‘세로내리기’의 수직선과 시점의 변화를 이용한 작품 연구

이경해(Lee Kyung hae) 한국조형디자인학회 2017 조형디자인연구 Vol.20 No.2

조형에 있어 선(線)이 내포하는 의미는 다양하다. 점의 움직임으로 발생하는 선은 자체적으로 힘을 가지고 있으며, 선을 그리는 행위자의 감성을 내포한다. 즉 하나의 선에는 인간의 내면세계를 담아내는 힘이 있는 것이다. 이 중 ‘세로선’은 모든 생물의 본능적인 세로내리기의 관점에서 바라보았을 때 인간의 내면의 감성을 표출하는 방법의 하나로 다양한 연구의 가능성을 가진다. 본 연구는 ‘세로내리기’라는 방식을 통해 세로 선의 의미를 다양한 관점에서 해석하여 인간의 내면을 표현하는 도구로 적용하여 인간의 본능적 감성을 연구자의 철학으로 재해석하고 작품으로 표현하는 연구이다. ‘세로내리기’의 작품연구에 앞서 ‘세로내리기’의 철학적, 미학적 의미를 정리하고, 알베르토 자코메티, 이우환 그리고 박서보의 작품에 나타난 다양한 의미의 수직성을 분석하여 이를 바탕으로 본 연구의 ‘세로내리기’가 가지는 의미를 재정립하고, 이 선이 가지는 실존적 의미와 생명력을 바탕으로 인간의 내면세계 갈등과 이를 극복하고자 하는 의지를 표현하는 ‘세로내리기’ 작품연구를 진행하였다. 작품 연구는 세로내리기, 시점의 변화에 따른 공간구성 그리고 내면의 갈등을 해소하기 위한 표출의 도구들의 세 가지 요소를 이용하여 표현하였다. 이를 표현하기 위해 비어진 캔버스 위에 점이나 선, 절제된 수의 색 등의 표현기법을 통해 시점을 두 가지로 분류하여 각 시점에 해당하는 ‘세로내리기’와 공간의 구성 관계를 통해 인간의 내면적 감성, 심리적 갈등, 그리고 그것을 초월하고자 하는 의지의 표현을 시도하였다. 하나의 작품 속에 그어지는 반복되는 세로 내리기 선을 통해 연구자가 표현하고자 하는 감성을 내재한 상태에서 무의식적으로 되풀이되는 선긋기 행위의 흔적으로 나타나는 세로내리기를 1인칭으로 바라보는 시점과 3인칭으로 관찰하는 방법으로 구분하여 적용하였다. ‘세로내리기’작품 연구를 통해 아래로 내려 긋는 행위의 무의식과 의식이 혼합된 반복 행위의 ‘세로내리기’는 그 자체로도 예술의 한 표현 기법으로 인간의 감정, 행위의 상관관계에서 나타나는 관점의 차이를 나타낼 수 있는 방법으로 적용할 수 있으며, 다양한 시점 변화에 따른 선 긋기의 방법을 연구함으로써 이를 토대로 한 확장 연구가 가능하다는 결론을 얻었다. 이는 다양한 의미의 선을 통해 인간의 내면의 감성을 표출하는 방법을 적용하는 작품연구의 첫걸음으로서 앞으로 이를 바탕으로 확장 연구를 발전시키기 위한 연구로 그 가치가 있다고 생각한다. In the formative arts, a line connotes diverse meanings. The line generated by movements of a point has its own energy, and also implies the sensitivity of the person drawing the line. In other words, a line has the energy to contain human s inner world. Especially, a vertical line , in the aspect of every life s instinctive vertical drawing, has the possibility of diverse researches as a method to express human s inner sensitivity. This study aims to reinterpret human s instinctive sensitivity based on the researcher s philosophy, and also to express it into works by interpreting the meaning of a vertical line in diverse perspectives through the method of vertical drawing and then applying it as a tool to express human s inner side. Summarizing the philosophical aesthetic meanings of vertical drawing and also analyzing diverse meanings of verticality shown in works by Alberto Giacometti, Lee Woo-hwan, and Park Seo-bo, the meaning of vertical drawing of this study was re-established, and then the works of vertical drawing expressing human s inner conflicts and also will to overcome them were researched based on the existential meaning and vitality of this line. The research on the works was based on three elements including vertical drawing, spatial composition in accordance with the change of time, and expression tools to relieve inner conflicts. In order to express them, the time was classified into two through the expression methods like points or lines, and limited number of lines on an empty canvas. Through the composition relationship between space and vertical drawing belonging to each time, it aimed to express human s inner sensitivity, psychological conflicts, and also will to transcend them. Through vertical drawing lines repetitively created in a work, the vertical drawing shown as a trace of repetitive and unconscious drawing lines containing the researcher s sensitivity was separately applied with the first-person viewpoint and the third-person viewpoint. Through the research on the work of vertical drawing , the repetitive vertical drawing mixed with consciousness and unconsciousness could be applied as a method to express differences in the perspective shown in correlations between human s feelings and acts, as an expression technique of arts. Researching the method of drawing lines in accordance with diverse changes in time, more extensive researches could be conducted. As the first step of researches of works applying the method to express human s inner sensitivity through diverse meanings of line, this study would be valuable as a research to develop extensive researches in the future.

