• 복식문화연구
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• 제12권4호
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• pp.663-675
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• 2004

The plastic arts is used when designers draw inspirations to create fashion design. The author referred to fashion magazines for designing ideas of Mondrian＇s geometrical abstract painting in practical applications used by designers in Paris, Italy, London and New York during the 10-year period(1991-2000). The collections of data were analyzed as following: ◇ Fashion Designing Idea 1. Matching Idea The art is reproduced in the design as how it is with no transformation. First, the painting＇s complete figure is reproduced on the entire or parts of clothing. Second, the painting＇s partial figure is reproduced on the entire or parts of clothing. 2. Contrasting Ideas The composition elements in Mondrian＇s geometrical abstract painting, for example, structures of shapes, vertical and horizontal lines and different colors are applied in the design. First, one particular shape in painting is transformed into different shape of square, circle or triangle and reproduced in designing. Second, one particular shape in painting is disassembled and then reshaped into different form in reproduction. Third, additional lines are put in to create different look from the original painting. Forth, existing lines are extended over the boundary to create different look from the original painting. Fifth, achromatic colors: black and white, and three basic colors: red, blue and yellow in the original painting are modified into different shades or color scheme is increased in broad range.

• 복식
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• 제65권3호
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• pp.62-75
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• 2015

The purpose of this study is to examine how fine art is received in fashion, and to contribute to the development of a creative fashion culture. In order to do this examination, this study focuses on the formative ideas of De Stijl which appeared in the early 20th century. In addition, this study presents examples of today's fashion that still reflects the formative ideas of De Stijl. The De stijl movement did not last for a long time, but it has had significant influence on modern art, and has been a source of inspiration to fashion designers since the Mondrian look was presented by Yves Saint Laurent in 1965. The study on the basis of De Stijl such as Neo-Plasticism of Piet Mondrian and Elementalism of Theo van Doesburg, has been conducted in this study. As a result, this study presents formative characteristics of the De Stijl group in fashion as follows: First, contemporary fashion designers have searched for proportion and thickness of lines and the side split using lines, a stylistic trait of an artist in the De Stijl group. Second, color scheme defined by the De Stijl group has been applied with modification to contemporary fashion. Modification and selective choice of the limited colors are for a contemporaneous style. Third, formative ideas of De Stijl, which strives to achieve the vision of Utopia, has turned up in contemporary fashion as a simple and minimal silhouette. Contemporary fashion has enhanced their aesthetic value by deriving not only a superficial expression but also plastic principle and philosophy from De stijl. It can be regarded as the fashion's ideal way to embrace style of art and it might be so described as a key to edifying artistic and creative attributes of fashion.

• 만화애니메이션 연구
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• 통권35호
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• pp.329-346
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• 2014

미술은 한 사회의 정치, 경제, 사회, 문화가 만들어낸 시대적 산물이다. 최근의 디지털 매체의 발전은 예술에서 표현을 확장하는데 기여하였다. 디지털 매체는 이미지뿐만 아니라 소리나 물리적 지각 반응을 예술 창작의 한 요소로써 활용하는 것을 가능하게 한다. 또한 디지털 매체는 이미지, 소리, 빛, 그리고 다양한 조형 요소들 간의 재 융합이나 관객의 물리적 반응의 결합을 통해서 작품과 관객과 상호소통적인 공감각적이고 시지각적인 환경을 창출하도록 돕는다. 본 연구에서는 최근에 소리에 반응하는 다양한 미디어아트 작품들이 제작되고 있는데, 주로 관객이나 외부의 자극으로부터 발생되는 소리의 물리적 데이터를 시각화하는 작업에 초점을 두고 시지각적 관점에서 소리의 반응에 따른 데이터의 시각화와 작품의 이미지와 관객의 반응 관계 등을 분석하였다. 외부의 소리로부터 생성되는 물리적 데이터는 여러 가지 관점에서 분석될 수 있다. 예를 들면, 음성이나 외부 소리의 고저(pitch), 음량, 또는 주파수 분석을 통해서 데이터 분류가 가능하다. 본 연구자는 관객의 음성이나 외부의 물리적 자극을 통해서 발생되는 소리의 주파수를 분석하여 이에 상응하여 발광하는 LED기반 시각화 연구를 통해서 최근 새로운 미디어아트의 가능성을 모색하고, 실시간으로 생성될 수 있는 물리적 데이터들을 빛(LED)의 환영적 특성으로 변환함으로써 우연하게 관객에 반응하여 생성되는 다양한 시각이미지의 연출 가능성을 탐구하였다. 결과적으로 연구자는 사운드에 반응하는 시지각적인 인터랙티브 작품을 구현해보기 위하여 피에트 몬드리안(Piet Mondrian, 1872~1944)의 브로드웨이 부기우기(Broadway Boogie Woogie, 1942~3)작품을 모티브로 삼았다. 몬드리앙은 회화의 본질적인 표현 요소들을 단순화하는 작업으로 불필요하다고 생각된 요소들을 하나씩 제거하여 색, 수직선, 수평선으로 대상을 추상화시킴으로써 그 대상의 본질에 다가가고자 하였다. 연구자는 몬드리앙의 이러한 단순화된 구성을 외부의 소리 자극을 단순화하여 빛(LED)의 요소로 재현하는 시각적 표현의 메타포로 사용하였고, 몬드리앙의 정적 구성에서 빛과 소리의 공감각적인 표현을 극대화하는 동적 구성으로의 관객의 참여를 유도하는 환경을 구현해 보았다.

