• The Journal of Sustainable Design and Educational Environment Research
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• v.5 no.2
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• pp.53-66
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• 2006

Recent color plans in school buildings are made by experts through public offerings for prizes for designs etc in relatively many cases. But it is necessary to review if such color plans are actually well conform to students' emotions and what trend the color plans made as such have. Therefore, this study examined and analyzed the exterior colors of the school buildings planned by public offerings for prizes for designs and reviewed the result comparing to the color preferences of students that had already been studied to figure out the differences between existing theories and the realities. And it was examined what differences were existing in the trends of color plans and color images examined between each of school levels. The result of the study compared to theories is as follows. First, when the color distributions were reviewed for each school level, it could be confirmed that the overall distributions moved from Y category to B category and whereas warm colors were more widely distributed and the number of colors were greater compared to cold colors in case of elementary schools, the distributions of warm colors gradually decreased as school level moves to high schools. Second, the color use distributions of elementary school students were revealed to be more diversified than middle and high school students and also the number of colors used was 9.5 in average in elementary school and middle schools and high schools were similar to each other with average 5.86 colors in middle schools and 6.33 colors in high schools showing a little differences in color use distributions among school levels of elementary schools, middle schools and high schools. Third, in case of elementary schools, except main colors, both of subsidiary colors and emphasizing colors had the distributions of warm colors of R, YR, Y categories and cold colors of B, PB categories and this is also consistent with the results of existing research results indicating that low grade students prefor for warm colors and high grade students prefer for cold colors. Fourth, in case of middle schools and high schools, although the distributions of warm colors decreased, the distributions of warm colors and cold colors were revealed to be similar. This is considered to be consistent with the existing research results indicating that girl students prefer for warm colors even if their ages go up. Fifth, as for the images of main colors, subsidiary colors and emphasizing colors resulted from the comparisons by solid color Image Scales and adjective Image Scales, first, in case of main colors, natural images or clear images appeared the most in all of elementary schools, middle schools and high schools indicating that basically calmness is emphasized with soft images rather than hard images and static images rather than dynamic images. Also, in case of subsidiary colors or emphasizing colors, cheerful images or splendid images are also seen to decrease as school level goes from elementary schools to high schools in adjective Image Scales and this is considered to reflect the color sentiment differences between children and juveniles based on ages.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.131-142
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• 2009

In response to the need of developing children's wear design using traditional elements, this study purposed to develop fashion designs emphasizing contemporary images based on the symbolism and formativeness of traditional dresses. For this study, we reviewed the definitions and symbolism of traditional colors and traditional patterns using previous research, and classified them according to formative shape. In addition, this study made three pieces of dress and developed unique designs by applying the traditional patterns and elements of Korean traditional dress styles. The research methods were as follows. First, we examined the images of Korean traditional colors and classified the symbols and meanings of the colors. Second, we identified the types of patterns, and classified them into shapes and symbols. Third, we designed and made actual works by applying traditional patterns. Based on the theoretical studies as presented above, we developed contemporary casual hanbok designs for children by applying symbolic and formative traditional patterns and using DTP (digital textile printing).

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.2 s.2
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• pp.107-119
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• 2004

Dan-chung had many great traditional patterns of Korea. By investigating its patterns, which comprise the integral part of the formative features, and analyzing the aesthetic characteristics and formative beauty, the foundation was set to use the patterns as the motives of art makeup works. A focus was made on the basic elements, compositions and symbolic meanings of Dan-chung patterns. The representative patterns that were used a lot in Dan-chung made the motives of the four art make-up designs, which tried to integrate the aesthetic senses of the Dan-chung patterns into the art makeup venues. The four patterns were each based on the phoenix, bat, ghost face, and crane. The major colors used were white, black, red, blue and yellow, which were also the cardinal Five Colors of Dan-chung. They were changed in terms of luminosity and coma and manipulated to make harmony with intermediate colors so that the designs would ooze out the Korean aesthetic senses.

• Science of Emotion and Sensibility
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• v.15 no.3
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• pp.355-366
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• 2012

This paper analyses the sensory responses of Chinese female consumers towards different designs of perfume bottles with particular attention to the existence of logos on them. We used total 40 samples of the perfume bottles, 20 with logos on them and 20 without, and the results show that young Chinese female consumers prefer simple designs over complex designs that contain different types of free curves with vivid colors. In addition, the existence of logos on bottles was found not to change the responses significantly, meaning that the logos on bottles do not affect sensibility of Chinese female towards perfume bottles. A logo's impacts on the bottle depended in part on the bottle's color and shape. Overall, a perfume bottle with simple shapes and light colors became regarded as more resplendent when the logo was added, but a bottle with more complex shapes and vivid colors tended to become regarded as plainer after adding the logo. This shows that a logo serves as a conciliatory element in the impression of the whole bottle in the 'resplendent-plain' category.

