• Transactions of the Korean Society of Automotive Engineers
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• v.2 no.1
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• pp.84-95
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• 1994

The effects of punch and blank shapes in the rectangular cup drawing process are examined experimentally to improve the formabilities. For this purpose, three blank shapes which are h-bl., G-bl., and T-bl., and five punch shape factors which are the ratios of two adjacent side lengths in rectangular cross section are adopted. The constructing methods of the three blank shapes are as follows. The h-bl. is designed by slip-line theory, and the G-bl. is selected for the similar shape to the punch. The T-bl. is obtained by the drawing method which is introduced in the technical references. The five punch shape factors are selected for length/width=1, 1.25, 1.5, 1.75 and 2. The experimental procedures are performed for all the above forming conditions to investigate and compare the formabilities. As a result, it is verified experimentally that the rectangular cups drawn by the h-bl. are more ideal than those drawn by G-bl. and T-bl.. They have not only higher limiting drawing ratio, more uniformity in drawn cup heights and more ideal thickness distributions, but also need relatively less maximum drawing forces.

• Journal of architectural history
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• v.21 no.3
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• pp.55-72
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• 2012

There is a temple drawing called Monk Daegwak's Joongchanggundo at Seon-Am Temple of which the time of creation is unknown. This drawing shows the details of Seon-Am Temple and surrounding areas well, which helps to understand the construction of Seon-Am Temple and other small mountain temples. The records on the top also describe the surrounding landscape in the Fengshui aspect, and describes the number of buildings at Seon-Am Temple. According to the construction style that gives clues about the age of this drawing, the time range can be narrowed down in order to approximate the age of this drawing through the Buddhist trends of Seon-Am Temple. In the results, it was estimated that the drawing dates back to the time when Seon-Am Temple flourished in the mid-18th Century as it's competition with the temple of Songgwang actually began. Buddhism considers the relationship between teacher and student as the most important and the principals were delivered through this relationship. Therefore, the activities to increase the connection between monks and this drawing were created in order to indicate the atmosphere of the Seon-Am Temple of the time.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.6
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• pp.826-837
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• 2015

This study analyzes the shapes of the adjustment of a Napoleon Collar which combines a stand collar with an upper collar. It established experimental conditions for fixing the conditions of Napoleon Collar components (lapel width, stand collar size and upper collar size) as well as varied the shape of the neckline, the length of the curve of a stand collar and the size of the drawing space at the center back. It produced 22 test clothes of muslin, which were dressed on dress form No. 8. The results indicate that: 1. Neckline shape determines the amount of stand and fall. Less curved neckline stands higher against the neck and a more curved neckline is laid lower onto the body. 2. A shorter curve length of a stand collar allows a longer roll line to fall farther away from the neck with more space between the neck and collar. However, the longer the depth of curve of a stand collar creates a shorter roll line that stands high against neck and closer to neck without any space between the neck and collar with a collar line matching the neck of the dress form. 3. The smaller the drawing space at the center back creates a shorter the style line of the upper collar. However, a narrower back width of the collar creates a bigger drawing space at the center back with a longer the style line and a more naturally placed back width of the collar. 4. A Napoleon Collar creates a longer depth of curve for a stand collar and a smaller drawing space at the center back that is tightly and stably stuck to the neck.

• Journal of Korea Multimedia Society
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• v.14 no.5
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• pp.691-702
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• 2011

Recently, several researchers have attempted to combine human visual perception and computer graphics. Cole et. al. suggest the study results in which line drawing algorithm in computer graphics characterize the properties of line drawing made by artists. The paper also evaluates CG line drawing algorithms depending on whether people recognize effectively specific 3D shape from the image made by those CG line drawing algorithms. However, human recognizes the shape of objects more effectively in image made by BRDF shading model than line drawing algorithm. It means that the shading factor is important to recognize shape with human perception. In this paper, we analyze the correlation between shading made by human artists and that made by CG shading algorithms. The study is to characterize the mathematical properties of artists' shading and CG shading. This type of analysis can guide the future development of new CG shading algorithm in computer graphics for the purpose of shape perception.

• Transactions of the Korean Society of Mechanical Engineers
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• v.17 no.12
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• pp.3094-3104
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• 1993

The five punch and die sets are selected as the examples of arbitrary cross sections which have two opposite inclined sides. Two kinds of blank shapes are designed for all cross sections. One(h-b1.) is determined by slip-line theory and the other (G-b1.) is determined conventionally as the similar shapes with the cross sections which were used by Gopinathan. As a result of the experimental procedures, the superiority of the blank shapes designed by slip-line theory is verified in the limiting drawing ratio, the uniformity of cup height and the thickness distributions.

• Korean Journal of Computational Design and Engineering
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• v.4 no.1
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• pp.19-31
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• 1999

One of the non-photorealistic rendering method, a drawing technique which uses only fine curves and dashed line, is widely employed in an knots and post stamps printing. Engraving of the curves and lines are traditionally performed by human engravers which leads to low productivity in printing preparation. As an effort to improve productivity and quality, a drawing automation method which can easily produce a portrait composed of vector data for laser or chemical engraving is proposed. The method shows that it is possible to draw a portrait by controling the width and length of predefined fine lines according to the gray scales a the end points of each fine lines. A gradually controled weighting factor method is proposed in addition to the author previous works to prevent undesirable boundaries in an identical texture region. User interface functions of a commercial CAD system are heavily employed to exploit the presented method.

• Proceedings of the Korean Society for Technology of Plasticity Conference
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• 1997.03a
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• pp.19-24
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• 1997

The weld line location and the weld line movement in stamping with laser-tailor welded blanks(TWB) were investigated through square cup deep drawing tests. The step blank holder was introduced to form TWB of different thicknesses without wrinkling, and the non-uniform blank holding force(BHF) was enforced to control weld line movement. Test results of the blanks with shifted weld lines showed that the large portion of the thinner area could result in a large weld line movement. Careful selection of the weld line location and the BHF control should be adapted in TWB design to avoid failures and to ensure its formability.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.97-104
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• 2013

This study aims at finding out the characteristics and influences of Libeskind's early drawing works through comparisons of each drawing. The importance of his experimental drawing works is not only their uniqueness but also relationship to creation and development of his architecture. Libeskind's musical and educational background had great impacts on forming his early drawings. A series of drawings including 'Micromegas', 'Chamberworks', and 'Theatrum Mundi' shows variety and experiments about reconstruction of three dimensional architectural fragments, abstractive line drawing and plane oriented painting. Libeskind himself cease to experiment drawing techniques but their characteristics still remain in his sketches, diagram and conceptual drawings. In spite of influences of undergraduate design studios, theoretical background of graduate studies, their experimental features are due to his continuous endeavor to make and develop his drawing skills and contents. As a result, his early drawings act as media and way to communicate and develop his concepts.

• Journal of KIISE:Computer Systems and Theory
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• v.37 no.2
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• pp.110-125
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• 2010

We present a novel scheme for generating line drawings from 2D images, aiming to facilitate effective visual communication. In contrast to conventional edge detectors, our technique imitates the human line drawing process to generate lines effectively and intuitively. Our technique consists of three parts: line extraction, line rendering, and user guidance. In line extraction, we extract lines by estimating a likelihood function to effectively find the genuine shape boundaries. In line rendering, we consider the feature scale and the blurriness of lines with which the detail and the focus-level of lines are controlled. We also employ stroke textures to provide a variety of illustration styles. User guidance is allowed to modify the shapes and positions of lines interactively, where immediate response is provided by GPU implementation of most line extraction operations. Experimental results demonstrate that our technique generates various kinds of line drawings from 2D images enabled by the control over detail, focus, and style.

• Proceedings of the KSME Conference
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• 2000.04a
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• pp.786-791
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• 2000

The purpose of this study is to investigate quantitatively the effects of drawbead dimensions to the weld line movements for the deep drawing of the tailor welded blanks. Square blanks have been used and five different circular drawbeads were installed in experimental apparatus. The differences in the weld-line movements and the tendencies of the strain distributions in thickness were investigated by experimental and analytical methods. The results of the weldline movement show that the smaller the radius of drawbead installed, the larger the values of movements. Also it is shown for thickness strain in central and diagonal direction that the larger the dimension of drawbead, the larger the values of maximum thickness strain. The drawbead adds the additional restraining forces to the blank, hence the movement of weld line could be controlled by the adequate drawbead installation