• Title/Summary/Keyword: 장식 디자인

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A Study on India's Traditional Embroidery, Mirror Work (인도의 전통자수 MIRROR WORK에 관한 연구)

  • Han, Yeon-Hee
    • Journal of the Korea Fashion and Costume Design Association
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    • v.13 no.1
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    • pp.99-112
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    • 2011
  • The purpose of this research is to study India's traditional embroidery method, Mirror Work, and to evaluate the examples of contemporary costumes as well as the applications of art to clothing that have been influenced by this technique, in order to expand its usage for creation of a new fashion image. Research in the literature and application of works related to Mirror Work have demonstrated: First of all, as a traditional embroidery method that represents the folk art of India, Mirror Work displays unique methods used in different regions and the way that various methods and materials were combined by the use of mirrors, beads, and $appliqu{\acute{e}}$. Secondly, it was found that the presentation of Mirror Work in the $pr{\hat{e}}t$-a-porte collection is based on a traditional embroidery method using both developed materials and adapted methods to express traditional reproducibility, geometric simplicity, and aesthetic characteristics of complex decorations. Thirdly, new plasticity for art to wear clothing can be created through various methods aside from embroidery, for example by a technique of wrapping crochet laces and tapes around the mirror for decorative purposes. Based on these results it can be inferred that, from the perspective of multiple forms for decorations, Mirror Work shares multiple forms of personal aesthetic goals through the mirror's unique quality for expression and enhanced images of artistic decorative art. Also, the introduction of traditional materials and methods for today's folk art and traditional costumes can be the subject of unique aesthetic characteristics based on different perspectives of the recreation of tradition. Finally, it can further create a new plasticity within the globalization phenomena.

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A Study on The Layered Look by Applying Characteristics of Men's Baeja from The Joseon Dynasty (조선시대 남자 배자를 응용한 레이어드 룩 스타일 디자인 연구)

  • Yeom, Jeong-Soon;Kim, Eun Jung
    • Journal of the Korean Home Economics Association
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    • v.50 no.6
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    • pp.55-64
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    • 2012
  • This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

A Study on the Metal surface Design from Mokumegane technique (모꾸메가네 기법을 활용한 금속표면 디자인 연구)

  • Yoon, Jae-Won
    • Journal of Digital Convergence
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    • v.10 no.10
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    • pp.431-437
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    • 2012
  • In today's modern society, since the Industrial Revolution took place, still lots of goods have been produced in quantity. However, human's instinct has been growing bigger and bigger that he or she wants to possess the works or products of scarcity and aesthetic value of a sculpture handmade by craftsmen, not mass-produced with the same design patterns. Accordingly, it is required that an artist be concerned about the value of figuring out and pursuing an individual's lifestyle, his/her needs and inherent desires. Moreover, by means of visualization technique, an artist should provide the public with several scenarios about the future, letting them choose the one they want democratically. Therefore, with the help of Mokumegane technique, one of the traditional metal crafts techniques, which shows certain organic patterns joining different metals, this research aims for the inheritance of traditional techniques and the objective preparation for high-quality crafts market, studying the patterns expressed on the surface of metals, which are hard to find through machines.

The formativeness of Maximalism expressed in the modern women's collection - Focusing on the women's collection from 2011 to 2016 - (현대 여성복 컬렉션에 표현된 맥시멀리즘의 조형성에 관한 연구 - 2011년 ~ 2016년 여성복 컬렉션을 중심으로 -)

  • Kim, Kyung-Hee
    • Journal of the Korea Fashion and Costume Design Association
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    • v.20 no.2
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    • pp.101-115
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    • 2018
  • The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

The Application Tendency of Western Classic Style Appeared to Residencial Space Interior Composition Elements (주거공간 실내구성요소에 나타난 서양 고전양식의 적용경향)

  • 오혜경;이지현
    • Archives of design research
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    • v.13 no.4
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    • pp.115-123
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    • 2000
  • The purpose of this study was to examine the application tendency about the interior elements of the western classical style which appears in Korean residential space. The examined objects were 324 pictures of 99 residential spaces from the different monthly magazines between Sep.1994 to Sep.1999. The results of this study were as follows: 1. The tendency of application according to the kind of space, it has appeared much in Iivingroom, master bedroom and dining room of apartments and houses. As for the single application in residential space, Rococo and Neo-Classic style was shown most, and the cases applied through the mixture of Renaissance style and Nee-classic style appeared most. 2. The tendency of application arroding to the interior elements of space, the wall of Nee-Classic style and the ceiling of Renaissance style, the window and door of Nee-classic style, and the furniture of Rococo style were being applied much.

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A Study on Adolf Loos's thought about Modernity and his Works of Houses (근대성과 관련한 Adolf Loos의 사상과 주거건축에 관한 연구)

  • Kim, Kyung-Ho
    • Korean Institute of Interior Design Journal
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    • v.15 no.5 s.58
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    • pp.36-43
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    • 2006
  • Architecture is the product of a way of thinking. If the problems of architecture are to be traced to their roots, then attention needs to be focused on the thinking and considerations that inform its production. Adolf Loos occupies a truly exceptional place in the history of architecture. Adolf Loos's ideas and attitudes disagree with the notion that modernity is possible to develop a harmonious culture within the bounds of a modernizing society. Loos chronologically precedes the modern movement, but his ideas contain the seeds of what will be worked out later as a complex critique of the movement's notions about architecture and modernity. Loos holds the view that modernity provokes an inevitable rupture with tradition that has as a consequence the disintegration of one's experience of life. This evolution, he think, obliges architecture to display a number of languages corresponding to a multitude of different experiences. Through the discussion of Loos's opinions on dwelling and architecture, it explores the true features of position of Loos in modern architecture. Loos thinks that the rejection of the deliberate creation of a new style was a correct response to the diagnosis of life as being rootless and fragmented. Ornament is that which people use to attempt to relate different aspects of life and to join inner and outer worlds in a coherent whole. By getting rid of ornament the illusion is destroyed that a harmonious unity of this sort is still possible. One can only remain true to tradition if one acknowledges that its continuity is not an unbroken one. Dwelling can only be saved by separating it from other aspects of life.

