• 미술이론과 현장
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• 제3호
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• pp.155-172
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• 2005

Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki's paintings have been recognized as linked with 'blue' in spite that he used colors within the category of 'Colors of Five Directions(五方色)', which are traditional oriental colors composed of red, lue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki's dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that 'dark blue' of the dot painting is 'Hyun-saec(玄色)'. Eventually we can make sure that Kim Whan-ki's view of Art originated in oriental philosophy and beauty.

• 디자인학연구
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• 제12권4호
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• pp.317-326
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• 1999

한국전통색이란 시대를 초월하여 한국민족의 삶속에 살아있는 색이다. 이러한 전통색 중 한국전통색을 대표하는 청·홍의 색조특성을 알아보기 위하여 조선시대의 색명과 염직유물의 색조를 조사하였다. 한국전통색 청·홍의 색조를 조사하기 위해여 먼저 조선시대의 문헌을 통하여 출현색명을 조사하였다. 색조를 나타내는 한국말에는 대단히 다양한 형용사가 앞에 붙어 색조를 특징짓는다. 색명에는 여러유형의 형용사들이 앞에 붙는데, 그 중에 대표적인 것은 농색과 담색을 나타내는 형용사들이다. 이처럼 제한된 색명의 가능성을 증가시키기 위하여 조선인들은 다양한 톤의 청색계(32색)와 홍색계(40개)의 색명을 만들어 내었다. 이러한 청·홍색계의 출현율은 대단히 높고, 조선시대의 궁중복식에서도 주조색으로서 사용되었다. 조선인은 다양한 청·홍색계의 배색으로 그들의 음양론에 기초한 색체관과 세련된 미의식을 표현하였다. 박물관에 있는 염직유물들의 색체는 측색되어 먼셀컬러시스템과 ISCC-NBS의 계통색명법에 의해 분류되고, 고찰되었다. 또한 전통색조인 남염과 홍화염이 산업체에서 이용되어지도록, 남염과 홍화염의 염색방법을 계량화하여, 데이터를 제시하였다.

• 복식
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• 제53권4호
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• pp.49-69
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• 2003

The purpose of the study is to develop the competitive swimming suit design with Korean traditional images. which excels in dimension of functionality, aesthetics, and symbolism. To accomplish this study, first. a theoretical examination about Korean image was added, on the basis of the practical research about professional swimmers' preferences as well as the theoretical research about the history of swimming suits and the qualifications of competitive swimming suits in the prior study. Next, practical designing was performed to achieve the creative designs according to Lamb & Kallal's design process. and the superiority of the newly designed swimming suits was evaluated by using Grant's alpha-beta model. The results of this study can be summarized as follows : First. in the problem apprehension stage. the need for swimming suit designs with Korean traditional images for professional swimmers was acknowledged, and three major criteria. which are functionality, aesthetics. and symbolism has been verified. Second. in the preliminary brainstorming stage, considerable amounts of data for the design concept considering the criteria above have been gathered. The athletic one-piece for women and the brief for men in style and nylon/lycra in fabric were used in the aspect of functionality. And the S Korean traditional colors in color and Tae-guk motive and others in pattern were selected to apply Korean traditional images in the aspects of aesthetics and symbolism. Finally, the 13 series of creative designs with 4 themes( l17pieces in total) have been suggested. Third, in the design improvement stage. after the preference to each design was surveyed, reformation of the designs was arranged on the basis of the results. Fourth, in the prototyping stage. the 17 actual prototypes, including 13 pieces for women and 4 pieces for men were produced. Fifth. in the evaluation stage. the evaluation procedure using Grant's alpha-beta model was performed. As a result, the newly designed swimming suits were rated above other existing ones in all three aspects of functionality, aesthetics, and symbolism.

• 한국의상디자인학회지
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• 제24권4호
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• 유통과학연구
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• 제10권9호
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• pp.37-45
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• 2012

Purpose - The objective of the paper is to examine display techniques and tools at traditional clothing stores to improve the traditional market. Since most research has been done theoretical and model based approaches, changing business environments requires more holistic and detailed facts to apply or develop a retail business strategy. Research design / data / methodology - The study employs qualitative research such as direct observation as well as direct interview and telephone interview from May 7 to Jun 2, 2012. The paper examines lighting, various display techniques and tools. The analysis of 80 store pictures for them had been done three examiners with agreement. Results - Sample garments are displayed on the walls; the racks of hangers are attached on the upper part of the walls; there is indirect lighting only. Furthermore, the merchandises are displayed, without any consistency, on various sizes and shapes of hangers, only on the owners' arbitrariness. When considering that the Korean traditional fabrics (Juddan) have a little pattern and colors as their important elements for displaying. Conclusions - The findings of this study show that the retailers in the traditional market need to have lessons on colors and to learn how to use the specific lighting and to display merchandise.