선묘불화의 제작인식과 특징

김형곤(Kim Hyung-gon) 동국대학교 박물관 2014 佛敎美術 Vol.25 No.-

A study on the concept of Buddhist painting in line drawing and its purpose of production is an important starting point of understanding its meanings. A line drawing means a drawing consists of lines, and the Buddhist painting is a drawing based on the religious characteristics of Buddhism. Therefore, the buddhist painting in line drawing is a painting produced by the line drawing skills to describe Buddhism. In terms of visual expression, Buddhist painting in line drawing is different from colored buddhist painting which uses various colors. It is an important characteristics to distinguish the lines and colours to understand Buddhist painting in line drawing. When looking at the existing samples, Buddhist painting in line drawing seems to had been continuously produced from Koryo Dynasty to Joseon Dynasty. The 16th century in Joseon Dynasty was the period the concept of Buddhist painting in line drawing was defined and produced a lot. It is found in Hwagi(畵記) and other literature materials that a Buddhist painting in line drawing produced at that time was focusing on introducing the purpose of production with new words 'Gold Lined-drawing painting', indicating Buddhist painting in line drawing with gold. <Amitabha Triad Painting> owned by a private temple in Japan in 1359, Goryo Dynasty, is the most important sample to understand the trends and the producing period of Buddhist painting in line drawing. Until the <Amitabha Triad Painting> was found, Buddhist painting in line drawing was studied based on its relationship with the small Frontispiece Painting, but now there are more grounds to decide the purpose of producing the paintings. Moreover, thanks to the <Amitabha Triad Painting>, the difference between Buddhist painting in line drawing and colored painting became clearer. The painting is rated to be important for understanding the characteristics of Buddhist painting in line drawing. After that, in 1532, <Amitabha with the Eight Great Bohisattvas Painting> in Enracuchi(延曆寺), Japan, is a pioneering painting of Buddhist painting in line drawing in 16th century in Joseon Dynasty. It has enough representative characteristics to be regarded as an example of Buddhist painting in line drawing at that time. Amitabha with the Eight Great Bohisattvas Painting is receiving attention as an important painting that contributed to the continuous production until the late 16th century, inheriting the Goryo traditions. The various painting techniques in the late Joseon Dynasty not only accepted the previous styles but also tried changes continuously. <Vairocana Sermon Painting> in Bogyeong Temple(寶鏡寺) in Pohang in 1742 and <Amitabha Sermon Painting> in Donguk University Museum in 1759 represent the tendency to fill space with lines rather than colors as a succession of previous Buddhist painting in line drawing. Around that time, more and more Buddhist painting in line drawing was produced focusing on the contour lines. Instead of lines, more and more painting used color in some motives, broadening its range as a new painting technique such as <Amitabha Sermon Painting> in Yonghwa Temple(龍華寺) which used colors in one whole figure. In addition, the figures of Buddhist painting in line drawing was focusing on Sukkayeorae and Amitabha, some are suggesting that small-sized Avalokitesvara Bodhisattva paintings were produced to be a type of 'Wonbul(願佛)' in late Joseon Dynasty showing the various purposes of producing Buddhist painting in line drawing.

