• Journal of the Korean Society for information Management
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• v.20 no.2
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• pp.1-26
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• 2003

Diverse disciplines such as information science, computer science, cognitive science, and industrial design, are activity engaged in the website evaluation research efforts. Information scientists emphasize the importance of user-centered and user-friendly website design, which is also easy to use, This idea is based on the understanding that the users and the designers are different set of people. In addition, information scientists consider the practice of maximally incorporating user inputs during the website design to be very important guideline. However, this study is based on a newly emerging population of website users who are also designers. 218 study participants evaluated the websites that they designed in comparison to the websites designed by others. According to the survey data analysis, the study participants considered the content delivery, design simplicity, design consistency, and link access of the websites to be equally important from both users' and designers' perspectives. However, the content organization, rich content, and screen composition were underestimated from the designers' point of view whereas these factors were considered to be important from users' point of view.

• The KIPS Transactions:PartA
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• v.18A no.1
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• pp.33-38
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• 2011

The purpose of this study is to develop and use the e-learning contents accessibility guidelines to improve contents accessibility for the non-technical developers and designers. The accessibility guidelines used for web or digital contents are usually technical, field dependent, or specific that are not friendly for many developers or designers. In this study, the e-Learning Contents Accessibility Guidelines was developed based on the principles of Universal Design for Learning. The guidelines could be used to map the necessary skills for the developers and the instructional designers. In this study, 5 users with different disabilities tested 6 e-learning contents, and surveyed e-learning experts to identify core elements for accessibility guidelines. Due to the limited accessibility of the contents, we need to offer manuals and training for developers and designers, need collaborative efforts between different stake holders, include accessibility in quality assurance guidelines, and further research to improve accessibility for many existing Flash contents.

• Journal of Fashion Business
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• v.6 no.4
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• pp.32-45
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• 2002

The purpose of this study is, to renew understanding the aesthetic value of a ruff collar and to expand the border of creation in designing as the source of inspiration being applied to an retro style by inquiring various ruff collars re-illuminated in the present-day fashion trend. The ruff collar investigated through the above historical contemplation became the source of inspirations in the current retro trend and was variously modified in modern fashion. In the 1980s, we can find a dignified and feminine image in graceful and exquisite suits or dresses. Especially, the spanish round ruff of the 2st period appeared on works by a lot of designers. From the application by designers like John Galliano in the latter half of the 80s, we can be well aware that the meaning of decoration was newly altered. In the 1990s, the ruff collar was shown in various fashion style, but it was what was reborn as a factor of modern fashion through a liberal compromise and harmony. Various style was shown from exaggeratedly swelling one to smaller one, which were more diversely applied than that of the 80s. A Medici collar and a Queen Elizabeth collar were also displayed being fitted to a modern sense by Vivienne Westwood and Louis F raud. A ruff in the 2000s was settled as a factor of modern fashion, exposing on works of designers more often than in the 1980s and 90s. The spanish round ruff appeared on garments, while a Medici collar and a Queen Elizabeth collar went out of sight. A new form of the ruff was regenerated by extreme magnification and simplification, and several designers like Issey Miyake and Alexander Mcqueen brought forward a new way in materials and technical skills. According to this research, a ruff collar developed as a fashion factor which characterizes a certain period of time, reflecting the aesthetical sense of Renaissance and turning into various and distinct forms. Afterwards, it exerted influence on modern fashion. This is offering the source of inspiration to contemporary designers.

• Korean Journal of Construction Engineering and Management
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• v.20 no.5
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• pp.95-103
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• 2019

While the Design for Safety (DFS) system has been introduced to Korea, the ordering parties and designers who are implementing this system still have a very low awareness of it. Most ordering parties and designers have a negative view of this system due to a variety of reasons, including the additional workload and their lack of professional manpower. The purpose of this study is to suggest measures to improve the DFS work performance by standardizing the DFS work process and analyzing the level of work performance in each business carried out by ordering parties and designers in order to ensure the efficient execution of DFS business. In conclusion, to improve the DFS work performance of ordering parties and designers, the development of a business support system is suggested, which supports key works such as the identification of risk factors, the provision of measures to reduce such factors, and risk assessment, and provides relevant information to allow ordering parties and designers to prepare the DFS report smoothly.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.752-765
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• 2022

