• 한국실내디자인학회논문집
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• 제20권6호
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• 한국의류학회지
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• 제26권5호
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• pp.715-726
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• 2002

The purpose of this study was to investigate the visual sensibility of color combination for clothing. The color combination for clothing were divided into three types according to the color coordination. In each type, the stimulus was applied three combination method according to the chromatic color/chromatic color, the chromatic color/achromatic color, the achromatic color/achromatic color. As a result, 42 color combination for clothing were obtained. The survey has been done for the 42 color combination for clothing with 27 semantic differential hi-polar scales. The major findings of this research were as follows. 1. To explain the hierarchy of visual sensibility, two sensibility groups were classified, the first group being cute and bold sensibility and the second group being comfortable and soft sensibility. 2. As result of the factor analysis, 4 factors(attractiveness, cuteness, boldness, softness) were found to be constructing factors for visual sensibility of color combination for clothing. 3. To explain the hierarchy of visual sensibility, two sensibility groups were classified, the first group being cute and bold sensibility and the second group being comfortable and sort sensibility.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제11권6호
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• pp.3143-3165
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• 2017

We present a computerized framework for producing color pastel painting from the visual information extracted from a photograph. To express color pastel painting, we propose a multi-layered framework where each layer possesses pastel stroke patterns of different colors. The stroke patterns in the separate layers are merged by a rendering equation based on a participating media rendering scheme. To produce the stroke patterns in each layer, we review the physical properties of pastels and the mechanism of a convolution framework, which is the most widely used scheme to simulate stick-shaped media such as pencils. We devise the following computational models to extend the convolution framework to produce pastel strokes: a bold noise model, which mimics heavy and clustered deposition of pigment, and a thick convolution filter model, which produces various pastel stroke patterns. We also design a stochastic color coordination scheme to mimic pastel artists' color expression and to separate strokes in different layers. To demonstrate the soundness of approach, we conduct several experiments using the models and compare the results with existing works or real pastel paintings. We present the results for several pastel paintings to demonstrate the excellent performance of our framework.

• 패션비즈니스
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• 제17권6호
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• pp.76-87
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• 2013

The purpose of this study is to understand how the silhouette changed throughout 1970s and assess how US women express their identities through their dress, which may explain societies' attitudes through the way women dresses. US Vogue fashion magazines were used to explore all the information on fashion and style trends, social trends, beauty, and travel. A content analysis was performed on the issues of the March and September for the years 1970 to 1979. The findings for this study about the 1970s were all about perpetual change, constantly moving forward with innovation. The color ranged from bright, cheery and bold to deep and passionate to subtle neutrals. There were a few constant colors through the decade like white, black and navy. Occasionally the trend would completely change from one season to the next within the same year. They would be full and oversized and then be slim and body conscious. The one trend that stayed true for the entire decade was wrapping. Skirts, pants, dresses, tops, shoes and jewelry; everything wrapped in one-way or another. Clothes steadily became more revealing as the years progressed. Fabrics over all were soft and knitted. Casual and comfortable was the phase heard most often. In the 1970s there was constant change in prints. They were bold and large or subtle and small, ethnic or floral. Hair was mostly smooth and sleek however towards the style moved to a fuller look.

• 한국엔터테인먼트산업학회논문지
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• 제13권3호
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• pp.343-350
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• 2019

중요한 시각적 요소로서 애니메이션영화의 색은 현실을 묘사할 수 있을 뿐만 아니라, 영화 공간을 형성하는 데 중요한 역할을 하는 감정과 의미를 전달할 수 있다. 가장 성공적인 애니메이션영화 중 하나로 <코코>는 영화 공간을 형성하기 위해 대담하고 독특한 색 언어를 사용한다. 민족 색상은 이야기 공간을 만들어 이야기 배경을 멕시코 지역 및 문화 풍습으로 가득 채우며, 색상 대조로 물리적 공간을 만들고 공간 모델링 및 차원 감을 뚜렷이 표현하며, 색상 연상 형식으로 심리적 공간을 만들어 관중들은 영화 정신세계에 인도하게 한다. <코코>의 공간 색상 분석을 통해, 애니메이션영화 공간 모델링은 색상의 특성 및 기능을 충분히 활용하고, 공간의 특성에 따라, 다른 색상 언어를 사용해야 하며 영화 공간의 표현 형식을 확장하고 영화 공간의 의미를 깊게 한다.

• 한국생활과학회지
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• 제24권2호
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• pp.267-284
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• 2015

The purpose of this study is to extract the color chip from the works of Matisse with the exotic tastes, to analyze the characters of adjacent colors, and to suggest the color coordination of artistic character. The research method is based on the literature study which analyzes visual materials. The results are as follows. Considering the colors of Japanese taste, He employs vivid and strong tone in red, yellow, and blue, light tone in pink, purple, and green and deep tone in green, purple, blue and black. His color scheme is very bold and splendid. In his Algerian taste, red is very popular, but an attention should be paid in his development of orange and blue tones. In general, the usage of various tones brings colors into less relief and make the contrast of tones more conspicuous. His Spanish taste, based on red and orange, attracts attentions with strong impressions, but sometimes, dark or adjacent pale tones creates strong, mild and murky atmosphere. The Moroccan taste, based on the development of blue tones which have strong attraction implies the lightness but represents silent and calm. The Rumanian taste, represented in primary colors of red, yellow and blue and achromatic colors is bright and clear. In addition, its light tone in various colors represents peace and romance. The coordination of the exotic colors with the unique adjacent colors created by Matisse is not based on the established color coordination theory, but extracts colors in the aspect of culture borrowing. Therefore, it can double the effects of the color scheme expressed in the existing designs and be used as the global and multi-cultural design sources.

