• Science of Emotion and Sensibility
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• v.9 no.4
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• pp.385-394
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• 2006

In the present society where aesthetic designs would have product value, designs must be the ones that add flexible sensation as well as the energy of counteraction which escapes from and destroys existing concept. The 'creative expression' to reach such design objectives is one of the most important abilities which designers must possess and is an overall concept in problem solving of designing which participates in formative approach or image development as well as product concepts such as function or performance . In this research, the definition of creativity, environmental change of designing, conditions designers must possess followed by these things and creative design expressions researched in the past, etc are examined and by presenting design method for creative designing concept targeting mobile phones, it will attempt to contribute in the importance of creativity and improve creative value of designers.

• Archives of design research
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• v.15 no.1
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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′.

• Journal of Fisheries and Marine Sciences Education
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• v.24 no.6
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• pp.763-780
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• 2012

The purpose of this study was to develop the teaching & learning model to increase the key competencies in the university. For this, the researcher suggested the draft of teaching & learning model in the university based on literature analysis and survey for key competencies education to professors and students. After that, the draft of the model was revised through the formative test by experts. And then, the revised model was verified through delphi survey and a final model was fixed. As the result of this study, features of the final model are as follows. First, this study identified that a core values of teaching and learning model for the key competencies education in the university is reinforcement of learner's thinking skills and enhancement of field oriented on learning contents and reinforcement of professor's role as a mentor, a facilitator, a motivator, and an informant. Second, The core learning activity's process of the teaching and learning model for the key competencies education in the university consists of the following in order: team-building, exploring problem, gathering and analysing informations, arranging of leaning outcomes, comprehensive arrangement and self-examination.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.805-819
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• 2011

In contemporary society, heterotopia is the law dominates thoughts and is the concept reconstituted spaces calls order in chaos. And that is the place which refuses the paradoxical and social custom and sometimes poses a danger and rise in rebel. The purpose of this study is to study how forms of clothing fluid form images are expressed in modern fashion develop body around in the spatial relationship between the body and its environment. The study method consider changed characterastics of fluid space through the heterotopia thinking system of Foucault Michel. Based on this method, the heterotopia space that appeared in the plastic arts in aspects of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Fluid Form were expressed in any formative characteristics were considered. The results of this study are as follows. Fluidity is the transformed interaction. It expanded external representation of organic body structure and reconstructed flexible forms of dynamic structures continuously. Transformation is the new space structure. It constructed invisible transformation and developed convertible dress space by combining a variety of functional overlap and fold. Deconstruction was expressed structural forms, expanding the existing forms in the open structure which have ambiguous boundaries.

• Journal of Fashion Business
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• v.8 no.6
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• pp.39-56
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• 2004

At the outset, surrealism starts from pure art, but surrealism has greatly influenced commercial art and fashion circles, more so than any other genre of art. The critical thinking methods of surrealism and its mode of expression continues to influence fashion theory extensively. Even now, surrealism may be found in the designs presented in fashion circles and is still expected for future lines. Surrealism in modern fashion has been reborn, newly integrated and transformed, based on the features of Surrealism paintings. The characteristics of its forms can be found in a combination of modern material, modern design and new skills and the classical items : bodyform molding context of architecture, experimental and sex-appealing of body. Expression was made by borrowing natural motives and recreating natural fabrics while the existing typical idea about clothes was destructed, with the boundary of patterns changed. Expression was also made by mixing items, uniting future images, and using up-to-date functional techniques. This study is significant that up-to-date technological culture expands cyber-space and increases surrealistic expressions by combined heterogeneous materials, thus arousing much interest. The purpose of this study is to determine interrelationship between how surrealism developed and what formative properties those clothes affected by surrealism obtained in the 1990s.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.194-205
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• 2012

