2005년 한국에 공공디자인이 도입되고 2016년 ‘공공디자인 진흥에 관한 법률’이 제정되 었다. 2018년 5월에는 정부 관계부처가 합동으로 제1차 공공디자인 진흥종합계획 (2018~2022)을 수립하고 정부가 방향성을 가지고 공공디자인을 진흥할 수 있게 되었다. 제 1차 공공디자인 진흥 종합계획이 수립된 이후 지방자치단체들은 공공 디자인의 진흥 및 통 합관리를 위해 필요한 시책을 수립․시행하고, 필요한 재원의 확 충과 운영을 위해 노력하고 있다. 최상위 행정구역인 8개도를 대상으로 각 도가 수립한 공공디자인 진흥계획을 살펴보 고 공통된 진흥 방향과 각 지역의 특징에 따른 차이점을 분석해본 결과, 첫 번째는 제1차 공공디자인 진흥 종합계획의 전략 방향의 큰 틀을 따르면서도 각 지역의 특성에 맞게 전략 과 세부과제를 재배치하고 다른 명칭을 사용하고 있다는 점이다. 두 번째는 지역의 지리적, 환경적 특성을 고려한 전략과 세부과제를 수립했다는 점이다. 세 번째는 지역민과 행정에 관한 전략과 세부과제를 강화하고 있다는 점이다. 이를 통해 아직 공공다자인 진흥계획을 수립하지 않은 지자체나 진흥계획 수립 후 5년이 경과된 지자체에 공공디자인 진흥 방향 설정에 도움을 주고 2차 공공디자인 진흥 종합계획의 새로운 방향성과 시사점 그리고 개선 점을 제시할 수 있으리라 기대한다.

This study analyzes traditional women’s Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the “moment” theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.

The purpose of this study is to apply the traditional Chinese fretwork on the ‘Faux Chenille’ textile work method in a way of enhancing the decorative features of patterns and developing the fashion design. As for the method, it works on the historic background and advancement of the fretwork and it refers to the bibliographies pertinent to the traditional Chinese geometric pattern. The result are as follows. First, pure cotton and 100% rayon are mixed to make it feasible to produce the texture for the material to be tender and enhanced, and in the process of washing and drying the Faux Chenille textile. The Faux Chenille textile is an important material that is required to select materials with great absorption capability as the most effective material to re-visualize the lines and patterns by sustaining the diagonal lines. Second, the fretwork is designed to process the basic formation for 90° angle with the sense of unlimited extensive line and changes with straight line. It has been confirmed that, if the angle that controls the Faux Chenille textile and the tailoring interval are well aligned, the expression of traditional geometric pattern would be effective and it may be expressed in contemporary style. Third, through the fashion design application by utilizing the Faux Chenille textile of the fretwork, it is confirmed that the contemporary application of the traditional culture could be expressed uniquely and creatively while it is affirmed that the western technique and Asian culture can be blended in harmony.

The environment has increasingly attracted attention and fashion brands need to use new growth models by developing eco-friendly products, along with the drastic climate change. This study drew design guidelines from the factors of clothing disposal and reuse to propose ways to extend the longevity of clothing. It sets the design goals for the longevity extension of clothing as flexibility, originality, durability, and adjustability and drew a specific design guideline. The design methods used to achieve such goals are as follows. First, the design that is flexible in terms of physical changes needs to increase its activity and to be changeable, by applying pleats, rubber bands and elastic materials to the parts with many physical changes and movements. Second, it is necessary to reinforce the brand identity, create design that is flexible in terms of fashion and design very rare and attractive products, for the goal of original design beyond fashion. Third, it is necessary to increase the quality of clothing and improve the durability which can be decreased by washing and wearing. Fourth, it is necessary to create the design that can produce various styles, preserve the state of clothing and maintain its hygienic conditions by using removable detailed designs, shape-transformation designs and the designs which can be adjusted to climate changes and states, for the goal of adjustable design with better functionality. The findings provide ideas for fashion experts to pay more attention to the extending the longevity of clothing products and to develop eco-friendly designs and strategies.

