• 프린팅코리아
• /
• s.20
• /
• pp.155-159
• /
• 2004

의사소통은 인간의 기본 욕구 중 하나다. 우리 선조들이 생활주변에서 얻어지는 갖가지 재료를 가지고 의사전달의 표현도구로 삼았던 것은 바로 이러한 근원적인 욕망을 충족시키고자 하는 데서 비롯되었다. 인류가 발전함에 따라 감정과 생각을 좀 더 쉽고 정확하게 전달하고자 하는, 한 단계 더 심화된 욕구가 발동되었고 그에 따라 표현방법도 다양하게 모색되었다. 더 나아가 표출된 의사소통 내용을 기록해 두어 오래 보존하고자 하는 욕망도 생겨났는데, 앞으로 우리가 함께 더듬어 볼 한국인쇄술의 발명 역사도 결국은 이러한 맥락과 상통되고 있는 셈이다.

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2003.05a
• /
• pp.196-199
• /
• 2003

In a modern society, as the architectural materials have become main subject of the interior design expression, their influence on architecture is becoming substantial. There are multiple ways of using architectural materials. The aesthetic value is greatly enhanced by the fact that the architectural materials can be used to create unrestricted and new expression. The modern time is uncertain and rapidly changing. In this era of chaos and diversity, the materialism is being superseded by idealism. Speedy exchange of information among the countries with development of new technology and materials increases the possibility of new expressions. Each new material that adds new value influences on the other art as well as the architecture. These characteristics of new expressions could be viewed as having close relationship with current idealism. Therefore, the study on the expressive trend of architectural materials will provide better understanding and translation on expression of interior design. At this point, this study has a purpose in not only understanding architectural materials but also researching for the characteristics of expression on interior design with consideration of paradigmatic variation in modern times.

• Journal of Digital Convergence
• /
• v.19 no.7
• /
• pp.303-312
• /
• 2021

The Possibility of contemporary ceramics creation through the convergence of materials In modern society, the creation of new values through convergence is emerging as a new trend. Modern potters are also trying to expand a new concept of art by combining various materials with other media. In craft, materials are essential and the most fundamental elements of expression. Therefore, from the viewpoints of various fusions, the significance of the fusion between materials will be explored. Also, focusing on paperclay, which is the most likely to be transformed material, we explore creative possibilities in the process of producing materials and works. Chapter 2 presents the concept and significance of fusion and material properties, and introduce the trend of fusion used in contemporary ceramics as material expression. In Chapters 3 and 4, characteristics and possibilities are examined through paper clay production and presentation based on the structure of the previous analysis. As a result, it is intended to present the direction that modern ceramics should pursue through a fusion phenomenon such as bonding between materials in the future and to explore potential possibilities for development.

• Journal of Digital Convergence
• /
• v.14 no.11
• /
• pp.489-494
• /
• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• Journal of the Korean Society for Aeronautical & Space Sciences
• /
• v.32 no.4
• /
• pp.18-23
• /
• 2004

In this paper, material non-linear behavior of PZT wafer(3203HD, CTS) under high electric field and stress is experimentally investigated and the non-linearity of the PZT wafer is numerically simulated. Empirical functions that can represent the non-linear behavior of the PZT wafer have been extracted based on the measured piezo-strain under stress. The functions are implemented in an incremental finite element formulation for material non-linear analysis. New definition of the piezoelectric constant and the incremental strain are incorporated into the finite element formulation for a better reproduction of the non-linear behavior. With the new definition of the in incremental piero-strain the measured non-linear behavior of the PZT wafer has been accurately reproduced even for high electric field. For validation of the measured non-linear characteristics and the proposed approach, a PZT bimorph beam actuator has been numerically and experimentally tested. The predicted actuation displacement, based on the material nonlinear finite element analysis, showed a good agreement with the measured one.

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

• 전기의세계
• /
• v.25 no.6
• /
• pp.40-44
• /
• 1976

근대산업의 에너지원으로서 전력수요의 급격한 증대에 수반하여 전력계통의 초고전압화, 관련기기의 소형화 및 장기간에 걸친 성능의 안정성, 신뢰성이 절실히 요망 하겠금 되었다. 이로 인하여 전기절욘재료에 요구되는 제성능도 일반적으로 고도화되고 점점 가혹한 조건이 부가되고 있는 실정이라 하겠다. 근년 고분자화학의 급속한 진보와 고분자성형기술의 발달에 의하여 등장한 합성고분자재료는 그 물리, 화학적 성질 특히 전기적 성질에 많은 특징을 가지고 있으며 그 성능이 점점 높이 평가되고 있어 고분자재료의 진출이야말로 전기기기절연의 양상에 일대 변화를 줄것이라 하여도 지나친 표현이 아니겠다. 이와같이 고분자가 전기절연재료로써의 가치는 물가구조로 부터 기대되는 우수한 유전성과 전기절연성이 높이 평가되고 있는 점이라 하겠다.

