• Journal of Science of Art and Design
• /
• v.3
• /
• pp.145-177
• /
• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Journal of architectural history
• /
• v.1 no.1 s.1
• /
• pp.228-239
• /
• 1992

I'm going to endow with any characters to the mixed history of Korean Contemporary Architecture, and rearrange the relations between motive of transfer and the ideology which is concluded in expression through considering the transitional period which is based on the modernity, tradition and additional area such as ideology, politics, technology, literature, sculpture and painting etc. This abstract explain only characters of revivalism in Korean Contemporary Architecture. Revivalism have some complexed nationalistic leanings. Our transitional succession returned to revivalism that is limitted by its form. Of course, that is dued to complexed operating such as the Ideal Nationalism against the severance of our culture which had been done by Japan, the Superior Nationalism which is developed by antagonism of our own ideology was dued to dividing into sections of our own country, and the Resistant Nationalism against foreign culture.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.153-199
• /
• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of the Korea Computer Graphics Society
• /
• v.12 no.4
• /
• pp.7-15
• /
• 2006

The ultimate objective of painterly rendering is to express an inputted image as if it is hand drawn. The factors to express this painterly effect are thickness of the brush, direction, texture and the establishment of criteria judging if the produced brush will be drawn on to the canvas. In this paper, the algorithm using density of the edges in determining the criteria whether the brush will be drawn onto the canvas is proposed. Density of edges refers to the quantity of edge in the specific area. And uses the method of finding the location of the brush to be drawn as a unit of dynamic grid as well as expressing consistent directional through direction interpolation. Also, the texture is expressed using various textured brushes. Considering density of edges,We can express detailed area and abstract area. And it result in more human effect of oil painting.

• The Journal of the Korea Contents Association
• /
• v.20 no.2
• /
• pp.572-580
• /
• 2020

Recently released AI speakers show a pattern of interacting with the user by mainly with voice and simultaneously displaying simple and formal visual feedback through status LED light. This is due to the limitations of the product characteristics of the speaker, which makes it difficult to interact variously, and even such visual feedback is not standardized for each product, and thus does not give a consistent user experience. By maximizing the visual elements that can be expressed through color and abstract movement to assist voice feedback, the product can provide the user with an extended experience that includes not only functional satisfaction but also emotional satisfaction. In this study, after analyzing the interaction methods of the existing AI speakers, we examined the theory of color communication in order to expand the visual feedback effect, and examined the meaning and expression technique of Color Field Painting, an art genre that maximizes the emotional experience by using only color. Through this, the AI speaker's visual communication function was expanded by designing a way to feedback communication status using LED light.

• The Research Journal of the Costume Culture
• /
• v.18 no.2
• /
• pp.229-244
• /
• 2010

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the $21^{st}$ century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly 'folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

• Journal of the Korean Society of Costume
• /
• v.61 no.7
• /
• pp.125-134
• /
• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• Archives of design research
• /
• v.16 no.4
• /
• pp.163-172
• /
• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• Korean Journal of Cognitive Science
• /
• v.25 no.3
• /
• pp.259-276
• /
• 2014

Artists such as Duchamp and Balla tried to portray moving objects on static canvases by superimposing snapshots of moving objects. Previously, our group showed the influence of prior experience on brain responses within a motion-sensitive area MT+ to abstr act paintings with or without implied motion. In the present study, we went further to investigate whether the differential MT+activation between observers is originated from differential eye movement patterns. Prior experience was defined operationally with major in art. In addition, we examined whether perceiver's awareness of artist's intention concerning the implied motion, as well as expertise in art, affects the way he/she views the artwork. Results showed that the number and the duration of fixation on the abstract paintings tended to differ between participants based on art major. The awareness of artist's intention was not related to such differences. In contrast, observers' awareness of artist's intention of implying motion affected eye movement patterns in specific regions of the abstract paintings where the motion was portrayed. In other words, observers with awareness focused more on the parts of paintings portraying motion and moved their eyes in the direction corresponding to the direction of moving objects than observers without awareness. Expertise was not related to such specific eye movement patterns. The present study implies that art expertise and awareness of artist's intention play differential roles in observers' perception of paintings with implied motion. Namely, it suggests that expertise is related to the overall perception of paintings, while awareness of implied motion is related to perception of the specific spatial information in those paintings.

• The Journal of the Korea Contents Association
• /
• v.9 no.12
• /
• pp.592-599
• /
• 2009

In this paper, I explain the design and implementation of an automated drawing system by communicating with a user. I made a system providing an UI for virtual environmental actual robot to interwork with environment to make a drawing that I was able to read work, and to help convenience of a user in computers. The UI of a system was used the AWT(Abstract Window Toolkit) in NetBean tools. To draw images, I got image information from SVG vector files. This system can make images according to the demand of users by using real-time communication. Also this kind of drawing process can be an artists performance, not only the final image as a result of the work. So I suggest that this real-time drawing process which is operated by user’s command can be considered as an artists performance.