• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.

• Journal of Science of Art and Design
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• v.11
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• pp.79-108
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• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• Journal of Korean Society of Coastal and Ocean Engineers
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• v.23 no.1
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• pp.50-56
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• 2011

To make conservative port and coast ecosystems and creative the greenspace, We were investigated with characteristic of flora, environmental factors, types of port, adaptive species, minimum conservation area and plantation model. In 50 sites of study areas, there are 19 families and 174 species of vascular plants and 19 families and 48 species of halophytes. Dominant communities in port ecosystem contains Carex kobomugi community, Elymus mollis community, Carex pumila community, Ixeris repens community, Vitex rutundifolia community, Calystegia soldandlla community, Rosa rugosa community, Lathyrus japonica community, Salsola komarovi community, Cynodon dactylon community, Tetragonia tetragonioides community, Suaeda japonica community, Suaeda maritima community, Zoysia sinica community and Phragmites communis community. We carried out Canonical Correspondence Analysis(CCA) for ordinations on the vegetation and plant communities-environmental variable matrices in 50 sites. The communities tended to cluster into three types: Clay marsh, Sand marsh, Sand gravel marsh types. Adaptive species in habitate types are selected that sand marsh-type communities in ports contained Elymus mollis community, Ixeris repens community, Carex kobomugi community, Carex pumila community, Clay marsh-type communities contained Suaeda japonica community, Phragmites communis community, Zoysia sinica community and Suaeda maritima community, Sand gravel marsh-type communities contained Vitex rutundifolia community, Calystegia soldandlla community. We are conducted the estimation of minimal area for plantation of adaptive plant species and carried out guide line and plantation model for creation of green space in port ecosystem.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.157-165
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• 2009

This study intends to discuss the efficient stage costume design that uses costume-rentals and production method as a realistic alternative for production of stage costume of low budget performance. Directly participating in the costume design and production of the performance , this researcher applied the methodology of corroborative study on the basis of production process and results by referring to the papers and literature published by academic society for the theory necessary for study. Centering around the western costume in the stage costumes of , the scope of study was the costume of Paris, France prevalent at the end of the 19th century which is epochal background of performance. In spite of its merit of reducing production charge and production in the low budget performance, costume-rentals is subject to the lack of considering unitγ with other visual factors and limit in reflecting the creativity of costume designer. The following actions shall be taken to solve such problem. First, it is essential to set production direction and plan that meets budget and work concept. Second, it is required to highlight the characteristic factor of the age which is the background of work so as to grant the sense of age and to produce the visual unity of costume by supplementing the costume composition. Third, it is necessary to make large effect with low lost by using costume articles that can express the characteristics of the age. Fourth, it is required to efficiently reflect the transformation of design by minimizing the damage of costume through research on the sewing method and materials as well as creative idea. In this way, the efficient stage costume could be realized in the performance with low budget by approaching costume-rentals in the viewpoint of costume design, transforming it in accordance with work concept and adding the visual factors.

• Archives of design research
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• v.19 no.5 s.67
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• pp.5-16
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• 2006

The purpose of this research is to bring to the center of focus, the ad creativity, which in turn can generate the highest advertising effects. The study excludes external factors such as personal relationships, academic network and lobbying powers which were prevalent in the Korean situation. A transformational leader can influence charisma, inspiration, intellectual stimulation, individual consideration and performance goal. As the result of this study shows, the core competence that a C.D. may always want to possess at present as well as in the future is to "motivate inspiration". Charisma may be an ability currently in need but this may not necessarily be so in the future. It may be predicted that a softer quality, which is knowledge-based, that provides intellectual stimulation may be a more valued characteristic. It has been suggested that in the increasingly diversifying society of the future, charisma may be a barrier to enhancing creativity. In times of uncertainty and ambiguity, innovative ideas bring economic rewards (Cockayne, 2004). There may be conflicts of views and opinions between individuals and organizations. Turning these into positive outcome to produce innovative ideas, may be an area of further study. However, there must have been studies where informal networking has produced innovative ideas. Therefore, a transformational leader of an organization needs to investigate the dynamics of informal networking within his team.