객체 분할 정보를 활용한 선화 생성 모델의 성능 개선

최재웅,이재구 한국통신학회 2023 韓國通信學會論文誌 Vol.48 No.11

The line drawing generation model aims to generate stylized line drawing images from original photographs using style transfer techniques. Prior work trained semantic and geometric information from photographs to generate line drawing without paired line drawing. It utilized CLIP (contrastive language-image pretraining) for semantic information and employed depth estimation for geometric information. Due to lack of ground-truth depth information, baseline used pseudo-labels instead of ground-truth, showing lower performance than using ground-truth. Therefore, our approach aims to generate high-quality line drawing images by incorporating an object segmentation method that utilizes ground-truth of depth information. By adding object segmentation information, it compensates insufficient ground-truth information for depth estimation and added geometric information such as background and shading. As a result, our approach achieved better performance on the publicly available various image datasets for line drawing.

선묘화법을 이용한 회화표현에 관한 비교연구

이정섭(Jung-Seop Lee) 한국엔터테인먼트산업학회 2009 한국엔터테인먼트산업학회논문지 Vol.3 No.1

미술을 그린다는 것으로부터 출발했다고 볼 때, 그린다는 것은 선으로부터 시작되었다는 것이 고대 벽화에 그려진 외곽선의 형태들에서 찿아 볼 수 있다. 우리가 흔히 알고 있는 선이란 무수히 많은 점들의 집합이다. 선은 그 차체만으로도 충분히 운동방향을 나타낼 수 있을 뿐 아니라, 인간의 내면세계를 표현하는데 중요한 요소라 할 수 있으며, 선을 긋는다는 그 자체만으로도 창조적 동기를 갖추는 시작점이 될 수 있는 것이다. 일반적으로 작품의 인상이 강렬한 이미지를 갖게 되는 것은 독특한 소재와 차별화된 구도 등 여러 요인도 있겠지만 동일한 대상의 표현방법도 작가마다 동기부여와 심상세계가 다름에 따라 작품에 표현되는 이미지도 각기 달라진다는 것을, 인상주의 이후로 현재까지 회화의 무한 가능성이 내포된 “선”의 성격을 작가 개인의 뚜렷한 감성을 그대로 표현하여 창조된 작품으로 지금까지 세계인들의 무한한 사랑을 받고 있는 고흐와, 자연형태에서 모티브를 빌려 새로운 표현을 얻고자, 덩굴풀이나 담쟁이 등 식물의 형태가 연상되는 파상곡선 아르누보 양식의 선구자인 클림트의 작품 사례를 살펴보고 “선묘화법”을 이용하고 있는 이정섭의 작품 변화과정과 비교하여 봄으로써 구상회화의 표현방식으로 선의 성격이 어떻게 이용되고, “선묘화법”이 현대 회화 표현기법에서 적응할 수 있는 가능성을 검증 해 본다. Line-drawing technique that is illustrated in the works of Gogh in the latter part of his life expresses his sensibilities from the nature with rough lines. Wasn’t his expressive format of composing the canvas vehemently at times while gentle at other times not his unique means of coping with his uncertain life environment? This could have been the volition of the artist attempting to pursue new changes. Expressive behavior of Gogh of mixing the paint on the canvas and making long lines would have been the expression of uncontrollable changes of his emotions that can only be felt on the site. As an artist confronts the Mother Nature, changes in cogitation are induced ceaselessly, because the emotions arising within due to blowing of wind, warm twinkle of sunlight and changes in the length of the shadow could be felt sufficiently differently. However, the lines illustrated in the self-portraits and figure paintings of Gogh, unlike the lines in his landscape paintings, are much shorter and expressed with uniform directionality. This is perhaps because he was able to maintain composure of his emotion when working indoors. Klimt used lines most in expressing the costumes or backgrounds of characters. This can be considered as usage as symbolic significance rather than to accurately express certain form. Semiotic forms, rectangles, triangle, circles and lines using the stems of plants are quietly flowing in alignment. Although these are thin and fragile lines, they induce gentle flow with elongation of collection of several lines while forming surfaces. These are straight lines at times and curved lines at others, thereby changing the ambience of the painting in accordance with the flow of such lines. Ultimately, flow of such lines in the works of Klimt is used as one of determinant expressive method of illustrating his intended ambience. Lines of Klimt form surfaces and become the element that determines the features of the surface. Lines illustrated in the works of Lee, Jung Seop, are defined as ‘lines of wind’. Even within the seemingly still space, the artist is carrying out conversation on the canvas with the gazes of viewers through the flow of wind with diverse range of length, thickness and colors as well as the directionality of the line that is ceaselessly moving. Such expressive technique of line was first introduced in 2001. Initially, it was only a flow of small lines, which at first may be recognized as pointillism. However, while the pointillism of the post-impressionists was expressed with points in primary colors, little lines in the works of Lee, Jung Seop are moving busily on the canvas. As though used as expressive method of sincerely conveying the momentary emotions in accordance with the flows of light and wind in the outdoor works, expressions include wide range of types of lines, while self-restraint and intended tranquil lines are flowing in the works done indoors. As illustrated above, it can be seen that each of the artists uses characteristics of lines with different significance in their expressive format of painting using line-drawing technique. As completely different significances can be endowed in accordance with how the lines are used, the line-drawing painting technique has been continuing to undergo progress, transcending space and time, until now.

