• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.197-204
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• 2009

This study aims to examine the realistic self-esteem of adolescents and perception of adolescents toward avatar in an attempt to understand basic aspects of their distinctive lifestyle fundamentally relative to the cyber culture on the web, given that the adolescent which is significant in forming self-esteem period plays an important role in the psychological aspect of adolescents. As for method of research, this study analyzed the self-esteem of users, their preference for avatar, and the perception toward avatar, in order to understand their psychological and social maturity. The result of study indicated that the increased self-esteem in reality among the adolescents led to the increased preference for avatar relative to the cyber culture on the web, which in turn increased the recognition of others' avatars. Those findings suggest that adolescents tend to assign self-esteem to avatar as great as themselves. Thus, it may be important to help adolescents form their self identity from the perspective psychological maturity, so that a sound and healthy web culture can be formed depending on the formation and level of self-esteem among adolescents.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.431-445
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• 2007

The purpose of this study was to analyze and theorize the characteristics of femme fatale in fashion illustration since 1980. The method of this study was to analyze the documentaries for theoretical studies about femme fatale and the visual characteristics in fashion illustration works since 1980. The results of this study were as follows: Femme fatale expressed in the general realm of art was icon of fatal and seductive eroticism in late 19th century. She is composed of diverse images like mythology, exoticism, fear and sensuality. The characteristics of her image in fashion illustration were expressed into de-body image by union of animal and female body, or machine and female body, duplicity of death and sexuality, sexual decadence or abnormality and powerful masculine taste. First, de-body image by union of animal and female body, or machine and female body was expressed in transformed mythical image or bizarre and demonic image, grotesque image linked by picture of female body and painting of animal image, and cyborg image linked by machine and realistic female body by digital media. Second, duplicity of death and sexuality was expressed in juxtaposition by sexual pose, body and something metaphorical and symbolic depiction and de-constructive depiction of death. Third, sexual decadence or abnormality was expressed in fetishistic style, obscene depiction of cheap and hedonistic sexuality, masochistic depiction like antisocial and diseased sex appeal. Forth, powerful masculine taste was expressed in man's face, body, pose, masculine fashion, man's role related to crime and threatening weapon, etc. As mentioned above, femme fatale in fashion illustration was expressed in diverse images by fashion illustrator's point of view. Although she was originated by men's fantastic vision, she brings a catharsis to human being. And she is also recognized as new paradigm and positive cultural sign in our times.

• Archives of design research
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• v.14 no.3
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• pp.117-125
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• 2001

The 2D based-web contents are limited to implement interactive elements for the users even though the contents are offered in various styles. Using the mouse and keyboards users chose any web contents for themselves beyond the limitation of time and space. They want more interactive style as they become familiar with convenience of web contents. The 3 dimensional web contents integrated with interactive technologies are one of the ways for them There are many researches and commercialization of the interactive web 30 for the past years because it has a lot of user benefits in terms of immersion, realistic expression, and interactivity. It has two types of implementation; one is for 3D polygon based objects, the other is for virtual worlds. This research is focus of on the concept of web interactive 3D, the technical aspects, design elements, and the proposal of navigation methods for the purpose of creating new type of web interactive contents.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• English Language & Literature Teaching
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• v.15 no.4
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• pp.313-330
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• 2009

The purpose of this study is to investigate the metatheatricality of Harris' plays marked by the device of 'play-within-a-play' - Androcles and the Lion, Arkansaw Bear, and Punch and Judy. In his metatheatrical plays Harris shows that characters perform for themselves and others. The framework that inner performance is going on within the outer frame play is formed on the stage, and this device reminds the audience in the seats that they are representing reality but that they are only in the middle of performing on the stage. Based on this point of view, this study explores fictionality of character, and play. In Androcles and the Lion, the most-performed children's play in America, the metatheatrical elements are shown in the style of commedia dell'arte, which attacks the rigidity of characters' identity in the Roman society. Another well-known children's play, Arkansaw Bear consists of realistic frame play and fantastic inner play in the mind of a girl, both of which function as a mirror each other and help to sustain aesthetic distance to death and reality on the stage. In Punch and Judy, the structure of frame play and inner puppet play reminds that what's going on in the play is just a fictional play and reflects history of children's puppet show. Harris' unique metatheatricality, the heightened awareness of his own artistic medium, offers children educational opportunity to learn about how a play is performed on the stage and contributes to convey mature theme through children's imaginary participation in the process of playmaking on the stage.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.99-111
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• 2012

