• Journal of Korean Library and Information Science Society
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• v.50 no.4
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• pp.611-633
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• 2019

The purpose of this study is to look into the meaning of Hong Seongchan who has become the first generation picture book writers in the history of Korean picture books by considering the works of the picture book author 'Hong Seongchan', the characteristics of pictures and the artist's spirit. The career that he took up from 1955 as an illustrator to 2012 when the final picture book was published is in line with the developmental process of Korean picture books. He consistently devoted himself to publishing illustrations from the days when his job as an illustrator was not noticed to the days when he finished his life as a picture book writer through his full-length period. As a result, he built a unique world of works, such as the reproduction of Korean images and emotions through complete historical research. His strong illustration spirit and craftsmanship during his lifetime became the basis of the birth of a professional group called a full-time picture book writer, and Hong Seongchan became the first generation picture book writers in the history of Korean picture books.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.2 s.121
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• pp.13-24
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• 2007

This study aims to investigate the characteristics of Lee Kyo-Won's landscape architecture and add to the literature in this field. Also, the current status of and issues in landscape design will be dealt with through the lens of the individual landscape architect's worts. By adopting a critical analysis, this study will look closely into the background of his career and ideas regarding landscape design. The inherent nature of his coherent style in landscape design will be listed as follows: total design, design-build systems, experimentation with new kinds of plants and materials, and the pursuit of minimalism. His design domain covers various elements such as paving, street lamps, and clock towers, among others. He was often involved in managing outdoor sculpture and he also provided the total packaging of the design-build systems for most of his landscape projects. These are the main reasons why his landscape works can maintain their high end quality; through his craftsmanship, a fine quality of detail was achieved in his landscape design. This tell us the possible options that can be adopted such as landscape architectural design management or landscape architectural turn-key systems, which differ from the prevailing dual system between design and construction. However, his own particular system can not be replicated in ordinary situations because contemporary practices require us to coordinate the various stakeholders concerned in the decision-making process of the design. In general, it is fair to say that we can give him the credit for enhancing the status of landscape design as an independent, specialized field.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Fashion & Textile Research Journal
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• v.15 no.1
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• pp.103-115
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• 2013

This study identifies how the luxury brand marketing mix affects customer equity drivers and suggests intangible equity management strategies so that companies can make long-term profits through luxury brands based on empirical studies of Korean luxury consumers. The results of the study are as follows: First, this study classified the properties that use 8 key factors (product integrity, heritage, exclusivity, premium image, environment and consumption experience, premium price, luxury communication strategy, and brand signature). Second, it shows that product integrity and luxury communication strategy have a positive effect on all customer equity drivers, that brand signature has a positive effect on value equity and brand equity, and that premium price has a negative effect on relation equity. It is important to provide products and services equipped with high quality and luxurious designs based on excellent craftsmanship in order to establish brand equity and value equity. Brand identity needs to be maintained and unique brand signatures need to be developed based on the long history of luxury brands against a traditional backdrop. A diversified communication strategy improves brand recognition while playing a part in facilitating brand association and brand image. In order to improve relationship equity, actions such as a loyalty program to strengthen brand loyalty, need to be taken as well as measures to maintain and enhance customer trust through a reasonable price strategy.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.1-13
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• 2014

RP(Rapid prototyping) technology is widely used to reduce the cost and cycle time of new prototypes in industries as new product development cycle time currently shortened and the voice of customers also become to be diversified. In this study, RP skill used in making jewelry products was adapted to develop the metallic inlaying base of traditional handicraft products as the significance of CAD/CAM technologies was increased. The RP technology showed that it helped the handicraftsman to cut the groove for inlaying metalic wire more easily, uniformly and diversely than conventional handicraft technique in making the groove with undercut shape. Therefore this study showed that RP technology applied for the metalic inlaying base achieved more elaborate, intricate and uniform patterns, not depending on craftsmanship, compared with conventional handicraft skill in terms of quality, cost and delivery.

• Cartoon and Animation Studies
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• s.9
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• pp.235-249
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• 2005

Manual processing to make illusion-image of Digital Animation consists of handicraft technology indeed, such as an animation process, image addition and image revision etc.. This thesis asserts that is acquiring new art concept, resuscitating the craftsmanship of art in this digital manufacturing process. To concrete this, this paper consists of the following steps. First, reproduction and mixture in a Film. In art history which have emphasized 'Aura' of an, Reproduction by machine became that can not avoid. Various pictorial information and added images stored by digital become having an opportunity that can do easily a new film-work with reproduction and mixture It is the second rank, extension of an area of Digital Animation. Now, Digital Animation is recognized as a new creative art through illusion of meta-realism. Consequently, the process of Digital Animation is acquiringing the possibility as a new art of Digital Animation, showing the characteristics of a new media art that reconstructs imagination which past media arts could not achieve.

