• Journal of the Korean Society of Costume
• /
• v.37
• /
• pp.231-252
• /
• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• Journal of the Korean Home Economics Association
• /
• v.26 no.1
• /
• pp.97-108
• /
• 1988

The purpose of this study is to classify the type of the Korean document chest, mungab through the literature and market survey and to investigate the preference on characteristics of the mungab. It also attempts to find out the aesthetic perception of the type of mungab by using semantic differential scales. A pilot study was conducted to select the types and pictures of the mungab. Three types and six pictures of mungab were selected. Six hundred homemakers of middle and upper class residing in seoul area were selected for the survey and 449 among them were used for data analysis. Data were analyzed using the SPSS program. The major findings are as follows: 1) The esult of pilot test, the presentative characteristics of mungab were classified into naive type, unique type, and elaborate type. 2) it was found that the modernized style of traditional mungab was wood grain and the next one was Najonchiligi. In the characteristics of decoration which was symbolic pattern, Shi-Jang-Saeng was predominant. In wanting style when they buy, the modernized style of traditional Korean chest was predominant, too. 3) Young and low income group preferred modern style using transparent paint and Sa-Goon-Ja, letters in the symbolic patterns of decoration. Old and high income group preferred traditional style using splendid and expensive materials and Ship Jang Saeng in the symbolic decoration. 4) compared with types of mungab in aesthetic perception, modern style of the traditional mungab was evaluated more positively than traditional style. The young and low income group perceived the naive type and unique type positively, but the old and high income group perceived the elaborate type the most positively.

• Journal of Fashion Business
• /
• v.24 no.4
• /
• pp.19-29
• /
• 2020

The purpose of this study was to investigate Renaissance wall-covering fabrics through Flemish paintings, that provides the details of the origin and development of background of modern wallcovering. The methods of the study are as follows. First, the background of textile development of Flanders in the 14^th to 16^th centuries were examined through a prior study. Second, the shape and use of wallcoverings in paintings painted during that time were analyzed and the process of changing to modern forms was studied. The residential environment with many stone buildings in relatively humid and cold weather created a need for decorative fabrics. Back then, the wool and flax fabric were not allowed to be worn on the body, so the materials were used for the development of interior fabrics. The characteristics of wall covering in Flemish paint can be summarized with movable, allegory, and decoration. Movable stems from the arrival of the emerging aristocrats of Flanders, who had enormous commercial trade and carried decorative fabrics; the mobility has become an allegory in reality as the royal and aristocratic use of wall-decorated fabrics is the symbol of authority. In addition, unlike Italy, where silk was procured from the East, fabrics manufactured using flax and wool were not suitable for clothing in terms of religion and practicality and were used to decorate walls.

• Journal of Conservation Science
• /
• v.33 no.5
• /
• pp.371-380
• /
• 2017

To investigate the pigments used in modern and contemporary oil paintings, thirty-two paintings by Jiho Oh and Bonung Gu were selected. The white pigment found in the ground and painting layers was identified as lead white (hydrocerussite), zinc white (zinc oxide), titanium white (titanium dioxide in anatase or rutile forms), calcite (calcium carbonate), and barite (barium sulfate). Further, this indicated that pigments differ according to the artist and date of the painting's creation. However, both Oh and Gu used zinc white during the modern and contemporary period, while lead white was replaced by titanium white, barite and calcite. Compared with the overseas studies on pigments and oil paints, the change patterns of pigments were the same with them but the periods of the use were partially different. It seems to be due to the fact that South Korea is linked to the historical background of the art material which was imported from Japan instead of Western countries. Therefore, it is inevitable that any change in the white pigments used for domestic oil paintings occurred at a different time from global transitions. If the results of this study are used in the analysis of art works it is suggested that a database recording such aspects as material properties of oil paints, artistic techniques, and chronology would become important for future conservation science and the study of art history.

• Proceedings of the Korean Institute of Building Construction Conference
• /
• 2019.11a
• /
• pp.29-30
• /
• 2019

The indoor air quality of modern people who work indoors more than 80 percent a day has also become a very important factor in their lives. But most indoor air quality is highly polluted due to energy conservation and lack of ventilation. This can lead to pneumonia, asthma and even lung cancer, which can be fatal to children, the elderly and the elderly. Indoor pollutants are caused by boards, wallpaper, paint, etc. used in interior By producing indoor finishing materials using active alumina gel, which is used as dehumidifier, indoor pollutants will be reduced and the possibility of developing respiratory diseases and lung cancer will be reduced.

