• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.153-163
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• 2019

This study is designed to present a direction for the development of an up-cycling design applied with Hangeul calligraphy on outdated clothing materials, and recreating them as eco-friendly high value-added cultural products. The results of this study are as follows. First, Hangeul calligraphy enhances creativity and scarcity by expressing an unformatted analog sensibility in the digital era and further emphasizes the differentiated high value-added aspect of the products. Second, the characteristics of the up-cycling design products represent eco-friendliness, handcrafting, non-fabrication, originality, scarcity, storytelling, and customization. Third, the author made 11 up-cycling cultural products using Hangeul calligraphy, applying it to discarded jeans and pieces of cloth. Fourth, the phases of making cultural products are divided into planning and production. In the planning phase, items and materials are decided upon, design sketches are made, and in the production phase the items go through partial dismantlement, separation, reconstruction, collaboration, and the application of calligraphy printing. Along with the beautiful and lyrical sensibility of Hangul, it was shown that up-cycling using Hangeul calligraphy, which has excellent originality and practicality of design, can be expanded to a variety of cultural products.

• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.684-698
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• 2013

Interest and desire for analogue emotion increased with the dazzling development of digital technology. Especially, as analogue emotion got grafted in the design field, analysis through various expression media is being done. This study seeks to propose design of t-shirt using unique advantage of Hangeul calligraphy that can satisfy the modern flow and pattern design's various expressions. Calligraphy is being used in various fields such as advert, package, logo, movie poster, signboard, graphic design, calligraphy and abstract painting. Formative yet effective in readability and conveying meaning as it's expressed in letters, calligraphy is a field of attention with its contribution in extending the new design area. As a method of the study, altogether 8 pieces of t-shirts were proposed through related preceding research, literary research, co-work with calligraphy author, computer graphic program, and heat transfer. As such, the t-shirt designs which were created by suggesting various design and using traditional materials like calligraphy, can be used as novel and sensual factor, where one can get a glimpse at the potential of development as traditional fashion product.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.32-44
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• 2011

This study will explore the application of the Korean alphabet 'Hangul' and its calligraphy on fashion design. Hangul is well known for its great formative characteristics. Its calligraphy has unique features that express the implicative meaning of the Korean language while simultaneously displays beautiful shapes that draw the viewer's eye. When Hangul calligraphy is applied on the pattern design, it can be an excellent opportunity to demonstrate the visual beauty of Hangul. The purpose of this study is to develop the pattern designs that utilize the Hangul calligraphy and apply them in various fields of fashion. The detailed concepts of this study are as follows. First, the theoretical concepts and characteristics of both Hangul calligraphy and pattern design will be understood. Second, the aesthetic characteristics of calligraphy will be drawn by case analysis on the artworks of famous calligraphers such as Kim Jong-geon, Kang Byeong-in, Lee Sang-hyeon, Lee Gyu-bok and other representative calligraphers who design the beauty of Korean calligraphy by handwriting and brush-writing. The obtained results will be used to explore the desirable direction of fashion design. Third, eight pattern motif fashion works that utilize Hangul calligraphy in accordance with the arrangement of different characteristics of fashion design will be presented.

• The Journal of the Convergence on Culture Technology
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• v.4 no.4
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• pp.161-166
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• 2018

Sojeon, Son Jaehyung(1903~1981) was interested in the composition of the classical writing style of Han-gul and its merits in the operation of the brush. And a genius, modern sense of sculpture and ingenious ideas applied to the calligraphy. Thus, he succeeded Tonggukjinche by sublimating it into a unique Handwriting pure and humorous. Sojeon Hangul Calligraphy is exaggerated in consideration of the change of direction, thickness and length of the stroke. There is nothing strange about law and organization and express the great beauty of the great art of harmony and change. Sojeon's contribution is significant in that it has not only become a model for the development of Han-gul calligraphy, but also created a new area of space in modern calligraphy.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.