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers' designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers' design characteristics through Greimas' Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas' and Floch's semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas' semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

• Archives of design research
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• v.15 no.4
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• pp.97-110
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• 2002

As users environments change, users primary needs for homepages also change more complicatedly. Today, users do not only want usability for homepages, but also to feel appropriate emotional experiences. Despite users needs, users do not always experience appropriate emotions that are conveyed by designers through homepage. I In this research paper, we analyzed the related factors with the emotional quality, which means the degree that users feel target emotions intended by designers. For analyzing factors related with the emotional quality, three hypotheses were verified; the factor of an emotion, the factor of users and the factor of designers. As the factor of emotions, the first hypothesis is that unclear emotional dimensions in users minds are related with the emotional quality. The second hypothesis, as the factor of users, is that the diversity of users experiences by same homepage is related with the emotional quality. The third hypothesis, as the factor of designers, is that the appropriate selection of design elements is related with the emotional quality. In the previous research, we selected the basic 13 emotional dimensions and 30 representative emotional words based on the statistical results and evaluations by professional designers. For this research, we conducted an experiment and user survey. In the experiment, we asked 30 designers to design homepages focusing on the typical emotion that was presented by a researcher. Based on the designing process and user evaluation, we performed statistical analyses: ANOVA with Tukey post hoc method and Factor Analysis. We found the discrepancy between the emotions that designers intend and the actual emotions that users experienced from homepages. From the result of analysis, we know that the factor of users and the factor of designers related with the emotional qualities, but the factor of emotions did not. The definiteness of emotions did not relate with the emotional quality. However, the diversity of emotions that users feel seeing the same homepages and design elements that designers chose for conveying target emotion related with the emotional quality.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.91-97
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• 1998

We have been taught designing process throughout the long period of education. Nevertheless it is hard to make a quick response to actual project However if we are faced with the actual project as a design professionals it is hard to cope with the project at once nothing but ambiguous idea. Also most of designers concemed with the project do not recognize who are responsible for what. Consequently this attitude delays the entire operation causing waste of time and resources and leads to the unacceptable result. This research is designed therefore to come up with the projects control process that is practical enough to encourage interior designers as well as design firms to face actual projects with shrewd response. There is of course no single right answer to certain design projects. But at least there should be a guideline which shows designers more reasonale systematic ways to control design project lest they should waste time and cost : a guideline as an assistance for successful design result.

• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.38-46
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• 2012

This article aimed to identify the significance of 'Limited Edition' in 'Art Furniture' field, which is rather well known in fine art like printing and sculpture. The consumer never responded to 'Art furniture' positively for its artistic quality and authenticity before than these days. For this, Author featured out current tendencies of 'Art Furniture' in terms of 'Limited Edition' can be easily found in well-known designer or artist's work, suggests designers should aim for their design. This desire, as a result, gave an opportunity to designers to produce new products in various different ways. And at the same time, suggest a new method in furniture design. Furthermore, 'Limited Edition' became a channel and opens a new environment for designers to explore and come up with new experimental designs.

• Korean Journal of Computational Design and Engineering
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• v.21 no.4
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• pp.453-461
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• 2016

The trend of using Grasshopper with Rhino3D actively in architectural design process is recently spreading around the world. Well-known architects and designers such as Zaha Hadid, Patrik Schmacher is famous for using Grasshopper as their main design tool. As a tool for so-called 'Parametric Design', Grasshopper is receiving much attention all over the world. Grasshopper as a visual programming language has an advantage that designers and non-professionals of computer can easily learn it and use it to their works. However, those designers tend to make inefficient approaches with Grasshopper compared to computer programming professionals. Meanwhile, the difference between other programming languages and Grasshopper leads to the need of different approaches from other programming languages. This study aims to propose desired approaches of Grasshopper programming or scripting to be able to break through the inefficient approaches that designer is likely to make, by examining the characteristics of Grasshopper and exploring the appropriate programming approaches for Grasshopper.