• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.101-110
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• 2009

Danchung(丹靑) is the traditional Korean patterns that are decorated with various colorful patterned paintings upon each sections of wooden architecture. Although Danchung consists of variety patterns with the meaningful signs and symbols, as an accomplishment of Korean traditional images, there is a few fashion merchandise by Danchung patterns. Therefore, the purpose of this study is about to design Jacquard fabrics, and to develop bags of Jacquard fabric by Danchung patterns, as a differentiated cultural Fashion Merchandise. The theoretical background was researched for the geometric image of Danchung patterns on the basis of the basic elements, compositions and symbolic meanings of Danchung. The geometric image of Danchung patterns, which had the shape of circle, triangle, square and hexagon, was designed to the surface design by Jacquard CAD system(i.e., EAT Designscope by Germany) and woven into Jacquard fabrics by Stabuli electronic Jacquard system. Danchung patterns for fabric design in this study was mainly focused on 'ChipJaGum', 'SamJiChangGum', 'ShouSulGum', Moro patterns of lotus flower(蓮花), Rok-Wha(綠花) and so on. To development bags of jacquard fabric, those woven jacquard fabrics were manufactured to bags by applying the selected of twelve bag-designs among the current bag styles. These manufactured bags of jacquard fabrics in geometric Danchung patterns were appeared a contemporary yet ethnic feeling so that they can be used for the unique korean cultural products to further commercialization.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.2 s.2
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• pp.59-70
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• 2004

The purpose of this study were to find out appeal types and variation of make-up image and make-up style in cosmetics advertising. The research of this study were collected from cosmetics advertisement printed in Amole Pacific Cosmetic industry from $1970{\sim}2004$. The results were as follow: 1. A cosmetics advertisement appeal were three types. it were models and products appeal advertisement as emotional appeal, products-appeal and mixed appeal advertisement. 2. A variation of make-up image were different by the time. In the 1970s make-up were model empersis eye-line and colorful make-up were classic and active make-up image. From the 1980s various color make-up were used and persuited of individuality and started to appeal that were romantic and elegance image. In the 1990s multi-color make-up image were manish and modern used ambivalence and multi-message, and in the $2000{\sim}2004$ natural and romantic-sexy remarkable make-up image were used of new concept of beauty.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.143-154
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• 2007

This study's purpose is how express gender image according to sex in editorial fashion photography. This study's objectives are the women's magazine Vogue, Harper's Bazaar and man's magazine GQ, Esquire published 2000-2005 within the country. The photography was classified with established a standard based on the precede studies. The photo is classified Gender image according to dress and its ornaments, model character and atmosphere by Sex Expression of femininity woman has exposure of body parts and emphasizing thin eyebrows and red lips, soft and mild image, modest and static pose. Man expressed femininity used ladylike color and pattern, erotic exposure of body and long hair style. Commonly emphasizing red lips, natural background of flower plant, S-line. For expression of masculinity man and woman are used masculinity item, short hair-style and thick eyebrows. And also emphasize square like chin and shoulder. Specially, woman used direct silhouette to conceal soft body curved line. The expressions of androgynous woman and man are colorful dress and make-up. Woman emphasized male face to show and man expressed soft image through hull of abundant material of fur. All two sex selected method that conceal body curved line and face to express sexless. Hiding characteristics of body and face make indistinct of sex. The gender is affected by atmosphere such as model and illumination background as much as clothes because of the editorial fashion photography.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.32-48
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• 2007

Korean traditional flower motifs have often been used in traditional embroidery on personal products and on decorations. The flower motifs seen on embroidery with a variety of techniques show the shapes and colors changing to more and more brilliant and colorful design. Even today the flower motifs in embroideries continue to be reinterpreted in both modern ways and also in traditional ways with their fancy beauty in the design industry. This research is based on documentary and demonstrative studies conducted to find out the formative properties of these motifs through and analyzing the shapes and colors of flower motif embroideries from the Choseon Dynasty as applied in developing modern designs in harmony with their traditional beauty. A summary of the research is as follows. First, the peony blossom appears the most, with its gorgeous flower shape. It was used in a variety of ways for decorative purposes as well as in wishing for wealth and harmony on clothes or on personal products. Second, the result of analyzing the flower motifs on embroidery shows that 'realistic-complex- flower patterns' and 'stylized-complex-flower patterns' are mostly seen. Third, many of the peony blossoms, chrysanthemums, and Japanese apricots were in a radial shape and front facing with stamens, and the lotus flowers were mostly shown on the lateral side. Fourth, as a result of analyzing the colors of the flower motifs on embroideries, a tendency is shown toward the R and RP colors of v, b tone and the shades YR, Y, GY, and G colors of lt and p tone.

