• 복식
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• 제53권6호
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• 한국콘텐츠학회논문지
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• 제15권6호
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• pp.203-214
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• 2015

디지털 시대 이전, 글자를 표현하기 위해 주로 사용했던 도구는 붓과 펜이었다. 따라서 그 시대를 투영하는 조형언어 역시 붓과 펜이 그려내는 형식과 양식을 중심으로 이루어져 왔다. 그러나 디지털 시대에 등장한 새로운 도구와 기술은 타이포그래피의 표현에 있어 그 한계를 무색하게 했다. 즉, 사용자가 새로운 도구를 습득하여 효과적으로 활용하기만 하면 표현적이고 실험적인 타이포그래피와 활자체를 쉽고 빠르게 만들 수 있게 된 것이다. 본 연구는 그 사례에 대한 탐구로써, 표현적 실험 타이포그래피의 특징과 의의를 역사적 맥락에서 파악하고, 어도비 일러스트레이터용 오픈 소스 스크립팅 플러그인으로 개발된 '스크립토그래퍼(Scriptographer)'라는 새로운 도구를 소개, 그 장단점과 활용 가능성을 조사한다. 더 나아가, 성공적인 선행 연구의 사례 분석을 통해 실천적 토대를 마련하고, 스크립토그래퍼를 이용하여 창작한 실험 타이포그래피 연작-<질주하는 활자>와 <천상의 활자>-으로 본 연구의 실효성을 가늠하고자 한다.

• 한국엔터테인먼트산업학회논문지
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• 제13권8호
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• pp.255-266
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• 2019

본 연구는 캐나다 출신의 NFBC 소속 작가인 미쉘 꾸르놔이에가 사용하는 Ink on paper 기법을 고찰하고, 이를 통하여 실현된 애니메이션 "Soif"(2013)에 나타나는 표현양식인 메타모포시스(metamorphosis)가 내러티브의 구성을 위하여 구현된 의미와 상징을 고찰한다. 꾸르놔이에는 애니메이션의 사실적인 움직임을 벗어나기 위해 Ink on paper 표현양식을 사용하였으며, "Soif"에서는 극중 여자의 몸 캐릭터를 중심으로 일반적인 기승전결 형식이 아닌 인물과 사물의 이미지 변형을 메타모포시스 표현양식을 통해 보여준다. 이는 초현실주의와 무의식의 세계를 표현하기 위한 애니메이션에서의 즉흥적인 방법을 도입한 Ink on paper 기법을 통해 형상화된다. 그리고 이 작품에 적용된 자동기술법은 애니메이션을 추상적이고 형이상학적으로 표현하는데 영향을 주고 있다. 결국 이러한 표현양식과 기법은 작품에 등장하는 캐릭터의 연계성과 동일성을 강조하여 주제를 표현하는 데 매우 적절하게 작용한다.

• 지능정보연구
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• 제28권1호
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• pp.243-262
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• 2022