• Archives of design research
• /
• v.12 no.4
• /
• pp.305-315
• /
• 1999

Most people react emotionally and are impressed for natural seen such as act, paint, sculpture, music, science, discovery, act include movie, opera. For empathy, people should make efforts feeling about sense from watching by themselves. Usually we are looking for meaning from art and intend to relate wth the content of music, drama, paint, and movie. The trend of statical order in modern design is strong in this time. However, we need to research the motive order for progressive design. And also, designer who want to give motive order to something must need to study motive order in design. This thesis explains the way of effective approach so that designer can apply the thinking such like bring in emotion. Also this research introduces the way of thinking to do progressive imagination and try to research through case study.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.6
• /
• pp.801-806
• /
• 2022

In the modern era, the necessity of color capability in the digital era is the demand of the era, and research on improving color practice on the subdivided digital four areas that are not in the existing practice is needed. For digital majors who are difficult to solve in existing paint color practice, classes in digital color practice in four more specialized areas are needed, and the use of efficient artificial intelligence was studied for classes in digitized color and color sense. In this paper, we tried to show the expansion of the color practice area by suggesting digital color practice and color matching method based on Photoshop artificial intelligence and big data technology that existing color and color matching were practice that only CMYK could do. In addition, based on the color quantification data of individual users provided by the latest Adobe Sceney program artificial intelligence, the purpose of the practice was to improve learners' predictions of actual color combinations and random colors using filter effects. In conclusion, it is a study on the use of programs that eliminate ambiguity in the mixing process of existing paint practice, secure digital color details, and propose a practical method that can provide effective learning methods for beginners and intermediates to develop their senses through artificial intelligence support. The Adobe program practice method necessary for coloration and main color through theoretical consideration and improvement of teaching skills that are better than existing paint practice were presented.

• Journal of Conservation Science
• /
• v.32 no.1
• /
• pp.33-42
• /
• 2016

Modern cultural heritage were made with various materials. But there are no certain analysis for modern cultural heritage. Analysis on rickshaw from National Museum of Korean Contemporary History were carried out using P-XRF, species identification, paint film analysis, FT-IR and microscope observation. As a result Copper and Zinc were measured in metal parts. Nickel alloys were first used in the modern era for rickshaw. Wooden parts, Oak(Quercus spp.), bamboo(Phyllostachys spp.) and Hinoki cypress(Chamaecyparis spp.) were identified. Outer films were painted by 5 layers and inner films were painted by 3 layers. More simple painting process were performed on the inner part. Cotton and wool were identified by FT-IR. Also, cowhide were identified. Authenticity conservation and restoration could be carried out with the results.

• Conservation Science in Museum
• /
• v.29
• /
• pp.33-46
• /
• 2023

Modern and contemporary cultural assets are defined as a collective term for tangible historical and cultural assets produced in the modern and contemporary period (around the opening of Joseon to the present) in Korea. Among them, rickshaws have been used as a major means of transportation for about 40 years since the opening of the ports in Joseon. The repair process for rickshaws divides the rickshaw into three parts, namely the body, the cover, and the wheels, applying a plaster treatment process by referring to the outcomes of the condition assessment and material analysis for the metal, wood, fiber, and paint used. Overall, the repair process is carried out through dry/wet cleaning, joining, stabilization, reinforcement of damaged parts, and other restoration treatments, which reveal metal decorations and patterns on the scaffolding (flowers, arabesque patterns, etc.) that were previously not observable with the naked eye, while also adding to the stability of the artifact. In addition, props were produced to ensure the artifact's safe exhibition.

• Korean Institute of Interior Design Journal
• /
• v.25 no.5
• /
• pp.121-129
• /
• 2016

With the ingenious properties of unconstrained formativeness and frank expression of materiality the exposed concrete became popular with numerous architectures. The application of the exposed concrete has expanded to indoor environments such as commercial and residential spaces beyond the building exteriors with the uncompromising nature of its materiality. The purpose of this study is to conduct sensibility evaluation of the exposed concrete finish in interior spaces. The sensibility evaluation is conducted through a survey on a set of space models of the exposed concrete finish. The three rendered space models were evaluated by emotional vocabulary of 18 pairs of words. The result were as follows: First, the emotions derived from the exposed concrete finish are 'modern', 'cold', 'simple', 'restrained', 'rough', 'dark', 'new', 'chic', 'familiar' and 'eco-friendly'. Second, three sets of space models with alternative materials on walls and floors in exposed concrete interior space showed clear difference in sensibility. A space with the exposed concrete finish on the floor, the walls and the ceiling showed the results of 'cold', 'dark', 'rational' and 'masculine'. In the exposed concrete finish environment with wood flooring 'comfortable', 'warm', 'bright' senses and with white paint finish on the wall 'bright', 'practical', 'ordinary' and 'restrained' senses were obtained. Third, all three images achieved senses of 'chic', 'modern', 'new', 'pleasant', 'environment friendly' and 'satisfactory'. The modernity and stylish expressions of the exposed concrete finish were kept with the application of different material finishes as well as complementing its cold and rough expressions with warmth and brightness.