• Archives of design research
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• v.20 no.3 s.71
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• pp.73-84
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• 2007

This research takes an introspective and critical approach to the college level visual communication design education in Korea. As such, the changes of the college-level visual communication design curriculum in Korea are analyzed. Selected were 3 major design schools which have a relatively long design educational history in Korea. Those 3 schools are Hongik University, Seoul National University and Ewha University. The curricula were categorized and its changes were followed. The faculty members of those 3 schools were also analyzed. The college level design education began from 1946 at Seoul National University. The Koreas design education was influenced from the Japanese Design curriculum and then the American design curriculum from the beginning. The Korean design educators accepted those new design educational paradigm without any criticism, and it is now structurized in our design educational system. It caused the curriculum with practice-centered classes mostly, and the function centered design education without understanding of socio-cultural environments. The Korean design education needs more liberal arts which will lead us to more discourses about ourselves, and needs to employ more local design educators to solve the intellectual skewness in the Korean academic society in the field of Design.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.157-165
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• 2009

This study intends to discuss the efficient stage costume design that uses costume-rentals and production method as a realistic alternative for production of stage costume of low budget performance. Directly participating in the costume design and production of the performance , this researcher applied the methodology of corroborative study on the basis of production process and results by referring to the papers and literature published by academic society for the theory necessary for study. Centering around the western costume in the stage costumes of , the scope of study was the costume of Paris, France prevalent at the end of the 19th century which is epochal background of performance. In spite of its merit of reducing production charge and production in the low budget performance, costume-rentals is subject to the lack of considering unitγ with other visual factors and limit in reflecting the creativity of costume designer. The following actions shall be taken to solve such problem. First, it is essential to set production direction and plan that meets budget and work concept. Second, it is required to highlight the characteristic factor of the age which is the background of work so as to grant the sense of age and to produce the visual unity of costume by supplementing the costume composition. Third, it is necessary to make large effect with low lost by using costume articles that can express the characteristics of the age. Fourth, it is required to efficiently reflect the transformation of design by minimizing the damage of costume through research on the sewing method and materials as well as creative idea. In this way, the efficient stage costume could be realized in the performance with low budget by approaching costume-rentals in the viewpoint of costume design, transforming it in accordance with work concept and adding the visual factors.

• Archives of design research
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• v.11 no.1
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• pp.219-228
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• 1998

Seymour Chwast, who has worked in various fields as in illustrator, graphic designer, and art director since 1950's, opened a new possibility in the field of visual design. Pushpin Graphics, founded by Chwast and his collegues, played a vital role in experimentation based on their creativity and courage. Amazingly enough his field covers Illustration, graphic design, poster, typography, and publication. His works, in which he sa tired people or events severely using his own lanb'Uage styit', appeals public powerfully and is remembered for a long time. He gives various forms to his creative ideas throughout many fields he deals with including caricature, giving all designers fresh and b'Teat inspiration. The fact that Chwast dose not limit himself to anyone style but uses various styles freely indicates his creative thinking process. The Creative Thinking, which is embedded in all his works, is so interesting and tactful that it may fulfill the requirement of the times, which wants to see something new and epochmaking. The aim of this study is to find creativity of Chwast's new visual language and its meaning through the analysis of unique caricatures among his works based on his philosophy, creative work process, and, particularly, creative thinking.

• Journal of the Korean Society of Earth Science Education
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• v.15 no.1
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• pp.62-75
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• 2022

In this study, experiential STEAM program using 3D printer was produced focusing on the content elements of 'solar' in the 2015 revised science curriculum, and in order to find out the effectiveness of the STEAM program, analyzed creative problem solving, STEAM attitude, and STEAM satisfaction by applying it to two middle school 77 students simple random sampled. The results of this study are as follows. First, a solar tactile model was produced using a 3D printer, and a program was developed to enable students to actively learn experience-oriented activities through visual impairment experiences. Second, in the response sample t-test by the difference in pre- and post-score of STEAM attitude tests, significant statistical test results were shown in 'interest', 'consideration', 'self-concept', 'self-efficacy', and 'science and engineering career choice' sub-factors except 'consideration' and 'usefulness / value recognition' sub-factors (p<.05). Third,, the STEAM satisfaction test conducted after the application of the 3D printer-based STEAM program showed that the average value range of sub-factors were 3.66~3.97, which improved students' understanding and interest in science subjects through the 3D printer-based STEAM program.