• Journal of the Korea Convergence Society
• /
• v.11 no.4
• /
• pp.179-188
• /
• 2020

Kenzo Tange was interested in how to express tradition in the process of creation of modern architecture and tried to express the traditionaluty of Japanese architecture in his own way. In particular, Tange expressed Japanese tradition in terms of building materials and components from the point of view of his own 'New Tradition'. Tange created the 'Japanese style of architecture' based on traditional architecture to match the discourse of international architecture and distinguish it from the Western one, by harmonizing the plasticity of Japanese traditional architecture with the Western technology in building materials and components. Therefore, this study aimed to analyze the signs and traces of traditions in the building materials and components in his architecture. Through this study, I would like to have implications for our architecture, which had a very different process and result from Japan in digesting and combining it with traditional architecture although Western civilization was accepted at about the same time.

• Archives of design research
• /
• v.12 no.4
• /
• pp.211-220
• /
• 1999

This study purposed more effective drawing process in practical lecture with students. Researched materials were constitution to a semester of presentation technique curriculum major in industrial design for freshman course. Students exert to entrance examination of university to get a good point in practical test. There did not have creative action in minds. But, design required concept of good idea sketch and creative technique. At study process should make correction a reform to sketch skill by repeat practicing with misunderstand drawing or imitative idea sketch. According to the practical test result & response revised lecture schedule. And then, I had survey to questionnaire paper for feedback by trial result. Besides, I was study to effect use the drawing materials for example, colored pencil, marker pastel. I think important to first use to way understanding materials and basic training. Design education be driven to new creative sketch skill. Design is the creative process to which brings ideas to reality.

• Journal of the Korean Society of Floral Art and Design
• /
• no.43
• /
• pp.123-138
• /
• 2020

This study found Flower Jewelry works in the monthly magazine specializing in flower decoration for nine years from 2011 to 2019. Based on the analysis of the type of expression, method of expression, type and number of plant materials used, and the type and number of non-plant materials used for the flower jewelry found, it was conducted to find out the trend of flower jewelry in Korea. By expression type, a total of 96 works were analyzed as 20.83% for headdresses, 57.29% for necklaces, 5.21% for earrings, 6.25% for lists, and 10.42% for other works(χ²=94.833, p<.001). According to the analysis of the frequency of use of expression techniques, headdresses, necklaces, and lists for each work were produced using five to six different expression techniques and earrings were produced using two to four expression techniques. Material coupling techniques 34.43%, flower and leaf utilization 30.17%, visual techniques 16.63%, collectivization techniques 14.12%, technical highlighting techniques 4.26%, and other 0.39% (χ²=455.222, p<.001). The most frequently used techniques were framing techniques 16.63% and knotting techniques 16.44%. Plant materials used in flower jewelry were found to be 22.61% for Phalaenopsis spp., 13.48% for Gomphrena globosa, 9.57% for Gloriosa rothschildiana, 7.39% for Epidendrum cinnabarinum, 6.96% for Chamelaucium uncinatum and 4.78% for Craspedia globosa (χ²=718.104, p<.001). In the case of branch, the most common was used with 70.00% of the Cornus walteri, and 10.00% of Actinidia arguta, Celastrus orbiculatus, and Salix pseudolasiogyne were used respectively (χ²=10.800, p=.013). In the case of foliage, 24.65% Aspidistra elatior, 24.62% Asparagus asparagoides, 11.54% Senecio rowleyanus, and 6.15% Ceropegia woodii (χ²=269.385, p<.001). In the case of berries, 44.44% of the fruits of the Smilax china, 33.33% of the Hypericum patulum, and 11.11% of the Phytolacca americana were found (χ²=11.444, p =.022). Non-planting materials used in the manufacture of flower jewelry were found to be 47.34% of 2mm aluminium wire, 33.73% of copper wire and 10.06% of 1mm aluminum wire (χ²=186.704, p<.001). The figure was 53.57% for pearls, 12.50% for ribbons, and 4.14% for spangles and feathers.