treatment methods for the treatment of edentulous patients. The manufacturing process of traditional complete dentures goes through the steps of taking primary impressions, secondary impressions, jaw relation record, trying in wax denture, and final denture insertion. Multiple visits and complex manufacturing procedures are required, and errors may occur in each step. With the development of digital technology, manufacturing steps have been reduced by introducing digital technology to the denture treatment process. In the process of manufacturing dentures by introducing a digital process, a more precise work is possible using Computer-Aided Design, and it is possible to shorten the period of labor and reduce the number of visits. In this case, the anterior teeth arrangement of the patient's existing dentures was transferred to the final dentures using a digital method. After taking impression, try-in dentures were digitally fabricated and tried in the oral cavity to evaluate their retention in the oral cavity. Final dentures were manufactured by milling process. The number of visits was reduced, satisfactory retention and stability of dentures were obtained, and aesthetic recovery was achieved.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Journal of Digital Convergence
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• v.12 no.4
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• pp.399-407
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• 2014

The purpose of this study was to provide basic data necessary for improving the oral health of the elderly and quality of their lives by analyzing the relationship among the geriatric denture-related characteristics, denture satisfaction, and geriatric oral health assessment index. For this study, the elderly aged 65 or higher who resided in Euseong-gun, Yeongju-si, Andong-si, Gyeongsangbuk-do were surveyed from March 25, 2013 to May 9 of the same year. The results of this study showed that the denture satisfaction had high correlation with the 'satisfaction with denture attachment', 'satisfaction with aesthetic function of pronunciation', and satisfaction with masticatory function. Moreover, the causative relation was found to exist among the geriatric denture-related characteristics, denture satisfaction, and geriatric oral health assessment index. Thus, it is considered necessary to establish the institutional system and take measures that can improve the awareness towards the geriatric oral health education and geriatric oral health state with respect to effective use and management of denture.

• Journal of Digital Convergence
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• v.13 no.8
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• pp.457-463
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• 2015

The image distortion field has been studied and applied variously in the fields of engineering and art. This research is to express artistic sense by using the engineering technology on image distortion. In order to do this, the paper first examines the aesthetic interpretations on artistic expressions of image distortion. Then, it explains that image distortion using magnetic force can be an artistic expression method and includes user immersion elements. In addition, it demonstrates that image distortion can be used as an artistic emotional expression based on interaction. This research will contribute to the production and development of creative emotional contents through the convergence of scientific technology and art.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.431-437
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• 2012

In today's modern society, since the Industrial Revolution took place, still lots of goods have been produced in quantity. However, human's instinct has been growing bigger and bigger that he or she wants to possess the works or products of scarcity and aesthetic value of a sculpture handmade by craftsmen, not mass-produced with the same design patterns. Accordingly, it is required that an artist be concerned about the value of figuring out and pursuing an individual's lifestyle, his/her needs and inherent desires. Moreover, by means of visualization technique, an artist should provide the public with several scenarios about the future, letting them choose the one they want democratically. Therefore, with the help of Mokumegane technique, one of the traditional metal crafts techniques, which shows certain organic patterns joining different metals, this research aims for the inheritance of traditional techniques and the objective preparation for high-quality crafts market, studying the patterns expressed on the surface of metals, which are hard to find through machines.

• Journal of Digital Convergence
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• v.12 no.1
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• pp.525-530
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• 2014

This experimental research explores the effect of screen size of smart media on viewer's evaluation and presence. For this experimental research, 2 groups of subjects composed of university students were exposed to TV document video clips which were shown by two different size of smart media, and evaluation and presence related questions were asked analysed. This research found that subjects exposed to large smart media showed higher degree of image aesthetic evaluation and presence than those exposed to small media. but the effect of screen size of smart media on viewer's program evaluation was not found. Through this study, screen size of smart media is main factor which has effect on image aesthetics and presence of TV documentary.

• Archives of design research
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• v.13 no.3
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• pp.135-144
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• 2000

In the 1930s modernist approaches in graphic design and typography had emerged and were exported as Swiss Style or the International Typographic Style in the late 1950s. Basel's school of Design has played an important role in the further development of the style and acted as a bridge between modern typographic traditions and new technology. This school was one of the most influential design institutes during the past half-century. Leading practitioners at this school developed a new visual vocabulary which was a revolutionary precursor to a digital era. Those ideas were widely appropriated in the'70s and'80s, becoming one of the most profound influences on American New Wave. The influence has continued into the 1990s. The intent of this study is to inquire into the history of 20th-century modern typography in a social and aesthetic context.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.88-99
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• 2008

This study aims to analyze product samples of convergence of fashion and technology, as convergence is a major trend in the age of digital paradigm, and to propose desirable directions of development for technology convergence in fashion design in the future. With bibliographic research as well as internet search of the cases of development and commercialization of convergence of fashion and technology from the 1960s, when wearable computers were first introduced as an early development form of convergence, to the present, it becomes possible to classify these cases into three groups: functionally oriented one, aesthetically oriented one, and one that combines function and aesthetics. The pros and cons of each group of these cases are discussed and an evolutionary trend is observed from the earlier stage of convergence with functionally oriented cases which tried to achieve specific purposes of the time to the later stage of convergence with emphasis on both function and aesthetics which reflects the sensitivity of the general wearers. When three groups are plotted in the positioning map with one axis of function-aesthetics and the other of industry-fashion designer, however, all three are located outside of the two axes, suggesting these elements are not very well combined. In order for the products of the fashion-technology convergence in the future to receive favorable response from the consumers, it is necessary for the fashion industry to develop a close collaboration with companies of digital technology and the convergence products not only will have to provide functional benefits of the new technology but also to satisfy the aesthetic demands of the wearers.