본 연구는 소셜로봇 디자인 연구의 흐름 중 하나인 로봇의 외형에 관하여 시선 추적(Eye Tracking)을 활용하여 로봇에 대한 사용자의 태도를 형성하는 메커니즘을 발견하고, 로봇 디자인 시 참고할 수 있는 구체적인 인사이트를 발굴하고자 하였다. 소셜로봇의 몸 전체, 얼굴, 눈, 입술 등을 관심 영역(Area of Interest: AOI)으로 설정하여 측정된 사용자의 시선 추적 지표와 디자인평가 설문을 통하여 파악된 사용자의 태도를 연결하여 소셜로봇 디자인의 연구 모형을 구성하였다. 구체적으로 본 연구에서 사용된 시선 추적 지표는 고정된 시간(Fixation), 첫 응시 시간(First Visit), 전체 머문 시간(Total Viewed), 그리고 재방문 횟수(Revisits)이며, 관심 영역인 AOI(Areas of Interests)는 소셜로봇의 얼굴, 눈, 입술, 그리고 몸체로 설계하였다. 그리고 디자인평가 설문을 통하여 소셜로봇의 감정 표현(Expressive), 인간다움(Human-like), 얼굴 두각성(Face-highlighted) 등의 소비자 신념을 수집하였고, 종속변수로 로봇에 대한 태도를 설정하였다. 시선 반응에 따른 소셜로봇에 대한 태도를 형성하는 과정에서 두가지 경로를 통해 영향을 미치는 것을 확인되었다. 첫번째는 시선이 태도에 직접적으로 미치는 영향으로 소셜로봇의 얼굴과 눈의 응시에 따라 긍정적인 태도 인 것으로 나타났다. 구체적으로, 로봇의 첫 응시 시점이 이를수록 눈에서는 머문 시간이 길고 재방문 빈도가 낮을수록 로봇에 대한 태도를 긍정적으로 평가하였다. 즉 소셜로봇을 얼굴보다 눈에 집중해서 보게 될 때 피험자들이 로봇에 대한 판단에 있어 직접적으로 영향을 주는 것으로 나타났다. 두번째로는 로봇에 대한 인지적 지각된 측면을 고려하여 얼굴 두각성(Face-highlighted), 의인화(Human-like), 감정 표현(Expressive)이 태도에 미치는 영향의 결과로 모두 긍정적인 영향을 미치는 것으로 나타났다. 또한 소셜로봇에 대한 지각이 구체적으로 로봇의 어떤 외형적 요소가 연관성을 가지는지 살펴본 결과 소셜로봇의 얼굴과 입술에 머문 시간이 길수록 입술을 다시 주시하지 않을수록 Face-highlighted에 긍정적인 영향을 주는 것으로 나타났다. 그리고 전신은 첫 응시가 늦을수록, 입술은 첫 응시가 빠르고 시선이 고정된 시간이 짧을수록 Human-like에 긍정적인 영향이 미치는 것으로 나타났다. 마지막으로 소셜로봇의 얼굴에 머문 시간은 길수록 Expressive에 긍정적인 영향이 미치는 것으로 나타났다.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.83-94
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• 2010

Conventionally, ornament has developed around linear thinking based on Euclidean geometry, and been explained as simple and lucid natural Euclidean geometrical phenomena. The modular arrangement with vertical, horizontal and diagonal grids has been an organizing principle of classical ornament, but in digital era ornament is found not to be explained only with the principle of traditional arrangement due to the seemingly irregular complex forms. In that sense, this study presents the concept of digital ornament and examined the backgrounds of ornament in digital age, that are complex system and non-Euclidean geometry. Accordingly, the present study takes an approach by dividing new formal types of ornament into algorithmic form, hybrid form and dynamic form to find out a principle of pattern organization. Lately, architects who actively use computer for their architectural designs take the algorithmic strategies in nature and create various and complex patterns by simple rules. The patterns are not the repetition of the same, but the production of singularities. In addition, hybrid form by morphing shows a topologically flexible evolutionary transformation, and is used to create in-between transitional shapes from the source to target. Finally, the patterns by the interaction between the system components which are corresponded to the embedded forces emerge from dynamic simulation of the natural environment. Rather than objects itself, focus is given to the process of generating forms, and the ornamental patterns as the revelation of such implicit order provide not just the formal beauty but also spatial pathways for lights and air, maximizing the effects of lights.

• 디자인학연구
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• 제20권2호
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• pp.103-116
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• 2007

Art education in design has repeatedly stressed the importance of developing creativity. In the digital period, however, which shows rapid change in both forms and contents, it needs to be equipped with more flexible and systematic ways of approaching to the creativity development, especially involved with cultural diversity of the digital world. This paper primarily proposes a maximally efficient, productive creativity learning program in which the integration of expressive media and communication generates a comprehensive network of communicative information in the development of digital technologies, which, consequently, brings forth valuable cultural contents of art. The amalgamation of Won (2006)'s Prism Effect, with distinctive three devices, and the facilitator factors, with two different facilitators such as self-controlled and controlled plays, would function as a catalyst for cultural diversity in the digital forms and contents of art. And this will, consequently, result in producing a number of practices that can be classified and assorted for a later performance. This paper thus suggests a roadmap of how to develop the creativity learning program in which two categories of facilitators based on three thinking devices function to classify four activities. In addition, selected activities are shaped as a creativity learning program by generating learning practices with the formalizing instructional strategy that fit into a specialized educational environment and learners. The samples of loaming practice design show guidelines for practice and the results of learning activity. Therefore, the eventual goal of this paper would be to establish a creativity learning program that constitutes a highly systematized and modularized database to maximize the efficiency and productivity of the creativity development.