다양한 선 두께들을 인식하고 그리는 로봇 팔

조원서(Won-Se Jo),김동한(Dong-Han Kim),류근호(Keun-Ho Rew) 제어로봇시스템학회 2013 제어·로봇·시스템학회 논문지 Vol.19 No.12

In this paper, a robot arm capable of recognizing and drawing various line thicknesses is developed. Conventional line drawing robots are not capable of adjusting the thickness of lines. However, to draw faster and to enrich the expression of line drawing robots, it is necessary to adjust line thickness using a brush pen. Simple images are acquired and various line thicknesses are recognized by image processing. Trajectories of lines are generated with distance sorting using thinning and corner point detections for each label. Information on line thickness and trajectory is sent to the controller of a robot arm taking into consideration 2D inverse kinematics. Through this process, the robot arm can draw various lines thicknesses along 2D trajectories with 3 motors. Robot arm for detailed drawing will be studied in the future.

동국대학교 박물관 소장 <阿彌陀說法圖> 硏究

김형곤(Kim Hyung Gon) 동국대학교 박물관 2020 佛敎美術 Vol.31 No.-

Some researches only introduced <Painting of Amitabha Buddha’s Preaching Scene> made in 1759 that is now possessed by Dongguk University’s Museum to be compared with other artworks when mentioning painting styles of 線描佛畵(Buddhist Paintings in Line Drawing) made in the late of Chosun Dynasty or describing characteristics of <Painting of Amitabha Buddha’s Preaching Scene> with no greater attention in Buddha’s paintings in the late of the dynasty. However, this painting, <Painting of Amitabha Buddha’s Preaching Scene>, can be considered as an exceptional case that transfigured an icon and additionally presented seated Ksitigarbha in the Eight Great Bodhisattvas and as a major work of Buddhist Painting in Line Drawing in the 18th century that truly inherited a painting style of Buddhist Painting in Line Drawing in the 16th century of Chosun Dynasty. Of these, the excellent control of drawing lines’ strength, a flow of elegant line drawing, and spatial component power instead of coloring are very remarkable as compared with other contemporary Buddhist paintings in line drawing. On the one hand, an icon and drawing style of this work belong to Uigyeom(義謙) who was a monk artist in the 18th century. Maengchan (孟贊) and Bosim (普心) didn’t have any direct relation to educate mankind with Uigyeom and other painters who painted with Uigyeom, but they positively accepted his painting style because he was a leading painter in the field of Buddhist Painting at that time. This work’s icon and drawing style should newly engage public attention in studies on Buddhist paintings in the late of Chosun Dynasty. Furthermore, it seems to need reexploration of a monk painter, ‘Maengchan (孟贊),’ who didn’t leave behind outstanding works.

