• Archives of design research
• /
• v.16 no.2
• /
• pp.405-414
• /
• 2003

The modeling analysis for objects placed in a given space can be described objectively when their visual image structure is grasped. It can't be answered without first analyzing the basic program, visual expression. And when the whole aspect of the visual image of the desired interior utensils is presented, the mindset of its designer can be deduced from that. Therefore, the study was based on the lemon juice squeezer, one of the interior kitchen utensils that Philippe Starck designed for Italy ALESSI company. For the study method, putting'The Elements of Dynamic Symmetry' by Prof. Jay Hambidge into practice, 'paradigm' analysis containing the whole'lemon juice squeezer'image was attempted. And to describe it, the visual mark description method by Prof. Bok-Young Kim was used. In conclusion, henceforth, the relationship between interior space and articles, the relationship between object and user, the modeling critique or analysis of the production itself shoud not be intended to be emotional. On the contrary, the study presented an art analyic methodology that can analyze and describe the visual image structure numerically, and confirm the relationship between form and content.

• Archives of design research
• /
• v.20 no.1 s.69
• /
• pp.229-242
• /
• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Archives of design research
• /
• v.20 no.1 s.69
• /
• pp.273-286
• /
• 2007

The performing art is a genre which is integrated of various fields of arts, and Stage Make-up as well. Stage Make-up functions as an important means of communication which makes audience understand the characteristic facts by transforming an actor/actress into the character in the play and also, visually enlarging characters. Due to the creativeness of Stage Make-up, the conceptual study on Stage Make-up design for visual expression coincide with the intended character is needed. However, in Korea, the systematical approach for Stage Make-up design by character types has not developed, or studied yet, The result of this study is to present system model through theoretical study of psychological personality types. and to apply for the expression of characters in the play based on physiognomy(face-reading), The case study of visualizing according to an actor/actress's shape of face. is Specially focused on eyes and eyebrows. In designing Stage Make-up, eyes and eye brows are important elements as a tool for strong expression of the characters. This model of Stage Make-up design by personal type constructed in this study, is for applying methodically as professional approach on actual Stage Make-up design and educational teaching methods as well.

• Journal of Digital Convergence
• /
• v.12 no.2
• /
• pp.1-10
• /
• 2014

Recently, the value and the status of the digital archives that are built individually in the crossroads of oblivion and memory are due to big data has attracted attention globally is confusing. Video data that contains the cultural memory of the digital archive, such as culture, art, life, society, and social conditions of the time, it is a cultural heritage of national common expressed. Also, it remains a trace of history from the various media just like magazines, books, painting, photography, and film. Digital archive system is one of the best research results of media convergence and it has also a good opportunity to take full advantage of the new opportunities and cultural assets. The collection of infinite information of big data in perspective transient that exist at the same time compatibility of big data, it is trying to dismantle the cultural memory of us. It was asserted that must meet the criteria which can correspond to via the new digital era, will be applied to preserve the traditional media. The current image archive is necessary to accommodate proper two different directions.

• Archives of Pharmacal Research
• /
• v.25 no.3
• /
• pp.357-363
• /
• 2002

The effect of a new rhFSH, PG-0801, on oocyte quality, ovulation and in vitro fertilization (IVF) was examined in androgen-sterilized mice. Experimental sterility was induced by a single subcutaneous injection of testosterone propionate (TP, 1 mg/head) into 5 day old female mice. Ovulation was generated in the 10 to 13-week old TP-injected mice by a subcutaneous rhFSH injection (1, 5 or 10 IU/head) followed 48 hours later by a second rhFSH injection (1, 5 or 10 IU/head). For comparison, a subcutaneous PMSG (5 IU/head) injection was used for folliculogenesis and a hCG (5 IU/head) injection was used for ovulation. These were administered using the same protocol. The eggs were harvested from the oviducts and counted 17 to 20 hours after the second injection. IVF was performed by adding sperms ($2{\times}10^{5}/ml{\;}to{\;}2{\times}10^{6}/ml$) to determine the functional activity of the eggs, and the fertilization rate was measured. In addition, the pregnancy rate and fetal development were examined after 15-17 days of gestation. The number of oocytes recovered from the rhFSH/rhFSH group increased dose-dependently and was slightly higher than that of the PMSG/hCG group. The pregnancy rates of the group receiving 1, 5, and 10 IU of rhFSH/rhFSH were 50%, 66.7%, and 75%, respectively, which were significantly higher than that of the control (untreated) group (0%). The numbers of viable fetuses in the 1, 5, and 10 IU/head of the rhFSH/rhFSH group ($8.0{\pm}1.50$, $8.9{\pm}1.02$, and $8.9{\pm}1.12$ fetuses/dam, respectively) were comparable to that of the 5 IU/head PMSG/hCG group ($9.4{\pm}0.94$). The mice receiving rhFSH/rhFSH and PMSG/hCG showed similar fertilization rates (around 65%) via the IVF procedure. These results demonstrate that a new rhFSH, PG-0801, may be useful for inducing ovulation in functionally infertile patients and for superovulation in ovulatory patients participating in assisted reproductive technology (ART) programs.

