• Archives of design research
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• v.2 no.1
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• pp.13-41
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• 1989

The raw materials for plant-stalk-folkcrafts are cultivated in the whole country. Most Korean farmers, to increase their income, have produced mats and containers with various plants as a side line from very long ago. At first, they began from the instruments of life and then made folkart and at last get to manu\ulcornerfacturing of industrial folk craft. The folkcrafts, made of plant-stalk, which could nor conform to changing society, are partly declined and partly handed down as the traditions. The social change today, however, makes living conditions more speedy and multisided, accordingly the characteristics of demand also become in\ulcornerdividual and various. While the demend is various like this, suppliers cannot answer demendants' requirements, and consequently, the demand and profit cannot be increased. According to this, the purpose of this study is set up to give an answer to the situation that is at the traditional standstill, through an examination of the motives. I. The crafts of plant-stalk are made only in an organized relationship between agriculture, industry and art as it is compounded art of gathering raw material, manufacturing, producing, improv\ulcornering design and production conditions. It may be possible that a farmer gathers material and weaves it manually but in others, it is im\ulcornerpossible to refine, bleach and dye because the process requires a professional industrial treatment. It is impossible to make art works to a farmer as every farner does not always have aesthetic sense. Though a farmer or producer has these all abilities, it is not desirable to him from economical view. 2. The development or improvement is essential in many sides but the most important thing seems to he in design. According to reports, it is, howevt!r, fact that the crafts improved in design of existing works have more expanded the sales than newly developed works. Therefore, ir appears advisable to improve designs of existing things positively as they have merit of occupying a position already, but on the other hand, new crafts have to be also developed and the producer should grasp the proper time. 3. Building up an industrial complex to improve design with collecting the producing districts for this works scattered allover the country is very desirable for speedy communication, intensive educa\ulcorner tion or training, and effective guidance. 4. In producing for export abroad, before everything, must know the life environment, custom! and manners, main thought of the country, and then produce according to these. S. The crafts of plant-stalk are the fIrst industry in present but in the futher it should change intc second or third industry. 6. A synethetic organization for supporting side line should be established for effectiveness, and experts have to be secured and also the educational-industrial complex and activation of study should be preceded.

• Archives of design research
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• v.12 no.2
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• pp.157-168
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• 1999

Stone in the Cho Sun Dynasty has been used as the material of industry arts, widely building materials and an important material for the artistic design. But it has been generally used as an use of practical living Product like, suban, a metal printing type, a fire place, a pillowcase, a pencil case, etc, and ornament with the quality of stone material and the aesthetic view. There are several problems as like size, quantity, delivery and processing method with the stne material according to its variety and selection. Accordingly it has been studied through the whole process of shape, a material selection of design and processing method as well as studying about small stone crafts which were manufactured in the Cho Sun Dynasty, considering these problems. Stone crafts in Cho Sun Dynasty has been widely used as a living tool. There was some what difference on manufacturing purpose on its technique of folk crafts of stone crafts, but, through the research of collected crafts, they were almost the same that social need, user's taste and hobby in those days were reflected in. In the result of analysis as dividing the stone crafts into daily living product, stationery and tool, the major of daily products have been manufactured with emphasis of practicability. And they have been manufactured from agalmatolite for the propose of use. further, kitchen product had no design due to the function and living products which has been used in the main living room has been carved with the decorative expression of the various form by using intaglic, relieve, inlaid technique, etc. For the stationery, it has been characterized with aesthetic point considering the decorative effects & selection of material in accordance with use. A material for manufacturing has been used in the range of agalmtolite, atopaz, a sapphire, white stone etc. As the result of this research, It was noticeable that there was the spleudidness on the expression of design and carving. It was also noticeable that black stone and guanite have been widely esed because it didn't need the delicacy as a tool.

• Fashion & Textile Research Journal
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• v.18 no.4
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• pp.412-423
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• 2016

This paper explores the possibility, and suggests an experimental procedure, of industrial application of traditional textile design techniques, such as hand silkprinting and natural dyeing. Theoretical and traditional background of this study is William Morris and his followers' Arts and Crafts Movement from the late 19th century to the early 20th century, which laid the philosophical as well as technical foundations of modern textile design tradition. Based on the basic understanding of the design philosophy, and starting from the design techniques of Morris and his successors, I made some experimental and systematic color plans reflecting and exploiting the physical traits and structure of jacquard woven silk material fabrics. And I applied hand silkscreen printing techniques on the jacquard silk fabrics of my own making, while testing various color combinations of natural dyes. After finishing final processing of design samples, I could get textile design products which met the criteria of my original expectation, i.e., eco-friendly and aesthetic design samples that can also be produced in automatized mass production system of contemporary textile industry. The conclusion of this experimental study is that I can expect the natural dyeing techniques, jacquard silk fabrics design techniques, silkprinting techniques, and the basic processes used in this study to be safely applied for contemporary commercial textile industry utilizing automatized silkscreen printing system and digital printing devices.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• The Journal of Fisheries Business Administration
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• v.1 no.2
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• pp.1-22
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• 1970

