• 복식
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• 제53권5호
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• pp.13-22
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• 2003

The purposes of this study are to develop a Korean image clothing design for cultural products by using the literary artist´s works and to satisfy the demand of the local self-government and of Gwangju ㆍChonnam area´s small and medium-sized companies. The image of traditional Korean clothing can be expressed with adjectives like Pure, plain, rhythmical, neatness, plentiful, and calm etc. These attributes are similar to the characteristics of the literary artist´s style, which is expressed as suggestive, animated, spatial, possibility of stationary, serene and still. The features of the traditional Korean clothing design can be described as ´The Beauty of Elegance´, ´The Beauty of Plainness´, ´The Beauty of Asymmetric Balance´ and ´The Beauty of rhythm´. It can be expressed in the modern fashion design, which is developed through the combination of the most important feature like ´The Beauty of Space´ in the literary artist´s style. At the time of production we tried to express spatial beauty and plentiful taste of the literary artist's style in the clothing design of Korean image for cultural products by considering the balance between them. Six works of the literary artist were selected which satisfied the purpose of the developed clothing design item. The results were nine clothing designs of Korean image, like a skirt suit made up of a blouse and a skirt, a pants suit made up of pants and a jacket, two evening dresses with a shawl, and also T-shirts and one-pieces etc.

• 한국융합학회논문지
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• 제9권9호
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• pp.299-307
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• 2018

본 연구에서는 천경자 그림에 표현된 색채를 응용하여 추상적 네일디자인을 작품제작으로 표현하고자 한다. 이를 통해 네일 디자인의 창의적인 아이디어 발상에 대한 기본 토대를 마련하고 네일디자인의 표현영역을 확대하는데 목적을 가진다. 실증적 연구로서 천경자의 미술적 특징이 잘 표현된 작품 5가지를 선정하여 NCS 자연색체계를 활용하여 색채 데이터 분석을 하였으며, 색채 활용과 더불어 네일디자인을 표현하기 위해 천경자의 작품 속 대표되는 5가지의 모티프를 선정하여 각 작품에 표현하였다. 본 연구의 작품 제작에 나타난 디자인은 네일디자인과 현대 한국회화의 융 복합이며, 이를 통하여 뷰티디자인의 예술성을 다양한 시각으로 재창조하여 네일 디자인을 개발하였다.

• 복식
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• 제29권
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• pp.127-142
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• 1996

The purpose of this study was to Inferr the attractiveness and Men's occupational Status by facial Impressions and Clothing Styles. The Study was consist of experimentals methods. The experiments developed a set of stimuli and response scales which was pro-fessional suits(C1) general clerical position suits(C2) small business suits(C3) artist at-tire(C4) student attire(C5) The impression of stimuli were measured by means of semantic-duffernential scales an open-ended questionnaire and data was processed ANOVA Duncan's multiple range tes and x2-test. Judging the effects of occupational charaoteristics the experiment was designed in the between-subject design. The subject were 30 male and female who were divided 25 experimental groups as arranging 12 subjects. The conclusions of this study are as follows. 1)Facial characteristics affect the attract iveness and occupational status. 2) Clothing styles affects the inferrence men's attractiveness and occupational status. 3) Perceives inferrence of occupational status affect more impression of the high levels positions person and artist person. 4) High quality texiles deep yellow color suits are perceived high levels positions and white knit jacket and check printed slacks are judged Artist. 5) Artistically characterized person is perceived only artist even change any types of cloth.

• 한국실내디자인학회논문집
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• 제41호
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• pp.246-255
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• 2003

All art forms are the results of the artist's response to the philosophical, sociological, and cultural tendencies of the period in which the artist lives. Post-modern period differentiates itself from Modern period in many aspects. One of these is the emphasis on phenomena which are ephemeral and changing. This paper looks at the perceptive and cognitive bases of these expressions of change in space design and their affordances on human behavior The first chapter provides the purpose and the background of the research. It studies the philosophical, sociological and cultural characteristics of the Post-modern era which bring forth expressions of time ＆ change in space design. The second chapter explains two basic approaches which can be applied to the perception and cognition of the environment. The third chapter deals with the perceptional and cognitive bases, and the human affordances of the expressions of change in space design. Finally this paper will analyze the types of space design which show this tendency : change by the technology, change by the participation of viewers, and change by the natural and chance. In each type, there will be analyses of examples. this will lead us to the understanding of how the space design including time & change expresses the spirit of the age and how it can play positive roles in human psychology.

