• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.69-83
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• 2011

This study applied cartoon-like simple and implicit symbol of Keith Haring works to tubular jacquard knit, designed woman casual knit wear with fun, explicit and activities using fluorescent yarns with explicit features. This study aimed to propose the directions for new market pioneering that meets the emotional requirements of modern people by raising the level of utilization and expression area of knit fashion, and to present the constructive directions for high value-added knit wear by designing highly effective knit wear. Methods of this study examined the lifetime and artistic background of Keith Haring and collected his works through searching of internet, scholastic publications or thesis. Formative types and colors of works collected were analyzed and classified according to characteristic standards of Haring and characteristic formativeness and color of works were extracted. The result of this study is as shown below: First, the feature of his works can be summarized into motif that has symbolic and implicit cartoon-like lines including narratives as well as enormous number of works. Such feature is very suitable for variation and recombination in realization of design and has unlimited potentials for development. Second, image colors can be extracted such as black and white, original color and fluorescent paints, which reflects the intention of artist who put focus on communication with the public. Such color feature is very suitable for design motif that has explicitness of reflecting the intention of artist through use of special fluorescent yarn. Third, I made it as reversible wear that has effects of increasing or decreasing the explicitness according to color area ratio using the feature of textures allowing use of both sides as well as form stability of tubular jacquard. Fourth, by adjusting the thickness of fabric with controlling of ply in fabric using poly yarn and wool union yarn, I could obtain good results of study in terms of technique that can express various materials with embossed dynamic effects of unevenness on flat surface.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.1-12
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• 2008

This study begins by establishing the theory that paintings serve as a visual documentation of a particular era and record the ideal fashions and customs about dress behavior through the costumes represented in them and examines the close relationship between fashion and art, focusing on the influence of art on fashion, as well as that of fashion on art, for both painters and fashion designers. To attain the goal of the study, the selected objects of study are written references and dresses represented in paintings produced in the 19th century. Painters who were the subject of documentation created or popularized new fashion styles before the concept of 'fashion designer' was introduced in history. In order to capture and represent the ideal beauty of certain period, painters understood the important role of fashion. Their work not only included the designing of costumes or accessories for the sitters, but also the spreading of new fashion styles by showing the sitters wearing them. Study of the mutual relationship between fashion and art grew more vigorous among many intellectuals in a variety of fields beginning in the 19th century. The standing of fashion was elevated and the concept of the 'fashion designer' was introduced and the interest in the themes of a specific style or the background of a trend increased during this time period. Many contemporary fashion designers created dresses inspired by the costumes represented in paintings. The result of this study which focuses on the relationships between fashion, artist, fashion designer and art is that connection between fashion and art is closely and firmly formed. For several hundred years, painters were the creators as well as promulgators of fashion and fashion designers, from the 19th century until today, have obtained their creative inspiration from art.

• The Journal of Art Theory & Practice
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• no.1
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• pp.7-22
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• 2003

What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.

• Journal of Korea Game Society
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• v.5 no.1
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• pp.45-52
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• 2005

This paper is re-lighting(reputation) that Ki-saeng is a artist in Chosun age to concern with history, social lives, role, art school of Ki-saeng and Ki-saeng and also is re-light and analysis educate system, rules, curriculum, time table of teaching, graduated album, photos of art school of Pyongyang Ki-saeng. And the using these traditional culture materials of Ki-saeng can create various digital contents of game contents, animation, drama, film and characters. Specially, it is propose to use culture contents that creation and pick out of beauty, talent, social system and art school of Ki-saeng in Chosun age willing to use concept design, scenario of game, animation, drama and film etc.

• Journal of the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.65-78
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• 2003

This research is to provide practical help in learning hair and makeup illustration skills by presenting techniques for hair and makeup drawing; to serve efficient illustration education; and to enhance the status of beauty and contribute to artistic development. Hair style and makeup techniques include graphical one, pattern-centered one, one using pattern paper, simplifying one and mood one expressing image. Of them, this research made the illustrations to use cosmetics, color pencils and pastel based on the graphical technique. for each design of the illustrations, ethnic, sexy, natural, romantic and gorgeous images, which were considered to be appropriate to the graphical technique, were chosen by the researcher out of hair and makeup styles that appeared in the fashion magazines including Vogue, Gap, Mode et Mode from 2000 through 2001. In particular, they were chosen with focusing on basic styles. The summaries below were found with the experience of making illustrations. Various techniques and skills are required to express the ideas of hair and makeup styles. Of them, the graphical technique is very useful as the primary step to learn various techniques and improve drawing skills. First, the graphical technique may enable not only expressing what is desired to draw as is, but also accurately representing hair and makeup designs so as to convey objective expression. In this regard, it is a proper way to achieve its inherent purpose as conveyance of messages. Second, more accurate styling of hair and makeup is available through graphical expression, which helps understand related practical techniques. In addition, makeup illustration, which is expressed through direct makeup products and instruments, may serve skill improvement since such direct use provides the feeling of real makeup. Third, the graphical technique as a basic drawing skill may unrestrictedly show the artist's expression ability. Fourth, although artistic merits implying individuality and creativity should be shared through illustrations that express the artist's ideas or emotions, the graphical technique is the easiest method to beginners who just started learning of illustration, in that it enables expression without highly advanced skills.