Our fisheries protucts industry has developed rapidly during past 10 years ; production was about twice: fihing fleets increased twice in number and 3 times in tonnage ; export was 5 times. Govermment is trying to develop deep sea fisheries in order to surmount the depression of coast fisheries. At present more than 270 deep sea fishing boats are working with superior skill to other country at the South Pacific, the Atlantic, the Indian, and the North Pacific Ocean. Our deep sea fisheries is consisted of the tuna long line and the trawler. The tuna long line of them has 230 crafts in 1969 ana the deep sea trawler has 40 crafts, too. Comparing to 1962, the number of the deep sea fishing boats has been increased highly to 54 times, 7.71 times average per year increasing rate. The rate of the tuna long line to the trawler at the end of 1969 shows 85:15, More than half of them are 100~200 (equation omitted), if we classify them according to (equation omitted) or boat craft. 70% of them has less than 5 years ships age. The Korean Marine Industry Development Corporation has more than 1/3 fishing fleets, with 91 crafts, if We consider it according to corporation. Considering it according to the financial resources, dependence upon foreign loan is as high as 88%. Catches was 74, 450 M/T ($24, 663, 000)at the end of November in 1969 and it was increased to 113.5 times in catch amount and 118 times in value, comparing to those of 1962. Considering it according to the ocean, the order is arranged to the Pacific, the Atlantic, and the Indian Ocean. The average production amount of each craft is 250~400 S/T a year. The result of export took up 1/3 of total fisheries product export with $ 22, 398, 000 at the end of november in 1969. Employee cost of fishing coast is 8% higher than other fishing. The profit is highest in our fisheries. Most of the products except the trawler fishing are sofa at the fishing grounds to the processing company, and they lose much money. They buy most of bait from Japan, giving $8~10 for 1C/S(10kg). Fish price is $390~520 according to the kind of fish for S/T at the fishing grounds, and the rapid frozen fishes brought to Japan are about $ 800 for S/T. There is much difference. in price. Problems 1. Want of self capital. 2. To get the refrigeration boats enough. 3. International Fishing Regulation. 4. To get high price and to secure consuming grounds. 5. To get home-production of bait. 6. To exploit new fishing grounds. 7. To get larger boats. 8. To get mariner enough. When the problems mentioned above are solved, the Deep Sea Fisheries of oun courtry will be developed more largely.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• Journal of the Korean Wood Science and Technology
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• v.51 no.5
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• pp.392-409
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• 2023

The amount of wood waste from furniture production is increasing. Wood waste is diverse and ranges from wood-splitting residues to leftovers from furniture production. Wood waste occurs in companies, household-based industries, and other forms of business where waste accumulates; therefore, an environmental and ethical policy is needed. The aim of this study was to identify products created using wood waste and describe government regulations related to environmental policies. We analyzed the management of wood waste for use as a new product so that it is useful, does not become waste, and complies with policies related to environmental ethics. A case study design using qualitative methods was used. This research focused on managing wood waste in Jepara's furniture and crafts industry for the 2010-2021 period, using 23 sources from primary, secondary, and other supporting documents. Data were collected through observation or gathering information related to research needs, conducting closed-door interviews with research sources, documenting data to strengthen research findings, and using online questionnaires to corroborate information related to wood waste management. This article presents wood waste products designed with optimized environmental ethics and awareness of environmental laws in wood-based industries.

• Journal of Digital Convergence
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• v.14 no.5
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• pp.385-390
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• 2016

Cultural industry consists of a national own value and life style known as the cultural characteristics, and it has decorative and practical features so it covers necessaries and items of personal preference that the public use. Craft Culture Industry means the craft industry where goods with cultural features of traditional art are made based on specific region and surroundings, which is a series of process in which inherent traditional and cultural elements are produced, representing cultural industry. With the review on issues and solutions in each section of Craft Culture Industry, it would help solve the problem when developing Craft Culture Industry. This study examines the popularity and status of the craft cultural products and figures out the current situation of the domestic cultural industry and the development plan.

• Korean Journal of Human Ecology
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• v.16 no.3
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• pp.615-622
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• 2007

Jeonju is well-known as a native place of traditional Hanji from ancient times because of it's proper weather, soil, and sunlights. Traditional Hanji is selected one of the Traditional Cultural Contents Industries of Jeonju nationally, and can produce synergy effects on gaining competition if we develop traditional Hanji industry into high-technology by relating cultural contents. The purposes of this study was to identify consumer attitudes and behaviors toward traditional Hanji products. The results of this study were as followed: 1. Representative products of Jeonju City were a rice with vegetables, a traditional Hanji, and a Korean-style house, and these results showed a consistancy with Han-Brand products promoted by Ministry of Culture and Tourism. 2. Many consumers experienced of a box, a copy paper, a book or notebook made of Hanji, but less experienced of fashion accessary products. Consumers had higher interests in wall or window paper and copy paper, but had lower interests in fashion accessary products such as necktie, shawl, and folding fan. More consumers intended to use wall or window paper and copy paper, but intended fashion accessary products less. Many kinds of Hanji products were produced and displayed on a Hanji Crafts House, but only few consumers had experiences. 3. Younger generations had higher interests and experiences of Hanji products, and unmarried officiers or full-time house wives had experiences Hanji crafts more. 4. Consumers were interested in daily necessaries or interior products made of Hanji.

• Journal of the Society of Naval Architects of Korea
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• v.58 no.5
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• pp.294-302
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• 2021

In this study, the 3D printing technique called design for additive manufacturing (DfAM) that is widely used in various industries was applied to marine leisure ships of equipment. The DfAM for the stanchion for crew safety was applied to the equipment used in an actual recreational craft. As design constraints, the design alternatives were not to exceed the safety and weight of the existing stainless steel material, which were reviewed, and the production of a low-cost FFF-type 3D printing method that can be used even in small shipyards was considered. Until now, additive manufacturing has been used for manufacturing only prototypes owing to its limitations of high manufacturing cost and low strength; however, in this study, it was applied to the mass production process to replace existing products. Thus, a design was developed with low manufacturing cost, adequate performance maintenance, and increased design freedom, and the optimal design was derived via structural analysis comparisons for each design alternative. In addition, a life-cycle assessment based on the ISO 1404X was conducted to develop sustainable products. Through this study, the effectiveness of additive manufacturing was examined for future applications in the shipbuilding industry.