• Journal of Digital Convergence
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• v.12 no.10
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• pp.509-514
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• 2014

It is said that ceramic arts which reflects the sprit of the age and culture is one of the representative cultural assets in Korea. Ceramic arts has the longest tradition and it has been used in our everyday life from a historical perspective. Unfortunately, most textbooks we use nowadays just show some art works for appreciation. It is impossible to teach unique techniques of ceramic arts with those textbooks. Traditional culture is not considered as a main part of educational contents but surrounding elements. Therefore it is hard for students to learn about our traditional culture deeply and it is also difficult to know the importance of the ceramic arts in secondary schools. Through the education of ceramic arts students can understand our traditional culture and they can also experience the formative arts by using plane and dimensional techniques. Teachers have to focus on historical background, types, functions, and sense of beauty of ceramic arts when they teach students in school. Students can use the knowledge in their daily lives. The education of ceramic arts encourage students to create new culture for ceramic arts.

• Journal of Digital Convergence
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• v.12 no.12
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• pp.507-512
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• 2014

Because it is impossible to form a culture. To correctly read the code unless the consumer is considering skater that can be shared in the emotion of the characters and the consumer culture that supply. May be possible to force the active dissemination of education shall ceramic crafts culture. We need the ceramics craft culture in this sense also once again confirmed the importance of education and redevelopment. The workshop enabled to the Ceramic Study presented based on the importance of education in workshop operations Activation is required in order to plan the education and above all a culture of catheter positioned in the area of contemporary craft. Such as teaching methods and ways to activate.

• Journal of the Korea Convergence Society
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• v.12 no.3
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• pp.141-149
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• 2021

3D printers, which emerged in the late 20th century, have become a key part of the fourth industrial revolution in the 21st century. Although 3D printers, the key equipment of the maker movement and the starting point of the new cottage industry in the 21st century, still reveal the limitations of mass production with low output speed and limited filament materials, the use of 3D printers by ceramic craftsmen has recently increased exponentially. However, as part of a way to overcome the discord between craftsmanship and the new technology, which has been repeated over and over in the past in craft history, the study focused on the 'plaster mold casting' technique using 3D printers. Therefore, after analyzing casting techniques of Tony Hansen, Webe van Gansbeck, Jade Crompton, and Ryu Hee-do, the potters who actively developed gypsum techniques in the world's ceramic crafts field and applied them to their own designs, I tried to find the point of convergence between 3D printers and ceramic crafts by presenting examples of effective 3D modeling methods and optimal slip casting methods using 3D printers.

• Journal of Digital Convergence
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• v.10 no.8
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• pp.305-310
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• 2012

Those who supply the consumer with the culture and the sharing of feelings can be. The code to be read correctly by the consumer unless it is impossible the formation of the culture. The dissemination of this vibrant ceramic culture is the power of education can be. In this sense, our ceramic culture also reaffirming the importance of education and overhaul is needed. Times the local ceramic arts in order to become as a culture, above all, education and activation are required. We run workshops in teaching methods and ways to activate based on the importance of education policy based on the Revitalization of ceramic culture is suggested.

• Journal of Digital Convergence
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• v.18 no.9
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• pp.351-356
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• 2020

This study is an introductory study on Convergence of Traditional Chinese Paper-cutting Art and Contemporary Ceramic Decoration. As a part of Chinese folk art, now newly developed by the convergence of contemporary ceramic ar, today it promotes artists' creativity and find a alternative way for ceramic art. This mainly explore transition of 2 dimentional paper-cutting art into ceramic art. As a part of convergence art, this study suggest combination of 4 elements yin-yang-true-false with understanding of its history and contemporary status, and towards aesthetic values.

• Journal of Digital Convergence
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• v.11 no.2
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• pp.391-396
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• 2013

As recently highlighted the importance of relationships between people and products, and is a pure functional sensibility in pursuit of the trend. Sensibility factor is an important part in the process of looking to purchase consumer products that suit your sensibilities. The purpose of this study is to look at the possibility of seeing the role and future of the industry to diversify the culture of the ceramic ornaments design sensibility that purpose. Variety of emotional design ceramic ornaments and cultural industries to identify market design induced by craft as cultural products that can stand up to the global process development. Ceramic ornaments of historical, cultural, design, value can be utilized in a variety of cultural industries to offer emotional design ceramic ornaments, ceramic ornaments product design to contribute to the development plan for the purpose.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.335-342
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• 2021

Launched in 2017, Loewe Craft Prize is now establishing itself as the most prestigious craft contest in the world. In this study, we noted the background behind the Loewe Craft Prize, which started with a luxury brand, developing into the best contest covering all crafts in a short period of four years. In crafts with various contests around the world, Loewe Craft Prize's interest in craft, which has no limitations on genre diversity and materials, is a result of no contest. This is possible by forming and developing a complex contest, which is differentiated from the existing single-material contest and the distinct values of the crafts possessed by Loewe Craft Prize. In this study, the background of this result was the convergence of materials, the fusion of tradition and modernity, and the convergence of science and crafts, and the tendency of writers and the flow of modern crafts through their works. We also want to find out how the meaning of the expansion of the craft genre affects modern crafts.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.387-395
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• 2021

The study looks into the prospect of expanding interdisciplinary education by examining case studies related to the subject activating economy and understanding the nature of cultural potential of different regions around Korea. The objective is to integrate regional societal for co-existence of cultural events with university being the educational entity for development. The study analyzes the internationally recognized craft event known as the Cheongju International Craft Biennale founded in 1999. For twenty years the Cheongju Industry Cultural Promotion Foundation has organized the Cheongju Craft Biennale and the study researches on the collaborative aspect between the foundation and Cheongju University's Department of Craft and Design. The value of the event is predominant and the locality has clearly been shown.

• Journal of Digital Convergence
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• v.19 no.8
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• pp.327-335
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• 2021

The tendency of the current times require education to focus on convergence, and the same applies to the essence of ceramics and design base imagination and creativity. For effective integration, a wide range of experimentations is required both in terms of academic and methodic approaches. This study analyzes the [TeamTeam Class] curriculum, converging ceramics with design initiated in the second semester (autumn semester) of 2020. Through reference materials on ceramics and design convergence education, it was possible to classify the following 5 categories: Subject, Method, Management, space and communication. The aim of the study is to find resolutions to overcome existing issues and problems in search of more effective methods. Although this study is based on convergence education, [TeamTeam Class] at Kookmin University, I hope to extend it further to also consider education after COVID-19.

• Archives of design research
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• v.20 no.3 s.71
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• pp.179-190
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• 2007

Lucie Rie as an individual ceramist in terms of contemporary meaning was influenced by early 20th century's academic education and the ideology of modern formative arts. Modernity in her ceramic works has had a dramatic exert on numerous potters. Also, she is highly required to be studied in the history of modern pottery as a potter who took the initiative of studio pottery by the individual artistic handicraft. This paper considered an analysis of characteristics and techniques of 20C Modernistic ceramist Lucie Rie's works and activities. The body of this research investigated classification by chronicles and stylistic characteristics of her activity in the background of early 20th century European Modernism which influenced her formative arts. In addition, this article attempted to build up more specific comprehension on Lucie Rie's works and production process through an analysis of her techniques and artistic know-how..