• Journal of the Korean Society of Costume
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• v.44
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.

• International Journal of Computer Science & Network Security
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• v.22 no.5
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• pp.79-88
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• 2022

Modern production requires production staff who have design competence, experience and skills to work in various types of work integrated into professional activities. Possession of digital design methods significantly expands the opportunities for professional activities of qualified workers. The purpose of our study was to study the impact of pedagogical conditions on the formation of design competence of future qualified workers in a group work. We have identified a set of pedagogical conditions that promote the development of professionally oriented artistic and technical creativity of workers in the conditions of curricular and extracurricular activities, which include motivational-target, procedural-semantic, organizational-technological, and subject-oriented. It is shown that the formation of design competence is determined by motivational, informational-active and reflection criteria, which are aimed at motivational-value, cognitive, operational-active, creative, social and emotional components of this competence. The methodology of the research is highlighted, which includes the use of the following methods: determination of the personality's motivational sphere in order to identify strong and weak motives of students activity; multiple intelligence to identify students talents in the direction of practical intelligence, which is important for design competence; determining the level of creative activity to identify manifestations of students creative abilities; identifying the type of students innovative thinking in order to develop motivation for success; factor-criterion model, developed on the basis of a qualimetric approach, which is used to identify the level of design competence formation in accordance with its components. The results of the study showed that the creation of separate pedagogical conditions in the institution of vocational education and training (VET) had a positive impact on the development of design competence, which shows the potential of artistic and technical design in the development of professional creativity of future qualified workers taking into account the environmental approach.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.3 s.9
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• pp.5-12
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• 2006

Make-up illustration is a field of creativity with visible creative and artistic values; its ultimate functions include communication of information, artistic expression, and recording. Establishing the make-up illustration education environment for the twenty-first century, there is an urgent need for research and development of professional curricula for basic art education and illustration education. It is extremely important for educators and institutions teaching make-up illustration to recognize that training of highly creative and professional beau designers through systematic educational structures is the ultimate foundation for enhancing competitiveness of the beauty industry despite the present reality that there are insufficient studies and publications on beauty illustration and that there is lack of illustration lecturers and artists equipped with professional beauty knowledge. Therefore, this study was conducted to research and analyze offering of illustration subjects by 160 beauty-related vocational schools and 16 4-year undergraduate colleges in the make-up field, which is the field with most creative art activities among the three representative beauty majors, namely make-up, hair, and skin. Education of make-up illustration must not remain as simple short-term education. The curricula must be specialized for providing solid foundation of basic majors. In terms of education content, strong emphases must be made for original and creative mark-up designs as well as purposes, functions, and necessity of make-up design and illustration. The curricula must include systematic, logical and artistic elements. Through the course of this study, which researched, analyzed and proposed measures for education content of make-up illustration, it was found that make-up illustration is the most appropriate subject that fulfills both the ultimate education objectives of beauty colleges and the demand by the society for beauty professionals. It is hoped that make-up illustration is emphasized and recognized for its importance and necessity as an education subject so that similar basic major subjects will further be researched and developed for specialized education.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• Journal of Fashion Business
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• v.7 no.4
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• pp.105-120
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• 2003

Culture and society exist in the present, but they came from the past. So did clothing. As dressing is deeply based on culture pattern of the times, it is affected by various culture patterns and still keeps developing in modern times. This study is intended to examine the features of retro fashion on culture and dressing of the 19th century. The features of retro fashion on Neoclassical and Romantic culture and dressing are objection to the existing pattern, recursion to the past, and creativity characteristic of pattern of those days. Neoclassicism arose as it rejected Baroque and Rococo style, and imitated culture and artistic pattern of Greece and Rome. Romanticism objected to formal and universal pattern of Neoclassicism, and imitated Gothic style while recognizing historical facts and studying medieval times. Dressing in Neoclassicism did not accept exaggerated and luxurious Rococo pattern, and imitated simple, soft and straight silhouette of Greece and Rome and created its unique Empire Style. Romanticism imitated luxurious style of Renaissance, the Middle Ages, Baroque, and Rococo, different from simple and straight neoclassical style during the Bourbon restoration, and created its unique style. Thus, it is shown that retro fashion on Neoclassical and Romantic culture and dressing reflect the style of those days.