• Journal of the Korea Computer Graphics Society
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• v.28 no.4
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• pp.31-40
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• 2022

This study assumed two key parameters that describe smoothness. Previously, the number of studies that defined smoothness with the concept of curvature has been limited. The parameters were the two physical characteristics of curvature: the number of waves and the amplitude of them. The purpose of the study was to observe which of the two parameters influences the perception of smoothness and to examine the relationship between the sense of aesthetic beauty and smoothness. The visual stimuli used in the study were transformed three-dimensional spheres, based on the combination of the three levels of the two parameters of nine distinct conditions. We analyzed the three responses that measured the preference of each visual stimuli, the familiarity score, and the smoothness evaluation score, each with the linear mixed model whose fixed effects were the two parameters and random effects were the participants' individual differences. Nearly the eighty percent of the variance of the smoothness evaluation score was explained by the linear model with the two key parameters and their interaction. The physical characteristics of a viewed object were far more significant than individual differences such as personality factors and the manner of art appreciation. In conclusion, the study examined the perception of smoothness based on the change of the physical characteristics of a shape. The study further recognized the relationship between smoothness and the aesthetic preference. No significant influence of the participants' individual difference such as gender, the degree in fine arts, personality factors, and the manner of art appreciation was observed. The amplitude of waves, rather than the number of them, was far more significant to the perception of smoothness.

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• Cartoon and Animation Studies
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• s.37
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• pp.439-461
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• 2014

Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

• Culinary science and hospitality research
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• v.15 no.2
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• pp.150-160
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• 2009

This study analyzed the quality characteristics of demi-glace sauce with different addition of roux which is usually used as a thickener. The trust level and acceptability for commercial demi-glace sauce were surveyed in order to draw the visual idea and direction for the development of large scale commercial production of demi-glace sauce. Also, the optimal level of salt and roux content in the sauce was determined with various cooking conditions. As the roux content increased, the color became light and the viscosity of the sauce increased while pH, salinity and brix were not affected much by amount of roux. The professional chefs as well as general sensory panel preferred the demi-glace sauce prepared with 9% roux. To sum up, it can be claimed that the optimal conditions established in this study for commercial production of demi-glace sauce ensure the desired quality and economic feasibility.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.89-99
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• 2020

In this study, we tried to produce moving-image works through sentiment analysis of music. First, Google natural language API was used for the sentiment analysis of lyrics, then the result was applied to the image visualization rules. In prior engineering researches, text-based sentiment analysis has been conducted to understand users' emotions and attitudes by analyzing users' comments and reviews in social media. In this study, the data was used as a material for the creation of artworks so that it could be used for aesthetic expressions. From the machine's point of view, emotions are substituted with numbers, so there is a limit to normalization and standardization. Therefore, we tried to overcome these limitations by linking the results of sentiment analysis of lyrics data with the rules of formative elements in visual arts. This study aims to transform existing traditional art works such as literature, music, painting, and dance to a new form of arts based on the viewpoint of the machine, while reflecting the current era in which artificial intelligence even attempts to create artworks that are advanced mental products of human beings. In addition, it is expected that it will be expanded to an educational platform that facilitates creative activities, psychological analysis, and communication for people with developmental disabilities who have difficulty expressing emotions.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.67-74
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• 2020

Middle-aged women experience physical and mental changes along with the loss of femininity, and they feel psychologically empty according as their child's growth and independence reduces the role of care and parenting. These women understand the sense of loss and emptiness caused of their role reduction as an opportunity to maintain their values and beliefs for their leisure life. Accordingly, middle-aged women overcome negative emotions facing in the middle-aged such as depression or empty mind, and establish self-esteem and social support in recognizing it as an opportunity for building relationship and self-realization in social relations, which come through human to human communication by doing craft activities. In this study, in order to analyze the effect of the experience factor of craft activity to self-esteem and social support for middle-aged women, we set up a research model with the experience factor of craft activity as an independent variable and self-esteem and social support as dependent variables. As a result of the study, educational experiences, recreational experiences, and deviant experiences had a meaningful effect on self-esteem, but aesthetic experiences did not have meaningful effect. And, recreational experiences and aesthetic experiences had a meaningful effect on social support, but educational experiences and deviant experiences did not have meaningful effect on social support. Therefore, the institutional system for craft experiences, that can provide content of environmental characteristics for aesthetic factor and visual elements are required. It influences to the change of senses and emotions of middle-aged women. Also, there are limitations that this study did not consider factors of ultimate life changes through craft activities. Thus this study suggests development of new model for variables of wellbeing-related matters.