• Journal of Korean Library and Information Science Society
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• v.20
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• pp.61-105
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• 1993

For decades, general services and accounting officers have been dominant forces in collection development activities in college and university libraries in Korea. The role of certified librarians has been rather peripheral. This has been allowed by the fact that library acquisitions departments had to be headed by non-librarian general administrative officers by the government regulation. The philosophy behind this regulation was that acquiring library materials was not any different from simple purchasing act of other useful goods in the marketplace. In affiliation with the element of general administrative officers, domestic book-sellers also had a great influence in collection building activities in college and university libraries in Korea. This has been made possible by the fact that no other people could su n.0, pply library materials, especially foreign library materials. It has been pointed out for years that the mechanism in which general administrative officers and domestic book-sellers had a greater say in library acquisitions activities was especially inefficient in acquiring wanted materials in wanted speed and in wanted price. In this mechanism, books and periodicals were mere goods. They were not perceived as intellectual property holding information and knowledge in them. Since the student movement to revolutionize the library system of the Pusan National University, September 1987 to December 1988, the creative and progressive elements in this university library have been making great efforts to change the acquisitions system in this library into a more efficient one by putting certified librarians at the center of the whole acquisitions process. These efforts have been successful to a certain degree. In this discursive study of the case of the Pusan National University Library, I have tried to achieve a social description of the library process in which progressively motivated librarians succeeded in alienating administrative officers and book-sellers and in grasping in their hands the hegemony in the collection building aspect of library activities. It has been discovered that this was possible only when the librarians were mature enough to have their kind of professionalism, i.e., professional ethics and craftsmanship.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• Journal of architectural history
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• v.28 no.6
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• pp.43-54
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• 2019

The grade of East Asian architecture is generally classified by the size, the shape of the roof, and the type of bracket set. The craftsmanship of columns, beam, purlin, stylobate, column base stone and paintwork is also a contributing factor for such classifications. These classifications can be found not only in historical documents such as 「Oksajo(屋舍條)」 of 『Samguksagi(三國史記)』 but also in 「house details regulations of residential architecture(家舍規制)」 of Joseon Dynasty. However, there are differences in detailed designs among the same grade of architecture regardless of the classification. In this research, the Palace, the Royal Residence(宮家), and the Jaesil(齋室) are considered as the Palatial Buildings and Royal Residences. And the advanced architectural o details which appear only in the Royal Architectures are defined as the 'The Architectural Crafts as a Code of Manners'. The Architectural Crafts as a Code of Manners is detailed design, which can be seen as fabrication of materials and supplementary factors. The Architectural Crafts as a Code of Manners used in the Palatial Buildings and Royal Residences reveal the types and their historical changes. This research will present a basis for the repair and restoration of cultural heritages to be carried out in the future, and also prevent them from further damages, thus help to preserve the cultural heritages.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.135-149
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• 2014

Fur clothing as fashion items is expanding into casual & ladies's wear market as well as fur market. The interest of fur fashion is rising. So this study compares and analyzes the merchandising process of textile clothing also it of fur clothing by merchandising steps. Fur clothing has so many change factors at time of purchase by scarcity of raw material, price fluctuation, exchange rate and others. Therefore it is primarily about securing of raw material. As soon as plan of product is finished, the purchase of fur raw material has to be started while progress of design products for commercializing the fur clothing. The design of fur clothing is consist of material design, color design and shape design. And It makes a new trend & market as we are developing new & various treatments. The some of imported materials are transferred to the factory for being treated first dressing, fabric treatments and dyeing processing according to the design. The first treated materials are transferred to the sewing factory again for secondary treatments and finally inspected and shipped. During secondary treatments the fur has gone through various manufacturing process for using like fabric materials and it takes long time because almost work is running manually. Unlike fabric clothing, fur clothing's manufacturing method is complicated and various from material process to shape process as per feature. Therefore the merchandising with fur cannot make mass production also needs detail craftsmanship depending by expert's skills. On this wise the fur clothing takes long time to the completion thus it has been risky and costly.