• Journal of Fashion Business
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• v.7 no.6
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• pp.10-20
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• 2003

The object of this research is to develop the designs with aesthetics and function for making the uniforms of specialty restaurants of Korean dishes in pursuit of the image of excellent dignity and its result is as follows: As for designs, this research chose the traditional image as the basic concept and made visual Korean lines, colors, and patterns. As for lines, it made visual the curve of the eaves, the straight line of polls, and the fret of windows and doors represented in architecture and applied them, as for color tones, it chose traditional 'Obangsaek', five direction colors. As for the patterns, it symbolized 4 trigrams( Geon, Gon, Gam, and Yi), the cloud pattern, also it tried to get the formative beauty from traditional patchwork wrapping cloth and windows and doors. The expectant effects on the design of Uniform are as follows: First, it offered basic clothes for male and female employees working in the hall and suggested two kinds of skirt and pants for the latter. It tried to find out both the function of pants and the female beauty of skirts by wrapping on pants to eliminate the feeling of rejection towards the style of them, the use of which have been recognized for man only in spite of many merits of them. Second, it sought for the characteristics of shape on collar, breast-tie, and fold etc. of Korean clothes and designed clothes according to each employee's role and finally emphasized their traditional aesthetics.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2001.05a
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• pp.90-94
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• 2001

This study hypothesizes that the imageability of a particular environments is decided by the unity of each visual sequences. We selected Ch'angdok Palace as our subject due to its greater applicability for image construction among various Korean architectures and their street furnitures. we apply the analytical methods of formal aesthetics and symbolic aesthetics to Ch'angdok Palace's space compositional characteristics, we can find distinctive features. The conclusions are that Ch'angdok Palace contains high probability of imageability through the contrast and harmony of two themes, reality and the ideal, and the rational and the emotional.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.147-157
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• 2012

This paper aims to examine the fundamental relationship of what principles cause the aesthetic shapes in Korean sarangbang furniture of the $19^{th}$ century. Focusing on the Greimas' isotopic and semantic structure analysis, this research analyzed the traditional Korean men's furniture in four steps; signifier analysis, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results show that the expressive qualities of sarangbang furniture included visual symmetric aesthetics, and the hues of natural materials with dark tones. The manufacturing process emphasized the characteristics of natural materials; while diversity was respected in decorations, function as restrained form was also important with a concise image. Through these characteristics, sarangbang furniture revealed a balance, a harmony of contrastive elements, and a restrained aesthetics. Within these qualities, it was seen that aesthetic principles, such as "severance and communication," "artifice and nature," "restraint and manifestation," "toughness and softness," "filling and emptying" and "decoration and utility" were in a mutually supplementary relationship. At the basis of this aesthetic thought appears to be Confucianism, which had been the model for seonbi politics and scholarship.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.71-86
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• 2007

Affinity between a creative and experimental fashion design and a Fashion Make-up expressed in John Galliano's Collection was analysed to examine the harmony between Beauty and Fashion. This approach may establish the link between the Fashion Make-up analysed in view of Aesthetics and aesthetic characteristics of a fashion design that a fashion designer pursues. The Fashion Make-up plays a significant role to express a relevance to a design spirit because it is a visual text that a audience faces easily in a collection leading the style. Under the proposition that collection is understood as a popular culture as the fashion is preferential and popular, the Fashion Make-up can be analysed in the aspect of aesthetics. The characteristics reflecting the popularity of popular culture, such as the comic, the erotic, the fantastic and the sentimental are used to analyse and interpret the Fashion Make-up. The fashion design and Fashion Make-up with one characteristics or combined ones showing uniqueness in the popular culture are compared and analyzed.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.291-301
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• 2016

As a detailed process for the development of new wooden furniture design that is to be used in elderly group homes, this study measured and analyzed physical and visual durability of joint techniques, one of the essential manufacturing techniques. By selecting a total of 4 joint techniques, an experiment to measure a compressive strength was conducted and targeting a group of 50 elderly people, a survey on visual durability and preference of visual aesthetics was carried on. As a result of closely analyzing the experiment of measuring compressive strength and the preference survey, 'mitre joint technique' was found to be the most suitable in manufacturing wooden furniture and through follow-up studies, the result of this study will be applied in the development of wooden furniture design for elderly group homes.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.549-563
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• 2020

Based on Deleuze's body aesthetics and from the perspective of 'deterritoraliazation', this study makes an in-depth discussion on the modern fashion design modeling by four visual characteristics: hysteria, visualization, body segmentation and becoming animals. First, hysteria embodies the strong visual effect brought by the deformation and exaggeration of clothing. Second, visualization in fashion shows the elimination or ambiguity of faces, representing the weakening of identity and the prominence of clothing and body. Third, body segmentation represents the deconstruction and reorganization of clothing, and a new way of thinking, as well. Fourth, becoming-animals are manifested in the physical mutation caused by the heterogeneous connection between humans and animals, which brings about the possibility of rethinking the body.

• Journal of Science of Art and Design
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• v.3
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• pp.178-224
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• 2001

This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• Korean Journal of Cognitive Science
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• v.17 no.4
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• pp.337-356
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• 2006

This research was conducted to see the impact of brightness, polarity, and hue diference on legibility and emotional effcts of the word. In the experiment 1, stimuli with three levels of brightness difference and two-typed polarity were used. The results showed that legibility, aesthetics, and preference increased with increasing brightness difference. In the experiment 2, the same stimuli if experiment 1 included four hues: red, green, blue, yellow. As a result, the effects of brightness and polarity and the interaction effect of brightness and polarity on legibility were significant. Also, the effects of brightness, polarity, and hue and the interaction effect of brightness and hue on aesthetics and preference were significant. These results showed that legibility, aesthetics, and preference increased with increasing brightness difference of word and background and positive polarity was better than negative. Aesthetics and preference rating increased according to the following order: red, blue, green, yellow. In addition, the interaction effect of brightness and polarity on legibility was because reaction time of negative polarity was longer than positive at the small brightness difference condition. The interaction effect of brightness and hue on aesthetics and preference ws because the aesthetics rating of hue at the large brightness difference condition had significant difference compared with small brightness difference. In the experiment 3, participants rated text designs and simple color stimuli with 18 emotional adjectives to see the similarity of their emotion. The conclusion was that to reflect the subjective feelings of a rotor on the text design, it would be appropriate to use the rotor on background of the text design.

• Journal of Science of Art and Design
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• v.7
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• pp.185-205
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• 2005

This study is about the aesthetic function of product design. On the basis of aesthetic characteristics inside the products, the main purpose of this study lies in the interpretation of aesthetic function in terms of provider and receptor. To interpret the aesthetic function of product design, many attempts had been made with theorists who studied the aesthetic function in product modeling. Especially, this study is systemized from Haug's product aesthetic criticism to Vershofen, Loewy, Villeger, Buerdeck, Packard and Sombart's interpretation. Under the point of view of both provider and receptor, this study analyzes the different characteristics of interpretation on the basis of above theorist's concept. This analysis is able to demonstrate the rationales of the demands in current prestigious design and understanding of concrete design principals. Accordingly, the future study will be proceeded with interpretation of aesthetics functions in prestigious design.