• The Research Journal of the Costume Culture
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• v.10 no.2
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• pp.132-145
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• 2002

This study conducted a questionnaire survey of family restaurant employees in Seoul on their satisfaction and preference in working uniforms, and analysed the result to suggest adequate designs to serve the purposes of uniforms. The result is as follows - First, many pointed out a need to improve generally showing a low satisfaction with varying degrees according to sexes and ages. More women complained about colors, designs, materials and sizes than men did, and young employees in their twenties wanted better designs, colors and sizes in the order while those in their thirties and forties were dissatisfied mostly with materials. The need fur the improvement was focused on function and designs, and as for uniform materials, perspiration absorbency had the highest level of dissatisfaction. Second, about 40% of the respondents said the skirt width, pants length, and sleeve width were trio small or too big, therefore it is vital to improve uniform sizes. Third, the employees on duty felt uncomfortable mostly when they sat, and the neck and armhole parts were the most uncomfortable. The most easily tainted parts were in the order of the collar, front hem, and sleeve seam for upper garments, and the hip, bottom hem, and pleats for lower ones. Therefore it is required to develop functional uniforms considering the body features and momentum. Fourth, the most preferred material was that guaranteed easy movement and good air-permeability, and colors were in the order of white, beige and black for upper garments, and black, beige and blue for lower ones. And plain, natural and stripped patterns were preferred by both men and women. As seen so far, restaurant employees were mostly dissatisfied with the design, movement, and function of their uniforms demanding functional ones made of better and comfortable material. Uniform designs were suggested based on the analysis of the demonstrative rese.

• Archives of design research
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• v.20
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• pp.293-304
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• 1997

The Wiener Werkstatte created the most avangarde textile designs in Europe at the end of the 19th and the beginning of the 20th century. This study is to examine the distinctive characteristics of the textile design of the Wiener Werkstatte. The purpose of this study is to analyze the textile designs of the various designers who had contributed to shape the characteristics of the Wiener Werkstatte at various stages, and to catagorize the designs according to the subject matter, the design sources, the layout, the design principles, and the usages. The textiles of the first half of the Wiener Werkstatte are wovens for the homefurnishings. They were used as upolsteries. Wall coverings, and curtains in the commissioned buildings and houses which Hoffman designed and built in conjunction with the Wiener Werkstatte. The designs of this period have the simple and bold characteristics using less then three colors in a design. The subject matters used in the designs are firstly, stylized animals and plant forms; secondly, the purely geometric forms derived from the architural buildings. The textiles of the latter half of the Wiener Werkstatte put more emphasis on the printed textiles for the women's apparels. The textile designs of this period are categorized into four groups : firstly, the designs that stylized plant forms ; secondly, reinterpretational designs; thirdly, ethnic designs : and fourthly, the geometric art deco designs. The number of colors used in a design range up to 7 colors and all over, stripe, and ogee layouts are used.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.

• Journal of Fashion Business
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• v.9 no.6
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• pp.101-116
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• 2005

The study with the subjects of the female consumers of the fomentation rooms in their 20s, this research made an investigation of the fomentation wear. Also, dye-fastness experiments of the wear's colors against washing and sweating were held. The following are the conclusions; 1. Survey Results of the Present Situations of Fomentation Wear Designs of the fomentation wear, 88% belonged to a T-shirt (upper clothes) and knee pants. The primary colors of the wear were in the order of gray (37.5%), white (31.3%), orange (25%), indigo (18.8%), and yellowish (18.8%). 43% of the wear companies used the same color for two-piece clothes, and 57% employed different colors for upper and lower clothes. 2. Consumers' Attitude about Fomentation Wear The key problem in the attitude to the wear, 25.9% pointed out the worries about physical exposure (like breasts and legs) owing to the improperness in designs and sizes. 32.8% of the subjects were also worried about physical silhouette exposure following sweating. The need for design improvement was felt as the subjects expressed their intention to use better fomentation wear in design and materials if the fare is higher. 3. Experimental Results of the Dye fastness of the Fomentation Wear Dye-fastness experiments by sweating appeared in the order of gray > white > pink. The results by washing were gray & white > pink. As laundry grew in number, the grade of dye fastness fell a little bit. In the fomentation environment with more laundry and more perspiration, dye fastness of the wear's colors against washing and sweating should be fully considered.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.62-75
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• 2012

The purpose of this study is to analyze the color and color coordinations and their aesthetic values expressed in the military look designs from 1996 to 2000. The research data were gathered from Vogue and Collezioni Donna from this period. Total of 1004 works were collected and used for this study. The results were summarized as follows. In the colors of the military look, achromatic colors such as black and white were found to be of the highest quantity, which indicates that achromatic colors continued to be proposed as fashionable colors since 1996, and this influence was reflected in the military look. In terms of color coordination, monochromatic coordination accounted for 52.7% of the military look, through which it could be presumed that designers utilized it greatly to make an effective expression of the masculine image of the military designs.

• Journal of the Korean Society of Costume
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• v.29
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• pp.53-70
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• 1996

The inspiration and its application in fashion design is considered as one of the important factors in boosting the fashion arena. Many inspirations are adapted in fashion de-sign and they make the fashion design unique and characteristic. In this study many fashion designs are analyzed to find what kind of inspirations were adapted and utilized for the fashion design in reality. The nature historic costumes ethcin costumes arts sciences literature music sports were revealed as the sources of fashion inspiration.l The concerns on the environments movies and dramas could provide inspirations in fashion as well. Several contents or steps were studied to provide the one of the example of appli-cations as follows: 1. The works of Marc Chagall were analized to figure out and several plastic characteristics from his works were revealed such as fantastic strong colors unreal animal pattern or their details his wife and friends various divisions of the surface and so on. These attributes had been favored in depiction of his works to ex-press his home town or nostalgia. 2. '90s fashion designs inspired by the works of Chagall were analized to find out the meth-odology or the process of designs. The same Chagall colors were used in design and similar pattern were expressed through beaded work or printing jobs. The surface designs such as printing were the most prefered method in adapting the inspirations. 3. The plastic characteristics of the work of Chagall were attempted in clothing design and construction. The color combination patterns which remind the animals the surface divisions were used in design ot practive the methodologies.