• 한국컴퓨터그래픽스학회논문지
• /
• 제14권2호
• /
• pp.27-33
• /
• 2008

본 논문에서는 입력으로 들어온 사람의 얼굴 영상으로부터 간략하면서도 인물의 특성이 잘 반영되도록 스타일화된 일러스트레이션 영상을 만드는 방법을 제시한다. 이를 위해 입력으로 들어온 영상으로부터 얼굴 영역 및 각 구성요소들을 인식하고, 그 결과를 효과적인 스타일화에 이용한다. 실제 스타일화는 크게 주요 부분을 간단한 톤으로 표현해주는 톤 그리기 부분과 해당 부분을 적은 선으로 효과적으로 묘사하는 선 그리기 부분으로 나뉘며, 이 두 부분에 머리카락이 나 옷 부분 등에 추가적인 효과를 더하여 이루어진다. 이러한 스타일화 과정은 일반적으로 사람이 그린 그림과 같이 극도의 추상화과정을 거쳐 보다 적은 표현으로 대상의 특징을 잘 살려주는 것을 목적으로 한다. 이를 위해 여백을 살리는 간단한 표현으로도 대상을 효과적으로 묘사하는 동양화 기법을 응용한다.

• 디자인학연구
• /
• 제12권1호
• /
• pp.133-142
• /
• 1999

빛은 인간에게 모든 사물을 보게 하는 절대적인 요소이다. 특히 시각을 통하여 느끼고 시각적으로 표현하는 미술가에 있어서 그 중요함이란 더 말할 나위가 없을 것이다. 회화 사에 있어서나 인간생활에 있어서나 빛은 매우 중요한 의미를 가진다. 빛은 3차원적인 공간의 표현을 가능하게 할 뿐만 아니라 정신적, 심리적, 조형적 의미도 함께 지니며 현대에 와서는 빛 그 자체만으로도 회화상의 존재가치를 부여받고 있다. 일반적으로 회화에 있어서 빛의 연구와 색채 표현에 관한 접근은 어려운 것으로 간주되어 왔다. 색채 및 빛의 효과란 비단 가시적인 효과뿐만 아니라 심리적인 경험과 정신적 상징이 내포된 무의식의 존재로 이해되는 것으로서 주관적인 경우가 대부분이기 때문이다. 본 논문은 이처럼 인간의 역사나 미술사에서 언제나 부단한 관심의 대상이었던 빛이 과연 과거에 어떠한 방식으로 탐구되고 전개되었으며 현대에 와서 새롭게 조명될 수 있는 의미는 무엇인가를 분석한다. 그것을 바탕으로 빛의 효과가 동양회화와 르네상스, 바로크의 렘브란트, 그리고 인상파의 서양미술사를 중점으로 어떻게 전개되었으며 오늘날의 현대적 일러스트레이션에 적용되었는가를 조사하여 현대에 나타난 빛의 의미 등을 인식할 수 있는 새로운 계기를 제공한다.

• 디지털융복합연구
• /
• 제13권2호
• /
• pp.325-331
• /
• 2015

본 연구는 전통 인물화의 현대적 정체성 확립과 현세적 변용을 위한 대안을 모색하고자 웹기반에서 개방적이고 다매체성을 통해 의사소통에 대한 근본적인 해법을 탐구하는 디지털 스토리텔링을 적용하였다. 구체적인 예시로 김홍도의 도석인물화를 선정하고 작품 속에 담겨있는 내러티브와 예술적 의의를 탐색하였고 김홍도의 신화적 스토리를 디지털스토리텔링 방식으로 전개하였다. 이러한 과정에서 전통 인물화에 대한 내러티브 기반의 디지털 스토리텔링의 개발전략을 제시하였고 그에 따른 기대효과도 확인하였다. 전통 인물화에 대한 스토리텔링은 역사인물이 갖는 역사적, 예술적 가치와 의미를 찾아내고 그것이 현시대에 공감적인 의미를 지니도록 시대 반영적 해석 및 변용을 하는데 유용한 접근이 될 수 있다.

• 디지털융복합연구
• /
• 제19권2호
• /
• pp.463-469
• /
• 2021

한국의 미적가치는 한국적인 소재를 이용한 디자인의 활용을 통해 다양한 분야에서 상승되고 있다. 한국적인 소재는 동양적인 사상을 내포하고 있으며 그 형태의 독특함으로 인해 디자인 개발의 소재로 많이 이용되고 있다. 본 연구에서는 한국적인 소재를 이용한 네일 작품을 제작함으로써 네일아트 산업 현장에서 필요로 하는 차별성이 있는 네일아트 디자인의 기초자료를 제시함을 목적으로 한다. 본 연구는 네일아트 디자인 개발을 위해 네일아트와 사군자 특성에 대해 이론적으로 고찰하였고, 수묵화를 모티브로 한 사군자를 이용한 한국적이면서도 개성 있는 네일아트 디자인작품을 제작하였다. 매화, 난초, 국화, 대나무를 소재로 하여 그 의미와 이미지에 어울리는 색채, 질감, 형태의 디자인 요소를 적용하고 핸드페인팅기법과 오브제 기법을 이용하여 현대적인 디자인의 네 작품이 제작되었다. 본 연구는 네일아트와 사군자의 통합연구로 한국문화를 드러내는 창의적인 네일아트 디자인 개발의 토대를 마련하는데 의의가 있다고 사료된다.

• 복식문화연구
• /
• 제8권3호
• /
• pp.387-410
• /
• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• 조형예술학연구
• /
• 제8권
• /
• pp.63-94
• /
• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.