• Journal of Digital Convergence
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• v.19 no.4
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• pp.57-71
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• 2021

As the global economy becomes globalized, there is a growing demand for nurturing talent to enhance the competitiveness of individuals and countries. Studying abroad is one of the ways of education to gain high qulaity education and skills, and get closer to the local market, the international market. This study sought to define the factors of global competence and artistic competence for foreign students in Korea, and to clarify the impact of global competence and artistic capacity on the intention of start-up, networking behavior, mediating and regulating effects of social support. The results of the empirical analysis of Chinese students studying in Korea in this study are as follows. First, three sub-factors (knowledge, skill, attitude) of global competency have been shown to have a positive influence on networking behavior. Second, three sub-factors (expression, creativity, media) of artistic competence were having a positive impact on networking behavior. Third, networking behavior has been confirmed to have a positive effect on the intention of start-up. Fourth, the results showed that social support regulates the relationship between networking behavior and start-up intent. Fifth, it was confirmed that networking behavior has the effect of mediating global capabilities and intention to start a business. This study is meaningful in verifying that the networking behavior of students studying abroad plays a positive role in the intention of starting a business by studying the intention of students to adapt to the new social culture, educational environment in foreign countries.

• (The) Korean Journal of Educational Psychology
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• v.26 no.4
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• pp.901-926
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• 2012

Previous research on creativity mainly investigated the characteristics of creative individuals and environments. In this study, those factors were also investigated in art by critically reviewing various documents on 5 creative artists: Nam June Paik, Isang Yun, Marcel Duchamp, John Cage and Pina Bausch. The results of the study showed that creativity in art developed through three different developmental stages with the changes of artist's self or self-consciousness: the discovering self, strengthening self-consciousness, and refining self-consciousness stages. The first stage of discovering self is the period during which the creative artists discovered their talents in the area of art and decided to pursue their career in art. During this stage, creative artists expressed a strong curiosity, tried to learn the world of art with intense efforts, and established a good foundation of knowledge. During the second stage of strengthening self-consciousness, creative artists built up their own aesthetic worlds. They tried to slake their thirst for the novelty in the field and made a strong commitment to the field they belong to. Finally, during the refining self-consciousness stage, they expressed their aesthetic worlds with refined self and expanded their aesthetics from personal to social dimensions. And they pursued an integration of various domains to produce a new artistic genre and shared their creative aesthetics with members outside of their field. The main implication of the findings of this study was that creativity could be defined and understood meaningfully by the perspective of self or self-consciousness in the area of art.

• Korean Journal of Human Ecology
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• v.23 no.5
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• pp.807-823
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• 2014

The purpose of this study is to verify the effects of storytelling-centered arts educational activities based on the famous painting appreciation on young children's appreciation ability of pictures and creativity. The study was conducted with a total of 50 5-year-old young children in two classes of B Day Care Center in the city of J, Jeollabukdo. The children were randomly divided into an experimental group(25) and a control group(25). The storytelling-centered arts educational activities based on the famous painting appreciation was conducted for the experimental group for 12 weeks from April 29, 2013 to July 19, 2013. The activities were composed of 3 steps of 'appreciation-expression-exhibition & assessment' on the basis of 2-week basic units. The appreciation activities were composed basing upon the types of the famous painting appreciation and storytelling, and expression and exhibition & assessment activities were composed of 4 areas of arts(music/movement/language/art). The results of the study are as follows. First, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's painting appreciation abilities in all sub-areas(observation and description/artist's intention of subject expression/mood of a work/material and technique/artistic factors/attitude to the work). Second, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's creativities in all sub-areas(originality/fluency/flexibility/imagination).

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.