• 디자인학연구
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• 제15권1호
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• pp.5-14
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• 2002

Fractal which was named by Mandelbrot in 1975 and its theory have been taken notice of many fields of scholarship, namely mathematics, physics, geography, architecture, art, philosophy and so on. If we approach Fractal on the basis of the designing cogitation, it can be used not only as one of materials to take a crease thinking in design, also as a due of the methods to assess the design problem with a new point of view. Based on above background, in this study, it was studied on the graphic artist, Morits Collelius Escher who has been well known as the great artist of illusion," and on the attributes of Fractal which were contained in his various work\ulcorner As a reset, the four attributes, namey ′fractal dimension′, ′self-similarity, ′recursiveness′and ′infinity were founded in his works. Also, it was founded that Escher had employed the attributes of Fractal in his almost works for "the representation of the condition of unified-duality," that is to say, for the union of two different dimensions. After this, it is expected that this study shoed be extended to the development of the principle of Fractal-Design on the basis of ′Fractal which can be defined as the phenomenon of repetitious pattern between chaos and order and′the formative beauty of Fractal′.

• 디자인학연구
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• 제16권1호
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• pp.199-208
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• 2003

The Israel-born Ron Arad is one of Britain's "superstar" designers, an it has been said that he is Britain's answer to Philippe Starck. Arad is a highly individualistic designer whose ideas stem from a mental process that has more in common with that of the fine artist than of the jobbing designer for industry. His imagination expresses itself in the form of things. By the early 1990s he had become internationally recognized for his "ready-made" work. His furniture and lighting designs required extremely costly labour-intensive techniques to produce. As his work was highly evocative, suggesting a post-industrial world in which the urban landscape was characterized by materials in a state of decay. More recently, through collaborations with Italian and German manufactures, his work has reached a new level of sophistication and finish, which differentiates it from the earlier designs. As Arad reputation as a designer of workshop-based furniture came to an end and the era of "democratic" Arad furniture came into being. By middle of the decade he had become one of the most-discussed designers of the day. The spirituality that emanates from all his work is a product of his particular vision of the creative process, far removed from the typical, stereotyped trends in the sphere of modern industrialization. He goes one step further in his work by attempting to restore aesthetic dignity to the objects of daily life, in a search for beauty within the immediate environment.hin the immediate environment.

• 패션비즈니스
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• 제5권4호
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• pp.101-117
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• 2001

Artist's creative works is accomplished in the very complicated network being in fluenced each other, getting celebrate from surround and center, and showing repetition and change. It took an important role of 1920's culture with new social and mental feature generated by revolution. It also has been influenced on an intellectual paradigm and artistic tendency. According to the feather the Art to Wear of Constructivism, at first, design as absolution of folk art in Russia prior to the concept is coming up to systematic design and useful article's performance. Courageous arrangement of color and rhythm is unique. The second is a tendency clothing design of productirism. It is connected with material culture and artists insisted creature of productive material that is a essential in life than Arts in museum. The third, tendency clothing design of minimalism emphasis functional aspect that is produced industrial aesthetics. The examples are simply designed and functional cloths for sorking uniform. This thesis is studied about clothing and textiles of major artists, formative property, and international reflection from October revolution in 1917 that is strengthen a system by introducing a new economic policy to a five year plan.

• 패션비즈니스
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• 제16권2호
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• pp.74-87
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• 2012

Many fashion designers were inspired by arts. Not only arts itself but also the sprit of the artist links with fashion. This study based on French artist Yves Klein who died in 1962, at the age of 34. Klein created over a thounsand works in only seven years. Among the his various art collections, it is focused on Yves Peintures, I.K.B(International Klein Blue) and Sponge sculpture. The extracted some of core concepts including aesthetic of Klein about color and line, space perception in monochrome and expansion of monochrome toward three dimensional sponge sculptures were transformed into fashion design. As a result, Yves Sweats project, which is T-shirts project based on Yves Peintures, designed as a three-dimentional expansion of Monochrome and it was shown at Fall/Winter 2011-12 Tranoi homme trade show in Paris. Also Yves Klein collection was designed as a ready-to-wear menswear collection that was presented at Fall/Winter 2011-12 Seoul Fashion Week.

