• Archives of design research
• /
• v.19 no.2 s.64
• /
• pp.121-128
• /
• 2006

The elements to enhance preference in symbol design are mainly related to consumers' response and aesthetic elements. Because certain aesthetic elements in design affect consumers' response and it is actually presented through (the different level of) preference. This study through surveying case studies examines whether a certain aesthetic element in symbol design gives rise to much preference. According to the result of study, high preference in symbolic design depends on high level of Rhythm, Balance, Harmony, Elaboration, Round, Gestalt, Organic, and Artificial/Natural among aesthetic elements. In comparison, it is founded that Simplicity/complexity, Objective/Abstract, depth, and symmetry should be designed at the moderate level, and proportion, repetition of elements be at the low level. Additionally(or Besides) this study makes out that symbol design cases with high preference have shapes from natural material or patterns of traditional culture, while cases with low preference have shapes from geometric figures. On the basis of these results, a guideline of symbol design could De offered(or suggested) to fit preference of consumers. But, this study is mostly concerned with only affect among emotional reactions of consumer in a scope of study, and is considered only in the aspect of form excluding color and texture.

• Korea Science and Art Forum
• /
• v.37 no.2
• /
• pp.275-292
• /
• 2019

This study was initiated with the attention of demanding new and diverse approaches, we're talking familiar with imitations in the design process like a way to draw a image. So I studied a convergence of humanities and visual arts with the understanding and conceptual approach of the formless. The purpose of this study is to develop formless languages and to organize practical courses which are to enable deeper research and design expression on theoretical approaches and explanations of outcomes required before and after the process when we practice in connection with the formless. The method of this study is to draw detailed items from selected words through advanced researches, work and author researches and practice teaching. The results of the study I proposed the formless language that is related to the horizontality in spatial positioning system, and pulse in the separation of space and time, and entropy in structural orders of the system, and base materialism in the limitation of matter as the operating mechanism and parent item of formless. And those elements are related with shape, size, shading, color, texture, space, structure as visual elements of formative elements and those have various adjectival meanings as the subordinate concept. So I presented an education materials of basic design which is to enable understanding and expressing the formless language in the overall process of formless visual art(theoretical approach, practice course, presentation, etc.). Based on these study results, I hope that this educational materials will be used as educational contents that makes them express and understand different new beauties, and a role that reveals social identity, and a reference for research on a formless visual arts.

• Journal of Korean Home Economics Education Association
• /
• v.33 no.3
• /
• pp.159-171
• /
• 2021

In order for young people to be interested in tradition, a specialized experience program that can be frequently encountered is needed. We have developed an after-school traditional gift-wrapping design program in relation to the subject of home economics for the purpose of enabling students to become interested in tradition and deepen their traditional knowledge. The research process was comprised of analysis, development, and evaluation. We analyzed the home economics curriculum, authentic designs from blogs and department stores along with books published by gift-wrapping associations, and interviews with three gift wrapping specialists. Contemporary traditional packaging design is not limited to the reproduction of the traditional design but also creates designs that strongly express unique Korean identity using traditional symbol patterns, colors, traditional decorations, and small items along with modern materials. A 16-week after-school program was developed based on the analysis results. After the implementation of the after-school program in a middle school, survey results showed students who were indifferent toward tradition showed interest and acquired a positive image towards tradition.

• Journal of the Korean Society of Floral Art and Design
• /
• no.42
• /
• pp.3-21
• /
• 2020

In this paper, the funeral was defined as a culture of death and, on the most important ideological basis, the biological death was not recognized as the end of the world, but as a starting point for another life. Various funeral cultures were investigated and the funeral floral design was analyzed through the case. Based on this, it was concluded that Korea's funeral floral design was an impediment to the development of funeral floral design, similar to the use of limited materials. Storytelling, a communicative concept through the exchange of emotions and opinions, rather than unilaterally conveying a message as an answer, is one of the most effective marketing strategies in the emotional consumption era. Based on this, the target person was selected to analyze life and draw suggestions from his life. Accordingly, the production of the work was attempted by applying storytelling to the funeral floral design. The painting design applied to storytelling expressed the symbol and meaning of the painting design material, and the color and form of the floral design in various forms and colors of pastel line, which are based on peach color that symbolizes the deceased, in a departure from the traditional funeral painting design with the solemn atmosphere of the geometric design centered on the white chrysanthemum material.

