• Journal of Korea Multimedia Society
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• v.12 no.3
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• pp.460-471
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• 2009

This study is the research on sensitivity in the web. The main purposes of the study are to present the objective criteria on sensitivity of web users and to help embodiment of successful design. The study has overall two main subjects, which are the contents and results. They are as follows. First, the study is going to develop sensibility factors and the sensitivity structure model. Second, based on the study above, the further stage focuses on the correlation between sensibility and figurative factors in the web design. By understanding of the correlation between sensitivity and figurative factors, the study assist designer in the embodiment of successful sensitivity design. And it shows one of the various approaches to sensitivity. In the end, it can be considered as a process to make an objective criteria on sensitivity design at the same time expected to play a role providing designers with rational guideline on work and evaluation and helping the presentation of successful sensitivity design.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.

• Archives of design research
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• v.12 no.1
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• pp.121-130
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• 1999

The eyeS of human beings are the very interesting objects of research, which were believed to do deliver any meanings without direct words and also to represent best description of key characteristics of humans than any other parts in the body. With respect to this hypothesis on eyes, the study of various expressions of eyes is the fascinating research topic in the area of optical design which is deeply connected to the figurative images. Traditionally, physiognomy was settled by many Koreans to become one of the branches of discourses. Physiognomy has been developed through the statistical summaries of life patterns of various kinds 'of science based on the results of systematical analysis. This research was focused on elucidating the relationship between the consumers' perception and the image of eyes which were thought to be the most important sign emitted from the body of human beings. Furthermore, study was conducted to derive a practical usage from the research results if above relationship was showed to be true. It was unveiled that the considerable close relationship was established with small errors and that eye's image was compensated and enhanced with the help of lip's image to obtain more perfect image. As a result, it was concluded that the rationales of phtsiognomy could assist to choose figures as a figurative image. (Keyword)

• Cross-Cultural Studies
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• v.25
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• pp.237-265
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• 2011

This thesis is to argue what is the meaning of the expression of cherry blossoms appearing in "Genjimonogatari(源氏物語)" in relation with the structure of Monogatari after checking each example. First we reviewed some examples of the works before "Genjimonogatari", and clarified that cherry blossoms were used as metaphorical expressions of a beautiful woman in waka(和歌), and that at the same time cherry blossoms functioned as the symbol of futility, anxiety together with beauty. Especially in "Kokinshu(古今集)" we identified that there increased the examples where the combination of the expression as falling cherry blossoms, and fog and cherry blossoms was done. In "Genjimonogatari" we examined the examples of cherry blossoms of Chapter 1, Chapter 2, and clarified that Murasakinoue(紫の上) was a woman with an ideal character in looks and inner personality through the diverse viewpoints of characters. In Monogatari of Kashiwagi(柏木) of Chapter 2, the scene where he peeped Onnasannomiya(女三宮) was composed by the combination of cherry blossoms and fog, and we pointed out that we could feel the anxiety, ominousness of the love of the couple through this scene. And the composition of these scenes was also repeated in Monogatari of Chapter 3, and we discussed through these examples that the figurative expressions of cherry blossoms were used about the object of the love not to be realized. Next, we checked that Yugiri(夕霧) who had observed Kashiwagi's love toward Onnasannomiya gave a figurative expression of Kashiwagi's wife Ochibanomiya(落葉の宮) as cherry blossoms. Although Genji(源氏) realized Onnasannomiya's immaturity, Kashiwagi compared her to "cherry blossoms", and Yoogiri compared the woman whom Kashiwagi recognized as "Ochiba(落葉)" to "cherry blossoms", through which we have read the twisted human relation and ironical structure of Chaper 2. Finally, we checked the examples of cherry blossoms in Ooigimi(大君), Nakanokimi(中君), Ukihune(浮舟) who were Ujijujo's heroines. Ooigimi and Nakanokimi were expressed as cherry blossoms by Kaoru(?) and Nioumiya(?宮) and were disclosed as their ideal women. In contrast, Ukihune had something to do with two men with no such figurative expression, so it was pointed out that the absence of such metaphorical expression clarified that the meaning of her existence was nothing but the meaning as a mesiudo(召人).

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.958-967
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• 2009

Just as various religions of the world have multiple systems based on their own belief system respectively, religious costumes, which are the expression of religion, are varied in forms according to different religions. Nonetheless, this research attempts to examine the universal features of the variety of religious costumes. Since the range of this research is broad and the limit of study is clear, this research confines the study objects into world's four high religions. The purposes of this research are as followings; first, the investigation of the world's high religions, second, the study of the figurative attributes of religious costume to study and discuss the universality of figurative beauty and aesthetic value. Figurative attributes are distinct in religious costume. First, the non structural feature of composition, and the manner in which the costume is worn. Second, the rich silhouette covering the body. Third, the restraint and inhibition of decoration, and fourth, the preference of achromatic color and monotones. 'The beauty of concealing', derived from the religious absolute and chastity, 'The beauty of chastity' influenced by the restraint of decoration and design, and 'The beauty of nature' as the drapery and non structural feature are the universal aesthetic values. Human beings tend to contact the divine beings by pursuing the essential thing and concealing the body through religion. The forms of concealment and chastity, mentioned above are reflected in the usual costumes, affected by religion as well as religious costume.

