• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.27-39
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• 2004

Since around 1990. some experimental and shocking ugliness images have been expressed in Fashion and Make-up as well as Fine arts. The purpose of this study is to investigate the trends of ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the expressions through formative elements and to anticipate the prospect of Make-up in the future. Ugliness is the most negative aesthetic value which is lack of beauty. The 20 century art trends representing the ugly shape have been distorted or deformed or destroyed and extremely exaggerated with yellow, red, black, blue, white, green. The image and color of ugliness can be summarized as historical, avant-garde, decadence, de-constructive, humorous, futuristic trend and Most of colors are the achromatic ones like black, white, dark gray and red. blue, dark brown and so on. These colors cause some negative attributes such as fear. anger, death, devil, Pain, bad, ill omen, sorrow, despair and the like. At the turning Point in 21C are to be extended the range of color according to the experimental attempts such as informal, collage, graphic and the forth. Lastly, The characteristics of ugliness images expressed in the color of Modern Make-up have been analyzed into formlessness and inaccuracy and deformation by Karl Rosenkranz＇s theory.

• Cartoon and Animation Studies
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• s.42
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• pp.293-313
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• 2016

The target stimulating human's sensitivity can include several things; the first is human like us including beautiful women and cute babies. The next ranking is the dog animal that established itself as a human's companion. It is the 3B law(beauty, baby, beast - much used in the ad or election due to the positive image) that is widely used in the advertising. This relationship is being expressed in the art history for a long time. Dogs that have lived a history more than 10 thousand years with humans hunted, protected flock of sheep, and kept the farmer's house and property. They have been human's assistants and companion who entered into the modern urban culture. Like this, dogs have adapted to several situations endlessly such as the nomadic life, farming, country life, and urban life. This paper will explore the close relationship of humans and companion animals through various icons of dogs and pups that appeared through a number of artists' skills. The companion animal means an animal that lives with people, which means the relationship of round-trip rather than the one-way relation those each other gives a help. Therefore, there artist tries to examine the figure of great hunter for survival, highly evaluated figure as the royal dignity, and the mascot-like figure delivering the daily happiness to modern people as presenting joy through a discussion of the 'countenance', a visual signal of the dogs and pups. They have been influenced by screen and popular media in 20C. Snoopy, a main character of and the movie <101 Dalmatians> made a success on the theater and television when Beagle and Dalmatian were prevalent. These main characters make audience feel happy involuntarily. Like this, the continuous and old friendship of the human and dogs will be confirmed again through the icon of dogs and pups consisting of the communication of artists and readers in the modern shape art, and it is hoped to be a psychological stabilizing effect to modern people living in the intense modern society. Therefore, it is expected this study paper will be reborn as a new text and be expanded as an effective communication in the journey of dogs and human in the future in investigating the communion of dogs and human.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.538-544
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• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• Journal of Industrial Convergence
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• v.19 no.6
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• pp.139-144
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• 2021

Since the human act to pursue beauty is the most natural desire and instinct, the demand for a new beauty trend in line with the 4th industrial revolution era, in which aesthetic interest in human appearance management along with the importance of appearance is increasing day by day is very necessary at this time. In order to derive the source from art, which is closely related to beauty studies, the shape and texture of women's hair design appearing in 'Chinoiserie' style Western paintings that were popular in Europe and France in the 18th century. As a result of the study, the hair design of women appearing in four Western paintings showed characteristics of each individual shape, texture, and color. Through this study, the foundation stone for the development of a new mode hairstyle for modern people living in a rapidly changing era while quarreling with the village, and the foundation stone for the development of various beauty contents.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.165-180
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• 2000

Since fashion is considered to be a cultural product and belongs to the formative art as well, the changes in fashion reflect those of society. Modern fashion has emerged from the period when people would follow the popular fashion uniformly, and moved toward the age of diversity, expressing not only the inner desires and aesthetic sensibility of individuals but also the freedom from formality and traditional restrictions. This kind of changes in expression became important motives for modern dress design following the present cultural phenomena, and, so called "outerwearization" of the undergarment or "infra apparel" exemplifies this situation. Corset especially has been playing a vital role in exaggerating and emphasizing the beauty of female body and correction of its shape. Today, one can frequently witness corset in street fashion along with brassier, Its sister concept. This "outerwearization" of the undergarment is supplanted as a syndrome, and it is defined as "supra syndrome" using "supra" as the opposite meaning to "infra". This unique phenomenon of modern fashion cannot be explained by a single social aspect, but as a mixed state of eroticism, fetishism, feminism, demonstrationists and expressionism among several current phenomena. The advent of "supra syndrome" and its cultural background were illustrated and stand-out "supra syndrome" exhibited by many world-renowned designers were analyzed in this study. As the result of study, six design pieces were developed and produced in three groups, based on different corset motifs. This study reaffirms that creativity of design is limitless and the imaginative abilities alone cannot accomplish higher level of design and development of works of fashion unless they are accompanied by the understanding of historical background, periodical circumstances and cultural phenomena. In this study, utilizing the modern apparatus such as computer and the advent of the modern technology was also found helpful in creative fashion design process.

• Archives of design research
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• v.18 no.2 s.60
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• pp.325-334
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• 2005

The purpose of this thesis is to explore the fundamental reasons and general circumstances of the introduction of geometric shape to the 20th century's design education. The modern design education was directly influenced by the German Kindergarten Movement and its educational ideal, so they began to employ geometric shapes in visual education. When Friedrich Frobel, a professional German child educator of the 19th century, invented the 'Spielgaben,' it soon became a popular educational tool. It was a turning point in the child educational system, from then they began to actively employ 'tools' in art education. The Spielgaben was created based on the geometric principle of a popular block game of the 19th century. On the other hand, a game program called 'Bechaftigungsmaterial' led early Modernists to adopt geometric shape in their works. Then, geometric shape were applied to a primary educational program designed by the Bauhaus that gave birth to the Modern design education in the 20th century. likewise, the substantial reasons why the principles of point/line/plain and geometric shapes had been taken in the 20th century design education can be explained through this historical background. This research is to investigate how Kindergarten Movement and Modern design education can be associated with each other, particularly in the light of geometric elements. Therefore, I first referred to the historic records in order to reveal their relation, and then analyzed the similarities and differences between the two activities. In result, I could explore the relationship between child educational tools and the 20th century's design education.

• Cartoon and Animation Studies
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• s.50
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• pp.349-382
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• 2018

China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.23-41
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• 2001

This paper aims at understanding the transformed characteristics of expressional system of Church architecture in Korean traditional style. Through the analysis of transformed forms and its meanings of those, this paper investigates the unique process of stylistic development of Korean traditional church architecture in early modern, 1900's. The method of this study is the analyse of them after the actual field surveys of Korean traditional churches, specially eclecticism churches as the HWSAN church and KUPODONG church, and the analysis of Semiology. Theory for Semantic Interpretation of artistic objects as an objects of art and architecture. Specially, the survey concentrates on the architectural elements(the form, the architectural structure, the material, the roof shape, the window, the door, the bell tower, the plan, etc) of eclecticism churches, especially those of HWASAN church and the analysis of semiology theory contains the research results which were studied by theorists as Charles Jencks, Umberto Eco and Juan Pablo Bonta. Acceding to analysis, Korean eclecticism churches have the unique transformation process and specific meaning of the spontaneous process of development. In the results of the semiological analysis of HWASAN church, it can be revealed clearly that transformed process of form리 characteristics of HWASAN church intented to formal originality of western Gothic church, but its form and meaning were based not on any simply imported western style but on existing system of Korean architecture.

• Journal of the Korean Society of Costume
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• v.47
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.