• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.

• Journal of the Korea Convergence Society
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• v.11 no.11
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• pp.123-134
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• 2020

With the recent development of 3D printers, there is a growing need to make them similar to real products. As a result, FDM full-color 3D printers have been developed and actively distributed, but GUI design has fallen short of that, causing confusion among users. Accordingly, this study conducted a literature survey, and through a case study, the current status of FDM full-color 3D printers was identified and the components of GUI design were analyzed based on prior research. The draft checklist was drawn up according to the components of the derived GUI design, and 24 items were deleted through the three Delphi surveys and the validity of the remaining 26 items was verified. As a result, the layout should consist of intuitive screen configuration and menus with high frequency of use, and the text should be intuitive and clearly communicated. In addition, the icon should be placed in a visible position and used in real life to image it. Finally, we could see that the color should be used to give feedback to the user using the highlight color and not overlap the output.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.