• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.5
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• pp.3203-3212
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• 2014

Company. s support for culture and arts started from mecenat activities. After then, it played a role as a tool of the company to satisfy consumers. cultural desires and improve the company. s image. As time goes by, it became a culture marketing which encourages business activities. Therefore, many companies try to develop their culture marketing activities in various fields. Especially art marketing has increased consumers. expectation and interest about art activities. Also, art marketing has become important as it has helped consumers to have critical view about products and improve their standard of life. As a way of art marketing, a company provides diverse exhibitions, sponsors and education programs related to art in either a specific space of the company building or a separate place. It can be said that this example of art marketing is a kind of an image marketing and public welfare at the same time. This article presents the concept of culture marketing and current condition of company. s support for culture and arts. In addition, the article depicts the concept and classification of art marketing. Furthermore, through analysis of company exhibition space and programs, the article illustrates the features and typology of art galleries managed by companies.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.43-54
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• 2019

In this paper, we review the applicability of fog screen to implement 'Spatial Augmented Reality' which displays the image on the whole space of real space or in real space by separating display equipment and user, in contrast to the traditional Augmented Reality. Through three exhibitions and one performance, we confirmed t hat the fog screen, which can be passed through, is a suitable material for implementing the Spatial Augment ed Reality. We found that the hologram production was easier than before because of fog screen. Through the questionnaire survey conducted on performers along with the exhibition, we found that only about half of people know what a fog screen is, and about 10% of the total respondents saw the fog screen. In order to investigate the effect of fog screen on the surrounding space, we conducted an experiment to observe the change of humidity according to the time and distance in the Children's Culture Center of the Asian Culture Center. We found that the humidity within a radius of 5m around the fog screen could increase by 2~3%($6,400m^3$ standard). Thus we provided some safety requirement with fog screen when works made of materials vulnerable to moisture such as paint, paper, and wood are exhibited at the same time with fog screen in the exhibition hall.

• Journal of Korea Multimedia Society
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• v.19 no.8
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• pp.1479-1486
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• 2016

According to the advancement of display devices, the multi-screen contents display environment is growing to be accepted for the display exhibition area. The objectives of this research are to find communications technology and to design an editor interface of contents delivery system for the larger and adaptive multi-display workspaces. The proposed system can find existence of display devices and get information without any additional tools like marker, and can recognize device layout with only web-cam and image processing technology. The multi-display contents delivery system is composed of devices with three roles; display device, editor device, and fixed server. The editor device which has the role of main control uses UPnP technology to find existence and receive information of display devices. extract appointed color in captured picture using a tracking library to recognize the physical layout of display devices. After the device information and physical layout of display devices are connected, the content delivery system allows the display contents to be sent to the corresponding display devices through WebSocket technology. Also the experimental results show the possibility of our device connection and layout recognition techniques can be utilized for the large spaced and adaptive multi-display applications.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.20 no.4
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• pp.755-762
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• 2016

Motion graphic is the recently emerged technique which extends the ways of expression in video industry. Currently, it is worldwide trends that the image design gets more attention in the field of movie, advertisement, exhibition, web, mobile, games and new media, etc. With the development of computer's new technologies, VFX methods for the visual content is dynamically changed. Such production methods combine the real scenary and CG(Computer Graphic) to compose realistic scenes, which cannot be pictured in the ways of ordinary filming. This methods overcome the difference between the real and virtual world, maximize the expressive ways in graphics and real space. Match moving is technique of accurate matching between real and virtual camera to provide realistic scene. In this paper we propose the novel technique for motion graphic image production. In this framework we utilize the match moving methods to get the movements of the real camera into 3D layer data.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.179-186
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• 2004

The findings of this study indicate that intangible cultural properties are worth preservation and transmission and should be considered as very important as tangible cultural properties. If the studies of intangible cultural properties are continued focusing on their characteristics and formational system, they can be expressed more properly by adding new interactive elements to database and expressive requisites. New techniques introduced in this study are believed to provide people with most reasonable and developmental motives for expression of the existing intangible cultural properties. Concerning Korea's cultural properties centered on intangible cultural properties, information construction should be made with a new idea of information based on database from the previous studies. The result will be able to set an important factor to give wide publicity to our cultural identity, which is currently shown in the process of background communication, and serve as a foothold to deliver exact information to our descendants. The intangible cultural properties are our people's mental cultural heritage resources. If museums or initiator groups, which are organized to spread cultural heritages, can use them as the subjects of exhibition through information construction and visualization, it will function to maximize the educational effect of transmitting our national mental world. The development of digital environment will provide the optimum conditions and tools making it possible to visualize intangible forms and ideas in a virtual cyber space. Given these viewpoints, steady studies and efforts for the improvement of Korea's cultural image should be made in the way of intangible cultural properties as well as tangible ones. They start from the country's accurate appreciation of cultural properties and are embodied in systematic adjustment and relationship between interdependent elements.