• 디자인학연구
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• 제18권4호
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• pp.215-224
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• 2005

최근 장식에 대한 관심이 증가하면서 제품의 외관을 다루는 작업의 중요성이 강조되고 있다 이는 색채 디자인 활동의 전문성으로 이어지고 있으며 이러 찬 상황에서 색채 디자인에 대한 개념의 재정립과 방향성의 제고는 불가피하다고 하겠다. 이와 같은 맥락에서 우리나라 색채 디자인의 출발점인 1960-70년대의 색채를 살펴봄으로써 색채 디자인의 적극적 도입 과정과 그 매커니즘에 대한 이해에 도움이 되고자 한다. 본 연구를 위해 60-70년대의 산업 재효의 색채에 관한 문헌을 조사 분석하여 색채의 특징을 구분하고 각각의 색채에 대한 배경과 의미를 고찰하였다. 연구 결과, 우리나라의 제품 색채는 산업화 속에서 제품의 기능적, 시각적인 마무리를 위한 개념에서 설정된 생산과 판매중심의 접근임을 알 수 있었다. 색채는 경제 성장을 향하는 물질가치 중심의 산업화의 이념과 제품에 대한 인식틀 속에서 그 방향성이 결정되었고 따라서 단순한 모방이나 기능적 보완, 또는 시각적인 주목성과 차별화기 기능 역할을 부여 받았다. 이러한 인식은 가전 제품을 중심으로 하는 백색, 소규모 일상용품을 중심으로 하는 순색, 가구와 같은 장식 개념의 제품을 중심으로 하는 자연 소재색의 3영역으로 나타났다. 이와 같은 연구는 제품 색채에 대한 연구가 미흡했던 점, 특히 제품 디자인에 대한 연구가 외형적 특성에만 집중하는 기존의 연구 태도로 인해 중요성의 인식이 부족하였던 색채에 대한 고찰이라는 면에서 의의를 갖는다.

• 한국의류산업학회지
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• 제18권6호
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• pp.787-799
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• 2016

This study considers aesthetic characteristics by examining fashion style of fashion journalist Anna Wintour. Fashion journalists are specialists who work at fashion media. Especially, Anna Wintour is one of the most famous fashion journalist in the world and fashion icon, who has been editor-in chief of Vogue USA since 1988. For this study, Anna Witour's photograph was collected from 2010 to 2015 on web-sites. After collecting images, it analysed with 4criterions which were silhouette, color, fabric(pattern and texture) and hair style(and accessories) following advance researches analysis about fashion style. The conclusions of this study are as follows. First, symbolism revealed that could express her identity through utilizing steady items such as blond bob hair, Chanel bold sunglasses, short round neckless and Manolo Blahnik's low-heeled slingback nude sandals. Especially, she gave consistency to her fashion style with fixed hair style and accessories which are similar in shape. Second, femininity, that reveal as an internal characteristic such as sensitivity and as an external characteristic like fluidity. Anna Wintour expressed femininity with elegant curvy silhouette, various of color and flower pattern. Particularly, she emphasized nature women's body shape with princess silhouette, slim silhouette. Third, analysis result indicated characteristic of authority with oversize silhouette, wide lapel details and glamorous genuine fur items. Furthermore, some of her fur items looked overwhelming which dyed in artificial color or printed with leopard pattern. These powerful items contained immanent meanings that are power and position which could express a role as an editor-in chief of Vogue USA.

• 패션비즈니스
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• 제27권1호
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• pp.77-109
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• 2023

This study attempted to understand current status of overseas virtual fashion brands and analyze attributes of common digital fashion brands. Based on brand analysis criteria of previous studies, digital fashion brands were analyzed for brand concept, price range, characteristic elements, and attributes. Digital fashion design elements of items, colors, materials, patterns, and effects were analyzed by collecting images of brands' digital fashion design products. Digital fashion brands could be divided into experimental and creative digital fashion brands and digital fashion brands aiming for popular brands. This study introduces a creative fashion collection that experiments sustainability and future value. It shares a new way of self-expression and a playful culture centered on the younger generation. In terms of fashion design elements, fashion items were similar to the existing fashion category, but included other accessories that reflected the lifestyle of Generation Z. Silhouette expressed a minimalistic futuristic image centered on straight silhouettes. Color showed a bold and modern color image through black and color contrast. Unique patterns reflecting the concept of the brand appeared, centering on abstract and geometric patterns. Regarding materials and effects, new elements differentiated from existing fashion design area, showing meaningful characteristics. Digital materials are developed and proposed for sustainability. Materials (such as metal, glass, plastic) and effects (such as weightlessness, flames) expand impossible senses in reality and enable new fashion experiences. This is a case study of digital fashion brands. It is meaningful in that it identifies characteristics and discusses their values and meanings.

• 한국의류학회지
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• 제18권1호
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.