직지성보박물관 소장 <阿彌陀說法圖>의 畵僧과 線描佛畵 畵風

김형곤 불교미술사학회 2020 불교미술사학 Vol.29 No.-

조선 19세기는 불교회화의 도상과 화풍의 다양성 그리고 화승의 활동과 화연 관계가 복합적으로 작용한 시대이다. 특히 풍부한 현존 작품과 수많은 화승의 교류 양상은 조선후기 불교회화 연구에 많은 정보를 제공하였다. 직지성보박물관 소장 <아미타설법도>는 조선후기 불화 연구에서 논외로 분류될 만큼 불교회화 연구자들의 이목을 끌지 못했다. 본 작품은 2008년 불교문화재 연구소에서 발간한 『한국의 사찰문화재-경상북도Ⅱ』에서 처음 소개되었지만, 작품의 객관적인 정보를 제공하는 화기와 시각적인 자료가 미진하여 연구자들의 관심 밖에 머물렀다. 또한, 수장고에 오랫동안 보관되어 있는 상황도 본 작품의 전무한 연구 성과에 큰 영향을 주었다. 필자는 본 논고를 통해 직지성보박물관 소장 <아미타설법도>의 제작시기, 화승, 봉안처를 밝히는데 주력하였는데, 결과적으로 본 작품은 화승 제한이 1800년에 중건된 직지사의 선당에 봉안하기 위해 1803년에 제작된 불화로 추정하였다. 본 작품의 전체적인 구도와 표현기법은 18세기 후반에서 19세기 전반에 제작된 불화의 화풍과 유사한데, 그 중 1790년 김천 청암사 육화료 <아미타설법도>, 1800년 국립중앙박물관 소장 <관음보살도>, 1803년 직지사 <괘불화>를 통해 본작품의 화승이 제한이라고 확신할 수 있었다. 본 작품은 제한의 화풍 뿐 만 아니라, 동시기 활동한 화승 부첨, 언보 등의 특징도 일부 보인다는 점에서 화풍을 통한 제한의 화연관계도 새롭게 밝히는 계기가 되었다. 아울러 제한은 19세기 전반 경상북도, 충청도, 경기도 일대에서 폭 넓게 활동한 신겸과 인적교류가 없었던 화승이다. 신겸은 당시 이 지역을 대표하는 화승으로 명성을 떨치고 있었으며, 많은 화승들이 그와 화업을 지속하였다. 제한은 신겸과 동시기, 동지역의 활동 영역에 있었음에도 불구하고 현재까지 그와 관련된 자료가 단 한 점도 전하지 않는다. 이러한 관계는 작품에서도 여실히 드러나며, 이들은 서로 간의 교류 없이 독자적인 화풍을 형성한 화승들로 다른 화승집단에 속했던 것으로 보인다. 한편, 제한이 그린 세 점의 선묘불화는 조선후기 선묘불화를 대표할만한 뛰어난 작품이자, ‘선묘불화 화승’이라는 타이틀이 전혀 아깝지 않다는 점을 주목해야 한다. 제한의 설법도 형식 선묘불화는 굵고 힘이 넘치는 윤곽선과 의습선을 중심 으로, 다양하고 독창적인 화문이 결합된 수작이다. 특히, 정사각형 화문과 모란문 등을 비롯한 여러 화문은 섬세하고 입체적인 형태로 선묘불화에 생동감을 부여하는데 큰 역할을 하였으며, <관음보살도>의 주요 존상은 일정한 굵기의 가는 선으로 명료하게 처리하였으나, 바위, 파도, 돌산 등은 거칠고 과감한 필선을 구사하여 회화성을 강조하였다. 이처럼 제한은 선묘불화에서 필선의 자신감을 과감히 드러냈고, 도상에 따라 다양한 필법을 자유자재로 구사할 수 있는 원숙한 화승으로 생각한다. 한 발 나아가 제한의 선묘불화 뿐만 아니라 채색불화에 대한 연구도 병행된다면, 화승으로서 수준 높은 그의 역량을 새롭게 재조명할 수 있을 것으로 기대한다. The 19th century of Joseon Dynasty was fully affected by a combination of iconographies of Buddhist paintings, diversity of painting styles, activities of monk artists, and relations by paintings (畵緣關係). In particular, an interaction between a lot of extant paintings and monk artists tended to provide lots of information to do research on Buddhist paintings in the late of Joseon Dynasty. Amitabha Buddha Preaching owned by the Jikji Museum never engaged interests of researchers to the extent that the work was left out of the research on the Buddhist painting in the late of Joseon Dynasty. The painting was introduced first on [the Korean Buddhist temple cultural asset - Gyeongsangbuk-do Province Ⅱ] published by Research Institute of Buddhist Cultural Heritage in 2008, but there was a lack of tools to offer objective information of works and visual materials. This resulted in no concern of the researchers. Furthermore, it had a significant influence on few or no research findings about the work in the sense that it was stored in a depository for too long. These was a focus on determination of when Amitabha Buddha Preaching was produced, monk artists, and enshrinement spaces. As a