• 복식
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• 제52권4호
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• pp.39-50
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• 2002

The purpose of this study was to present adapting Korean beauty to the design of Wedding dress. For this study, Chosun Men's Pyoeui(coat) were considered first. Pyoeui had the courtesy and variety. They were Jobog, Danryeong. Chulrlk, Dabho, Jangeui, Aegjueumpo, Jigryeong, Changeui, Changos, Jungchimag, Hagchangeui, Simeui, Dopo, and Durumagi. Pyoeui were considered the formative features and the costume beauty describing Shape, Color, Material, Pattern. and Ornament. And Pyoeui were considered the instances which were adapted their formative features to Wedding dress. The formative features appearing on Wedding dress were merely applied the outward shape. Therefore it will be necessary to understand the outward features and the costume beauty about Men's Pyoeui for adapting Wedding dress. And then the continuous attempt is needed to adapt the beauty of Korean costume to the design of Wedding dress.

• 복식
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• 제57권5호
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• pp.45-57
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• 2007

This study is on the aesthetic characteristics of Balenciaga design succeeded to by Nicolas Ghesquiere, and tried to understand his pursuing brand's new design concept and aesthetics. The three key characteristics of Balenciaga designed by Nicolas Ghesquiere are Retrospecitvness, Eclecticism, Deconstruciton. First, Balenciaga looks retrospective sense through reinterpreting tradition. Nicolas created a new sense of expression by mixing his proper instinct with Balenciaga's original properties, historical components of the past western dress, and various design elements of assistants who used to work in Balenciaga. Second, Balenciaga expresses uncertain meaning by compromising between contrast and synthesis among the past and the future, the males and the females, simple and ornament, or different styles. Third, Nicolas's experimental and outsider-oriented view of Deconstruction through reorienting of thought is considered a try for a new formative concept as a designer who is not limited by general rules.

• 한국실내디자인학회논문집
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• 제1호
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• pp.46-51
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• 1992

18c, statues of French Lacquer Furniture are worthy of close attention in aspects of its quantity , quality and asthetics in production. This kind of furniture have been developed, devising the its own original techniques, through it was influenced and begun with the imported from China. Therefore, the main currence of color with black tones had changed to French style, with somewhat repleting to chinese ornament. This characteristics is distinguished in furniture which is expressed as a min theme. It can say that it has the meaning of lacquer furniture as part of chinoiserie prevailing at the time that social consensus through the political supports for upbringing furniture industry, a close relationship of clients , merchants, and descorators with appreciative eyes, and the ceaseless persuit of the new had made resulted in concurrence of asthetics between the eastern world and the western world.

• 한국실내디자인학회논문집
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• 제14호
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• pp.121-129
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• 1998

It opposition to visual luxury of Post modern Architecture a new tendency characterized as 'simplicity' emerged in architecture. It seems clear that such a tendency so called Minimal Architecture has risen as a reaction to the surfeit of sign and the mixture of languages generated by postmodernism. This new simplicity is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple primary Volume to avoid the main fluence on the already chaotic urban environment As a result a strong monumentality is achieved. The main interests for 'minimal' architects seem to be the making of simple structure and the repetition of modular elements to achieve an economic and efficient construction method. Transparent and honest expression is preferred instead of attaching another ornament skin on to the skeleton of the architecture.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.193-198
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• 2007

The propose of this study analyze an expression method of a surface in commercial buildings, and it is to show an example of a surface design in Manhattan. In particular, I focus on the following three categories : representation element of surface image : materials and structure method, the property of transparency, and an electronic surface and media screen. Unlike the past era in which surface design in commercial buildings was viewed just as a mean ornament, it has become more important in the presently era because diverse expression technologies in surface design makes architects express there creative ideas. Besides, the diversity of surface design expands the concept of cultural space as it provides various graphic element that human desire for multi-cultures. So diversity of surface will accelerate.

• Journal of Computational Design and Engineering
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• 제2권1호
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• pp.47-54
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• 2015

In recent years, 3D printers have become popular as a means of outputting geometries designed on CAD or 3D graphics systems. However, the complex user interfaces of standard 3D software can make it difficult for ordinary consumers to design their own objects. Furthermore, models designed on 3D graphics software often have geometrical problems that make them impossible to output on a 3D printer. We propose a novel AR (augmented reality) 3D modeling system with an air-spray like interface. We also propose a new data structure (octet voxel) for representing designed models in such a way that the model is guaranteed to be a complete solid. The target shape is based on a regular polyhedron, and the octet voxel representation is suitable for designing geometrical objects having the same symmetries as the base regular polyhedron. Finally, we conducted a user test and confirmed that users can intuitively design their own ornaments in a short time with a simple user interface.

• The International Journal of Costume Culture
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• 제12권2호
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• pp.210-214
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• 2009

Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.

• 대한가정학회지
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• 제50권3호
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• pp.15-24
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• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• 한국의류산업학회지
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• 제4권2호
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• pp.117-127
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• 2002

Patterns presented at baroque were mostly floral pattern. Abstract anonymous flower, tulip, Acandus leaf, pomegranate were blended with one another and had a distinct leaning toward continuation and repetition. Components of design could be classified into flower and leaf, flower and fruit, flower and circumferential ornament, bunch of flowers, flower and pot, flower and geometry, and flower and animal. Floral patterns in this era were mostly fullness type being large, simple, and having more formalized motive and were fronted with unit type and vine shape. Unit type shows reflection of baroque style which aims to present absolute unification rather than freedom, which was inherent property of baroque style, by using symmetric pattern. Vine type were unfolded with C type curved line which was main characteristics of that time and showed flowage as a whole and pliable beauty. Floral pattern was filled the whole surface of fabric, thus background of fabric can not be discerned. So, it showed extreme decorative tendency and lavishness.

• 한국의류산업학회지
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• 제5권1호
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• pp.34-42
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• 2003

Hair styles vary greatly and are an integral part of the Miao women's costume, often denoting marital status. The hair style was expressed in various styles by using Kokye. Chukye and Byunbal. Hair is swept in to buns and knots of varying size or arranged in huge structures supported with extra hair or wooden pieces. The hair ornament was expressed in various styles turban and hat. Some groups use a turban as an integral part of the style that is wrapped round the head in a specific way. Silver ornaments occupy an important position in the bright and colorful attire and personal adorment of Miao women's in Guizhou. Silver horns, silver crowns, silver hats are peculiar to Miao women's hair style. They are also indispensable hair ornaments of Miao women's. festive dress in Guizhou.