• International Journal of Costume and Fashion
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• 제14권2호
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• pp.81-96
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• 2014

The meanings of colors vary with time and space. For the most important events in a person's life, such as wedding or funeral, people use color to symbolize their identities or roles. Traditionally, the colors of dress had indicated the wearer's age, class, or marital status in Korea. However, Korea's exposure to western cultures has affected in many dimensions of its modern history. Especially, influenced by social change, the traditional dress has undergone many modifications in forms, silhouettes, materials, and color. However, women's mourning dress has been maintained as a long lasting tradition and the use of white in mourning dress has been regarded as a norm until recently, while men have worn a regular black suit with a black tie. But, the shift from white to black in mourning dress has been observed in recent mourning practices. To examine this change of color in Korean traditional mourning dress, a historical approach utilizing multiple resources, such as interview, observations of events, documents, and archival records was applied.

• 복식문화연구
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• 제16권2호
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• pp.319-332
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• 2008

The purpose of this study is to analyze Kapa, the traditional bark cloth of Hawaii, including materials, method of manufacture, and colors and patterns, and to show the characteristics of Kapa to identify traditional culture of Hawaii as well as the unique culture of cloth of Hawaii in tropical area. The method of study is qualitative research using documentary records about Kapa. The cultivated Wauke proved to be the best material for bark cloth in Hawaii. The manufacture of Kapa was made by beating divided into two stages. The dyes for coloring were very different due to the existence of various plants. Indigenous Hawaiians showed the unique textures like grooving and watermarks, and the various designs in their Kapa. The characteristics of Hawaiian Kapa appear the symbol of some colors, the preference of geometrical patterns, the various uses of Kapa, and perfumed Kapa. Through these characteristics of Hawaiian Kapa, the traditional culture of indigenous Hawaiian can be understood very well. This study will help people understand indigenous bark cloth of tropical areas including Hawaii.

• 복식문화연구
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• 제21권5호
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• pp.655-670
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• 2013

The purpose of this study is to identify the figurative characteristics and symbolic meanings of the patterns of royal families in the late Joseon Dynasty based on the theoretical examination as well as the overall characteristics of the colors based on the quantitative analysis of colors. This study focused on the costumes of King Young royal families in the late Joseon Dynasty which is the last costume of Joseon Dynasty and classified 129 relics under preservation for the analysis. This study analyzed the colors using the digital data in the picture brochure as the previous studies did and presented the color palette. Based on this, a variety of textile designs that are developed by using the traditional patterns and colors could be applied to the modern fashion designs. For Patterns used in costumes of King Young royal families, the five pattern categories include animals, plants, letters, and geometric patterns and the final category of other types. The features of color in the costume were v tone of Y color and lt and p tones of Y color. The implication of this study is to develop textile designs which reflects conversion of past and modern cultures and cultural identity by applying the traditional cultural elements through literature review and empirical study and theses developed 8 textile designs could be applied to the various modesrn fashion designs.

• 대한가정학회지
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• 제20권2호
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• pp.37-43
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• 1982

The white color is the main characteristics of the traditional color of clothes. From the historical point of view, the Korean's pattern of wearing Baik-Eui can be found its origin from many people of North-East Asia in ancient time. The beginning of wearing Baik-Eui in Korea was at the age of tribes, and it was delivered to middle age, later on, to modern age near the end of Yi Dynasty. The other charactics of the traditional colors. are summarized as follows: 1. Prefered light color to dark color and light blue was noble and worthy. 2. The kinds of color were not various. 3. Color was native and pure not including grey or other colors. From the economical point of vie, the first thing is that Baik Eui was primitive in ti's color Though some say that wearing Baik-Eui is considered as a kind of worship of the Sun, yet we can also find that the every reason of it is that we had little dyes at that time. Especially the reddish dyeing materials were in short supply, so that had been imported mainly from Japan.

• 한국의상디자인학회지
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• 제15권2호
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• pp.109-121
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• 2013

Modern Hanbok uses newly different color coordination based on traditional color coordination and symbolic meaning. Thus, this study would investigate the aspects of color coordination and symbolic meaning and present the characteristics of Hanbok as the data of corresponding period in the modern times. In order to investigate recent trend of preferred colors and color coordination of Hanbok, this study focused on the period of 2005~2010. When analyzing colors of Jegori(jacket), Wh, Y, B, YG, P and Gy series are shown in order. For trends for color of Chima(skirt), Pk, R, P, Gy and Bk series are shown in order. When you look into the color coordination of skirt and jacket on whole, color coordination of Pk-Wh represents the highest frequency. Color coordinations of Pk-Y, Pk-B, R-Y, R-G and Pk-G are followed in order. Color coordinations of R-YG, Bk-Wh, O-Y, P-Wh, Pk-YG, Gy-Y, R-Wh series and Gy-Wh are followed in order. When looking into characteristics of overall color coordination of Hanbok, it was shown that there were many opportunities to meet a variety of culture and various colors had emerged depending on individual taste and skin color in the modern times within the framework of basic colors of woman's 'Nokeuihongsang'(Green upper garment and red skirt) R-G, Y series, which are traditionally inherited. In addition, unlike existing traditional color coordination of five elements in the past, P, Gy and Bk series of color appeared in the skirt and Jacket. It could be affected by fashionable drama and films at that time and newly attempted colors ahead of fashion were reflected on the magazine. Therefore, it implied that it naturally gave new awareness of colors to the general public and the width of selection of colors became diverse.