• International Journal of Computer Science & Network Security
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• 제22권5호
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• pp.79-88
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• 2022

Modern production requires production staff who have design competence, experience and skills to work in various types of work integrated into professional activities. Possession of digital design methods significantly expands the opportunities for professional activities of qualified workers. The purpose of our study was to study the impact of pedagogical conditions on the formation of design competence of future qualified workers in a group work. We have identified a set of pedagogical conditions that promote the development of professionally oriented artistic and technical creativity of workers in the conditions of curricular and extracurricular activities, which include motivational-target, procedural-semantic, organizational-technological, and subject-oriented. It is shown that the formation of design competence is determined by motivational, informational-active and reflection criteria, which are aimed at motivational-value, cognitive, operational-active, creative, social and emotional components of this competence. The methodology of the research is highlighted, which includes the use of the following methods: determination of the personality's motivational sphere in order to identify strong and weak motives of students activity; multiple intelligence to identify students talents in the direction of practical intelligence, which is important for design competence; determining the level of creative activity to identify manifestations of students creative abilities; identifying the type of students innovative thinking in order to develop motivation for success; factor-criterion model, developed on the basis of a qualimetric approach, which is used to identify the level of design competence formation in accordance with its components. The results of the study showed that the creation of separate pedagogical conditions in the institution of vocational education and training (VET) had a positive impact on the development of design competence, which shows the potential of artistic and technical design in the development of professional creativity of future qualified workers taking into account the environmental approach.

• 디자인학연구
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• 제16권1호
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• pp.83-92
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• 2003

최근 3D 애니메이션은 급속한 하드웨어와 소프트웨어의 기술적 발전에 힘입어 실사에 가까운 애니메이션 연출이 가능하게 되어 영화, 광고, 게임, 디지털 영상물 등의 엔터테인먼트적인 요소로 많이 사용되고 있다. 3D 애니메이션 제작과정은 전통적인 애니메이션과는 달리 다양한 제작기술과 표현요소를 요하게 된다. 3D 애니메이션 제작에서 제작기술과 표현요소는 각각의 요소로 작용하는 것이 아니라, 서로 결합하여 제작하여야만 완성도가 높은 애니메이션을 얻을 수가 있다. 이에 본 고는 3D 애니메이션 Computer Process에 의한 작업 과정을 하드웨어와 소프트웨어를 바탕으로 한 기술적인 표현방식과 미학적, 조형적, 디자인적, 회화적 요소를 바탕으로 한 예술적 표현요소를 분석하고 기술적인 완성도와 표현력이 있는 애니메이션을 제작하는 방법을 모색해 본다.

• 패션비즈니스
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• 제9권4호
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• pp.94-112
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• 2005

This study focuss on the futurism expressed in Paco Rabanne's works. Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. First, Light, one of the most important element in Paco Rabanne's fashion design, shows some influence of medieval symbols of love and salvation. Second, the artistic trends which influenced on Paco Rabanne's fashion include surrealism, op art and kinetic art. His use of new materials and avant-garde style represents the influence of surrealism. His experimental use of waving plastics and glittering metal during his early period is especially related with op art and kinetic art in the early 1960's which emphasize the artistic effect of light and movement. Third, the characters of Paco Rabanne's works are the harmony of technology and the beauty oh machine by the geometrical figures like triangles, rectangles, and circles and represent and movement,and the innovational creative methods, voluptuous beauty.

