• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• 지역과문화
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• v.7 no.3
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• pp.81-108
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• 2020

This study aims to critically consider the local cultural policies of the government and local governments by village mural. Village murals, which began to be painted in the late 1990s, have been a nationwide cultural phenomenon for decades. In particular, it was consistently used as an important element of various local cultural policies implemented by the government and local governments. The government and local governments have been working on the project for two purposes: 'improving the residential environment' and 'activating tourism' but it has largely focused on 'activating tourism'. This study grasped the concrete status of major village murals across the country through field surveys, one of the case study methods. Also, through the analysis of official documents, the government and local governments operating in the village mural project were analyzed for the policy basis and administrative management plan. As a result of on-site surveys, most of the village murals across the country had problems such as uniform subject matter, low level representation, and poor follow-up management. This is partly based on the experiences and abilities of organizations and artists who participated in the village mural project, but fundamentally, it is due to the projects of the government and local governments that focused on short-term visual tourism rather than long-term improvement of the residential environment. It was confirmed that the projects of the government and local governments were carried out through vertical integration and that there were problems in the actual work, such as requiring specific topics, subject matter, designs and colors. As a result, the village murals 'objectify' the residents and 'romanticized' the place, resulting in a unified visual representation. Therefore, this study suggests that the administration and accounting should be strictly managed, but in actual work, the vertical integration structure should be eased by simplifying various documents and procedures, as well as rich cultural understanding of the target place, selection of various topics, and original subject matter and expressions.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.2
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• pp.86-90
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• 2014

This study was conducted to examine the state of confusion about those azalea cultivars(hereinafter, Azalea Cultivars) that are used among practicians in landscaping businesses(designers, constructors, and producers). Which Azalea Cultivars would be delivered when they were ordered to producers using the names of Azalea Cultivars notified by the Public Procurement Service. In addition, the situations of azalea cultivar planting designs in the planting design drawings of three apartments completed recently and whether the Azalea Cultivars on the design drawings were the same as those Azalea Cultivars that were actually planted were examined. When Azalea Cultivars were ordered using the notified names, three Azalea Cultivars; Beni, Three, and Daewang were delivered for the name Yeongsanhong and two Azalea Cultivars; Zasanhong and Hancheol were delivered for the name Zasanhong. Yeongsanhong was perceived as a common name of Beni, Three, and Daewang by producers. Therefore, this caused confusion between producers and purchasers. In the case of Zasanhong, as the traits of Zasanhong are similar to those of the cultivar Hancheol, the producers or purchasers might have been unable to clearly distinguish between the cultivars and thus two cultivars might have been delivered without being distinguished from each other. The names of Azalea Cultivars used in planting design drawings were the names notified by the notifying agencies or comprehensive and unclear names such as azalea and Yeongsanhong. Completely different Azalea Cultivars from those written in planting design drawings were planted in actual construction sites in many cases. These situations should have occurred because designers did not write accurate cultivar names in planting design drawings and constructors could not accurately perceive the classification characteristics of individual Azalea Cultivars but planted those Azalea Cultivars with similar flowers colors or those that could be easily bought to fit the conditions of construction sites.

• Journal of Distribution Science
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• v.12 no.8
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• pp.83-90
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• 2014

Purpose - Increasing sales of PB rice products can hinder the growth of domestic brands of rice, notwithstanding that the government is promoting domestic brands of rice. This analysis evaluated the influencing relationship among the variables of PB image, product credibility, and purchase intention of consumers who have never bought PB rice, to know the factors influencing consumers' decisions to purchase PB products. Research design, data, and methodology - PB products' brand image was analyzed as the factor that has a direct effect on purchase intention. The mediation effect of credibility on PB products is also analyzed, in terms of influencing the relationship between PB products' brand image and purchase intention. The analysis is performed on consumers that have not purchased a PB product and consumers who have purchased PB products from major distributors. Data is collected through questionnaires, from 389 of responders, and the AMOS 19.0 statistics package is used as a statistical tool. Results - It is proven that brand image has direct effects on the credibility of the product, and the credibility of product has a direct effect on purchase intention. However, it is revealed that brand image does not directly affect purchase intention, but that brand image indirectly affects it through the credibility of the product. Although the customers' recognition about PB image is low, the result shows that PB products' external attributes have effects on customers' purchase intention relating to the PB product. Therefore, it is important to establish the credibility of the PB product more than other products in terms of marketing. Conclusions - The following are the implications of the study. First, in a rice brand promotion, the credibility of the product should be ensured by a uniform brand image. To ensure the credibility of a product, the RPC brand and other brands should be unified, and the unified brand image should be applied to every product. Second, the package must possess a design as well as contents that could build consumers' perception of product credibility. Products' external attributes contribute to their credibility, which leads the consumers to purchase the products, including those consumers who have never bought PB rice products. Therefore, the products' credibility and sales can be reinforced by applying information about consumers' considerations when buying the PB rice product in different colors, font sizes, and packaging designs. This study is meaningful in two ways. First, it seeks to identify an NB revitalization strategy by exploring the purchasing behavior of customers who have no experience in buying PB rice products. Second, the results of previous studies about general brands are considered and applied in this study in order to investigate the influencing relationship among different factors of PB products. However, this study is a consumer awareness investigation; therefore, its results only have limited meaning to the relationship between brand image and purchase intention.

