• 디자인학연구
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• 제18권1호
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• pp.245-252
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• 2005

이 연구는 소설이나 영화의 서사적 시간성을 밝히는데 이론적 토대를 제공해 주고 있는 '제랄드 쥬네트(Gerard Genette)'의 이론을 통해 TV광고의 시간적 서사와 그 의미구조를 살펴보기 위한 시도이다. 광고는 그 광고가 지시하는 상품에 최고, 최대의 교환가치를 부여하기 위해 신화적인 초실재적 기호로 스스로를 변환시키고자 노력한다. 이런 과정에서 TV광고의 서사도 새로운 유혹의 메카니즘으로 보여지도록 서사적 시간의 순서를 뒤집고 뒤섞는다. 그렇게 하는 이유는 어떤 미학적 효과를 얻기 위해서이다. 광고는 상품가치를 극대화하기 위해 미학적 효과를 채용한다. 포스트모더니즘의 영향으로 TV광고는 기호내용보다는 기호표 현 중심으로 한 보여줌의 미학으로 전개됨에 따라 이미지의 과잉 현상을 낳는다. 특별한 미학적 효과를 위해 시간적으로 변형된 TV광고는 새롭고 세련된 화면을 제공하지만 모호한 이미지들로 인해 해석의 불확정성을 낳기도 한다. 하지만 이런 양상은 대중들이 광고메시지를 만드는데 능동적으로 참여하게 하는 여지를 제공해 준다는 점에서 의미가 있다.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2006년도 춘계 종합학술대회 논문집
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• pp.259-264
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• 2006

기존 NPR(Non Photo-realistic Rendering)에 관련된 연구들에서 보여주는 결과 영상들은 그 모델이 예술적 표현 매체임에도 불구하고, 그 매체에 대한 정확한 분석과 미학적인 연구를 토대로 하기 보다는 지나치게 기술적인 측면에서 접근이 이루어졌기 때문에 구현하고자 한 매체의 실제 특성과 합리성에 어긋나는 경우가 종종 보이고 있다. 따라서 정확한 회화적 렌더링의 구현을 위한 알고리즘을 위해 예술 표현 매체에서 추출해야 할 특징들이 무엇인지 분석하여, 인간이 그림을 그리는 과정에서 나타나는 특징들을 충실하게 단계별로 알고리즘화 할 수 있도록 하는 것이 본 논문의 목적이다. 본 논문에서는 미술 사조 중에서 19세기 후반에 프랑스를 중심으로 일어난 인상주의를 모델로 하였다. 따라서 우선 유화의 일반적인 특징과 유화 작품들 중 인상주의 화풍에서 드러나는 특징들을 분석하였고, 이를 통해 나타난 여러 특징들 중에서 알고리즘화하기 위한 요소들을 추출하여 재정의하고, 그것들을 토대로 알고리즘화 하였다. 또한, 예술적 관점에서의 분석을 통해 나온 지금까지의 결과물들을 통해 NPR 연구에 있어 예술과 공학 분야의 협력적 연구의 타당성과 가능성을 강조하고자 한다.

• 한국의상디자인학회지
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• 제10권1호
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• 한국결정성장학회지
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• 제27권4호
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• pp.186-190
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• 2017

제품디자인에서 소비자에게 심리적 심미적 요소들을 정확하게 전달하기 위해서는 제품 개발과정에서부터 사용자가 원하는 요구사항을 잘 분석하여 적용개발 하여야 한다. 제품 개발의 핵심은 소비자 구매성향 변화와 시대적 요구에 따라 제품 개발 시 디자인에 적용할 사용자의 경험을 파악하여 개발 프로젝트의 목표를 수립하여야 한다. 그러기 위해 디자인분야에서는 형태, 기능, 소재적용 등 제품이나 시스템의 물리적인 형태만을 디자인하는 것을 넘어서 사용자와 관계 속에서 생성되는 감성과 경험까지 디자인하는 것으로 인식되어야 한다. 이처럼 디자인 대상의 범위가 확대되면서 오늘날의 디자인은 사물의 기능에 기초한 단순한 조형적 요소의 개발이 아닌 새로운 경험의 제공이라는 측면을 중시하기에 디자이너들이 전통적으로 해왔던 디자인 개념의 프로세스만으로는 불가능하게 되었다. 이에, 본 연구에서는 제품의 형태, 소재적용, 서비스에서 더 나아가 사용자들을 이해하고 사용자 경험 바탕으로 사용자 중심의 디자인 프로세스의 체계와 방법론을 도출하여 사용자 중심의 중요성을 강조한 프로세스를 제시하고자 한다.

