• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.33-48
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• 2003

The purpose of this study was to define the moaning and features of humor in modern fashion. by examining how it's being grafted into fashion, based on artistic expression including collage, assemblage, photo montage, graffiti, transformation, distortion, exaggeration and optical illusion. Beside. humor of fashion is to examine not only laugh and fun but also formative expression and creativity. Furthermore, it is to enlarge the range of conception for future fashion. The findings of this study could be described as below: The features of humorous fashion by collage and assemblage boiled down to unexpectedness, disharmony and creativity. The photo montage was marked by popularity, reproduction and recreativity, and graffiti was characterized by attention, simpleness, and amusement. And there were unexpectedness, creativity and strangeness in transformation, distortion, magnification and optical illusion. The meaning of humorous fashion that carries such features could eventually be summarized into the followings : First, the fashion, from which collage, assemblage, photo montage. graffiti, transformation, distortion, magnification and optical illusion were detected. could be sorted out into several categories that used different things : introduction of objects of different nature, dramatic impression and wit based on photo montage technique, introduction of comic components and infant image, and destruction of aesthetic principles. Second, the substance of humor in art could be applied to fashion design as well as visual art. Humor is a property related to accidental, unexpected incident, behavior, situation or idea, and it puts laugh, disharmony or awkwardness in fashion. Third, spicing fashion with humor could serve to draw people's attention, break down the barrier among people exposed to dry sentiment, and connect the public with art.

• Sijohaknonchong
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• v.19 no.1
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• pp.5-35
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• 2003

A usual approach of lyric poetry education emphasizes musicality of prosody that takes the format of singing lyric poem or reciting that involves reading with one's eyes and contemplating through one's consciousness, both with are quite remote from reality. In order to achieve an effective education, traditional lyric poetry education should focus on the recitation format that involves natural respiration. The current study specified theoretically the A study of contents in traditional Korean lyric poetry recitation. recitation. method through understanding rhythm and prosody that are basic principles of recitation. The study also attempted creating contents through three-dimentional image built on a theoretical foundation of systemic poetry recitation method in order to amplify the impression and creation of the traditional Korean lyric poetry. This was done as an effort to manifest an aesthetic nature of traditional lyric poetry and also as an effort to advance one more step in public understanding and appreciation of traditional poetry.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• Archives of design research
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• v.18 no.2 s.60
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• pp.143-154
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• 2005

Typography in visual communication design is 'potential form' hidden within a space. Showing rhythm in typography is making 'aesthetic sense' in a graphic which has formative characteristics, the way of expression is very important. When the rhythm is recognized through visual stream, Rhythmic Sense is formed. The research will present a new form of the Visual Rhythmic Sense by analyzing typography works out positively. First of all, I researched works done by Fillippo Marinetti, Robert Massin, Wolfgang Weingart, and David Carson for their vigorous experimentalism in typography in forming visual rhythm. I used S.D. Scale method to analyze characteristics of visual image and VARIMAX for factor analysis reaching types of visual rhythm, which could be classified as following. (1) Synesthesia Rhythmic Sense (R-synesthesia) means that the senses are conveyed through 'visualization of auditory sense' and 'visualization of touch' (2) Simultaneous Rhythmic Sense (R-simultaneity) means that the time and space co-exist in one plane. (3) Connective Rhythmic Sense(R-connection) means that different factors (Within one plane) co-exist interacting with one another and creating a unified impression through such a process. (4) Artist Oriented Rhythmic Sense ($-artist) means that the artist interprets the content subjectively and expresses his/her impression, thereby, attracting a gaze of audience systematically and arbitrarily. (5) Reader Oriented Rhythmic Sense(R-reader) avoids the existing legibility formed through aggressive engagement of the reader.