• Archives of design research
• /
• v.17 no.2
• /
• pp.311-322
• /
• 2004

The purpose of this study is to ascertain pattern design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. The basic assumption underlying this study is that these northeastern Asian states have been developed a unique inter-cultural ties over long periods of time in history, culminating in their respective design cultures. Undoubtly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean pattern design element. In the West, the pattern is appreciated by an aesthetic level, but the East Asian pattern is a symbolic alphabet deeply rooted in religious and folk beliefs. The difference of the respective country comes from the expression style of the pattern the Chinese express the magnificent pattern with various color, the Korean do the moderate pattern with harmonious color with the nature and the Japanese do the stylized pattern with the material color. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China, and Japan is as the following : It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas 'and 'confucianism'. But the representation style of the design element is differed from the country.

• Journal of the korean academy of Pediatric Dentistry
• /
• v.29 no.2
• /
• pp.168-179
• /
• 2002

The purpose of this study was to find a method for improving the children's behavior during dental treatment in relation with dentist's attire. For this study 150 children, visiting a dental clinic, were asked to participate in a survey on the attire of the dentist. The results of the survey were as follows: 1. In the survey for the preference between gown and ordinary clothes according to sex(P<0.05), age(P<0.05), residence (P<0.05) and number of visits(P<0.05), there was more preference for gown(65.3%). 2. The preference for the type of gown and attire under the gown was a long gown and white shirt (30.7%), followed by a suit-like gown (18.7%) and white shirt, and long gown and polo shirt(17.3%). 3. The preference for the color of gown was white(34.7%), followed by pink (18.7%), green(18.0%), blue(15.3%) and yellow(13.3%). 4. The preference for the pattern on the gown was cartoon characters(49.3%), followed by hospital logo(28.7%) and no pattern(14.7%). 5. The preference for ordinary clothes of female dentists was polo shirt(37.3%), followed by striped shirt(28.7%), round T-shirt(18.7%), and everyday Korean traditional dress(15.3%). 6. The preference for ordinary clothes of male dentists was pattern necktie and no pattern Y-shirt(28.0%), followed by no pattern necktie and Y-shirt(21.3%) or pattern shirt with no necktie, and no pattern Y-shirt with no necktie(14.7%). 7. The preference on the protective equipment worn was mask and glove(28.7%), followed by no protective equipment(26.7%), mask, glove and protective glasses(22.7%) at)d only mask(22.0%). Based on the above results, it seems that parting with the traditional white gown and wearing multi-color and pattern attire will provide psychological stability and help improve children's behavior during treatment.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.230-250
• /
• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Food Science and Preservation
• /
• v.8 no.4
• /
• pp.427-433
• /
• 2001

The purpose of this study was to investigate the effect of chitosan on the shelf-life and quality of Paeksulkis(Korea rice cake). Paeksulgis containing 0-0.5% chitosan were stored at 5$^{\circ}C$ for 4 week and 2$0^{\circ}C$ for 1 week to test the effect of extenting shelf-life of Paeksulgis by chitosan. The pH of Paeksulkis was 5.65 without chitosan and pH of those were about 7.0(6.94-7.01) with 0.05-0.5% level of chitosan. Moisture content of Paekrukis wish or without chitosan was 38-40%. In Hunter’s color values of Paeksulkis of control, the lightness (L) was 84.28, redness(a) was -1.56 and yellowness(b) was 7.68. The lightness (L), redness(a) and yellowness(b) of Paeksulkis were increased by the increasing concentration of chitosan. In mechanical characteristics, cohesiveness concentration of Paeksulkis were the highest in control while obtained the highest score in color, after swallowing and overall quality (p<0.05). The score of flavor and consistency of Paeksulkis with different levels of chitosan wre not significant while the score of moisture in Paeksulkis with 0.05-0.5% level of chitosan was significantly higher than control (p<0.05). The score of flavor and consistency of Paeksulkis with different levels of chitosan were not significant while the score of moisture in Paeksulkis with 0.05-0.5% level of chitosan was significantly higher than control (p<0.05). Total bacterial counts (TBC) of Paeksulgis immediately before storage were 4.2$\times$10$^2$CFU/g in control and those containing 0.3-0.5% of chitosan were 0.5-1.0 log cycle lower than control. TBC of Paelsulgis containing chitosan was lower than increased for 2 weeks, reached at 1.8$\times$10$^{5}$ CFU/g and decreased for 2 weeks, reached at 1.8$\times$10$^4$CFU/g during storage at 5$^{\circ}C$. TBC of Paeksulkis with more than 0.3% of chitosan were 1.9 log cycles lower than that of control during storage at 5$^{\circ}C$. TBC of Paeksulkis with more than 0.3% of chitosan were 1.9 log cycles lower than that of control during storage at 5$^{\circ}C$ for 4 weeks. TBC of Paeksulgis increased to 10$^{8}$ CFU/g in control and 10$^{6}$-10$^{7}$ CFU/g in more than 0.3% chitosan during storage at 20$^{\circ}C$ for 1 week. The shelf-life of Paeksulkis was increased with increasing concentration of chitosan both temperature at 5$^{\circ}C$ and 20$^{\circ}C$.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.43 no.4
• /
• pp.15-26
• /
• 2015