This study intends to explore the collaborative expression in the modern fashion design by analyzing the collaboration of motifs symbolizing Korean cultural identity. As for the data research, in order to examine the expressional objects of collaboration in the collections of the fashion designers from Korea and overseas who have applied the Korean culture among their collections posted on the Internet sites, www.firstview.com, and www.style.com from 2005 to 2012 were collected for analysis. 923 pictures used in the analysis sheet. As for the research method, the content analysis method was used. In the modern fashion design, the collaborative expression in the motifs symbolizing Korean cultural identity are limited to tangible expression, intangible expression, integrated expression. The results of this study were as follows. First, in the tangible expression, traditional tangible assets are used in the shapes, items, colors, materials, patterns and details to symbolize uniquely Korean image. The intangible expression, the applicability for Korean intangible assets include the master's (intangible cultural assets) and the craftsmanship of the modern designers being collaborated onto the contemporary customs to express the Korean traditional culture in a realistic or an abstract trend. The hybride expression, it is to represent Korean thoughts and values using the tangible elements. Second, The expressivity of collaboration of each year mostly shows integrated expression, intangible expression and tangible expression were shown respectively. The trend of seasonal collaboration expressivity was muchly the integrated expression in most seasons, and intangible expression and tangible expression followed respectively. It is recognizable that the expressivity of collaboration of each designer was; integrated expression was muchly shown in Lie Sang Bong and Lee Young Hee's works, Duri Jung showed much of intangible expression, and much tangible expressivity was shown in Carolina Herrera.

• Journal of the Korean housing association
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• v.22 no.3
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• pp.59-71
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• 2011

The purpose of this study is to investigate the basic historical characteristics and its modern trend of Torajan traditional housing architecture in Sulawesi Province, Indonesia. The Toraja culture belongs to the cosmological culture with Cosmos centric characteristics. A traditional house, being called 'tongkonan' in Toraja region, is more than just a structure, representing the symbol of family identity and tradition. The Torajan architecture is a combination of the myth and cosmos, also regional conditions. With a short description of the general conditions and spiritual values of the Toraja, this paper explains the space-composition, the stylistic characteristics, the ornamental elements, construction, and its modern trend, etc. In general, it is raised on stilts several metres high, with a dramatically boat-shaped roof. Village layout varies according to size. The houses are arranged in a row, side by side, with their front gables facing north. Each house stands opposite its own rice-barn. The houses with their oblong ground-plans, built on piles set on stones. The interior is divided into three or four rooms, having few window. The houses are embellished with carving and paintings, and the facades display engraved and painted geometric and figural designs. The most frequent motif is the buffalo head, ranging from the realistic to the highly stylized. The Torajan traditional housing have experienced radical changes during the Modern period. In spite of the popularity of new modern house-styles, the traditional architectural style is often now constructed as an icon of Toraja identity. This paper will be helpful for understanding regional diversity of the traditional housing in Southeast Asia.

• The Research Journal of the Costume Culture
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• v.13 no.4 s.57
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• pp.550-563
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• 2005