• 건축역사연구
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• 제6권3호
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• pp.155-166
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• 1997

This study aimes to understand the principles in Theo Van Doesburg's architectural concept. Generally, Theo Van Doesburg has been thought that he betrayed De Stijl by acting contrary to the Neo-Plasticism which was constituted in early De Stijl by Mondrian and himself and by suggesting opposite one, Elementarism. Therefore this study tried to understand the principles that make his architectural concept, confirming the background of Elementarism. After studing relation, which Theo Van Doesburg has used, between space and color, it is concluded that he has unchanged principles of architectural concept from early De Stijl to last, opposite to general appreciation. So, Theo Van Doesburg acted to maintain equilibrium that exists for balancing the two elemental forces which contrast each other in relation between space and color. The equilibrium which he looked for aims to constitute harmonized dynamic space by dynamic rythem of equilibrium instead of Neo-Plastic effect. And using color, which used to be producing dynamic effect, he intended to maintain static effect for making dynamic rythem of equllibrium by the principles he made.

• 한국디지털건축인테리어학회논문집
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• 제3권1호
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• pp.9-14
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• 2003

The purpose of this study is to find out organizing strategy of de-composition works in modern plastic arts. Through investigating the development process of De Stijl painters and Rietveld's early works and analyzing the composition and disposition type of elements such as point, line, plane, color in the selected works, we can draw some conclusions. First, Rietveld pursues the dissolution of traditional volume and the de-composition of elements as Mondrian does through crossing-connection of three listels with quadrangular section. Second, Rietveld reorganized de-composition elements with detached lines and color planes. Third, Rietveld experimented possibility of new plastic space through displacing elements, opening space, making anti-gravity space.

• 미국학
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• 제42권2호
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• pp.79-107
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• 2019

This article explores the photographic work of North American artist Jeff Wall. While his photographic work has been much discussed in terms of aesthetics and composition highlighting his methodological appropriation of modernist painters such as Eduard Manet and Piet Mondrian, the political aspect of his work remains to be investigated. This article especially unpacks the complicated dialectical relationship between the formal aesthetics and the political nature of his works by visiting his photographic work in the context of contemporary debates on the contradiction and conflicts between aesthetics and politics in photographic form. Ultimately, this article argues that Wall's photograph acquires its political meaning by problematizing the reified social representation of the other in a way in which the materiality and/or otherness of the photographic object is registered within the photographic frame and by representing the violence of the social representation and the un-representability of the object/other.

• 복식문화연구
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• 제19권2호
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• 한국가구학회지
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• 제20권1호
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• pp.42-51
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• 2009

As wine culture becomes popular among the people in modem society, the consumption of wine has increased due to the need to enjoy wine at home. Nonetheless, the development of wine cabinet has not made much progress. In order to compensate such matter, a wine cabinet that satisfies the taste of new generation as well as the need demanded in the modem living space is transcended its simple and solemn image embedded in wooden colored form, which is often found in existing products. First of all, the definition, kind, bottles, and glasses of wine are examined and then a cabinet is developed depending on the design process. The body of the wine cabinet is finished with black lacquer after attaching ash-patterned veneer on MDF and the front plate of the drawer is finished with the colors displayed in Mondrian's painting on MDF. The upper part is designed to store wine glasses and below the wine rack is the space for wine storage considering the overall shape. The storage at the lower part is equipped with drawers of different sizes to emphasize practicability. In conclusion, such a unique design is believed to introduce the importance of design to the domestic furniture market being a foundation for the furniture industry.

• 패션비즈니스
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• 제14권1호
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• pp.163-175
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• 2010

This study is a part of the integrated investigation of the design of Yves Saint Laurent, and aims at examining the background of the appearance of art inspiration which the artistic quality and originality are particularly seen. And also, I would like to examine the source of the power that transcends periods, dealing with issues in the design. From the mid 1960 to 1970, Yves Saint Laurent who leaded the global fashion trend, displayed the Art Inspiration works with the innovation of fashion in Paris, rediscovery of the trends and colors in Modern Art, and background of Entourage and so forth. He brought in the various artistic genres to the fashion, and his Haute Couture collections which were created by the passion for the movie and theater art, expressed the freedom through his strong identity in the Modern Art & Culture and the atmosphere of that period. Eventually his works are reappeared transcending the generations as the fundamental power of Modernity, through the restricted line of his own, strong contrast of colors, and insight for the future.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.31-41
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• 2015

The objective of this research is to investigate the artistic meaning of "infinity," manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi's photographic spatio-temporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto's famous photographic series, including "Seascapes," "Theatres," and "Architecture"; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto's photographic works display "temporal infinity" by connecting ancient times, the present, and the future; "spatial infinity" by offering the potential for transformation from flat photographs into infinite three-dimensional space and fourth-dimensional concepts through time; and "existential infinity" of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto's architectural works, such as "Appropriate Proportion" and "Glass Tea House Mondrian." As a result, the research finds that in Sugimoto's architectural approaches, spatio-temporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself.