• International Journal of Contents
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• v.10 no.1
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• pp.54-61
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• 2014

In this paper, we propose a pioneering concept of DPD(Disaster Prevention Design) to realize a securable society in the future. Features of danger in the future society are expected to be diverse, abrupt occurring, large scale, and complicated ways. Due to increment of dangers with their features of uncertainty, interactivity, complexity, and accumulation, human-oriented design concept naturally participates in activities to prevent our society against disasters effectively. We presented DPD is an essential design activity in order to cope with dangers expected in the future societies as well as realize securable environments. DPD is also an integrated design aids including preemptive protections, rapid preparing, recovery, and interactive cooperation. We also expect these activities of DPD is effective for generation of new values in the market, satisfaction of social needs, expansion of design industry, and a novel chance for development in the future society. Throughout this paper, we submit various aspects of DPD concepts including definition, classification, scope, necessity, strategy, influencing elements, process, and its principle. We expect these concepts will be the seed and/or basement of DPD research for the future works. For the direction of study for DPD in the future, we emphasize alarm system for preemptive protection rather than recovery strategy for the damage occurred. We also need to research about progressive prevention techniques and convergence with other areas of design. In order to transfer the concept of product design from facility-oriented mechanism to human-oriented one, we should develop new kinds of city basis facilities, public-sense design concepts referred to social weak-party, e-Learning content design preparing disasters, and virtual simulation design etc. On the other hand, we have to establish laws and regulations to force central and/or provincial governments to have these DPD strategies applying their regional properties. Modern design activities are expanding to UI(user interface) content design area overcoming the conventional design concept of product and/or service. In addition, designers are recognized as art directors or life stylists who will change the human life and create the social value. DPD can be divided into prevention design, preparedness design, response design, and recovery design. Five strategies for successful DPD are Precaution-oriented, Human-oriented, Sense-oriented, Legislation, and Environment Friendly Strategies.

• Journal of the Korean Society of Costume
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• v.31
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• pp.145-164
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• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.97-116
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• 2020

In this paper, the need for lifelong education and distance education is increasing due to the decrease of population and the increase of life expectancy. In addition, the popularization and everydayization of education, which combines daily life and learning, is an educational feature. Individuals can more easily access knowledge, and video plays an important role. Video content is the most basic medium that leads to the popularization and daily life of education. With the development of information and communication technology, popularization of media content production and editing technology, anyone can easily create and share. The video education contents business is expected to increase globally through SNS. Especially, the video contents education industry related to flower design is regarded as a suitable content field in an era where environment is essential. In the modern era, characterized by the "one-person household, one-person media" era, the environment of plants protects people from stress by restoring human emotional efficiency, environmental comfort, and stability. In other words, because humans have a preference for nature, plants play an important role for humanity recovery. Against this backdrop, flower design is expected to be a promising industrial sector with high growth, high value added and high job creation effects. In the era of the fourth revolution of the human race, competitive video contents are expected to influence the growth of the future country. will be.

• Journal of Science of Art and Design
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• v.9
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• pp.5-24
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• 2006

Human hunted and picked to survive and a vessel was made naturally to store something being hunted and picket, which was a great invention. In modern times, society changed and development of science gave us convenience in making a vessel and various kinds of store instruments which was made of pure natural material, of new stuff, such as plastic and iron. but human became to be inclined to regress into nature because of problems of environment. We can say that the representative trend is well-being, after all this is a symptom to return to life being persued by predecessors before the science civilization was developed. Ancestors have lived with nature, adapted themselves to it. For examples they have built the house which became to be a part of nature and just like it, and studied a method of storing food to eat for four seasons, then displayed a storagehouse and storage containers everywhere of the house. Now Korean has the custody of kimchi in refrigerator at every house, but our forefathers controled a timing to eat food with studying a method of storage to put to use nature. With hot wind of well-being, Korean food is becoming to be globalized, according to this, concern about the wisdom of progenitors is growing more and more. It's an example that the world shows concern seriously about the pottery, which have stored kimchi for a long time fleshly, in globalization of kimchi. This study have three purposes, the first. checking documents about the development history of pottery which is a kind of ceramic, and then the second, through an scientific experiment, with studying characteristic of pottery being built by the wisdom of ancestors, informing the merit of pottery and necessity to the world, and futhermore, the third, working up the development of close environmental vessels putting to use the characteristic of pottery.

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• Journal of Korean Society of Archives and Records Management
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• v.1 no.1
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• pp.19-35
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• 2001

After almost one century of discontinuity in the archival tradition of Chosun dynasty, Korea entered the new age of records and archival management by legislating and executing the basic laws (The Records and Archives Management of Public Agencies Ad of 1999). Annals of Chosun dynasty recorded major historical facts of the five hundred years of national affairs. The Annals are major accomplishment in human history and rare in the world. It was possible because the Annals were composed of collected, selected and complied records of primary sources written and compiled by generations of historians, As important public records are needed to be preserved in original forms in modern archives, we had to develop and establish a modern archival system to appraise and select important national records for archival preservation. However, the colonialization of Korea deprived us of the opportunity to do the task, and our fine archival tradition was not succeeded. A centralized archival system began to develop since the establishment of GARS under the Ministry of Government Administration in 1969. GARS built a modem repository in Pusan in 1984 succeeding to the tradition of History Archives of Chosun dynasty. In 1998, GARS moved its headquarter to Taejon Government Complex and acquired state-of-the-art audio visual archives preservation facilities. From 1996, GARS introduced an automated archival management system to remedy the manual registration and management system complementing the preservation microfilming. Digitization of the holdings was the key project to provided the digital images of archives to users. To do this, the GARS purchased new computer/server systems and developed application softwares. Parallel to this direction, GARS drastically renovated its manpower composition toward a high level of professionalization by recruiting more archivists with historical and library science backgrounds. Conservators and computer system operators were also recruited. The new archival laws has been in effect from January 1, 2000. The new laws made following new changes in the field of records and archival administration in Korea. First, the laws regulate the records and archives of all public agencies including the Legislature, the Judiciary, the Administration, the constitutional institutions, Army, Navy, Air Force, and National Intelligence Service. A nation-wide unified records and archives management system became available. Second, public archives and records centers are to be established according to the level of the agency; a central archives at national level, special archives for the National Assembly and the Judiciary, local government archives for metropolitan cities and provinces, records center or special records center for administrative agencies. A records manager will be responsible for the records management of each administrative divisions. Third, the records in the public agencies are registered in the computer system as they are produced. Therefore, the records are traceable and will be searched or retrieved easily through internet or computer network. Fourth, qualified records managers and archivists who are professionally trained in the field of records management and archival science will be assigned mandatorily to guarantee the professional management of records and archives. Fifth, the illegal treatment of public records and archives constitutes a punishable crime. In the future, the public records find archival management will develop along with Korean government's 'Electronic Government Project.' Following changes are in prospect. First, public agencies will digitize paper records, audio-visual records, and publications as well as electronic documents, thus promoting administrative efficiency and productivity. Second, the National Assembly already established its Special Archives. The judiciary and the National Intelligence Service will follow it. More archives will be established at city and provincial levels. Third, the more our society develop into a knowledge-based information society, the more the records management function will become one of the important national government functions. As more universities, academic associations, and civil societies participate in promoting archival awareness and in establishing archival science, and more people realize the importance of the records and archives management up to the level of national public campaign, the records and archival management in Korea will develop significantly distinguishable from present practice.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.