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of “futurism.” Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

The purpose of this study is to suggest effective online pedagogical strategies for a fashion design CAD course to enhance student learning and satisfaction. The study investigated student experience of online learning and compared online learning with a face-to-face learning experience. Student concentration, participation, perceptions of effectiveness of teaching, utilization of learning materials, and satisfaction were analyzed using a 5-point Likert scale. Advantages and disadvantages of online learning as well as advantages of face-to-face learning were also analyzed both quantitatively and qualitatively. Student concentration, participation, and perception of effectiveness of teaching were greater for face-to-face learning with significantly higher concentration on individual practice. Students utilized video recording of synchronous online lectures more actively than PDF lecture notes. The advantages of face-to-face learning were plentiful communication and feedback and easy questioning process as well as high levels of understanding and concentration. Meanwhile, major disadvantages of online learning were the speed of the lecture, lower levels of understanding and concentration, limited peer interaction, and technical problems. Major advantages of online learning were flexibility and convenience, repetitive learning through videos, and instant communication and feedback. Students preferred a blended learning approach for the fashion design CAD course. For effective online learning, it is suggested that instructors frequently question and check student practice through screen share in a private online meeting room and engage activities that are demanding of student interaction. The video recording of synchronous online lectures is also suggested as a supplemental learning material for repetitive learning.

The purpose of this study is to understand the concept of zero-waste design and to apply Sophia Vyzoviti’s folding techniques to develop a zero-waste fashion design method that contributes to sustainable fashion design. In this study, we explore the method and characteristics of zero-waste fashion design based on the concept of folding described in Sophia Vyzoviti’s book on folding techniques. Using the autonomy of Sophia Vyzoviti’s folding technique, four changeable folding fashion designs were developed and produced, demonstrating zero-waste fashion design. The results were as follows. First, the development of fashion designs using Sophia Vyzoviti’s folding techniques enabled the development and production of free and creative zero-waste fashion designs that were three-dimensional, continuous, fluid, and full of potential. Second, the production of zero-waste patterns was further developed into a transformable fashion design that can be used with geometric patterns. These folding techniques produced a fashion design method that could transform one piece of clothing, demonstration the potential for maintenance of creativity using a zero-waste design based on these folding techniques. Third, the double-faced fabric, Neoprene, was chosen as an appropriate material as it emphasizes the depth of folding with application of two colors and its cotton/polyester blend that is suitable for folding.

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi’s Nuo masks can be divided into those based on their origin and history, the user’s social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks’ splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood’s original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

The purpose of this study is to develop Korean clothing designs that can satisfy future consumer’s needs based on the elements extracted through the content analysis method in a study on the design elements expressed in traditional outfits in the 2010s. To this end, data analyzing Hanbok in wedding magazines were used, and after extracting design elements, research methods for empirical design development were used. After subclassifying the major design elements, factors with a steady increase in frequency and appearance rate were identified. Through this, five elements capable of aesthetic sampling were extracted by complex expression methods and expressed in a total of seven combinations. The types extracted from the design elements are items, silhouette, top shape, skirt shape, skirt length, mixed items with increasing frequency. In the element of color, the adjacent color harmony, which showed the highest frequency of color, and the white-blue harmony, which showed an increase among them, were extracted. When using materials, top and skirt have similar usage rates of the same and different materials, so both contents were extracted, and many patterns were arranged in the top and the whole, but these three were extracted because there were increasing cases where there were no patterns. In the case of decoration, embroidery, pintuck, sakdong, applique, lace, ribbon on the top, silver foil and print on the skirt were extracted. Through this study, it was possible to propose a future Korean costume design model.

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics—including religious cultures and totem worship—and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the “seven-star” sheepskin cape, one of the Naxi people’s important ethnic costumes as demonstrated by the women’s clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled “By the Light of the Moon and the Stars,” which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people’s seven-star sheepskin cape is a symbol of women’s clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people’s traditional culture.

디지털 정보 기술의 급속한 발전에 따라 사람들은 점점 더 자연스럽고 편리한 방식으로 인간과 컴퓨터의 상호작용을 실현하는 경향이 있습니다. 본고에서는 Leap Motion 센서를 하드웨어 플랫폼으로 하고 Unity3D 와 Leap Motion 플러그인을 소프트웨어 플랫폼으로 하여 가상 거문고의 상호작용 설계를 개발합니다. 또한 Leap Motion 장치의 개발과 연구를 통해 Leap Motion 센서에서 수집된 제스처 정보의 처리와 인식을 알고리 즘으로 구현하고, 제스처 인식 알고리즘을 이용하여 서로 다른 제스처를 분리하여 서로 다른 응답을 가능하 게 합니다.

