• Fashion & Textile Research Journal
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• v.14 no.1
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• pp.109-121
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• 2012

This study aims at developing ergonomics patterns for the sleeve of structural firefighting protective clothing through 3D motion analysis in order to ensure efficiency and safety of firefighters who are exposed to harmful environment at work. A new research pattern was developed by applying the total results of 3D motion analysis, changes of body surface length measurements, and 2D data on 3D body shape analysis on the size 3 patterns of the existing coat sleeve. For the sleeves, we used the body surface length of the range of shoulder's flexion and the joint angle of the range of wrist's ulnar deviation. And for the production of structural firefighting protective clothing using the research pattern, we recruited a recognized producer of structural firefighting protective clothing designated by KFI. Unlike everyday clothes, structural firefighting protective clothing should be able to fully protect the wearers from the harmful environment that threatens their lives and should not cause any restrictions on their movement. Therefore, the focus of research and development of such protective clothing should be placed on consistent development of new technologies and production methods that will provide protection and comfort for the wearer rather than production cost reduction or operational efficiency. This study is meaningful as it applied 3D motion analysis instead of the existing methods to develop the patterns. In particular, since 3D motion analysis enables the measurement of the range of motion, there should be continuous research on the development of ergonomics patterns that consider workers' range of motion.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.783-794
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• 2001

This research focuses its study on the expressions of the visual images of the fashion illustration as a part of visual art and utilizes it to formulate the theoretical basis. Main findings of our research are as follows: The structure of communications in the fashion illustration is based on the four elements. They are the expression of the texture, drawings, composition, and the human body and dress. The characteristics in expression of texture level in fashion illustration can be the expression of creative texture in pattern or crease, and also can be expressed as various collage and photomontage by computer graphics. Secondly, the analysis on the characteristics of the drawings show that the drawing skills are imagination and sequential drawings. Thirdly, the characteristics of composition method are mainly shown as the application of plane composition which was previously used in avant-garde arts. Fourthly, most of the human body in the fashion illustrations are shown as the results of simplification, exaggeration and deformation in human body and also expressed or analyzed by the method of the body modification. Based on the above findings of this research we conclude that the way of expression in the fashion illustration is very similar in its composition as in visual art. However, they also show differences between the two in expression method or the method for the image development in specific expressions.

• Journal of Fashion Business
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• v.17 no.5
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• pp.70-83
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• 2013

This study aims to analyze the physical distortions of fashion design which appear in the 20th century. People have been expressing the hope and beauty by twisting human body since the beginning of mankind. Each period has been showing different forms according to various social and cultural environments. The exaggerated body distortions from the primitive times to the modern are based on human body proportions. Such distortion is to emphasize the inherent beauty within the human body. However, the distortions of the body after the 20th century have been developed with the advent of surrealism which is not affected by reasons but by imaginations. Generally speaking, the reconstruction of the heterogeneous elements is allowed in art. The unexpected surreal elements are creating formative beauty using by distinctly different technique which is unfamiliar and awkward. Physical distortion creates other beauty that is not uniform and absolute beauty but it pursues the diversity of breaking down into categories. Formativeness of surreal physical distortion fashion has the potential for a variety of clothing design, therefore it has intrinsic values for continuous study.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.6
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• pp.789-798
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• 2015

This research analyzes trends of fashion show window displays, regarding it as a new form of installation art that has the characteristics of contemporary art. Fashion show window displays are more than a physical space for displaying and have emerged as a new space in which creative expressions of arts take place. This research presents the characteristics of contemporary fashion show window displays by analyzing the characteristics of contemporary art. First, recent show window displays have shown "decentralization": various themes, forms, and mediums that are accepted without discrimination. Recent show window displays deviate from conventional methods, constantly pursuing experimental and progressive ideas and also include categories of current art, body art, and live art. Second, show window display has "interactiveness" that enables two-way communication between audiences and art, rather than fixing audiences as receptive viewers. Third, "textuality" can be found in show window displays. Recent show windows are use "objects" to show products as well as to express the meaning and symbols of products. A new directionality and effective strategies are shown to be imperative for the future development of fashion show window displays.

