• Journal of the Korean Ceramic Society
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• v.53 no.1
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• pp.75-80
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• 2016

Ink-jet printing has become a widespread technology with the society's increase in aesthetic awareness. Especially, ink-jet printing using glazed ceramic ink can offer huge advantages including high quality decoration, continuous processing, glaze patterning, and direct reproduction of high resolution images. Recently, ceramic ink-jet printing has been rapidly introduced to decorate the porcelain product and the ceramic tiles. In this study, we provide an effective method to apply ceramic ink-jet decorations on the glass substrates using a oleophobic coating with perfluorooctyl trichlorosilane. The ink-jet printed patterns were much clearer on the oleophobically coated glass surface than the bare glass surface. The contact angle of the ceramic ink was maximized to the value of $64.0^{\circ}$ on the glass surface, when it was treated with 1 vol% PFTS solution for 1 min. The effects of the printing conditions and firing process on the ink-jet printed patterns on the oleophobically coated glass were also investigated.

• Korean Journal of Human Ecology
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• v.13 no.5
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• pp.799-809
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• 2004

Our study found that the types and forms of patterns of Japan, although they are similar to those of Korea and China, hold their own distinctive aesthetic awareness. They were made so, because the Japanese had not simply copied the patterns from other countries and also had changed them in various ways for ages. Especially, geometric patterns were widely used on some types of kimono costumes and belts in Edo period. One of the most widely used patterns was called Suk Chup Mun, and Tatewaku pattern was another. The San Gil Mun and Chil Bo Mun pattern was least used. In the patterns combination, that of animal and plant patterns was general. A single geometric pattern was not used, but if any, it was in Sima patterns and latticed patterns. On the other hand, the combination of geometric and plant patterns was more frequently used as composite patterns than any other pattern, such as geometric pattern with home tools, or one with animal patterns or nature patterns. The geometric patterns that had appeared in Edo period were combined in paintings along with animal and home tools patterns, so it could become a representative pattern of the age.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.114-124
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• 2011

The development in modern world media made information expansion and conversion much easier. These changes in media environment required a lot of companies to quickly respond to the overall environment and come up with new appropriate marketing strategies. Companies use experiential exhibition halls to enhance their images. The goal of the research is to set the basis for digital signage exhibition production characteristics as a spatial mechanism by presenting the need to use the digital signage as a tool. Digital signage expands senses and connects internal and external space. There are many types of digital signage (display, projection, special media, etc) and they are informative, aesthetic, inductive, and amusing. For research methods, Korean companies' exhibition halls sample analysis and surveys were executed to analyze the awareness, expression characteristics, effects, and usage status of digital signage. In conclusion, corporate exhibition halls should: 1. be an interesting and comfortable space that can be used as a communication tool between the company and consumers 2. increase corporate potentials and faith by expanding human senses and inducing new experiences 3. continue to capture the interest of spectators through diversity.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.85-96
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• 2013

This study relates to meta-phenomena in architectural design. Among others, this study aims to interpret and demonstrate the cognitive thoughts and methodological systems in 'autonomy and instrumentality' presented in works of art by positivist architects focusing on diagrams after the second modernity in addition to earlier formal experiments by John Hejduk, Peter Eisenman, Bernard Tschumi, and Daniel Libeskind. In order to achieve these aims, this study approached the mimetic concepts developed by Walter Benjamin and Theodor Adorno. Especially, meta-phenomena in the methods of architectural design were connected to productivity in Adorno's mimetic concepts. Also, in terms of formation and creation of works of art, the mimetic backgrounds of Adorno's theories on aesthetics were identified from features of concepts on the part of formal experiments. The results were systemized methodologically based on meta-phenomena appearing in pure arts and overall architectural design. These were presented as a framework to interpret 'autonomy and instrumentality' that exist in the working of negativity and mimesis. In this way, logics and intuition in architectural design as well as methodological systemization of convergent creativity were proved valid. In conclusion, Adorno's mimetic concepts systemized based on negativity and critical awareness may lead to new concepts. It has been proved that it is valid for security of meta-phenomena of architectural design as a production of autonomous spaces for differences and creation.

• Journal of Fashion Business
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• v.24 no.2
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• pp.17-31
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• 2020

The concept of municipal police is in contrast to the national police, which is in charge of the overall people. With increased localization, the need for a municipal police system is emphasized in each region. This study is intended to analyze the role of municipal police uniform considering the change in security from the national to the local level based on the introduction of municipal police system. The study investigators developed the concept of centralized national police system and decentralized self-governing municipal police system based on a literature review and Internet research. The investigators analyzed the design of municipal police uniform by reviewing the systems in several other countries. The results revealed specific formative features of municipal police uniform such as representative ambivalence, expression of visual language, manifest visibility, and reflection of regional characteristics. The municipal police uniform is adapted to changes in local government requiring a shift of awareness on to municipal police compared with the existing national police. The creation of a municipal police uniform enhances the efficiency of work by projecting a resident-friendly image, social support and cooperation, which play a huge role in illustrating the exemplary service to promote a stable and peaceful society locally.

