• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• The Journal of the Korea Contents Association
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• v.5 no.3
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• pp.103-111
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• 2005

By international lighting market's growth and domestic landscape lighting market's growth, the latest lighting market is activated. But, They are doing price competition that domestic lighting technology and development technology of lighting fixtures design do not possess international competitiveness than these change. Specially, as image of area and the country can be influenced greatly by cityscape at present visual point that many interests are converged country and identity establishment of local government, many cities are using force hereupon. Constructs which cityscape is various including natural ecology area of life environment gather and are done Image creation and this people's consciousness and culture living soon inside thing which do speaking by proxy be. Than city's night view nature lighting more than by spectacle lighting along with life lighting to basis materialize can. It is meaning more than thing that fine view of city becomes beautiful simply that night view of city becomes superior, that means that city efficiency and quality of life are exalted by a word. Wish to establish effective lighting technology and new product design process through PLS lighting technical development and 300 W lighting fixtures design development hereupon, and raise domestic spectacle lighting market's localization and domestic lighting market's competitive power furthermore.

• Cartoon and Animation Studies
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• s.17
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• pp.147-161
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• 2009

Colors in design elements are visual non-verbal symbols both sensual and emotional. It is the first priority in the selection of products for the consumers, and also represents differentiated strategies and coherent integration symbols for the brand. Colors in advertising is an important tool to represent the long-term image management for the brand as well as the product image and concept of the advertise. The theme of this paper is to develop creative advertisement analyzing colors from automobile video ads. Analysis results showed that video ads with small cars under 2000cc preferred pastel colors with high saturation and brightness to emphasize on individuality rather than authority. On the other hand video ads with big and luxury cars upper 2000cc preferred dark colors with lower saturation and brightness. Small car video ads focused on product appearance showing the practical value of the car, big luxury car video ads focused on the symbolic image feeling the difference between the representation of the ads. Colors used in advertisement represents the sensitivity of the consumers. In video ads the concept of the color should be set by identifying on who the globule targets are and on what item you show by identifying the corresponding colors sensitivity to suit your advertising strategy will increase the value of the brand and products.

• Journal of the Korea Convergence Society
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• v.8 no.11
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• pp.263-269
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• 2017

Credit card holders are showing a higher level of psychology to show their identity beyond the means of payment. The purpose of this study is to investigate which design factors affect the 30th and 40th generation housewives when issuing credit cards. A total of 200 people in the 30s and 40s housewives who live in Seoul and the metropolitan area were selected from among the customers who use the credit card, and the effect of the design factors of the domestic credit card on the selection of the credit card, Based on previous studies, questionnaires were prepared and surveyed. As a result of the survey, it was found that the color design of the credit card design element was the achromatic system and the main image was the simple design which only used the color without emphasizing the image or the logo, and then the character type was preferred. I prefer not to have a card decoration, and I have found that a metal-like card material is the most preferred. Through this, I would like to suggest directions for the design development for 30 and 40 housewives in credit card companies.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.118-130
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• 2017

During the landscape design process, landscape architects produce various forms of drawings to visualize the future designed landscape. This work thoroughly examines the process of the utilization of James Corner's theory and practice of representation. Since the early 1990s, Corner has explored the characteristics and functions of landscape architectural drawing theoretically. Specifically, Corner argued that the use of visual representation makes it difficult to achieve the full embodiment of all of the multisensory characteristics of a landscape. Thus, he explored new drawing techniques that alternatively visualize the landscape and generate creative ideas(i.e., imagination of drawing), rather than a realistic illustration of not-yet-actualized landscapes(i.e., instrumentality of drawing). Corner's theory has evolved throughout the mid and late-1990s as applied to landscape practice. Corner embraced ecology and implemented the theory and practice of Landscape Urbanism, thereby once again emphasizing the instrumentality of drawing. Whereas the early theory mainly explored a perspective view using collage and montage, Corner later began to stress the importance of the instrumentality again. For example, Corner employed a mapping technique based on the instrumental map and that simultaneously creatively transforms it. Corner's theory and practice of representation fully explored the identity of landscape architectural drawings and reflected the interaction between theory and practice. Thus, his design and theoretical works continue to have significant influence on present landscape practice and theory.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.184-192
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• 2011

Cultural heritage is the historic symbol implying the life of people and regionality. Accordingly, the study on cultural heritage along the border between Korea and China is a very critical and urgent task for educational purposes as well as to secure historic and cultural awareness and national identity. The border area between Korea and China is classified into the areas along Aprok River and areas along Tumen River where the cultural heritage of various ethnicities is scattered. Accordingly, this study tried to find the approaches to implement and use the exhibition contents for educational purposes as well as visual applications rather than a literary study on cultural heritage in the border area between Korea and China. The results of this study will be the opportunity to enhance the practical understanding of the modern states as well as to learn the cultural awareness of the territory of a modern state and people's awareness of the importance of world heritages. Furthermore, the results of this study will be used as the resources for historic and cultural tours on the web or applications and help to understand the cultural features of Korea and China in the northeastern region as well as historic awareness in educational programs using exhibition materials in a museum.

• Journal of Science of Art and Design
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• v.7
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• Proceedings of the Korea Contents Association Conference
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• 2004.05a
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• pp.553-561
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• 2004

It works as intermediation of communication of publics these days. Since 20 century, We, Koreans, have established new chaotic multi culture with traditional Korean culture and other different culture from everywhere. Meanwhile, we occupied the most powerful semi-conduct and IT indusry. Within those circumstance, people feel very confused in political, cultural and social aspect. The society armed with economy and popularization promotes material satisfaction with this potential possibility of anonymous masses. However, it results to cause loneliness, isolation, alienation, anonymity, non individuality and commodity of culture. In my work, such phenomenon reveals through human character in a city. People are exposed culture of consumption and surrounded and tempted by all those artificial and superficial atmosphere. Human are possessed and exposed to attractive products and visual images. Finally they make themselves stuck in their case of this world. People lose their own identify and shape of bodies. That is our portrait, who are living this moment. Also, this is a symbol that destroys this modern society. As a result, 1 consider such aspects through those elements above to think how to keep and rethink our identity and what to do for this world.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.664-675
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• 2019

This study examined Korean sign Language of the linguistic form and the etymological forms about the origins of the Korean national sign languages. The general sign language has been shown through previous research all of place names from Chinese character except Seoul and Lmsil. And then, Sign language's form and origins which are current using in order to examine what kind of feature were analysed through interviews and publications in Korean association of the deaf people. As a result, it was analysed that was composed majority. indigenous sign language Korean place names were made and used by deaf than loan word character of Chinese characters, Hangul and loanword. When we consider that place names were correspond to a precious cultural heritage, representing the history with the culture and identity of the relevant area, we can worth of preservation and transmission to the abundant iconicity in the name of Sui. On the other hand the indigenous sign language korea place manes can worth deaf culture or korean sign language. Even lf geographical characteristics of area have been changed or local product was disappeared in this situation by The origin of sign language reach in modern time local specialty by geographical form lt continued over generation. This can be regarded as the Korean sign language of the form in the way of visual. lt will be very valuable heritage in the preservation deaf culture.