The purpose of this study is to analyze the organic forms, expressions, and characteristics of Alexander McQueen’s fashion design and to present various materials for understanding and utilizing this organic design style. The criteria for organic design expressions and characteristics were classified through a literature review, and the organic design characteristics of Alexander McQueen’s fashion were then analyzed. The results are as follows: First, the morphological characteristics of nature’s forms are used as objects in Alexander McQueen’s fashions to represent organic characteristics. Second, abstraction through the application of organic forms means creating an abstract representation of the object being represented. Abstracting organic forms occurs by partially modifying the structural features of the human body to show characteristics or by visualizing these characteristics within the surface of the natural object. Third, continuity through the expression of the formation process of organisms is characteristic of the expression of the gradual growth of organisms; this reinterpretation is based on the concept that the internal elements of natural objects affect their external forms. Fourth, the structure of using natural materials, as well as regional and cultural characteristics, is shown in the designs through use of the physical characteristics of expressions and materials that use natural elements. Fifth, symbolism through subjective thinking implies that the element of nature that an object expresses is the element that appears in nature; this includes created organisms along with environmental factors. These characteristics are best demonstrated in fashion designs that express themselves through creativity.

The purpose of this study is to identify trends in modern Korean clothing design through investigation and analysis of the types and respective characteristics of silhouettes, colors, materials, patterns, and decorations present. To this end, research methods such as literature research and content analysis through case study research were used. The results of the wedding magazine data analysis were largely classified by design element and based on such, the conclusions are as follows. First, in the analysis of silhouettes, the appearance rate of traditional items decreased over the selected period and that of modified items increased. Second, among the same colors, adjacent colors, proximity complementary colors, contrast, and other harmonies, adjacent color harmonies showed the highest rate of appearance. Third, the cases where the same materials were used for the top and bottom elements showed a similar appearance rate as those where different materials were used. It was also concluded that traditional materials are being replaced by modern materials. Fourth, regarding the arrangement of patterns, the appearance rate of the absence of patterns gradually increases. Fifth, there were more case of decorations than those of none. This study made it possible to grasp the changes in trends of modern Korean clothing from 2011 to 2020 and provide basic data for the development of the Korean clothing market industry. Keywords: modern

융합, 팬데믹, 혐중국이라는 단어는 우리 사회 뿐 아니라 대학교육 현장에서 쉽게 만나는 단어이다. 4차 산업혁명의 대두와 함께 부각된 융합이라는 개념은 기존 인문 학이 지닌 틀의 변화를 요구한다. 게다가 코로나19로 인한 팬데믹 상황은 대학 내에 서 학문과 교육의 상호작용을 원활하지 못하게 만들었다. 또한 이같은 팬데믹 상황 이 중국으로부터 전파된 코로나 바이러스에 기인한다는 사회적 인식은 혐중국 정서 를 확산시켰고 이는 대학의 중어중문학 교육 및 전공 선호에도 상당한 영향을 미친 다. 이러한 상황 속에서 본 논문에서는 2021년도 2학기 부산대학교 중어중문학과 전 공수업인 중국어문 캡스톤디자인을 중심으로 중국어문학 전공교육의 새로운 방향성 과 그 예시에 대해 고찰한다. 또한 캡스톤디자인의 교육운영과 산출물에 대한 분석 을 통해 융합교육의 실례를 제시하고 나아가 이 수업이 팬데믹 시대 교육소통의 통 로이며 문화콘텐츠를 활용한 혐중국 정서 완화에 효과가 있음을 서술한다.

This study aims to propose a conceptual design of information displays for supporting responsive actions under severe accidents in Nuclear Power Plants (NPPs). Severe accidents in NPPs can be defined as accident conditions that are more severe than a design basis accident and involving significant core degradation. Since the Fukushima accident in 2011, the management of severe accidents is increasing important in nuclear industry. Dealing with severe accidents involves several cognitively complex activities, such as situation assessment; accordingly, it is significant to provide human operators with appropriate knowledge support in their cognitive activities. Currently, severe accident management guidelines (SAMG) have been developed for this purpose. However, it is also inevitable to develop information displays for supporting the management of severe accidents, with which human operators can monitor, control, and diagnose the states of NPPs under severe accident situations. It has been reported that Ecological Interface Design (EID) framework can be a viable approach for developing information displays used in complex socio-technical systems such as NPPs. Considering the design principles underlying the EID, we can say that EID-based information displays can be useful for dealing with severe accidents effectively. This study developed a conceptual design of information displays to be used in severe accidents, following the stipulated design process and principles of the EID framework. We particularly attempted to develop a conceptual design to make visible the principle knowledge to be used for coping with dynamically changing situations of NPPs under severe accidents.