• The Research Journal of the Costume Culture
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• v.27 no.6
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• pp.615-631
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• 2019

Smart healthcare clothing combines IoT, new technology, and clothing construction to perform specific care functions, and its utility has been expanding rapidly within aging and diversified societies. However, the related market remains at an early stage of development due to limited regulation, lack of consumer awareness, and the need for not only technical development but promotion plans for potential users. This paper aims to analyze factors influencing purchase intention for smart healthcare clothing with biosignal monitoring, including variables in the Technology Acceptance Model (TAM), clothing attributes, health-related lifestyle factors, and fashion innovativeness. A survey was conducted on a sample of 300 males and 300 females ranging in age from 20 to 50 years, and data were analyzed using SPSS 21.0. The results show that perceived usefulness, perceived aesthetic attributes, health responsibility, and fashion innovativeness were overall significant predictors of using smart healthcare clothing. Additionally, perceived ease of use and physical activity in the male subsample, and perceived compatibility within the female group, also had significant effects. Furthermore, age was a determining factor; for subjects in the 30s age group, perceived usefulness, compatibility, and health responsibility had significant positive associations. The results of this study can provide basic guidelines for designing merchandising plans to expand user acceptance of smart healthcare clothing.

• Journal of Fashion Business
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• v.12 no.5
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• pp.39-53
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• 2008

Today is a 'high concept' era in which consumers make sensible consumption that shares a sensible bond with a brand. Therefore, it is important to analyze consumers' aesthetic awareness; namely, fashion feeling in the fashion industry. This study conducted research into a fashion design planning process according to a fashion feeling focusing on computer graphics suited to the 21st century digital trend. First, the study classified a fashion feeling with eight senses including elegance, classic, modern, mannish, sporty, avant-garde, ethnic, and romantic feelings. Second, the study made an image map, color map, material map, and style map with Adobe Photoshop CS3 by dividing a fashion planning process with a computer graphics program. Also, the study made a flat illustration with Adobe Illustrator CS3. Third, the study proposed the image map, color map, material map, style map, fashion illustration and flat illustration in the design planning process under the theme of the aforementioned eight fashion feelings.

• Journal of Fashion Business
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• v.25 no.6
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• pp.131-145
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• 2021

As the use of cultural elements to enhance design has become increasingly emphasized, fashion studies are focusing more on the cultural aspects of design. However, the diverse approaches of Minhwa (Korean folk painting) still need to be incorporated into fashion designs. Moreover, there is limited research on the awareness and thought of using a cultural design source of Minhwa based on people from different cultural backgrounds. This study aims to reveal an in-depth understanding of the use of Minhwa and its inner symbolic meaning by people from a diverse range of cultural backgrounds. A review of the literature on cultural design and Minhwa studies was conducted to establish a theoretical foundation. Focus group interviews were conducted with 26 participants, who were divided into five distinct cultural groups to ascertain their thoughts towards Minhwa and its inner symbolic meaning. The study's major findings were threefold. First, the outer appearance of Minhwa elements based on aesthetic preferences and familiarity affect their preference choices more than the influences of their cultural backgrounds. Second, knowing the knowledge of symbolic meaning makes a big difference in image preference. Third, avoiding the use of anachronisms is a significant consideration, as they can lead to negative judgments irrespective of cultural background.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.241-252
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• 2023

Watercolour painting was introduced to China over a hundred years ago, and in the last two decades, it has developed rapidly, presenting a situation of diversified development. While Western-style watercolour painting has been adopted by Chinese painters, they have also expanded on it with their own aesthetic awareness and cognitive styles. As a result, Chinese watercolour painting has developed a set of expressive techniques that highlight the cultural characteristics of the nation in terms of aesthetics, concepts and techniques, resulting in a painting style with a distinctive national personality at present. Although Chinese watercolour painting has taken on a variety of styles with the intervention of modern and contemporary art, realistic watercolour painting is still the mainstream. However, there are obvious differences between the "realism" of Chinese watercolour painting and the "realism" of Western watercolour painting in terms of expression. The most distinctive feature is the "imagery" language of expression, which is closely linked to the cultural heritage of Chinese tradition and is of great value for research. I interpret the aesthetics, composition, colour and brushwork of Chinese realistic watercolour painting from the perspective of traditional Chinese aesthetics in order to deepen the understanding of Chinese realistic watercolour painting and to provide a reference for the further development of the art of Chinese realistic watercolour painting.

• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.