• The International Journal of Costume Culture
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• 제8권2호
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• pp.105-110
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• 2005

This paper documents a dress design process to demonstrate the theory that form follows intent. It includes a statement of the design context as a venue where the conceptual intent originated. The dragon icon became the subject, form, and content of the design project. The author's designerly endeavor is discussed with focus on reconfiguration of formal characteristics shown in the visual reference of the eastern dragon symbol into a dress design with the consideration of utilitarian, expressive, and symbolic issues. Throughout the process, the author was an active agent who created formal characteristics, manifested a thought into an object, and imbued a meaning to the dress, demonstrating the notion that form follows intent.

• 기술사
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• 제34권5호
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• pp.18-24
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• 2001

This Seoul World Cup Stadium is designed not only for FIFA's Football Game. This stadium would be a very huge multi-use urvan structure as a core of new developing west seoul. Architect's basic design concept is based on the combination of traditional korean symbolic form and ultra mordern high-tech.

• 복식
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• 제64권7호
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• 복식문화연구
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• 제13권6호통권59호
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• pp.883-895
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• 2005

Exaggeration is to express an object or a situation in an excessive way. As the desire for aesthetic expression grows greater today, we tended to focus on the exaggerative expression as a means to acquire other's attention and praise. Also people more actively express their own intention or opinion in an exaggerated manner. The purpose of this study is to identify the social and cultural functions of modern fashion via exaggerative expression, one of the formative characteristics, and its meaning. To do so, the exaggerative features of modern fashion have been analyzed, and the social and cultural meaning of those have been examined through the background of the times and aesthetic sense. The formative form in the exaggerative expression shown in the modern fashion was classified into a body priority type emphasizing woman's body contour, a body disregarded type shown oversized silhouette regardless of body contour and a body distorted type expressing free and diverse form in various shapes of asymmetry and imbalance. The symbolic meanings of those include the changing of the body consciousness and the notions of feminity, and the desire fur formative and playable expression. The exaggeration of the costume in history meant aesthetic value of the woman's body in the society led by men. However, the exaggerative expression shown in the modern fashion is a method to express more actively, as compared with the costume in the past.

• 한국게임학회 논문지
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• 제8권1호
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• pp.41-48
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• 2008

색에 대한 연상이 발전하여 어떤 통념을 형성하게 되면 그 객에는 상징적인 의미가 부여된다. 색이 구체적 사물 이외의 추상적인 개념이나 표상, 감정 등을 형성하고 있는 것을 '색의 상징성'이라고 한다. 게임의 색채는 게임에 몰입하게 하는 시각적인 요소이자 중요한 의미작용을 하는 이미지이며 빛의 속성이자 가장 먼저 눈에 들어오는 시각적 요소이다 형태와 움직임, 명암 등의 다른 조형요소와 함께 색채는 인간과 인간 주변의 상황이나 감정을 표현하는 매체로서의 중요한 기능을 한다 게임에서는 캐릭터의 심리적 변화 상태뿐만 아니라 상황이나 분위기, 힘의 속성과 강도 등을 암시하기 위하여 색채를 상징적으로 사용한다 이러한 의미전달은 색채의 상징성을 도상적으로 표현하게 된다. 따라서 게임의 이미지 표현을 위한 색채는 의미전달을 위한 보편성을 띠게 된다. 본 연구는 색채의 상징적 의미가 게임에 어떻게 반영되었는가에 초점을 맞추어 살펴보고자 한다.

• 복식
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• 제65권4호
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• pp.19-30
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• 2015

In recent years, various studies about 'Biomorphic design' have been conducted and accelerated among many recent design concepts and methodology. Therefore, this study classifies the types of biomorphic fashion design based on literature review, and select biomorphic fashion designs in the latest fashion designer's collection. This study aimed to determine the types and characteristics of the biomorphic design in fashion design, and analyze the characteristics and the interpreted intrinsic meanings through Greimas Semiotic rectangle model based on the Binary-Opposition of meaning and Isotophy. As the result of analysis, biomorphic designs in fashion are classified as three types: 'representational imitation of form', 'technical imitation of functional features', and 'imitation of symbolic attribute'. 'Representational imitation of form' was derived from an organic design through atypical forms, repetition and extension of figurative forms of nature, and 'the functionalities of the nature' are interpreted as the feature to maintain the condition of the life itself and to attempt to regulate the status of self-autonomy. Lastly, 'the imitation of symbolic attributes' is designing the process of creation, growth, expansion and destruction from circulation of nature.