본 연구의 목적은 서비스디자인 프로세스를 활용한 제품디자인 개발 프로세스를 체계화하여 실무에서 활용할 수 있도록 ‘서비스디자인 방법론을 활용한 제품디자인 개발 프로세스’를 제안하는 데 목적을 두고 연구를 진행하였다. 일반 가정용 전화기에 비해 스마트화 되어가는 사무환경을 고려한 오피스 전화기에 대한 사용성(Usability) 연구가 부족한 상황에서, 이 연구를 통해 단순 제품 개발이 아닌 제품기반 서비스디자인적 관점으로 확장하여 스마트 사무환 경에서의 오피스 전화기 제품디자인을 통해 새로운 사용자 경험 가치 제공과 서비스 연계 방안을 모색하고자 한다. 본 연구의 방법으로는 서비스디자인 프로세스를 활용하여 UX중심의 사용자 니즈 도출 및 사용자 경험 가치를 구현하 는 제품디자인 개발에 중점을 두었다. 특히, 제품 개발과정에서 사용자 니즈와 경험 가치 요소를 좀 더 체계적으로 도출하고, 제품기반 서비스가 융합된 아이디어를 발굴하기 위해 서비스디자인 프로세스를 접목하였다. 이를 위해 서 비스디자인 분야에서 널리 활용되고 있는 ‘더블 다이아몬드 디자인 프로세스 모델’을 채택하였다. 또한 실제 사용자 및 다양한 분야의 인력들이 참여하는 Work Flow를 통해 사용성 개선방안, 사용자 경험(UX) 가치 요소 및 제품-서비 스 연계 아이디어를 도출할 수 있도록 제품디자인 개발 프로세스를 구축하였다. 본 연구의 결과로서, 더블 다이아몬드 디자인 프로세스에 기반하여 ‘문제발견(Discover)’정보수집 단계에서는 국내외 오피스 전화기 시장을 중심으로 디자 인 트렌드를 파악하였다. ‘정의(Define)’분석·도출 단계에서는 사용자 관찰 및 인터뷰, 사용성 설문조사를 통해 사용자 니즈를 분석하고, 디자인 요구조건 및 사용자 경험 이슈를 도출하였다. 사용자 유형 분석을 통해 퍼소나(Persona)를 설정하였으며, 이를 바탕으로 사용자 시나리오를 제시하였다. ‘발전(Develop)’발전·개발 단계에서는 디자인 구체화를 위한 아이디어 워크숍과 콘셉트 렌더링을 진행하였으며, 사내 다양한 분야의 인력이 참여하여 디자인 선호도 및 사용 성 개선방안을 도출하여 디자인 방향을 설정하였다. ‘전달(Deliver)’ 개선·프로토타입 개발·평가 단계에서는 디자인 프로토타입 목업을 제작하여 사외 디자인전문가 자문을 통한 디자인 및 사용성 평가를 진행하였다. 결론적으로 본 연구는 기존의 제품디자인 개발 프로세스와 서비스디자인 프로세스가 접목된 제품디자인 개발 프로세스 모델을 구축 하였다는데 의의가 있다. 궁극적으로 향후 I사 제품이 서비스 융합을 통해서 사용자 경험 가치를 구현하고, 이를 통해 새로운 비즈니스 모델을 만들어갈 수 있도록 서비스디자인기반 제품디자인 개발 프로세스를 제안하였다.