• Journal of Fashion Business
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• v.14 no.1
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.64-72
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• 2014

As the importance of interface became emphasized recently, function of icon as an element that helps operation and formative function as an aesthetic element are becoming emphasized. Specially, various research methodologies for measuring the understanding degree of users are being attempted in functional aspect, however, they are facing limitations as user evaluation method of quantitative investigation for statistical analysis became overly dependent on the consent from majority. To overcome such limitation, a methodology of measuring sensibility as aesthetic impression or individuality based on the system of emotion or system of understanding of users and designing icon based on the measurement is being attempted continuously. Therefore, this study suggested an evaluation method using reminding words and conducted an empirical study to apply results on the icon design by applying the evaluation method on icon design of printing products to measure the user sensibility and understanding level. Through this process, this study intended to research summaries on the design evaluation method which based on the evaluation of user sensibility and understanding level and to debate effective design methodologies through the process of applying these summaries on the project. The intention was to progress discussion from practical application perspectives apart from the textbook type discussion by applying a research methodology through concrete cases. This study objectified sensibility and understanding level of users in the icon design aspect, suggested a methodology that can be applied on the design, and it is expected to be used when progressing the icon and GUI design.

• Archives of design research
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• v.17 no.3
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• pp.413-420
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• 2004

New design method has been required for web designers to grasp the proper emotion, impression, and feeling of a web site and reflect these elements in web design. It is certain that such a new methodology can be a useful design tool, although web designers have only relied on their intuition and experience to induce users to perceive specific emotion of web sites. In this study, Kansei Engineering Type Ⅰ (Nagamachi, 2002 and Park, 2000) method was applied to develop the methodology. One hundred thirty six web sites believed to convey emotions effectively were first selected by recommendation of professional web designers and twenty two web sites were finally chosen and evaluated using questionnaire. The web sites were then objectively and quantitatively assessed by measuring the degree of utilization of the design elements, balance, overall density, and homogeneity. We examined the cause-and-effect between the results of emotional and quantitative analysis by multiple regression and introduced the design methodology based on the examination. The research method and procedures applied to this study would be applicable to design studies related to the emotional inducement.

• The Journal of Korean Academy of Prosthodontics
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• v.60 no.2
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• pp.168-174
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• 2022

In case of gingival recession or bone defect in maxillary anterior implant treatment, it is not easy to obtain satisfactory clinical results. In this case, loss of the labial alveolar plate was diagnosed in the maxillary right central incisor, so after tooth extraction, soft tissue was secured and implant placement with bone graft was planned. In addition, digital guide surgery was performed for the ideal implant position, and GBR (Guided Bone Regeneration) was accompanied with the xenogeneic bone and the autologous bone collected from the mandibular ramus since alveolar bone defects were extensive. After a sufficient period of osseointegration of the implant, a temporary prosthesis was fabricated through secondary stage surgery and impression taking, and through periodic external adjustment, the shape of soft tissue was improved. In the final prosthesis fabrication, a color tone of natural teeth was induced by an gold anodized customized abutment, and an aesthetic and functional zirconia prosthesis with reproducing the shape of the temporary prosthesis through intraoral scan was delivered.

• Journal of Dental Rehabilitation and Applied Science
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• v.39 no.4
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• pp.267-275
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• 2023

To obtain better esthetic results when immediately placing a dental implant, the soft tissue surrounding the implant must be conditioned during healing of the extraction socket. To this end, the emergence profile can be customized through immediate restoration of the provisional prosthesis, and good clinical results can be obtained at the time of definitive restoration in the future, resulting in high patient satisfaction. In this case, horizontal root fracture occurred after trauma to both maxillary central incisors. Immediate implant placement and loading was planned considering aesthetics and alveolar bone condition. By taking an impression using a digital intraoral scanner, a digital diagnostic wax-up was performed to make a more aesthetic prosthesis without applying external force to the traumatized teeth. Based on this, the ideal placement location was determined and immediate implant placement was performed using a 3D printed surgical guide. The provisional prosthesis was restored 5 days after placement, and the definitive zirconia crown was restored through soft tissue conditioning and customization using the shape of the provisional prosthesis for 3 months.