result, it was assumed that a monk artist, Jehan(濟閑), made that work in 1803 in order to enshrine it in a temple for Zen study owned by Jikjisa(直指寺) established in 1800. The overall composition and expressive technique of the work was very similar with painting styles of Buddhist paintings created from the late 18th century to the beginning of the 19th century. In light of several paintings such as Amitabha Buddha Preaching in Yookhwaryo of Cheongamsa Temple in Gimcheon in 1790, <Avalokitesvara Paintings> possessed by National Museum of Korea in 1800, and <Buddhist Banner Paintings> possessed by Jikjisa in 1803, it was very sure that Amitabha Buddha Preaching was made by Jehan. Even more than that, it newly revealed a relation of Jehan by paintings in that it was partly characterized by a painting style of Jehan well as some features of paintings by Bucheom(富添) and Eonbo(言輔) who were monk artists in the same period. Moreover, Jehan almost no interacted with Shingyeom(信謙) who was an active painter in areas over the Gyeongsangbuk-do Province, Chungcheong, and Gyeonggi-do Province in the 19th century. He was well-known as a monk artist who represented those regions at that time and cooperated with other monk artists. Even though Jehan created art works in the same sage and regions with Shingyeom, there has been no report on any materials related to them so far. This kind of relation was clearly shown in several works, and it seemed that both of the artists made their own painting styles without any interaction and belonged to another group of the monk artists. Meanwhile, three Buddhist paintings in line drawing created by Jehan were outstanding enough to represent the painting style in the late of Joseon Dynasty, and he deserved to be considered as ‘a monk artist of the style.’ His Buddhist paintings in line drawing in the form of preaching paintings were masterpieces with a combination of diverse and creative flower patterns based on thick and dramatic outlines and drawing lines. Particularly, many flower patterns including square patterns and peony patterns contributed to vitalization of the Buddhist paintings in line drawing in the delicate and dimensional form. Major sacred images of <Avalokitesvara Paintings> were clearly drawn with equally spaced fine lines, whereas rocks, waves, and stony mountains were expressed by rough and drastic drawing lines, underlining its artistic qualities. In this way, Jehan drastically looked so confident of his own drawing lines on Buddhist paintings in line drawing and seemed to be a very skilled monk artist who was able to make many different of painting styles at his command depending on iconographies. Furthermore, it would be expected to make a new review on his sophisticat...

