• The Journal of Natural Sciences
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• v.4
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• pp.221-231
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• 1991

We have thought artistic charactics of modern form is abstract expression and purity and unity sight. Specially, modern sculpture form has strict geometrical form as showed in primitive art. In this circumstances, modern costume has stylized more artistic form in pure sight. Artistic characteristics showed in those collections are picturesque in material and sculpture in shillouette. Picturesque material pointed in decoretive function and simple shillouette pointed in sculpturesque body in modern costume.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.11-21
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• 2007

In this study, we will analyze the artistic character of Jogakbo as a element of fashion art design. Korean traditional Jogakbo is a common homemade item made from clothing remnants and is a part of the culture of women�s quarters. Currently, Jogakbo is higly regarded for its artistic value and it finds a variety of uses in fashion. In particular, it is striking how its modern-style geometric lines and color composition are congruous with abstract art. In applying Jogakbo to fashion art design, we study the artistic expression of Jogakbo in 4 aspects; namely, line, color, material, and technique; and analyze the 4 artistic characteristics; beauty of naivety, simplicity, moderation and freedom. 8 dresses designed based on these 4 characteristics are presented as examples.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.199-204
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• 2023

"New Dimension Art" is an artistic concept of the new era that the author puts forward by combining the background, the artistic environment and the artistic market.It relates to the consciousness of thought, the way of feeling, the form of expression and even the style of language in artistic creation.The author expounds this concept of art.At the same time, this paper deeply studies the characteristics of "new dimension art" by analyzing personality and commonality, as well as the creator's personality transformation.The author hopes that he and more artists can create and express more accurately through this concept, so that his works can fully reflect the author's individual characteristics and release more dimensional field energy. We are confident that this paper will affect the area of painting in the future.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.20-21
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• 2002

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• Journal of Digital Convergence
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• v.13 no.8
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• pp.457-463
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• 2015

The image distortion field has been studied and applied variously in the fields of engineering and art. This research is to express artistic sense by using the engineering technology on image distortion. In order to do this, the paper first examines the aesthetic interpretations on artistic expressions of image distortion. Then, it explains that image distortion using magnetic force can be an artistic expression method and includes user immersion elements. In addition, it demonstrates that image distortion can be used as an artistic emotional expression based on interaction. This research will contribute to the production and development of creative emotional contents through the convergence of scientific technology and art.

• Journal of Korea Multimedia Society
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• v.16 no.9
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• pp.1119-1133
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• 2013

These days there is a flow of support for returning to design and handcraft, and the arts and crafts ideas of William Morris have an influence until the present over periods. The semanticity and methodology of guild production method supported by William Morris is studied. The foundation that human is in beautiful harmony with nature is on free labor and artistic life. In the organic relationship, the decline of art is understood as general crisis of culture, and human living condition should be changed in order to rouse the human sense of beauty and comprehension of art. Once human labor becomes artistic, the consumption living and local living become artistic as well. And then consumers desire more artistic works, structures, or urban spaces, and the demands for those move artificers to go toward producing more artistic works and structures. That is, the course of succession of art and culture through living is the driving force of social progress. Even if the period when Morris lived and the present are very different, this paper will shows that a large amount of art and culture will be greatly developed in twenty-first century which is 'the period led by cultural consumers', and the people directly creating art works will be also increased at the same time, as Alvin Toffler suggested. Furthermore, we can aware through this paper that such the people will rule the world. Finally it reached the period that we must face to 'making artistic life' as Morris expected a century ago. According to the result of this paper, we realized the study about Morris will contribute greatly to improve the quality of human life.

• Journal of Gifted/Talented Education
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• v.26 no.1
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• pp.123-140
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• 2016

This study searched the perception of observational evaluation system in visual art which elementary and middle school teachers have in mind. As results, observational evaluation system in visual art is widely accepted as important and efficient to diagnose the artistic giftedness. At the same time, subjectiveness of the system might be advantageous for student for whom teacher get favor and in-service program related to observational evaluation system is insufficient comparing to the demand from field. In spite of this, the scale for behavioral characteristics of the gifted in visual art and the test for artistic task performance are recognized as the most important and needed tools for evaluating artistic giftedness. Following the results, in order to raise up the validity and reliability of evaluation in visual art, the scales for behavioral characteristics of the gifted in visual art and the test for artistic task performance should be developed first and foremost.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.161-171
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• 2006

As the very important artistic elements expressing a visual image, the color has been increasing the power of expression. But the relationship between the remarkable peculiarity of colors in accordance with other artistic elements inside the picture plane makes difficult to express an effective expression of color. In the adaptation of color as well as artistic style between & by W. Disney co. is very different each other in the manner of expression. By revealing the difference of the practical use of color and it's principle of those two works, I want to formulate a suitable use of color. In this paper, focus on how to active application of color in relationship between other artistic element and expressive peculiar of color. A right is not only the dominant component in color, but contrast also. A contrast is the most considerable element for modeling order. To emphasize expressive peculiar of color, an artist control artistic element properly and can make expressive energy of brightness & shape.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.