• Journal of Fashion Business
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• v.18 no.4
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• pp.66-79
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• 2014

Unlike other body arts, body painting illuminates the value of art using eco-friendly formative activity and natural environment and highlights the need of eco-friendly activity. However, although body painting has focused on forming right relationship between human beings and nature, there are few researches which are linked with nature art. Therefore, the purpose of this study is to argue the need to study body painting as nature art in connection with natural environment and analyze body painting according to nature art types. The study methods included both theoretical review and empirical review. The theoretical review examined the concept and characteristics of nature art through previous researches and literature and the empirical review looked into the types and works of nature art and applied them to body painting works. The results were as follows. First, an installation type was possible by arranging and attaching certain materials to the body. Second, a physical type was possible by representing body itself as the part of nature. Third, a symbolic type was possible by making body appearance as a some symbol based on artist's idea. Fourth, a sound type was possible by stimulating auditory hallucination using the nature of objects and sensing a sound. Fifth, an ecological type was possible by conveying the message of living things in nature to the body. Sixth, an interior type was possible by inducing indoor installation of works. Seventh, a poetic type was possible by making one feel a poetic inspiration expressed in nature using the mystery of the sea and a simple sequential pattern of floral leaves. Eighth, a drawing type was possible by adding artist's intentional hand with a pictorical technique. Ninth, a indigenous type was possible by reproducing South American indian's primitive style. The review of this study suggests that body painting works have been expressed in experimental and temporary arrangement like nature art in nature and can be applied according to nine types of nature art.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.193-201
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• 2007

The information technology is quickly changing the paradigm of the overall society. This change has influenced the art field and exceeded the limit of prior art characteristics and methods opening up a new world of art pieces starting among the young artists based on digital art technology. Especially the internet art of the computer technology made the communication of the artist and the viewer to communicate in a bilateral manner different from one way feeding of the past and made it possible for the viewers to choose their involvement in the act of seeing the work changing the reaction into a fluid concept. This thesis is about using the digital media in the net art communication to figure out the fluid interaction by approaching the digital media concept and by analyzing the characteristics of net art communication means and thus take a overall look at the artist related web sites and see the net art as a new communication means.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6472-6477
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• 2014

This study examined the trends of an illustration artist's art marketing widening its area in recent years and proposes a design concept of color cosmetics. Art marketing is a type of culture marketing and means marketing through exhibitions, performances and other artistic activities. Free artistic sensibility expression in which the artistic motif is melted into a product beyond the works of a particular artist, and the product, in turn, can be reflected in the canvas, has attracted attention. The works of illustrators are widening their area into the item in life not canvas. This paper proposes the color cosmetics design that reflect art marketing. The main target who proposed the design concept was trend-oriented and in their early to mid-20s with a strong personality, showing a strong tendency of attracting attention and being recognized. To emphasize the design concept of color cosmetics packaging design, the progressive image of the target class was reflected through brilliant and intense color combination. The cultural value and meaning are provided as the artistic mood becomes a part of life.

• Journal of the Korean Graphic Arts Communication Society
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• v.2 no.1
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• pp.35-43
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• 1984

Shince the introduction of machine methods into industry a problem has existed which has never been adequately solved. .... That is to say, there is no difference between the essential qualities of Machine art and abstract art, which is the main style of fine arts in the present day. This problem has been discussed by John Ruskin, William Morris, Herbert Read. In this study, I discussed the artistic value in the modern graphic arts from the standpoint of Herbert Read on the machine art. According to the above-mentioned discussings, we can come to the conclusion as follows 1) The machine art lie at the root of abstract art, and whenever the final product of machine is designed or determined by anyone sensitive to formal values, that product can and does become an abstract work of art in the subtler sense of the term. 2) We must recognize that graphic design is a function of the abstract artist, and the abstract artist must be given a place in the graphic arts in which be is not already established, and his decision on all questions of design must be final. 3) Therefore, the graphic designer must have therough knowledge of graphic arts technology in order to give the artistic value to the objects of machine production.

• The Journal of Art Theory & Practice
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• no.13
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.