• Journal of Distribution Science
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• v.9 no.3
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• pp.73-82
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• 2011

This study presents an effective and distinctive marketing strategy through the implementation of the aesthetic art marketing communication technique of storytelling. The reason applying art to marketing is effective is that it gives "class" and aesthetic beauty to the brand's image, which will lead to an increase in revenue and loyalty of consumers. The story stands in for the brand's subject of "desire." Luxury brand customers not only consume high-quality products, require the utmost in service, and value of the brand, they also appreciate the story the brand is telling. The story, combined with art, is called art marketing communication; it makes the brand more unique through its enhanced visual elements. The study discusses art collaboration, art exhibition, a transforming architecture project, art advertisement, a flagship store, and a human resource training center. Based on the "desire," I adopted the element and principle of storytelling. By visualizing the brand with a symbol, the company is able to relate to consumers' sentimentality. Through storytelling art marketing communication, and the strategy using relevance of brand and artist's popularity, the research shows efficient art marketing influences to the brand's image. The results of the research indicate that by using adequate art marketing communication that best reflects the identity and story of the luxury brand, it produces great results; the research also demonstrated, in various ways, that art marketing will succeed. The case showed the following outcomes. First, consumers have a tendency to choose a brand that is associated with an empathizing story. World renowned brands see through the market's "desires" for unique stories, and they also provide the ability to amuse consumers. The story in a product will become an important competitive element in future markets. Second, the art marketing communication applying a story rendered a brand with distinction. The most effective art marketing communications are art collaboration, art exhibition, locomotive architecture project, and others that are adopted as various means. Third, the brand's products were considered as an art piece, which led to not only strengthening the loyalty of consumers but also an increase in sales. In addition, the company could sustain a premium price for the goods sold. By adapting art to a brand's tradition, an innovative and creative new product provides consumer satisfaction, and producing goods in limited editions creates enthusiastic collectors. Fourth, this study suggests an abridged report, implication, limitation of the study, and directions for further research. Referring to the case for the adaptation of luxury brands, efficient art marketing strategies considering Korean company brand and efficiently study preceding Korean company brand art marketing strategy could be proposed.

• Cartoon and Animation Studies
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• s.13
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• pp.13-27
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• 2008

This paper is studios about a new role model of 'Korea Comics Museum' which will be extended Into 'Korea Institute for the MANWHA & Moving Image Content's planning. Scanning all activities of 'Korea Comics Musium' until now, I'd like to suggest how to promote the comic industry by a Comic Museum's practical contribution. It needs conditions for doing its intrinsic activities, faithfully, most, than a value of Bucheon's city brand or superiority in industrial aspects. And also it is Important that establishing collection policy for spreading excellence of Korean comics, internationally and setting structure for mating network among the museums in abroad and institutions related comic industry. Finally comic museum has to equip a new working structure, furthermore, perform exhibition planning and cultivating system of artists and for this, it needs its own independent organization.

• Korea Science and Art Forum
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• v.37 no.2
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• pp.205-217
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• 2019

This study began with the focusing the growth of importance of cultural marketing and its successes by applying to branding in a phase in which the cultural production era has arrived after the industrial production era. This study aimed to reveal the effect of cultural marketing, which are used as marketing strategy in the tourism field, on brand attitude and awareness. Therefore, this study tried to investigate the brand equity and attitude in accordance with the cultural marketing factors by survey Chinese tourists visiting Korea. The result and contents of the study are as follows. First, it was confirmed that the research question on the possibility of market segmentation in accordance with cultural marketing factors; the market segments were classified as Cluster 1 general involvement perceived group, Cluster 2 high involvement perceived group, Cluster3 middle involvement perceived group. Second, it revealed significant differences on brand attitude among the segments; Cluster 2 showed high brand attitude and Cluster 3 showed average level on brand attitude. Third, it found a statistically significant differences in the perception of brand equity including perceived quality, brand awareness and brand image of tourism destination. In conclusion, this study was able to identify market segments in accordance with cultural marketing factors of tourism destination and revealed significant differences in the segments by brand attitude and brand equity. This could provide practical implication that various cultural marketing activities to generate positive results on brand equity and brand attitude and cultural marketing strategies is also needed to increase foreign tourists' awareness of these cultural marketing activities.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.147-156
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• 2015

Lately, unique hats, which worn by iconic figures in fashion industry, like Anna Piaggi and Isabella Blow to express the originality and self-awareness, received attention from the mass media along with their styles. The purpose of this research is to investigate, analyze, and media-specific characteristics of objet hats which are used to show various items, shape up targets, and express the concept of attires. In order to fulfill this, this study focuses on objet hat designers who have been influential from the 1980's to recent years. As for the research methodologies, this study conducts investigating examples from fashion related books, research papers, and websites along with literary research. Study of objet hat is based on cases and works of designer in objet hat in contemporary fashion expression shape. As a result, objet hat, First, the experimental work to maximize the effectiveness as a fashion objet containing the concept of designer in the runway shows. Second, as pieces displayed on art galleries and museums, objet hats are recognized as artistically defined world of conceptual designers' imaginations. Third, objet hats function as ways of celebrities' expression, who affects the public as fashion leaders. Lastly, objet hat designers's activities operate the story and notion contained in the work through a variety of genres. Objet hats, an independent fashion genre, which symbolize creativity and freedom, influenced the fashion industry with astonishing materials, forms, and decorations.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in