• Journal of Convergence for Information Technology
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• v.11 no.9
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• pp.208-213
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• 2021

This study is a proposal for art mask design through the use of Art Nouveau. Based on precedent studies, its characteristics have been divided into a curvy expression, feminine expression, naturalism expression, and a repetitive expression. The four pieces by Gustav Klimt, a signature artist of Art Nouveau, have been selected. With the motif from them, the art masks were redesigned and the following results have been obtained. First, the study sought out a possibility and the methodologies to apply Art Nouveau to the art mask design. Second, the study has improved the accessibility to materials by increasing the scopes and methods of the art masks. Third, an integration of the art masks with the art history has provided a suitable condition for them. Based on such study results, it is expected that art mask materials could be developed and their status, as a field of makeup, could be raised.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.11
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• pp.1598-1610
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• 2007

The knit design of this study was developed from reconstruction of Gustav Klimt images including gorgeous colors, symbolic lines, patterns and decorations, and the purpose was laid at making of unique, creative costume image with modem sense and adding artistic value on crochet knit wears. As for the contents and method of this study, We analysed formative aspects of Gustav such as line, color and shape Klimt in his art, and reviewed the cases where his works had been employed in modern costume. The conclusions are as follows; First, painting is important motif for contemporary costume design, and according to the individual thinking and expression, can be a major momentum for development of original design. Especially the organic lines and decorative patterns of Gustav Klimt paintings were suitable for rich decorative motif of costume design. Second, the unique colors of Gustav Klimt paintings can, if introduced to costume, allow new color combination. Third, crochet technic, by the texture of material, can present rich expression even with the basic knitting only. The embroidery metallic thread which is the main material for this study, was good for expression of gorgeous and classy image, in spite of the difficulties from its typical luster and embossed feeling. And the mohair, used as decorative motif, allowed more three dimensional expression with its rich voluminous and tangling property. Fourth, in applying Gustav Klimt paintings to costume design, other technics such as knitting, beading, applique, and patchwork helped creation of more unique clothes, presenting possibilities of rich artistic expression.

• Proceedings of the Korean Society of Computer Information Conference
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• 2017.07a
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• pp.297-300
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• 2017

본 연구는 기술수용모델(Technology Acceptance Model)을 기반으로 <클림트 인사이드(2017)>전시에서 사용된 <스토클렛 저택의 장식벽화(Stoclet Frieze)> VR 앱에 대한 인지된 유용성(이하 PU)과 인지된 이용용이성(이하 PEOU)의 평가에 초점을 맞추었다. VR 앱의 학습적합성(SFL)이 감상적합성(SFA)보다 높게 평가된 PU의 경우, 학습유용성(UFL)과 감상유용성(UFA)의 모든 요인이 만족도(DOS)에 긍정적인 영향을 미침으로써, 전시환경에서의 VR 앱의 학습에 대한 내적 동기 부여 및 감상 지원에 대한 잠재력이 확인되었다. 또한 PEOU의 모든 요인들은 DOS뿐만 아니라 DOI와도 유의미한 상관관계를 가졌다. 본 연구를 통해 TAM의 PU와 PEOU의 ATUA(DOS 및 DOI) 및 BITUA(ITRA(1) 및 ITRA(2))에 대한 영향력이 검증됨에 따라, 두 변수는 사용자의 VR 앱에 대한 기술 수용에 대한 예측을 가능케 했으며, 결론적으로 예술작품 원작을 재매개한 VR 앱에 대한 평가모델로써 TAM의 적합성이 입증되었다.

• Industry Promotion Research
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• v.6 no.1
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• pp.15-21
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• 2021

The study aims to examine the connection between psychology in human unconsciousness and color, after looking at the meaning and symbolism of the characteristics and colors in Klimt's paintings from an analytical psychological point of view, Gustaf Jung's archetype theory. After analyzing Jung's archetype theory, First, in Klimt's paintings, the gold and yellow colorful decorations and patterns expressed desire with unconsciousness, sex, and especially a woman's desire for sex. The physical relationship between men and women is described as eros, life, and death. Second, the main colors in the paintings were blue, black green, gold, yellow, and orange, indicating anger and oppression, passion, desire, hope, and eroticism, and orange and yellow colors represented the inner healing colors of hope. Third, the artist's inner healing process contains color for himself and incorporates the inner unconsciousness and consciousness. The colors expressed in paintings are not only therapeutic meaning but also being conscious of inner unconsciousness, which is valuable as healing. Therefore, the color will be useful as a means of conveying psychological expression in the psychological counseling sessions.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.2 s.161
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• pp.280-291
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• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.998-1003
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• 2009

The world that we live is changing by postmodernism in modernism and by woman's sensitivity in man's different nature to when diversify sensitivity enemy in unionization uniformity enemy present. Jewelry design field need to set in current of naturalness society and fashion and change at these visual point. Sensitivity design and art marketing observed in market change, and ladylike sensitivity through this and individual's character in these two fields the biggest main axis confirm to grasp the flow of present social biggest market change. Wish to chose masterpieces of 2 theme that this investigator can express my sensitivity and character as also is choice, and study new sensitivity Jewelry design because grafting together this with Jewelry design.

• Journal of Fashion Business
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• v.7 no.2
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.19-34
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• 2010

This study aims to examine associationistic psychology and psychological operation associated with each color image, then to study the relation between particular colors used in paintings produced by Gogh and Klimt in different times and these painters' psychology in a bid to explore the meaning and role of psychological operation of colors. The findings of the study indicated that red and blue colors represent mainly negative images, while yellow and orange colors represent mainly positive images and psychologies. Specifically, in the case of Gogh, red expresses anxiety, a negative image, yellow symbolizes passion, a major positive image of emotional liberation, dark and thick green and the green involving blue symbolize negative images, emptiness and despair, and blue represents negative images of internal desire conflicts, and screaming. Also, purple used together with white represents anxiety and depression. In the case of Klimt, red represents negative images of anger toward mother and suppressed energy, yellow, an alternative to gold color, symbolizes the positive image of hope, passion, desire and eroticism, the arrangement of strong gold and orange colors represents a color of psychological healing more than a color of hope. As such, colors used in paintings produced by modern Western painters express the physiological conditions, psychological feeling and emotion in life, at the time when the artists produced such works. It was found that colors are yet another language of expressing emotions, and symbolize the psychologies of the artists, indicating that colors have something to do with the painters' experience and emotional impulses.