• Journal of Science of Art and Design
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• v.9
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• Journal of Science of Art and Design
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• v.2
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• pp.42-89
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• 2000

Industrial ceramic of Korean industrial design, especially tableware show different characteristics in their forms between 1940s-1960s, and 1970s-1990s. The shift of such changes can be verified objectively by module measurement. The validity of the results applying this method is supported by the investigation of the change of aesthetic modes in Korean society. The most obvious change in the figurative characteristics of tableware is in the outline of their external shapes. 'Module' is used to describe and analyze the changes of such an external shape more strictly as the objective method and measuring the module is employed. This method was developed by the combination of the method analyzing figurative art works by Re Corbuise who uses 'module' with Hambidge's method to describe and analyze the works by means of the golden section. The shift of flgurative changes of tableware could be examined objectively and elaborately by such a newly developed method. The industrialization of tableware production in Korea was begun in 1940s. Then its design was not activated, but as the society has been stabilized through the liberation and civil war, design was settled in 1960s. After that, the design has played the essential roles in 1970s. And as the importance of design in producing goods has been recognized according to the economic growth. The design of tableware shows a remarkable difference based on 1960s and 1970s in such an economic growth. It is resulted from the scientific data analysis of the design since 1940 without any preference. According to the results which analyze the external shapes of tableware for last 50 years, the tableware designs show much differences between 1940s-1960s, and 1970s-1990s. The figurative changes of Korean tableware show the similar trends to the transitional aspects of the society. Design is the manifestation of aesthetic modes which have been developed in a close relationship to society and especially economy. In Korea the development of design was initiated by the economic growth and the Korean aesthetic modes were also changed with the economic growth. The transitional shift of aesthetic modes shown in the figurative characteristics of tableware which are divided on the basis of 1960s and 1970s was peak in 1970s with the development of economy and design started in 1960s.

• Journal of the Korean Home Economics Association
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• v.45 no.4
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• pp.77-86
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• 2007

The purpose of this study is to explore the number and type of proverbs known by elementary school children and explain what variables might influence the proverbs' perception. From Seoul and Chonbuk areas, 632 forth, fifth, and sixth graders at elementary school participated. They completed an open-ended questionnaire asking them to list as many proverbs as they know and probing their experience in the use of proverbs with grandparents, parents, and peers. The results showed that the participants listed a total of 185 proverbs, at an average of six proverbs each, and that 63% were a concrete proverb consisting of only concrete and visible nouns. Children reported relatively different ratios of concrete/abstract/complex proverbs according to their grade. Sixth graders perceived more proverbs which included nouns than other graders. Multiple regression analysis revealed that children's grade and using proverbs with peers influenced their proverb perception. These results may suggest a possibility of relationship between figurative language and cognitive development related to thinking of late school-age children.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.39-56
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• 2012

For a long time, architecture has functioned as something that is inevitable for humans, a necessity that provides housing settings and living spaces for human lives. In the creation of art, architecture is a genre that has a field of infinite possibilities of endless inspirations of the present and the future with its unimaginable various styles and functions. This study aims at analyzing the figurative formation and characteristic expression style of nude architecture with modern fashion design, reinterpreting it by a modern edge, and expressing it into an originative costume work. Furthermore, the purpose of this study is to provide a new motive for the potential of continuous development of modern fashion in the future through an endless study on artistic architecture that includes nude architecture and an originative expression style that will prepare a momentum that indicates the direction into a new line of fashion.

• Journal of the Korean Home Economics Association
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• v.43 no.5 s.207
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• pp.249-265
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• 2005

Creative application in elaborate techniques can not only make design constructs productive but also can widen designers' figurative perspectives. There are many techniques applied in fashion design such as folds, patchworks, embroidery, dyeing, industrial treatment, etc. In particular, folds play a significant part in enlightening clothes uniqueness in contemporary fashion design. The primary purpose of this study was to make new suggestion for the production of high value-added fashion goods by reviewing and synthesizing fold expressions. Diverse fold designs were retrieved through a comprehensive literature review on topic-related books, fashion dictionaries, and fashion encyclopedias. Significant cases of fashion designs using folds were retrieved from fashion magazines uploaded from 2000. There are three types of folds applied in fashion design. (1) The folds by needlework like tucks, smocking, shirring, and trimming type folds(ruffle, frill, flounce, and ruche). (2) The folds by chemical or mechanical treatment like permanent pleats and crinkle. (3) The folds of formative dress like drape. From a comprehensive review of the folds design cases after 2000, the following characteristics of folds design were identified: (1) a highlighted role in the whole, (2) mixture and deformation of techniques and materials, (3) 3-D surface effect, (4) creation of a unique figurative beauty, and (5) expression of diverse fashion image.