• Proceedings of the Korea Society of Design Studies Conference
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• 2001.05a
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• pp.154-155
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• 2001

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.11a
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• pp.42-44
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• 1995

표현 기법, 특히 산업 디자인 전공에서 진행되고 있는 아이디어 스케치 단계 및 렌더링 테크닉에 있어서 흔히 광원(LIGHT SOURCE)의 개념에 대한 정확한 이해가 부족한 경우를 대하게 된다. 주로 제품 디자인이나 운송디자인에 있어서 마커와 파스텔을 사용하여 자신의 아이디어를 시각적으로 구체화시키게 되는데, 이 과정에서 면의 흐름이나 변화를 일관성 있는 가상적 광원의 설정에 따라 정리해나가지 않으면 결과적으로 대단히 애매하고 모호한 스케치나 렌더링이 될 수밖에 없다. 간결하고 정확한 디자인 프리젠테이션을 위해서는 시각적으로 쉽게 이해가 되는 표현기법을 디자이너가 적절하게 구사해야 하는 것이다. 그러면 본격적으로 제품과 자동차디자인 스케치 과정에서 적용되는 본인이 이론을 설명하기로 한다.

• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.145-154
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• 2008

Minimalism, which started with the subtle distinction between the end of modernism and beginning of post-modernism, was not limited to the fine arts but also spread through architecture, fashion, and the rest of the design industries. this historical study is considered a logical, user experience-based design process, the latest issue derived from the collision between minimalism and the digital environment is not limited to practical industrial design processes, but also their theoretical study. the results show that user experience-based design process and minimalism share many of the same qualities. based on these similarities, minimalism and user experience-based design process can be grouped together both academically and theoretically for establishing a future academic template for the digital designing process.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• Archives of design research
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• v.14 no.2
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• pp.163-174
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• 2001

William Morris(1834-1896) was the most versatile and talented of all British nineteenth century polymaths. Since his death over one hundred years ago his achievements as an artist, designer, manufacturer, shop-keeper, poet, author, publisher, printer, collector, teacher, conservationist, political activist and environmentalist have influenced the lives and work of people throughout the world. Moris is now best known for his attractive and colorful patterns. The decorating firm of Morris, Marshall, Fault & Company(Morris & Company after 1875) was established in 1861. Over the years it produced works, ranging from stained·glass windows and furniture to tapestries, carpets and printed and woven fabrics, that had great influence on the course of British design. His earliest experiments with the craft were amateurishly worked embroideries made for his own use. Before long, Morris began to produce textiles on a more commercial basis. In order to control production properly, Morris set about learning the various textiles techniques, first dyeing and blockprinting, hand-loom jacquard and eventually, carpet and tapestry weaving. This extraordinary involvement with the practical side of manufacture separated Morris from all other designers of his time and contributed in no small way to his success. Morris's designs for textiles, embroidery, dyeing, woven, carpet and tapestry were commercially produced, that are most universally admired and frequently copied today. These have a timeless quality arising from the designers respect for and knowledge of the technique. Of equal importance was his love of nature, evidence of which can be seen in even the smallest details of each of his patterns.

• Journal of Korea Game Society
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• v.17 no.5
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• pp.51-60
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• 2017

The interrelation between abusive game designers and players are revealed and considered as one of the game arts by Miguel Sicart. This study is based on the frame analysis of Ervin Goffman. The player centered game design, in the case of a digital game, is penetrated into the frame, and player's experience and game frame at the same level can be assumed as positive down-keying. Conversely, confusion of the game is experienced by the players and perceptions about the games are required. The term of Miguel Sicart, generated the abusive game design in the view of the game art, considers both common game and design of the game, respectively. Nevertheless, the abusive game design refreshes the reflections of players in a game and presents possibilities of bridging the designs of standard games through the techniques and devices.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.23 no.1
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• pp.16-26
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• 2014

Materials that can be use in CAD/CAM are composite, ceramic, hybrid and metal. Among the available materials, monolithic ceramic technique which is the manufacturing technique using one type of the materials is mainly used in a dental office. It is the technique where final tooth-shaped prostheses are made from the material block and used after polishing or applying heat and that does not require traditional ceramic build-up process. Although shot of esthetic quality, because manufactured within 1 hour the monolithic ceramic technique has advantages such as that treatment can be completed in one day and in one time visit, that stability of the material is high because there are low possibility of distort by not melting and phase transformation, and that it can be easily worked in the office with computer assisted devices. We classified the materials that can be used in this technique based on their generations from clinical stand point.

• Archives of design research
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• no.16
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• pp.237-252
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• 1996

Study of new materials, which has been going on in many fields of modem art since the beginning of this century, has cintributed much to the development of modem art. In this regard, it is noteworthy that many in the field of fiber art have experimented with non-traditional, indusrial materials with some notable success. Industrial materials represent the world of thechnology we live in and help us form the kind of view on art that is reflective of the present age and its social milieu. Industrial materials, when used as media for art, also present us with new concepts and possibilities for artistic expression. In fiber art, the use of industrial materials has greatly expanded the very idea of 'fiber', effectively ferring the imagination of fiber aetists to experiment with diverse materials and new mathodology. Overcoming the traditional constraints of technique-orienthd their discipline, fiber artists began to pay more attention to matiere or the material jtself and the infinite variety of surface, color and texture that it promises. And informed by this newly discovered aesthetice of the material. fiber artists began in eamest to expand the area of their artistic expression, producing multi-dimensional works, conquering space and experimentiong with hugc environmantal works.

• Archives of design research
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• v.11 no.1
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• pp.269-278
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• 1998

Along with the development of the video-film related industry, the need for establishing the education of the video image design is now rapidly growing in a variety of video art institutes. The video image design IS therefore being more classified and systematized than ever to maxImize its effectivity and facilitate its creativity. This paper is thus aimed to suggest the basic curriculum and project class schedule on the video image design which can be utilized in class activities.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.1
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• pp.15-24
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• 2020

This work examines discourse on uses of computer technology and its transformation during the last thirty years effecting Korea landscape architecture. First, in the 1990s landscape architects begun to use computers as a new technology for landscape architecture, programming computer software utilities suitable for landscape research, planning, and design. The landscape architects, acting as computer programmers, tried to explore various techniques for landscape analysis and design with a piece of software, and various experts within the field of landscape architecture collaborated with each other. However, landscape architects mainly used computer technology as a tool as a substitute for hands-on cases. Since around the 2000s, the discourse on mapping and diagrammatic techniques as a visualization technique for landscaping processes have begun. Also, realistic representations for perspective drawings using graphic software have been increasingly important. The landscape architects, acting as graphic designers, focused on the specific visualization techniques for landscape planning and design. However, computer technology has been mainly used to produce realistic visuals aids for final presentations instead of creative exploration to generate landforms. Additionally, recent landscape architects have been using landscape performance modeling and parametric modeling for landform and landscape furniture design. The landscape architects as spatial designers are actively using computer modeling as creative form-generating tools during the design process.