• 복식문화연구
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• 제30권2호
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• pp.173-188
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• 2022

The purpose of this study is to analyze the collaboration and artification of the Issey Miyake fashion brand and to suggest the best course of artification that can secure the brand's value. The research methods are as follows: i) identifying the companies' strategy and flow through collaboration concepts and examples from Issey Miyake; ii) selecting Issey Miyake fashion brands and carrying out a literature review through websites, articles, and books; and iii) examining prior studies on the relationship between fashion and art. Results are as follows. The exhibition is divided into spaces for brand intangible assets, artistic collaboration with partners, art co-creation, and the aesthetics and tradition of the brand. Using exhibitions to share the artistic work of collaboration partners is expected to positively affect the brand's likability. The exhibit shares art collaborations in display cases for clothes and photographs. Artists and brands appear as an extension of the creative space and convergence design area. The artist's improvisation forms the creative space that communicates with the audience, and the convergence design area is expanded through the unifying organic connection between the various media in the fashion brand. The photographers and brands section displays the nature images of Pleats Please, as well as human and prism garment images. In these images, the viewer can perceive a story in the interplay between the human body and nature.

• 보존과학회지
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• 제38권1호
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• pp.1-13
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• 2022

Colour consistency is an important consideration when selecting pigments used on works of art. In this study, we analyse the colour difference between two sets of synthetic blue glass pigments acquired at least 8 years apart from the same manufacturer in Japan. The old pigment set (unused, dry powder with four different grain sizes) appears faded compared to the new set. These pigments are made available for artistic use, commonly in Nihonga or Japanese paintings. Raman spectroscopy and SEM-EDS results characterize these pigments as cobalt aluminate spinels dissolved in leaded glaze, a special class of complex coloured inorganic pigments that is not well-understood in the field of conservation. Colour difference between the old and new pigments with four different grain sizes were quantified by analysing photomicrographs with image analysis software. Blue pigments with coarse and extremely fine grains showed significant colour change compared to pigments with medium and fine grain sizes. The high occurrence of crystallites in the finer grains give a final colour that is bluer and lighter. Possible causes for the colour difference including manufacturing methods and storage environment are discussed.

• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• International Journal of Advanced Culture Technology
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• 제12권2호
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• pp.16-29
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• 2024

Mogao Grottoes in Dunhuang, China is one of the world cultural heritage, is the largest ancient grottoes art group in the world, and is a natural and cultural place with outstanding universal value for mankind all over the world. Dunhuang music and dance derived from the murals of Mogao Grottoes is an artistic representation of its thousand-year-old glorious history and an indispensable historical material for research. As one of the iconic images of Dunhuang music and dance, the "rebound lute behind the back" dance posture has unique charm value both in the original mural composition and the stage image. This paper analyzes the characters holding pipa in Dunhuang murals by case analysis, comparative research and other relevant research methods, then studies the stage image and posture of "rebound lute behind the back", and finally analyzes the stage works of "rebound lute behind the back". It is concluded that the dance image of "rebound lute behind the back" is a dynamic stage art work gradually formed by artists from the static Dunhuang murals through refining, developing, processing and transforming. This is to revive the image of Dunhuang music and dance murals, to provide reference and reference for the inheritance and development of Dunhuang culture, and then to enhance and enrich the artistic value of excellent traditional Chinese culture and world cultural heritage.

• 패션비즈니스
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• 제14권4호
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• 한국가구학회지
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• 제27권1호
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• pp.8-14
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• 2016

Increasing concerns of environment need to make change furniture field to more environmentally friendly approach, such as reuse of by-products from wooden products. As it is, the methods of recycling wood for industrial purposes have the advantage of productivity and adaptability. However, the industrial way is required a certain production facility of processing wooden by-products and has possible hygienic problems due to contaminated sources. Many designers have developed their own methods for reuse of wood in unique and artistic ways. Even so, because of confined sources, it could be not enough supply. Therefore, I developed the design methodology utilizing wooden by-products from S Design Company to relieve former ways' problems. The design suggestion took materials from a safe and abundant source. The wooden leftover pieces were connected together with epoxy clay, so previous process traces of furniture are remained as a decorative factor. Moreover, the synthesized material was able to be processed by ordinary woodworking facilities without additional installations. In doing so, console table focused on a commercial purpose and dining table for an artistic objective were successfully fabricated as final suggestions. In consideration of the proposal using wooden furniture leftovers, diverse recycling designs should be investigated for future reference.

• 복식
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• 제44권
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.