• 한국의상디자인학회지
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• 제9권1호
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• pp.103-122
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• 2007

Fashion have been expressed by a face through various a period, social change, and various culture changing. Human expresses as "Transformation" by applying these needs of changing to the fashion. A origin tribe expressed its own self by using direct body transformation and extreme decorations in the past. However, human express creative and esthetic desire based on shape, material, and transformation method in the present time characteristics of the body. Exceptional transformation breaking a existing fixed idea appeared frequently due to dissolution through transformation which is positive expression method in the fashion from 20th century. As a results, followings are obtained in this study. First, human body transforms by using a tool or intermediation in investigation of aesthetic meaning for human body. The object, Transformation, is stably transformed by disintegration, distortion, exaggeration and simplification reduction, as design's sensitivity. Second, transformation from relation of clothing composition is expressed by extension, reduction, simplification, and dissolution. In transformation from original tribe's sensitivity, past decorative desire lead to transformation of human body. To give variable change from past to present fashion, external formative will is introduced. Then, extreme expression is made by direct transformation of clothing type. It seems to be accomplished that human body's expression method is continuously changed into extension, exaggeration, reduction, and dissolution from transformation method as described before. Transformation of modem fashion is expression method by creative supervision. Extreme transformation substituted body's each part is based on immanent play and representative satisfaction. Through these transformation, it is judged that variety of creative type is achieved.

• 복식
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• 제38권
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• pp.51-72
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• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• 복식
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• 제29권
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• pp.23-38
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• 1996

The purpose of this study was to analyze the characteristics of the Minimal Art represented in the second half 20th century fashion. All the mode of dress worn this century have developed from the stimulus of a chang-ing society fired by new discoveries and a zest for the new and different. It would appear that even more dramatic changes will soon occur in our clothing styles the effects of which will be farreaching. Many of today's styles intended to dress our psyche rather than our bodies and this if fully understood by the new designers whose influ-ence will become increasingly more potent as we approach the new century. The highly developed material civilization resulted in human alienations environmental distruption, l By this fact human being of the 20th century was to overcome social com-plexity. Accordingly their search for simplicity was interested in the 60's style. Especially the formativeness of the 60s style was repre-sented in the second half 20th century fashion. In this paper it was focused that how the characteristics of the Minimal Art was expressed in the second half 20th century fashion. minimalism was a quest for basic elements repesenting the fundamental esthetic values of art. without regard to issues of content. At its most extreme it reduced art not ot an eter-nal essence but to an arid simplicity. "Primary Structure" the most suitable name suggested for this type conveys its two salient characteristics : extreme simplicity of shapes and a kinship with architecture. minimalist works are charcterized by huge dimensions coldness and absolute aesthetic neutrality. minimalist artists ambition is to de-fine through the most rudimentary materials such as plywood galvanized iron aluminum plastic and wood a new order of the space. The environment is just as important as the object itself. Similary the use of new tough materials. such as vinyl metal and plastic at late half of the 20th century fashion related to the formativeness of the Minimal Art. And the style of 20th fashion was holded the internal meanings in common the formativeness of the Minimal Aet thorough the various texture pat-tern silhouette etc.uette etc.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 한국게임학회 논문지
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• 제5권4호
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• pp.3-12
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• 2005

미디어 영상, 예술 분야에서의 표현 특징들 중 초현실주의의 표현 기법을 이용한 많은 작품이 출시되고 있으며 이에 대한 연구가 시작 진행되고 있다. 그러나 아직 게임 캐릭터의 표현 특징 중 초현실주의의 표현 특징에 관한 연구는 거의 전무한 상태이다. 따라서 본 논문에서는 초현실주의에서의 표현 기법을 중심으로 판타지 게임 캐릭터의 표현 특징을 분석하였다. 그 결과, 초현실주의에서는 신체의 일부와 동물 또는 다른 사물을 꼴라쥬 하는 형태와 변형, 그리고 왜곡을 이용하여 현실에 존재하지 않는 이미지들을 표현하였는데 이러한 방법들은 판타지를 기반으로 한 온라인 게임 캐릭터에서도 유사하게 사용되었다. 본 논문은 미학적 맥락 속에서 판타지 게임 캐릭터들의 특징을 분석하여 현 시대 문화적 배경 속에 게이머들의 심리를 이해하여 보다 호감 있고 창조적인 게임 캐릭터 제작에 도움을 주며, 예술 기법 활용의 가능성을 증가시켜 창의적인 게임 그래픽 제작의 가능성을 여는데 의미가 있다.

• 대한가정학회지
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• 제40권7호
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• pp.173-192
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• 2002

This study is intended to observe the meaning, aesthetic formative characteristics of the human body which is introduced and applied to the fashion design. The analysis of the modern fashion design describing the human body refers to the extracted fashion design which expresses the human body appearing in domestic & foreign fashion magazines as well as publications associated with it and published since 1990. The analysis of the way of expression, the image and the design elements in these fashion design works, has had to formative characteristics in each of the three parts. The pursuit of formative characteristics through simplifying the expression of the human body, uprising of anatomical expression, and metaphorical expression with the help of personification and objectification can be thought of as characteristics of expressing pattern. And the op-art, optical illusion by virtue of pointillism, the use of non-woven molding, and action painting technique can be described as expression tools to recognize the human body. Images are presented in the characteristics of being grotesque, humorous, erotic, futuristic and mysterious. The characteristics of designs are expressed in creative detail, trimming, pattern and accessory using the form of human body itself as an item of clothing tends to show the unity of human body and clothing. The human body in the modern era reflects the post human image as well as its meaning as a medium and tool. It is also perceived as a specific object to be self-conscious of in this reality with the loss of humanity, alienation and the confusion of identity. The analysis of the image and way of expression of human body in the fashion design, and the meaning of human body will play an important role of identifying tole viewpoint about human body as well as prospecting what the human being will be in the future.