• 한국콘텐츠학회논문지
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• 제12권8호
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• pp.178-186
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• 2012

본 논문에서는 디자인아트의 개념형성 과정을 연구하고, 이를 토대로 디자인아트의 의의를 도출하였다. 디자인아트는 1960년대 포스트모더니즘으로 형성된 탈영역의 기조 속에 90년대 새로운 예술 시장을 개척하기 위한 스타아티스트 및 스타디자이너 육성정책으로 작가로서의 디자이너가 탄생하며 활성화되기 시작하였다. 동시에 인터넷의 보급에 따른 정보의 대중화로 사용자의 자발적인 콘텐츠 제작 및 배포 활동이 가능해짐에 따라 디자이너가 독자적인 위치를 담보하기 위해 예술적 가치를 수용하게 됨으로써 디자인아트의 영역은 더욱 확고하게 되었다. 따라서 디자인아트는 '예술로서의 디자인'을 뜻하게 되며 디자인아티스트는 '작가주의 디자이너'라는 일반적인 의미를 획득하게 된다. 이는 2000년대에 들어 기존 아트갤러리의 디자인아트 수용 및 디자인아트 페어와 같은 새로운 디자인아트 시장의 형성으로 다양성을 확보하게 되었으며, 시장의 활성화는 디자인 생태계에서 새로운 개념의 디자인을 창출하려는 움직임으로 나름의 역할을 수행하기에 이른다. 이와 같은 내용을 토대로 현업에서 활발하게 활동 중인 디자인아티스트의 작품 분석을 토대로 디자인아트의 향후 발전 가능성을 살펴보았다.

• 디자인학연구
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• 제18권2호
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• pp.143-154
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• 2005

시각 커뮤니케이션 디자인에서 타이포그래피는 공간(평면)속에서 감추어진 '잠재적 태(胎)'이다. 타이포그래피에서 리듬을 보여준다는 것은 조형성을 가진 그래픽에 '미감'을 형성하는 것으로 그 표현방법이 매우 중요하다. 이러한 리듬이 시각적 흐름을 통하여 인지되어질 때 리듬감이 형성된다. 본 연구는 타이포그래피 작품뜩 통해 실증적 분석으로 시각적 리듬감의 새로운 유형을 제시한 것이다. 우선, 시각적 리듬감 형성을 기한 실험성이 강한 타이포그래퍼 필리포 마리네티, 로베르 마쌩, 볼프강 바인가르트, 데이비드 카슨 등을 연구의 대상으로 선정하였다. 시각적 이미지 특성 분석으로 어의변별척도(S. D. Scale)법을 사용하였고, 배리맥스(VARIMAX)로써 인자분석을 하여 시각적 리듬감의 유형을 도출하였으며, 다음과 같이 분류할 수 있었다. (1) 공감각적 리듬감(R-synesthesia)은 '청각의 시각화'와 '촉각의 시각화'를 통한 감각의 전이를 의미한다. (2) 동시적 리듬감(R-simultaneity)은 한 평면 안에 시간과 공간이 동시에 존재하는 것을 뜻한다. (3) 관계적 리듬감(R-connection)은 이질적인 요소들이 (한 평면 안에) 함께 공존하여 상호 관계적 역할을 하면서 전체적인 인상이 통일되어 나타나는 현상을 말한다. (4) 작가 중심적 리듬감(R-artist)은 작가가 내용을 주관적으로 해석하여 표현함에 다라 임의적, 계획적으로 독자의 시선을 유도하는 것을 의미한다. (5) 수용자 중심적 리듬감(R-reader).은 기존의 기독성을 탈피하여 수용자의 적극적인 참여로 형성된다.