• Archives of design research
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• v.13
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• pp.115-120
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• 1996

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.372-376
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• 2008

Nowadays, active teachers expend much time and effort in preparing for classes. Especially, the basic formative calsses in art education have much effect when they are done with a lot of material(plaster casts, etc.) and lighting effect, but not in real. Proposed web-based learning instrument makes possible basic formative classes with simple operation by loading several materials and lighting operator on the web. In this paper, we propose web-based learning instrument to improve basic formative classes. Students will easily be able to express shadow and shade by lights with this web-based learning instrument in basic formative classes.

• Archives of design research
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• v.11 no.1
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• pp.199-207
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• 1998

The foundation courses of industrial design from Bauhaus to today is, a delivery room of modern industrial design, played an essential role of the image formation in the current German design. In the foundation courses of industrial design that is required in our society, not only the concept gestalt should be understood, approached to industrial design through the integrated meaning of science and culture. In this paper, the historical establishment background of gestalt universities that contributed enormously to the development of German industrial design was analyzed, and then tried to understand the fundamentals of German design education. Also the results of the foundation courses at Bauhaus, Vim university and current German gestalt universities are compared to the products, which illustrates a typical German Image. With this comparison, the importance of the role of the basic design education was recognized, and using the results the necessary direction of the foundation courses in Korean industrial design was presented.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.196-207
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• 2012

This paper aims to study the representation of basic design elements in patterns of fashion design by analyzing the examples and trends of how basic design elements have been represented in major collections of fashion designers, thereby contribute to enhancing the awareness of the importance of basic design elements in the field of fashion design education. In order to accomplish this goal, utilizing the fundamental concepts and principles of basic design elements, we have analyzed the examples and trends of representation of basic design elements, focusing on the design works of fashion designers from the 2000 collections to the 2010 collections that can be viewed to have been directly inspired by three basic design elements. The result of the analysis shows that there was a popular trend of emphasizing basic design elements as a design motif particularly from the 2000 s/s collections to the 2004 s/s collections. In these collections, we have found a wide range of design works that were inspired by the three basic design elements of dots, lines, and faces. Designers such as Jil Sander, Bill Blass, ..., etc. produced diverse designs that emphasized dots with various feeling of space, weight and texture. The collections by I.S.Suano Kuwahar, ..., etc. were based on the concept of coordinating the design element of lines with various textures. Vestium Officina, Loewe, ..., etc. produced the designs where faces were divided by lines in various ways and various forms of faces were decorated with diverse colors.

• Journal of the Korea Convergence Society
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• v.12 no.10
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• pp.249-254
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• 2021

This study is about the class model that can demonstrate the modeling ability using the spatial perception capability on basic modeling required for jewelry design majors and the most important perspective method in jewelry design. The outputs were obtained by presenting the topics for creative activities to students after theoretical explaining how to present a spatial sense and presenting practical classes on basic shapes, stereoscopic shapes and perspective methods. While the existing basic molding classes were only practical classes, this study presented students with a class model that allows them to use creativity, basic perspective, and spatial sense together. And it was found out evaluation method that both students and professors can relate to each other through the intensive education effects and clear evaluation standards. I hope that this paper will continue to study more diverse materials and convergent class models.

• 한국조형예술학회:학술대회논문집
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• 2002.12a
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• pp.34-43
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• 2002

• Archives of design research
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• v.14 no.4
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• pp.217-226
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• 2001

In 21st century, with the rapid development of Information technologies, a new form of postgraduate courses on multimedia has emerged. The curriculum of that course is consisted of a combination of design related fields and computer science. In this thesis, I analyzed problems of design education come from multimedia departments of 2-year colleges. This form of departments result in the reduction of design related courses and that is also reduction of basic design rather than multimedia. But, for the desirable multimedia design education, the functional aspects of multimedia must be harmonized with the artistic aspects. For these reason, I developed a course of study on multimedia design. It consists of theoretical studies about design principles, actual training on flash application, and individual projects accomplishments. And on the basis of this results, case studies of 3 subjects were done in a semester.

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.04a
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• pp.52-53
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• 1995

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.11
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• pp.4623-4628
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• 2010

This study is to explore the contents and composition of architectural design studio. The purpose of this study is to seek after the potentiality of architectural design education as a formative design dealing with the morphologic difference between solid and void, and to present the effective process of design education for architectural design studio in terms of creative thinking.

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.11a
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• pp.58-59
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• 1995