Historically, garments have been spontaneously made with human instinct in order to warm and decorate the body using textiles that have been made and used by various peoples in different cultures. Contemporary garments have been used as a means of warming as well as express individual personality and a desire to pursue beauty. They have a unique formativeness and a symbolic nature according to cultural phenomena that reflect a cultural outcome that expresses contemporary thinking and ideology as well as their aesthetic consciousness. This study globally promotes Chinese opera mask culture and proposes the possibility of creative thinking through the introduction of Chinese opera mask elements into contemporary fashion, expressing them as patchworks. In order to endow artistic value (required in contemporary fashion) this study creates works by analyzing and applying a formative sense seen in patchwork techniques and the characteristics of Chinese opera masks; in addition, it sought the possibility of new expressions in garment designs. The results obtained from the research involve the following. First, the introduction of the traditional patchwork technique to contemporary garments may be a dynamic theme of garment expression and exceed stereotypical ideas that enable the creation of designs attuned to the globalization era. Second, it was possible to pursue independent formativeness which is in harmony with a modern sense through the restructuring of the harmony of colors and practical characteristics found in patchworks. Third, it was possible to demonstrate their artistry and unique effect in the expression of contemporary garments by the expression of the analyzed results of characteristic patterns of Chinese opera masks with a patchwork technique in creating works. Results show that it is necessary to conduct research into a patchwork technique that applies diverse materials as a new method to develop contemporary garment design also as a creative design. In addition, if the analyzed results of the characteristic patterns of Chinese opera masks can be expressed with a patchwork technique, they may be able to exhibit a genuine effect along with the artistry of expression in contemporary garments; thereby, relevant follow-up research should be further continued.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.34-41
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• 2003

A purpose of this study is to comprehend a concept of 'Open Space', realization of a deconstruction, presented in his works, based on a deconstruction and surrealism Coop Himmelblau's philosophical contemplation and to look into how this concept is interpreted in spaces. A concept of 'Open Space' is functioned as not a singular meaning but a multiple meaning accompanied with other formative ingredient and contemplation, scientific paradigm and a realation with a surroundings. The concept of 'Open Space' in their architentural space is applied. First, the space openness that represents to the extreme a concept 'Open Space', as a 3D designing ways that demolishes a structure and outgrows an ex siting thinking pattern, represents multiple grade spaces and an anti-gravity space. In a material, using glass and iron provides a spacial transparency and through this, visibly liberal sense that an interior and exterior is felt as an unification. Second, an non-expressive box pattern repulses to a spatial rank nature, outgrowing an uniform geometrical system, through demolishing a geometrical system, an edge and fold pattern. This is, as an anti-gravity, dynamic a typical structure, outgrowing an orthogonal system, interpreted as a composite meaning without division in spatial area. Third, the collage is used to represent a complexity and pluralism in representing 'Open space'. The collage that forms a image through combining a fragmentary elements into being a space change, composite constitution and spatial amusement. Thus, It is worthwhile to study how the collage that forms a diverse shape will be developed making what impact as an age and surroundings changed. As we contemplate in former part, Coop Himmelblou has deployed 'deconstruction beyond deconstruction' realm as just their midterm concept in their works like the words 'The architecture must climb', the deconstructive architect. A studying for their works reflecting the 'Open Space' concept based on deconstruction must be lasted and this enables us to comprehend space concept containing an architecture and interior design.

• Archives of design research
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• v.11 no.2
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• pp.95-103
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• 1998

During design thinking and developing, its idea into the real world, and we are under pattern recognition and gestalt principles of perceptual organization. Generally originality is a part of creativity which consists an integral factor of the designing. This is a study on the measure system for an ability of originality in design. It is reorganized that the OTLD(Originality Test of Line Drawing) is a measuring system for personal originality. In order to catch the development the thoughts, we presented 10 picture planes as stimuli (each picture plane contained 3-18 dots), recorded the tape displaying eye-mark trajectories and outputting the trajectories with EMR(Eye Mark Recorder), then found the process of visual sensation and perception. From the results of this study, we examined the relationships between connections and complexity of the objects on the picture plane, which could be transformed into some objective measuring parameters. We would suggest this OLTD as a measurement system for an ability of originality in design fields, but we couldn't find any reliability and validity for fine art fields.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.