• 감성과학
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• 제26권4호
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• pp.93-102
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• 2023

Emojis and avatars are widely used in online communications, but their emotional conveyance lacks research. This study aims to contribute to the field of emotional expression in computer-mediated communication (CMC) by exploring the effectiveness of emotion recognition, the intensity of perceived emotions, and the perceived preferences for emojis and avatars as emotional expression tools. The following were used as stimuli: 12 photographs from the Yonsei-Face database, 12 Memojis that reflected the photographs, and 6 iOS emojis. The results of this study indicate that emojis outperformed other forms of emotional expression in terms of conveying emotions, intensity, and preference. Indeed, the study findings confirm that emojis remain the dominant form of emotional signals in CMC. In contrast, the study revealed that Memojis were inadequate as an expressive emotional cue. Participants did not perceive Memojis to effectively convey emotions compared with other forms of expression, such as emojis or real human faces. This suggests room for improvement in the design and implementation of Memojis to enhance their effectiveness in accurately conveying intended emotions. Addressing the limitations of Memojis and exploring ways to optimize their emotional expressiveness necessitate further research and development in avatar design.

• 한국실내디자인학회논문집
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• 제26호
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• pp.121-128
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• 2001

This study deals with 'Sachlichkeit' , as essence of materiality that architectural building materials process, which forms the physical basis for actual building. There have beennu merous researches that deals with various elements that compose architecture, but the emphasis seemed to be concentrated on the meta-physical discussion concerning formal concept. An issue on sachlichkeit as materiality does not necessary mean to mention production process of architecture, rather it is aim of this study to seek possibility to find elements that generate architectural form, through interpreting meaning of materials as substructure generator to make architectural possible. Architectural act can be defined as a process where physical material in life is composed into architecture by the hands of architect. Material used in life is composed into architecture by the hands of architect. Material used in this process basically has neutral characteristic, so 'Sachlichkeit'solely depends on the intentions of architects. This study interprets the intention of architects through the frame of modern-basis proposed by Hilberseimer, and a result architecture is defined as an object projected by architect's subjectivity.

• 대한가정학회지
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• 제49권8호
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• pp.13-24
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• 2011

This paper purports to find the characteristics of blue costumes as expressed in modern fashion. As such, we made an empirical analysis, using 436 works from 2006 S/S through 2010 F/W collections. Result indicated that modernness was emphasized by applying a minimum expressive technique to items of a simple form, and an image of simplicity was emphasized by placing focus on the rational color image of blue. Second, images of blue, such as trust, stability, and success were expressed as refined elegance through the combination of tight silhouettes, glossy and translucent materials, and indirect exposure. Third, natural image was expressed through natural silhouettes, soft or natural materials, gradation of various tones, and natural motif decorations as well as the color itself. Fourth, dynamic image was expressed by introducing fashion items, mostly worn by men only, to simple and tight forms or through the inspiration of a masculine fashion image. Fifth, abstinent image was expressed by using an image of religious apparel or symbols, covering up the body, minimizing details, and using a dark blue tone.

• The International Journal of Costume Culture
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• 제9권2호
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• pp.83-93
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• 2006

This study aims to analyze the hair styles featured in the collections from S/S season of 1995 to F/W season of 2004 both qualitatively and quantitatively by using content-analytical methods. This study was able to form a classifying system that divides hair styles into those artificial and those natural through systematic and scientific research. The resulting system, in turn, broadened the basis for understanding modern fashion and hair style expressions. In addition, by analyzing design-related characteristics, certain expressive techniques employed, and trends in detail, this study contributed to establishing the hair styles, which form part of socio-cultural phenomena, as an academic subject.