• 논리연구
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• 제5권1호
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• pp.147-157
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• 2001

In this study I try to show some numerical analogy between Leibniz's binary system anc I-ching's symbolic system of duo rerum principia, imagines quator, octo figurae am 64 hexagrams. But, there is really a formal logical accordance in their symbolic foundations, on which are based especially the Wittgenstein's 16 truth-tables in his Tractatus-logico-philosophicus(5.101) am 16 hexagrams, as long as we interpret with the binary values 0 am 1, i.e. the Bi-Polarity, the logical tradition from J. Boole, G. Frege through B. Russell and AN. Whitehead to R. Wittgenstein. So, I argue that the historical and theoretical root of that tradition goes back to the debate between Bouvet and Leibniz about the mathematical structure of I-ching' symbols and the Leibnizian binary arithmetic. In the letter on 4. 11. 1701 from Peking to Leibniz, Bouvet wrote that the I-Ching's symbolism has an analogous structure with Leibniz's binary arithmetic. Corresponding to his suggestion, but without exact knowledge, in the letter of 2. January 1967 to the duke August in Braunschweig-Lueneburg-Wolfenbuettel had Leibniz shown already an original idea for the creation of the world with imago Dei which comes from binary progression, dark and light on water.

• 한국의류산업학회지
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• 제24권5호
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• pp.519-529
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• 2022

This research analyzed the characteristics of Hanfu street snaps in the Chinese version of TikTok to determine the development and meaning of Hanfu. Based on grounded theory, this study selected 102 representative cases by sorting Hanfu street snaps on TikTok according to popularity. Subsequently, through open coding, the cases were organized and summarized into five main categories. The findings are as follows: 1) The national cultural pride has enabled a greater number of Hanfu fans and groups to upload short videos promoting the Hanfu movement on TikTok to expand the influence of the activities and popularize cultural knowledge. 2) The users attempted cross-cultural communication by participating in cultural festivals in Western countries wearing Hanfu. 3) The 'See now buy now' function of TikTok enables numerous Hanfu merchants to upload short videos about Hanfu products to promote their products and boost sales. 4) As 'gamification' affects everyday life, computer game enthusiasts among them wear Hanfu in the form of role-playing. 5)As a unique "meme" phenomenon on TikTok, wearing Hanfu to make interesting videos has also become a form of entertainment. Thus, although the characteristics of Hanfu street snaps on TikTok originated from the transmission of Hanfu culture, the culture has now been transformed through social media into symbolic consumption and play culture.

• 한국패션뷰티학회지
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• 제4권1호
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• pp.28-34
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• 2006

The purpose of this study is to historically examine the thoughts and ideas of geometry and to analyze the expression style of design applied to the mass communication such as magazines and world wide webs, by giving definitions on the ideas of geometry and the pattern of cognition. Geometry was evolved to Descartes's analytical geometry, projective geometry, non-Euclidean geometry and Topology at the end of 19th century. When geometry applies to design styles, it is devided into two field, plane geometry and solid geometry. The development of geometry was completed from the Pythagoras symbolic theory of number to Platonic spiritual geometry and Euclidean geometry. It can be studied that those have what kind of symbolic meanings and transformations on each hair design plan. It can also analized how those symbolic forms are appeared on the design form. This tendency means that there is always a try for the use of geometry as reasonable device for hair design. If the hair design and geometry have logical and artistical relation, we can make buildings which have a order, balance and harmony.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2009년 춘계학술발표대회 논문집
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• pp.321-326
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• 2009

For building an urban image, various elements such as symbolic building, ethnic characteristics, historical background, natural environment, and diverse cultural elements can influence on it. Many cities in developed countries are showing their unique urban image reflecting their own culture, history, and aesthetic tastes. Especially color, one of the major design elements, has greater impact than other visual factors to form an urban characteristic. Despite the long history and cultural background, Seoul as a capital city of Korea does not show an unique city image with the perspective of color. Recently, Seoul has been designated as '2010 World Design Capital' and implements various urban design projects. As a leading city of design, Seoul is trying to make its urban identity through the own symbolic environment color. The purpose of this study is to find an environmental color scheme for developing a desirable urban design through several cases of foreign countries. For the purpose, Paris, London, Amsterdam, and Tokyo were selected as case cities. Each of the cities showed their own cultural characteristics and made their unique urban image by appropriate usage of their natural environment, symbolic building, emblem of country, and so on. We need to consider these successful cases to build up the image of Seoul.