• Korean Journal of Human Ecology
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• v.8 no.2
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• pp.327-337
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• 1999

Primitive men's primordial formative activity derives from incarnation contained in intensive vitality and strong creativity mind. The trend of modern fashion requiring the boundless imagination can be called that it, just, itself, has something in common with basic spiritual activity that primitive men had. What is concerning how modern fashion designers have developed formative language through enchanting primitive art is as follows. 1. The nature's mysterious power appears to be transformed into personified image. The incarnation for acquiring beauty, power, prestige of genius appears in the form of personification, making use of mask in modern fashion. 2. As for primitive men, the whole universe has a potentiality as a symbol. The symbolism of primitive art based on religion and myth appears in modern art as the form of presenting oppositional objects together in one space. 3. Primitive art is the purest form and the most unpolluted. This shows the natural quality being assimilated into nature, which is expressed in modern fashion as intensity, free-spirit, simplicity, etc. 4. The primitive men's anxiety to the outside world appears as impulse. The geometrical form of primitive art occurred in the shape of impulse appears in expressional form of modern fashion. 5. The real existence in primitive art inducing real materials and objects, in themselves, into formative world appears in modern art in the way of expression such as repetition, enlargement, exact reproduction.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.5 s.112
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• pp.1-14
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• 2005

This study describes the recognition and the application of materials corresponding to the formative language of landscape design as the formative process of creating connote forms and meanings in a space. The purpose of this study is to propose the significance of materiality not only for conveying the meaning of landscape but also for providing expanded experience through synesthetic perception. The study consists of two parts: (1) The concept of materiality in landscape architecture is studied in three categories, which are divided in chronological order when the recognition of materials was changed. (2) Based on this exploration of the concept of materiality and the ways of expressing it that have developed from landscape arts to landscape architecture, the significance of materiality as the medium of contemporary landscape design is proposed. Breaking from previous technical and engineering approaches to materials and from a vision-centered recognition of materials, this study focuses on aesthetic and semantic aspects of materiality and is based on multidimensional recognition though synesthesia. Materiality has significance not only as the dynamic medium that carries the meaning of landscape by providing connections with the surrounding environmental context, but also as the engagement medium that expands observers' experiences with the environment through synesthesia. The study of materiality as the medium of landscape design would contribute to expanding the scope of the language of landscape design and to expressing the meaning of landscape through materiality being revealed on the basis of converted recognition of materials.

• Science of Emotion and Sensibility
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• v.12 no.1
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• pp.87-96
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• 2009

Recently, there is a tendency of consumer's participation gradually increasing in the design shaping process. Consumers make evaluation or suggestion about the shape of the product, and the industries lay out schemes to elicit consumers' participation. However, when it comes to dealing with the shape of the product, consumer and designer has a fundamental difference in their point of view, and it works as interruption to the efficient communication between the consumer and designer. Therefore, this study will examine the difference of consumer's and designer's view of products' shape, and the guidelines of effective molding which elicit the consumers' affective responses. First, I established the sensible image vocabulary based on the shape of the product. And based on the vocabulary, I carried out the same experiments to the consumers and designers. As a result, the affective responses of the two groups toward the shape have similar characteristics and designers' reactions found out to be more dramatic than consumers.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.37-44
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• 2005

Currently, the space design has been expressed the space in kinetic design by digital technology. To look into the concept of digital design, there is the tendency to pursue the harmony of the nature. The digital space designer, Greg Lynn who has been paid attention by international researchers. To compared with the reputation of his works, the information about him has been limited to us. The purpose of this study was to investigate the Greg Lynn's digital design matrix toward the design process in his representative 11 works in his website; www.glform.com. The contents analyses methods were used in this study. Greg Lynn's internet website survey was carried out in the respects of thinking method, space formative language and animate form. The major results of this study are as follows: \circled1 Lynn's design concept and digital methodology were affected by Paolo Soleri and Peter Eisenman: natural architectural concept and digital animate form \circled2 Lynn's space formative languages were 10 items; blob, blob, fold, strand, shred, flower, skin, teeth, branch and lattice \circled3 Lynn's digital design matrix was divided into 3 types; MS(Mass + Structure), PC(Path + Circulation) and FD(Form + Detail) \circled4 According to the analysis of longitudinal, his works have been changed from the MS and PC to FD. This research will be a basic reference to understand digital space design.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.397-403
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• 2016

This research reviews the concept of Visual Literacy which is the critical base for performing convergence-style educational program of fine arts. The Visual Literacy means the ability to understand and properly deal with the visual information given to the agent such as the literacy to the written language. It is beyond doubt that the necessity of the Visual Literacy is raised because there is different visual information through new media for the entire life of young generation. Therefore, the Visual Literacy is the base for performing convergence-style education when it comes to performing convergence-style educational programs. It covers the communication abilities to utilize new media and exchange visual information one another.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.697-711
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• 2011

As the superiority of Hangeul becomes known globally, design products utilizing a Hangeul motif are gaining attention in international markets. Accordingly, the interest in Hangeul typography is also increasing. Visual and formative designers are actively developing typographies, as typographies have limitless development potential as a type of formative expression for communication. Accordingly, this study will encompass the spirit, value and beauty of Hangeul in fashion design. The purpose of study is to demonstrate how to express the greatest amount of the beauty of the Korean language for the general public and how to utilize such expressions in various areas. The detailed content of this study is as following. First, the functionality and expression characteristics of typography will be understood by exploring the concept of typography and reviewing the design cases utilizing typography. Second, cases that utilized Hangeul typography will be reviewed and their types and issues will be identified. Third, the design direction will be set based on above exploration. Finally, four design works utilizing Hangeul typography will be suggested as the study result. Accordingly, this study applied Hangeul typography on the shirt design and attempted to contribute to the practical use of Hangeul in everyday living through design products.

• Korean Institute of Interior Design Journal
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• no.32
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• pp.90-96
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• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• Journal of The Korean Association For Science Education
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• v.44 no.1
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• pp.39-55
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• 2024

This study aimed to examine research trends related to Natural Language Processing (NLP) in science education by analyzing 37 domestic and international documents that utilized NLP techniques in the field of science education from 2011 to September 2023. In particular, the study systematically analyzed the content, focusing on the main application areas of NLP techniques in science education, the role of teachers when utilizing NLP techniques, and a comparison of domestic and international perspectives. The analysis results are as follows: Firstly, it was confirmed that NLP techniques are significantly utilized in formative assessment, automatic scoring, literature review and classification, and pattern extraction in science education. Utilizing NLP in formative assessment allows for real-time analysis of students' learning processes and comprehension, reducing the burden on teachers' lessons and providing accurate, effective feedback to students. In automatic scoring, it contributes to the rapid and precise evaluation of students' responses. In literature review and classification using NLP, it helps to effectively analyze the topics and trends of research related to science education and student reports. It also helps to set future research directions. Utilizing NLP techniques in pattern extraction allows for effective analysis of commonalities or patterns in students' thoughts and responses. Secondly, the introduction of NLP techniques in science education has expanded the role of teachers from mere transmitters of knowledge to leaders who support and facilitate students' learning, requiring teachers to continuously develop their expertise. Thirdly, as domestic research on NLP is focused on literature review and classification, it is necessary to create an environment conducive to the easy collection of text data to diversify NLP research in Korea. Based on these analysis results, the study discussed ways to utilize NLP techniques in science education.