본 연구의 목적은 비데를 아이템으로 선정해 시니어의 특성과 니즈를 충족시키기 위한 제품기반 서비스디자인을 제안하는데 목표를 두고 진행하였다. 최근 초고령화가 급속히 진행되고 있으나 시니어에 대한 이해가 부족하고, 시 니어를 위한 PSS 개념의 서비스디자인 연구가 미흡한 편이다. 본 연구에서는 4D 더블 다이아몬드 디자인 프로세스 모델을 활용하여 시니어의 특성과 니즈를 반영한 ‘시니어 중심의 비데 제품서비스디자인’ 개선방안을 제안하고자 한다. 연구의 방법은 PSS 개념에 기반하여 ‘4단계 더블 다이아몬드 디자인 프로세스 모델’을 활용하였다. 이를 위해 시니어 대상 질적 리서치를 수행하여 시니어의 특성과 니즈에 따른 사용자 가치 요소를 도출하였으며, 이를 기반으 로 제품서비스 아이디어를 발굴하여 실무 전문가 그룹의 유용성 리뷰를 반영한 프로토타입을 제안하였다. 연구의결과는 첫째, ‘사용자 맞춤 기능 설정 가이드 스마트 앱 서비스’를 제안하였다. 사물인터넷(IoT) 기술을 접목한 비데 와 스마트 폰이 연동되어 사용자 특성 정보와 비데 제품에 대한 정보를 자동으로 해석하여 맞춤 기능을 가이드해주 는 앱 서비스를 제시하였다. 둘째, ‘사용자 중심의 제품서비스 인터페이스’를 적용한 조작부 및 리모컨 UI를 제안하 였다. 시니어의 사용성 및 인지능력을 고려하여 주 기능 중심의 구성과 과업(Task) 순서에 따른 버튼 배치, 터치 화면 형 리모컨 등 단순하고 직관적인 Physical UI를 제안하였다. 셋째, 정기적인 제품 점검뿐만 아니라 사용자 건강 및 사용 공간의 위생, 청결 등 폭넓은 서비스를 제공하는 ‘제품과 헬스/위생 케어가 연계된 비데 케어서비스’를 제안하 였다. 결론적으로 사용자(시니어)의 비데 제품 사용 과정(사용 전-중-후)에서의 페인포인트(Pain Point) 및 요구를 발 견하고 개선하여 사용자 경험과 관계 품질을 향상시킬 수 있는 제품기반 서비스디자인 방법론을 제안하였다.

목적 : 본 연구는 한국과 중국 성인 남녀의 안면 크기와 동공 간 거리를 조사하고, 현재 착용하고 있는 안경테의 크기 및 디자인 형상에 대해 비교를 하고자 하였다. 방법 : 경북 경산에 위치한 안경원을 방문한 20~30대 성인 남녀 각각 100명, 중국 지린성에 위치한 안경원을 방문한 20~30대 성인 남녀 각각 100명, 총 400명에 자료를 전향적 방법으로 수집하였다. 대상자들의 안면 크기 는 모바일 애플리케이션(Eye measure 1.21, Dotty Digital 2018, USA)을 이용하여 측정하였으며, 동공 간 거 리는 수동식 동공 간 거리계(PD-5, TOPCON, Japan)를 이용하여 원용과 근용 각각의 동공간 거리를 측정하였 다. 착용하고 있는 안경테에 대한 크기는 boxing system에 준하여 측정하였고, 안경테의 종류는 모양(원형, 타원 형, 직사각형), 림의 형태(온테, 반무테, 무테), 재질(플라스틱, 금속, 콤비)로 구분하여 분류하였다. 결과 : 안면 크기 측정범위는 149.73±6.28 mm(중국 여성)~152.29±14.71 mm(한국 남성)이었으나, 그룹 간 통계적 유의성은 없었다(p=0.147). 원용 및 근용 동공 간 거리 측정에서는 모두 그룹 간 통계적 유의성이 있었 다(p<0.001). 안경테의 크기 측정인 렌즈 삽입부의 크기(eye size), 연결부의 길이(bridge size) 그리고 수직 길이 (vertical height)에서 모두 그룹 간 통계적 유의성이 있었다(p<0.001). 한국과 중국의 남녀 대상자들의 착용 중 인 안경테에서 콤비 재질을 제외하고(p=0.790), 모든 항목에서 통계적 유의성이 있었다. 결론 : 본 연구는 한국과 중국 성인 남녀 간의 안면 크기는 차이는 없었지만, 동공 간 거리는 차이가 있었다. 착용 중인 안경테의 크기는 한국과 중국 착용자 간의 차이가 뚜렷하게 나타났으며, 한국 성인은 상대적으로 원형 테를 많이 착용하고 있지만, 중국은 직사각형의 안경테를 더 많이 착용하고 있었다. 따라서 나라 간 선호도가 다 름을 이해하고, 기호에 맞는 제품을 추천할 수 있어야 하고, 수출을 위한 안경 디자인을 할 때 안면의 형상 및 현 지인의 기호를 고려해야 할 것이다.