• Archives of design research
• /
• v.21
• /
• pp.109-121
• /
• 1997

The poster in America was considered merely a means of advertising until the late 1880s, and was not thought to have any intrinsic value. During the 1890s, the poster in America came into its own as a medium of artistic expression, and it was recognized anew as an medium of advertising. The production and circulation of posters became active, and it won the popularity of poster collectors. But the American poster renaissance flourished for a few brief years in the 1890s. In this thesis, I paid attention that the art poster in America was mainly a product of the publishing trade, and that it's rise and fall was connected with the circumstances of the publishing business. In chapterII, I discussed the growth of publishing business and the phenomenon of poster craze, and tried to figure out the characteristic of American poster design in 1890s. The American poster boom was formally initiated in Spring 1893, when Edward Penfield published the first of his monthly designs advertising Harper's Magazine. Penfield created a native American tradition of realism in the series of Harper's posters, his figures are realistic though anonymous, and are drawn without distortion or grotesquery, and details are reduced to essentials but not eliminated. In chapterIII, I discussed the change in book cover design in the 1890s. The rapid evolution of book and magazine covers was largely a reaction to the poster craze. Most magazines were issued with the same standard covers month after month at that time. In 1894, when William Bradley was asked to design a standard cover for the Inland Printer, he convinced the publishers to change the cover with every issue instead of designing one permanent cover. With the poster craze at its height, posters became big business, but still they were not very successful as advertisements. Because collectors of the 1890s were more interested in acquiring posters than in buying books. Significantly, this was also the moment when poster like designs began to appear on the covers of books and mass magazines. Publishers took notice of an idea. If the eye-catching design was on the cover itself rather than on a separate poster, the customer who wished to acquire the design would be obliged to buy the magazine. So there was no distinction stylistically between the posters of the 1890s and the magazine covers of the early 1900s. At the same time, the artistic poster was beginning to decline. While the most typical advertisements of the 1890s were the book and magazine posters of Bradley and Penfield, after 1900 advertisements for manufacturers' products played an increasingly prominent role. They would never again assume the leading role that they had played in the 1890s.

• Archives of design research
• /
• v.14 no.3
• /
• pp.7-14
• /
• 2001

Modern graphic design is creating a new area of graphic design due to the development of computer technology as it changes the existing world of graphic design with a variety of advanced style of image. It is true, however, that the basic principles and images in the modern design are influenced by the visual principles and methods elaborated and changed by the numerous creative works that is well representing the visual features of graphic design trends from the early 20th century to the mid century. The style of graphic design at the time which is generally referred to as 'modern graphic design' went through Pictorial modernism, Constructivism, De Stijl, Bauhaus after the beginning of 20C design, Art Noueau. It spread over the world in the ear of Swiss graphic design and New York graphic design that create the basic principles and styles in modern graphic design. This study examines visual features and flow of graphic design from the early years in the 20th century to the middle of the century, the foundation ear of principles in the modern graphic design. It will give a systematic and fundamental understanding of graphic design and visual features of it while it will be in a research process to create a new graphic style.

• Archives of design research
• /
• v.11 no.1
• /
• pp.219-228
• /
• 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 for Library and Information Science
• /
• v.50 no.1
• /
• pp.331-351
• /
• 2016

Digitalized data and literature in scholarly community has developed the concept of digital humanities and cyberscholarship which indicate the characteristics of a new aspect and approach in scholarly activities with digitalized resources or new media. This study was performed in order to identify the changes in national research activities of art and humanities by using a multi-modal approach. The combined methodology of in-depth interview and content analysis on publishing and citing behaviors in literature was executed. The steps of research process is identified as a non-linear combination of 3 parts: developing research idea, developing the research idea to write, and submitting manuscript to publish. Prominent implementations of cyberscholarship were found in the 2nd step for accessing and using research data and literatures. Understanding the characteristics of scholar communication using cyberscholarhip factors in humanities for interdisciplinarity, sophisticating the environment of cyberscholarhip for data sharing, investing and developing archivist and archives, and providing a various platform for accelerating scholarly communication were derived by the panel discussion for developing interdisciplinary research for humanities.

• Archives of design research
• /
• v.17 no.4
• /
• pp.211-222
• /
• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.