Line Drawing Mobile App using Hybrid Approach

Yujung Gil,Kiho Kim,Kwangil Kim 한국정보기술학회 2021 한국정보기술학회논문지 Vol.19 No.11

In recent years, image-to-image translation(I2I) has drawn much attention and shown noticeable success in many areas such as image synthesis, segmentation, style transfer, restoration, and pose estimation. Among these applications, the line drawing model, which is a subfield of style transfer, transforms any portrait picture into a line drawing. In these days, line drawing apps are very popular among young people. The most common feature of the current model is to delicately display all lines as if sketched with a pencil. Because of this, not only are the results not natural, but they are also less aesthetically interesting. In this paper, we design and implement a light and fast hybrid line drawing model which combines deep neural networks and traditional edge detection filter. We show that proposed model is efficient and outputs more aesthetically pleasing results.

금형 편차 가공에 의한 예리한 캐릭터 라인 구현

김영삼(Youngsam Kim),이승상(Seungsang Lee),송진철(Jinchul Song),임방섭(Bangseop LIM) 한국자동차공학회 2016 한국자동차공학회 부문종합 학술대회 Vol.2016 No.5

In recent days, Styling of automotive vehicle tends to be sharpened more and more. Specially, for clear and sharp styling of vehicle, The role of character line in vehicle design becomes more important. If character line has sharp edge and small radius, global appearance of vehicle looks like sharp and clear. But small character radius causes a kind of surface defect which is called slip line (kind of skid mark of initial contact line moves). In order to have small and clear character line for outer stamping panel, new stamping process method is required to satisfy vehicle appearance quality. In this study, The Variable Thickness Offset method between upper and lower stamping die has been applied. Usually the clearance between upper and lower stamping die has constant distance of blank thickness except some special case. To avoid and reduce slip line surface defect, the smaller clearance than blank thickness has been applied in the area that the skid line moves. The smaller clearance than blank thickness means giving higher contact pressure to defect area compared to other surface area. As a result, Higher contact pressure makes the slip line defect can be dispersed to adjacent surface. The Variable Thickness Offset method can be considered that it is effective method to improve and reduce slip line surface defect giving by enough contact pressure to blank material. Variable Thickness Offset consists of smaller thickness offset area and transition area.

대상재인에서 라인드로잉(line drawing)의 효과

김영근,신현정 대한작업치료학회 2008 대한작업치료학회지 Vol.16 No.4

목적 : 대상의 내적정보 중 라인드로잉이 대상 재인에 미치는 효과를 알아보고 형태항상성에 중요한 역할을 한다는 사실을 제시하고자 한다. 연구방법 : 실험은 물리적 대응과제를 사용하였으며, 나중에 제시되는 대상은 먼저 제시되는 대상과 같거나 다르다. 즉, 연속적으로 제시되는 두 대상이 물리적으로 동일한 대상인지를 신속․정확하게 판단하는 데 있어서 대상의 제시방식과 회전 정도의 효과를 비교하였다. 결과 : 결과는 모두 라인드로잉이 대상재인에 효과적인 것으로 나타났다. 라인드로잉이 윤곽보다 신속․정확하게 재인되었으며, 음영과는 차이를 보이지 않았다. 그리고 물리적 대응에서는 대상의 회전 정도가 재인의 정확도와 반응시간에 영향을 미쳤다. 특히 방향이 가장 압축된 모양으로 제시되었을 경우에 라인드로잉의 효과는 더욱 명확한 것으로 나타났다. 결론 : 대상재인과 형태항상성에 대상의 내적 정보가 긍정적인 영향을 제공한다. 그 중 라인드로잉은 대상재인에 긍정적인 속성이자 단서이다. Objective : An experiment was performed to investigate the effects of a line-drawing on object recognition and to suggest the importance of an object's internal information on form constancy. Methods : In the experiment, the focus was on a comparison and analysis of whether stimulus types and rotation directions affect the decisions of physical shape sameness of two figures presented successively. Results : The results of the experiment showed that the line-drawing type affects object recognition. A line-drawing-type object was perceived more quickly and accurately than a silhouette-type, and was similar to a shade-type. The accuracy and response time were affected by the change of rotation direction. In particular, a line-drawing effect was seen better than a foreshortened view. Conclusion : These results suggest that the internal information(line-drawing) of an object positively affects object recognition and form constancy.