• Asia pacific journal of information systems
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• v.16 no.2
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• pp.123-141
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• 2006

Mobile games have emerged as the most innovative entertainment technology, adding new revenue streams, taking advantage of the potential of wireless applications and service offerings. Mobile games, as well as PC games, Video games and online games, offer a unique value for users in providing an exciting digital experience in virtual worlds. The overall trend for mobile games is towards bigger, more colorful, more involving and exciting contents, which might build upon the developing capabilities of mobile phones and networks, in order to bring new styles, concepts and experiences of game play to the users. In this paper, we investigate the factors influencing the usage and acceptance of the mobile games, based on the extended version of the Technology Acceptance Model (TAM). Based on data collected from online survey, we show that perceived usefulness, ease of use are the major determinants for mobile game users to play games. Four factors, including ease of use, self-expressiveness, visibility, and innovativeness are empirically shown to determine the level of perceived usefulness; additionally, innovativeness and facilitating conditions are shown to directly affect ease of use. Based upon the statistical results, some useful guidelines for game development and market penetration strategies are also provided.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.1-15
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• 2013

This study deals with the aesthetic characteristics in Gareth Pugh's fashion film. As fashion films are becoming a newly emerging communication tool in fashion, the aim of this study will be to build a database on these films. For the specific method in this work, literature reviews were performed along with the empirical study of seven pieces of fashion film. The results of the study showed that Gareth Pugh released the fashion films from 2008 to 2012, and he collaborated with SHOW Studio member and photographer Nick Knight and Ruth Hogben. Common themes in their films were fear, fantasy, dynamics, and going off-limits, and these can be summed up in the following ways. First, a sense of fear was expressed via black colors, bizarre mechanical sounds, decalcomania shape in abstract images, and transformed physical body images. Second, an image of fantasy was presented with diverse expression techniques including colorful light presentations and abstract image setups from repeatedly changed image reproduction. Third, dynamic feature was denoted with a combination of fast development of images and quick reproduced layouts, as well as quick beat sounds, and big and powerful action movements. Fourth, characteristic of going off-limits was reflected, by showing the collections with a communication tool called fashion film instead of existing collection concept.

• Journal of the Korea Furniture Society
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• v.24 no.4
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• pp.416-425
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• 2013

Luis Barragan's Architecture has creative feature that Mexican environment and traditional culture were complete by color. Thus the color of his work makes our emotions rich and colorful. He said "My architecture is autobiographical..." at speech in Pritz price. As we can see in his architectural philosophy that sentimental architecture is important than theorical system, his works are impression of empirical factor with intuition. "Color is a complement to the architecture. It serve to enlarge or reduce a space. It's also useful for adding that touch of magic a place needs", stated Barragan. During his process of shaping space, Barragan drew on color in the same way as an architectural component, according it a spatial funtion and expressive vale. he allied it with light, deeming it a crucial vehical for conveying the emotive attributes a site. The capacity of color to express sensitivity and sensuality within an architecture space is liked to its psycho-physiological qualities. In this kind of view, color featyre in Barragan's work is one of the most important tools to realize sentimental architecture, not only is result of the Mexican regional color. As a result, make focus on analyzing various meaning of the color in Barragan's architecture like poetic and habitable structure.

• Journal of the Korean Society of Costume
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• v.51 no.8
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• pp.1-12
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• 2001

An empirical review on silk fabrics of the Chosen period showed that they varied in kind and design according to their uses. Thus the purpose of this study is to classify the fabrics into temple and excavated fabrics according to their uses and collected places and then to examine characteristics of each type. Concerning fabrics collected in temples. satin was most used, followed by twill, tabby, multiply, leno and gauze and clossing fabrics in order. Tabby and silk fabrics used Ju(紬) as their main material. Cho( ) was much more used in fabrics collected in temples than in excavated ones. This indicate that Cho( ), more luxurious than Ju(紬), had divine applications such as covering Buddha s bones of temples. Brilliant, colorful multiply fabrics using goldern and color threads had high effects of ornamenting altar covers, umbrellas, surplices and palanquins. Fabrics held in temples adapted composite designs, in which more than two shapes were used, rather than single ones. Single designs employed plant shapes in most cases. followed by treasures pattern, geometrical, cloud and animal shapes in order. Most composite designs used a combination of animal and plant shapes, followed by plant and geometry, treasures pattern and plant, cloud and animal, and animal, treasures pattern and plant in order. Few excavated fabrics used animal designs while fabrics collected in temples were often designed with shapes of propitious animals such as dragon. Treasures pattern. representing a good omen of Buddhism, was often used sing1y or sometimes compositely with another design.nother design.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.25-40
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• 2004

The rainbow has been considered as a perfect representative of color harmony in nature. In this study rainbow's colors include seven spectral colors and changeable colors according to observational angle. This study performed a bibliographical inquiry into rainbow colors and the survey research for classification of rainbow color images in fashion design. First, a bibliographical inquiry includes the definition of rainbow colors, physical formation principles of the rainbow, and its aesthetical attributes and symbolism. Second, this survey classifies rainbow color images in fashion design. The results of this study are as follows: 1. The rainbow was the religious and symbolic object before 17th century, and after that period, the rainbow became an aesthetical object. The main symbolic meanings are similar in eastern and western culture: temporary bridge between two world, divine nature, hope/beauty/richness, war/ death/flood/drought. 2. This survey shows that 6 main factors of rainbow color images in fashion design are 'vigorous', 'colorful'. 'fairy', 'fresh', 'mysterious', 'brilliant'. Rainbow color image in fashion design shows past and futuristic image at the same time. The purpose of this study is to systematized the images theoretical bases which are applied to color expression and of rainbow colors and to find out the development about rainbow theme by designers.