• Journal of the Korean Institute of Educational Facilities
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• v.26 no.3
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• pp.3-13
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• 2019

Purpose: The human body is a chemical laboratory. Artists are exposed to a variety of chemicals in art studio space and the art materials used in the creation contain toxic ingredients, exposing them to a variety of incurable diseases, including cancer. It aims to analyze the problems of the studio space environment and the risks of art materials, which are fundamental causes of the outbreak of incurable diseases, and to derive the direction of specific practices that can reduce the occurrence of incurable diseases by artists. Method: The harmfulness of an artist's creative space is the cause of a disease outbreak, and two primary factors cause it. One is the environmental hazards caused by the use of tools, air pollution, and chemical hazards caused by art materials in the architectural space environment of the studio. Necessary measures are put forward to control disease outbreaks by identifying the status and cause of intractable diseases caused by studies. Result: The plan is urgent for the establishment of safety rules and regular pre-trainthese two factors and analyzing the results of prior research and implementation investigationing, the legal provisions of studio architecture design and the introduction of labelling rules to control the distribution of harmful art materials.

• Journal of the Korean Home Economics Association
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• v.27 no.2
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• pp.43-52
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• 1989

This study deals with the standardization of anthropometric terms related to body measurement points and lines that are to be the basis in body measurement. It investigates the state-of-the art of anthropometric terms used among middle and high schools, universities, dressmaking schools, and experts and set up the directions of standardization. According to the directions, 39 body measurement points and 9 body measurement lines were studied and a draft standards on anthropometric terms was suggested.

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.26-39
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• 2001

• International Journal of Costume and Fashion
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• v.1
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• pp.13-31
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• 2001

• The Journal of Art Theory & Practice
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• no.15
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• pp.137-165
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• 2013

The prefix 'bio' with the meaning of 'life,' has been used for biotechnology, biochemistry, bioengineering, biomedicine, bioethics, bio-information as well as 'bio art' since 1990s. Bio art is an art as life itself and a kind of new direction in contemporary art that manipulates the processes of life. Bio artists use the properties of life and materials as scientists in laboratory of biology, and change organisms within their own species, of invents life with new characteristics. Technologically and socio-culturally, bio art has been connected with bioengineering. This essay is on the bio art that use vegetables, and on the specified gaze of so-called 'Sci-Artists.' Not only the genetically modified vegetables like works of George Gessert, Ackroyd & Harvey, and Eduardo Kac, but also the works made from the critical viewpoint like those of Paul Vanouse, Natalie Jeremijenko, and Amy Youngs, have 'the molecular gaze'(Suzanne Anker and Dorothy Nelkin's concept) of the genetic age in their art works. As the art history have showed, artists' gazes have insights about social problems that surround us. Bioartists' gazes reveal their insights about social and ethical problems, possibly concealed by science itself. Those problems are about results from practical discoveries of the sequencing of the genome, genetic engineering, cloning and reproduction of human and animals, body transformation, and the commercialization of cell and genes etc. We can find the significance of bioart in the molecular gaze about those problems, and we can rethink the identity of human, the reception of social influences from bio-technology and medicine.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.59-67
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• 2012

Eugenio D'Ors, the writer of 'Lo Barroco' called Baroque in the 17th century as the ultimate nostalgia of humanity we can see anywhere, and when our exclusive mental state, classic consciousness, is weakened, countless things within self get to be expressed without limitation. He defines this as Baroque ego. In other words, the abyss of a being is expressed within self, and it gets to come into the abyss of art and be settled in it. Thereupon, this study focuses on the characteristics of such effects of abyss expressed in Baroque art to amplify the depth of space in art and architecture and also its productive effects and considers in what types the abyss gets to be expressed in art and architecture. As a result, it shows nonlinear characteristics whose outline of the model and structural body is invisible, depth resulted from overlapping, unity from formal repetition, and temporal continuity from movement. In other words, formative elements which extend the unit area of space conceptually can be summed up by nonlinearity, overlapping, unity, and movement. Also, in art and architecture, this accelerates men's emotional functions and at the same time, has productive effects to extend space visually. Baroque abyss can be seen as a proper solution to overcome problems which modern architecture implies ultimately, that is, the limitations of area definition.