The Daegu Metropolitan Transit Corporation Advisory Committee has chosen 5 styles of bridge-pier designs, including coating, graphic, planting, billboard and safety-facility style, based on the results of landscape simulations from a previous study. This study was conducted to investigate citizen's preferences and emotional images for each style of bridge-pier design, by aiming at the pilot urban landscape improvement section from Daebong Bridge in Suseong Gu to the crossroads near Dongseong Elementary School in Daegu Metropolitan City. The questionnaire was drawn up regarding the urban landscape improvement plans applied to the research area, and the questions were about citizens' perception of bridge-pier structures generated by constructing a light rail transit, important factors to consider when designing bridge piers, preferences for each style of bridge-pier design and emotional impact. 60.4% of the survey participants were found to perceive bridge-pier structures as unattractive, so it was necessary to improve them aesthetically. Regarding visual factors of bridge-pier designs, color was most important at 5.81, followed by form at 5.57. Regarding aesthetic component factors, harmony was most important at 6.07, followed by amenity at 6.00. In the survey participants' preference for each bridge-pier design, the graphic style was preferred most at 4.14, followed by the planting style. In emotional adjectives used for each bridge-pier design, the coating style, the safety-facility style and the non-treatment style showed similar results, and all of these styles were evaluated as artificial, lifeless and desolate. The graphic style and the billboard style showed different tendencies, depending on visual factors and aesthetic component factors applied to the graphic design used for these two bridge-pier styles. Since natural materials were used for the planting style, however, it showed high preference for such emotional images as natural and lively. The emotional adjective 'amiable' was found to affect citizens' preferences for each bridge-pier aesthetic improvement plan most, and it was also analyzed to have an effect on all the styles of bridge-pier designs. To improve the landscape of a light rail transit being constructed inside the urban area, this study quantitatively extracted citizens' preferences and emotional adjective for every style of bridge-pier design applied to the pilot urban landscape improvement section, and it is expected that the results of this study will be used as basic data to improve the landscape of bridge piers.

• Journal of the Korean Society of Food Culture
• /
• v.6 no.3
• /
• pp.281-291
• /
• 1991

Kasugadaisha was built in the 9th century at Nara, Japan and it was the powerful Fujiwara's Shrine at that time. And also Wakamiyasai which has transmitted from generation to generation about for 1200 years at Kasugadaisha is typical sacrificial service of Nara Ages and it was built up with the historical background from Korean peninsula, especially Bekje. So it could be presumed to be important data to survey the sacrificial service in order to study on the ancient dietary culture of Korean and Japanese. 1) They used a live flower or paper flower in every sacrificial services. But in Korea, it has been used not only in the sacrificial services but also in happy events. And also it has been changed to use silk or developed rice cake instead of paper. 2) Steamed rice cake in Siru has been taken after boiled rice and unpolished rice. 3) Fried rice cake like doughnut was beginning of fried cake like Yak-kwa. 4) Four colors of red, yellow, green and white are symbolic at the high offering. There are a lot of cake, candy and some kind of biskuit four colors used in every events even now in Korea.