• Journal of Korean Ophthalmic Optics Society
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• v.19 no.4
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• pp.435-443
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• 2014

Purpose: The purpose of this study was to analyze the design identity visual elements of optical shop brand$\underline{s}$ in order to provide objective data necessary for optical shop brands' design development. Methods: This study examined the design identity concept of the optical shop brands and analyzed visual elements of brand design identity with a focus on the symbols of domestic franchise optical shops, type of a symbol mark, representation style of logo type, color usage, use or non-use of character, etc. Results: Many symbols were directly associated with the eyeglasses, such as eyeglasses and eyes, face and iris. Along with that, letters or figures were also observed. For the type of symbol, most types were found to have the designs that took spherical and word mark shapes. Particularly, the word mark type had English words more often than Korean words. For logo types, the gothic format was dominant. In relation to the thickness of letter, thick boldface type was commonly used. The combination of 2 degrees was the color frequency used most often in the optical shop brand design. For the frequency of color usage, black and red colors were used most often. Particularly, the orange color, as well as the black color, was also often used for the main color of symbols or logo types. Meanwhile, the characters were used only in some optical shop. Most characters were animals and expressed in the cartoon and graphical forms. Conclusions: Typifier, symbol mark, logo type, color, and character are the elements forming the basic development system for brand design identity. Systematic design is needed which clearly ensures the function and role along with the mutual consistency as a important visual component of the optical shop brand.

• Design Convergence Study
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• v.17 no.2
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• pp.45-57
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• 2018

Sales for SPA brand names of private label apparels are on the rise in the domestic clothing market. The aim of this study is to analyze the characteristics of SPA brands and how each color system is proposed within the BI system. In this study, 8 brands were selected as the most popular SPA brands in Korea and abroad with stores based on brand power and sales and preference by consumers. Therefore, among information factors such as brand identity (BI) and color characteristic. sign system, package, and environmental factors, buildings facade and interior design of eight brands were investigated. Research into color application of BI revealed that four brands used red colors with different tones with different identity differentiation. For the other four brands, the company applied BI designs that gained the brand's character such as a black-and-white or dark blue one. Thus, it is considered important to select BI color in order to differentiate and enhance preferences in brand identity.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.182-190
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• 2012

Based on the study, the issues and trends in the current functional sandal designs on the same product line will be examined for the future developments for the functional sandals and the results were obtained as follows. First, the sandals must have a high front heel with wide floors that meet the ground. Second, the preference for the chromatic colour is stronger than the achromatic colors. Third, the sandals must be designed in curves in terms of the height and shape of the heels and design must consider the shoe's balance. Fourth, the product must appear big to provide a sense of stability. However, the sandals must not be designed too big to make them look crude or cause inconvenience while exercising. Fifth, the sandals must not be designed in too complex ways. This study has investigated and analyzed the external design of functional sandals and the user reviews on the actual sandals were not done. Through more detailed studies, the diversity in the design of functional sandals must be south and Korea's competitive edge in the industry and design must be secured for the future.

• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of Service Research and Studies
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• v.6 no.1
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• pp.29-50
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• 2016

The purpose of this study is to identify the motivation of using and choosing factors in credit cards. These results indicate that considerate of other people factor may emphasize the convenience and safety in using credit cards, while the leisure factor may prefer the real-worth factor as they know that the more they use, the more benefits they would get. As the personality factor and the fashion factor, we can pay much attention to the advertisements, promotions, card designs, the colors, the characters and the social positions of the card holders and that considerate other people factor may like the low annual fees and the accumulating points, buying items on the installments without paying additional interest, which had offered them cash service and card loan. The authors of this paper has suggested an information by which credit card companies can establish the strategies according to the lifestyle of the elderly in silver business market.