These days, photoshop and illustrator program can make a fashion illustration express easily and speedily, And they can also express a feeling and sensitivity of fashion illustrator by a tool and effect more than a manual work's media. The purpose of this study was to analyze a visual expression and characteristics in fashion illustration using 2D graphics. The method of this study was to analyze the fashion illustration books using 2D graphics. The visual expressions in fashion illustration using 2D graphics were as follows: Fashion illustration was based on a sketch or photography, and used a composition, drawing, mapping, painting, and manual work's re-touching. Characteristics of visual expression were as follows: First, a image composition was showed discontinuity and heterogeneity of image, new context and composition, and allowance of reality. Second, image transform was showed image overlap, body transformation by image recomposition, and deformed transformation by vector drawing. Third, hyper-real was showed precise touching, mechanical and neutral image, omission of background and focus of an object's characteristic and information. Fourth, following a realistic expression was showed simplified color, shading, dominant view point of fashion illustrator by omission, and daily lift style. Fifth, following a pictorial expression was showed non-fixed and irregular line, natural painting, and drawing and painting by conventional pictorial media. In conclusion, a photoshop and illustrator in 2D graphics will serve as a new media far fashion illustration with a manual work. And they will not only intensify a capacity as a commercial role of fashion illustration but also present a positive motive for students learning a fashion illustration.

• Archives of design research
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• no.16
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• pp.185-196
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• 1996

The series of ‘Dubonnet’poster is one of the masterpieces of Cassandre who was the leader of advertising poster in 1920's and 1930's. Orihinally it was a triptych, but it was developed as a serial work later through lettering and seasonal advertising posters. It was kept in circulation for more than two decades and issued in a variety of formats. In this thesis I tried to figure out the artistic character and uniqueness of Cassandre's poster by analyzing it with many different points of view of the poster, the stream of changing style and influence from the Avant-garde painting. In chapterII, objectively analyzing the series of‘Dubonnet’one by one, I examined the method that Cassandre used to deliver the concept of advertising and his message. The triptych, the first one of series of Dubonnet poster is witty, the slogan is a pun using the words dubo(doubt), bon(good), and Dubonnet, and the theme is treated as an animated sequence in the manner of a comic strip. In the following winter and summer seasonal advertising posters, the‘Dubonnet man’in the same position is enjoying the‘Dubonnet’, irrespective of the hazards of climate and season, There was a change towards 1929 that rectilinear design gave place to supple and undulating lines in Cassandre's posters. Seasonal advertising posters also showed the change, and the tendency of realistic and concrete elements of an expression was strengthened. In chapterIII, I studied three as main characters of Cassandre's poster. The first one is simple and geometric expression, second one is uniqueness of figures and the last one is important roll of lettering. Cassandre believed that there were fundamental differences between the function of a poster and that of a painting. He also recognized that the symbol was the essential element in the poster design, which would be simply and swiftly recognized. The recognition led him to simple design and bold geometric abstraction. He was a man who knew the value of copy in advertising and developed it fully in his simplified geometric compositions by integrating of letterforms and image. The‘Dubonnet man’is geometrized, almost featureless. This approach of rendering human beings was one that Cassandre had used from the early years, most notably in his posters for Dubonnet.

• Journal of Science of Art and Design
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• v.4
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• pp.26-66
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• 2002

Scribble methodology is developed from the modernist's effort of pursuing the free expression and painterlyness And in modernism period usual abstract mode is made by simple plastic ingredients. One of them is Scribble way. In the period of postmodern, the Scribbling is confused with destructive methodology like Iconoclasm, Vandalism and scribbling. Lucio Fontana and Robert Raushenberg had developed these methodology and made new direction in $1960\sim1970$. After 1980, there had been graffiti movement similar to scribbling in germany. There had been developed many kind of scribble methodology, in each artist and be prolonged destroy the price of our usual concept. These Styles are able to discerned as follows. Firstly, in case of Cy Twombly, he used very allusive signifier, which contain different motives come from the ancient ruins or myths. The methodology follows multi-codified meaning relationship. Secondly, the methodology was developed by Jean Michael Basquait as the type of Hispanic scribbling for ebony peoples and by Keith Harring as the type of Cartoon image of Mass-media based on technology. Thirdly, the multi-meaning style was developed by David Salle as the type of destructive methodology which are the ambivalent images conjoined difference time and term and by Gigmar Polke as the type of mixture of abstract and realistic shapes together which are based on the aesthetics which is based on pessimistic sight for contemporary civilization. It means the methodology is based on the multi-codification of postmodern semiotics. So the scribbling mode is subjected as important as the changedness of late 20th century painting developments.