Silver Alloying Process for Mokumegane-like Effect for Jewelry Design (장신구 디자인을 위한 모꾸메가네 효과 은 합금 공정)

  • Song Oh-Sung
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.7 no.3
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    • pp.506-511
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    • 2006
  • Silver is one of the most appropriate Jewelry materials for Jewelry casting and bench working. The technique known as 'Mokumegane' is good for making silver jewelry with natural patterns, such as wood grain patterns, but the process is not easy for silversmithing because it requires complicated and heavy labour. Instead of using conventional Mokumegane technique, we propose a new modified silver-copper casting process that enables a similar surface effect with good metal bonding strength between silver and copper. Simply pouring the molten silver into pre-aligned copper granules or 0.5 mm to 1.5 mm-thick copper sheets leads to well embedded copper silver ingots. The rolled silver plates from those ingots show excellent bonding interface even after the silver plate rolled ten times. We successfully fabricated prototype rings with copper embedded silver plates. Our result implies that our newly proposed process nay be a simpler way to fabricate silver jewelry with a pseudo-Mokumegane effect.

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A Compare Study of Traditional Copper Alloy in East 3 Nations. (동양 3국의 전통 동합금에 관한 비교연구)

  • 임옥수
    • Archives of design research
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    • v.16 no.2
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    • pp.291-300
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    • 2003
  • In metalcraft, there are two kind of skills, one is forming and the other is decoration. And we could discern these skills as metal casting and metal hammering.. In metal casting, there are sand mould, cire perdus, stone mould and sealed monld; In metal hammering, metal forging, repousse technique and metal sheet making. After make form, craftman can use the decoration skills. There are chasing hammering, line carving, dotted line engraving, hair line engraving, kicking line engraving, ring punched ground, inlay, filigee and granulation skills. In korean traditional copper alloy, the craftman used forming and decoration skills. In Korea, tradionally the clatter use bronze for copper alloy; in case of Japan, they use violet coloring, and in case of Chinese, they like to use bronze used copper alloy. In case of Alloy, korean craftman used bronze traditionally, but recently the copper alloy skill is usually used; in case of Japan shibuichi and shakudo skills are used; and in Chinese copper, brass and cupronikel alloy are used.

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The study on the symbolic meanings of jewelry history -Focusing on the ring- (장신구사에 나타나는 상징적 의미에 관한 연구 -반지를 중심으로-)

  • Hong, Hye-Jin
    • Archives of design research
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    • v.18 no.1 s.59
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    • pp.157-166
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    • 2005
  • The purpose of the study is to understand the symbolic meaning of jewelry. Among various characteristics of symbols, the symbolic meaning represents the correlation between meanings. Wearing jewelry is an instinctive action that can be witnessed from ancient civilizations. Man used jewelry for various purposes, as an ornament, an amulet, a symbol of wealth or power or as a token of love. In this study, I have researched the symbolic meaning of jewelry in its historic background focusing on rings that show the strongest symbolic characteristic among jewelries. Whereas the symbolic meaning of jewelry was strongly accentuated in the ancient and medieval times, it was gradually weakened in the modern time. Also, while jewelry in the ancient and medieval times showed commonness and universality, jewelry in modern time expressed individuality. Although the meaning of jewelry changed progressively by interacting with the external environment, jewelry has always roused sense and symbolism from our hearts and has acted as a means to express ideas and emotions of human beings.

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A study on hair art design using the copper wire (동선(銅線)을 이용한 헤어 장식(裝飾) 디자인 연구(硏究))

  • Park, Eun-Jung;Ann, Mun-Kyung
    • Journal of Fashion Business
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    • v.11 no.1
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    • pp.38-47
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    • 2007
  • In the modern society that is advancing rapidly, the hair art is also advancing and subdividing. The purpose of this study is to investigate unique field of formative as characteristics and forms of copper wire, focused on such a harmony of hair art, the present thesis aims at developing concept of hair art as a creative way, and recognizing the formative characteristics of copper wire as analyze and arrange the concept of hair art, formative, a way of practical application, material aspect, through literature, academic journals, photo data, and researched about prior piece, for example, architecture and costume with hair art, and then pieces of hair art were made. Influenced by the theory, applied the social phenomenon and the formative principles, produced the five pieces which includes balance, composure, flying, harmony, way, spring etc. The results of this research are outlined below. Firstly, It showed that the copper wire can express the mysterious and beautiful formative world, and it could know the possibility of design. Secondly, formative activity using copper wire can differ according to approach and interpretation, and it can be a works with aesthetic value. Thirdly, hair could be express the art of the three-dimensional forms which constitute the mixture of line, surface and space. So, hair art has enlarged the fields with development of technique, and changed to recognition of the hair art, and opened up a new field. Hair art will be positive fields to maximize the possibility, and not only the beauty artist but also the public will be communicate each other.