• Cartoon and Animation Studies
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• s.21
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• pp.1-17
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• 2010

As animation emerged as a high value-added content business, more studies are conducted focusing on the fact that the key to the success of animation is not a story but a character. This study aims to examine the characters of , the globally loved animation, and figure out its interactive way of attracting viewers based on Spectatorship Theory, so that it can help set the nation's TV animation series to be made on the right track. To achieve this goal, it will explore various aspects including the concept of animation character, the relations between ideology and character, and the changes in design according to a social phenomenon, then based on Spectatorship Theory will analyze and suggest how the characters of fulfill the required conditions to attract viewers. In addition, it will examine the wide application of the characters of . In conclusion, unlike theatrical animation, TV animation has a characteristic that it can easily and repeatedly deliver messages to viewers over a long time, however, domestic TV animation turned out to fail to utilize the advantage. In other words, while its character has distinct individuality, it is not supported by creative and solid story line, and the character is not attractive as much as the characters of which successfully evoke sympathy from viewers. In animation, arousing sympathy from its viewers or audiences is very important, so a character that well reflects social discourse is an integral part of it. Therefore, in-depth and specialized study on animation's character is highly required for the sustainable success and growth of domestic animation.

• Journal of Sasang Constitutional Medicine
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• v.12 no.1
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• pp.48-62
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• 2000

Creativity is the most important characteristic and ability in the 21st century. Recently leading people in Korean society are aware of the significance of the enhancement of the creativity. However, Korean students are less likely to take initiative or depart from standard ways of thinking or doing things, because Korean Confucius culture puts an emphasis on collectivism. An individual has an obligation to conform in order to avoid conflict and maintain social harmony. The rule of respecting parents and teachers leads to a lack of self-expression and entails silence. Brainstorming technique developed by American Osbron, who originated the group brainstorming in 1953, is the most popular creative thinking method for the students. Brainstorming technique has two principles : ideation can be more productive if criticism is concurrently excluded; The more ideas the better. In doing BS, each panel should consist of chairperson, an assistant chairperson, recorder, and 10 others including 2-3 females. However there are several problems in doing group BS, such as production blocking, uniformity thinking, evaluation apprehension, and social loafing. This study was undertaken to investigate the proper way of forming Brainstorming groups with Korean students according to the Sasang Constitutional Medicine originated by Korean Lee Je-ma in 1894. Human beings are classified in four group in Sasang Constitutional Medicine : Taeyang-In, Teaum-In, Soyang-In and Soum-In. Two Yang-Ins are more self-expressive : Taeyang-In has very unique ides and thoughts; Soyang-In is very humorous and like to present his/her ideas. On the other hand, two Um-Ins are passive and are not likely to speak out their ideas in group. Therefore, in this investigation firstly, the brainstorming group was formed with two Yang-Ins (Taeyang-In and Soyang-In) and two Um-Ins(Taeum-In and Soum-In) separately and secondly, Yang-Ins and Um-Ins were mixed. And the first method was compared with the second method in terms of the degree of participation of the group members and finally the better grouping method to produce more and better ideas was discussed and suggested for the educational system.

• Journal of the Korean Society of Costume
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• v.25
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• Clean Technology
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• v.23 no.4
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• pp.364-377
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• 2017

In this study, to improve the low surface area of domestic anthracite as raw materials of activated carbon, characteristics on chemical activation and VOCs adsorption of activated carbon according to mixing ratio of anthracite and lignite. For these, properties of raw materials, parameter characteristics of preparation processes for activated carbon, and VOCs adsorption characteristic of the prepared activated carbon are analyzed. The experimental results showed that, the domestic anthracite had disadvantages of high contents for ash and lead, arsenic, which were exceeded for the heavy metal limits, in the properties of raw materials. To improve these diadvantages, using the mixing ratio of anthracite and lignite, and the optimum conditions for pretreatment, activation, washing, and pellitization process, the activated carbon had a range of BET (Brunauer-Emmett-Teller) surface area of $1,154{\sim}1,420m^2g^{-1}$ with mesopore development and hydrophobic surface property. The carbons were satisfied with the quality standard for granular activated carbon, and had similar physicochemical properties with the commercial activated carbon. The minimum mixing condition for commercial VOCs activated carbon performance must have the caloric value of above $5,640kcal\;kg^{-1}$, and the carbon had higher adsorption capacity with order of xylene > toluene > benzene according to more higher molcular weight and hydrophobic property.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.