• 가족자원경영과 정책
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• 제17권3호
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• pp.81-103
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• 2013

Under the influence of globalization, South Korea has seen a sharp rise in interracial families. South Korean society faces various difficulties since it has not prepared for the stable settlement of families. Therefore, it is necessary to initiate marital education for the settlement of multi-cultural families in a healthy and democratic way. This researcher has developed a marital education program for multi-cultural families. To reflect the special characteristics, this work required the investigation of multi-cultural families in Gyeongsangbuk-do. The purpose of this work is to improve conjugal relations among multi-cultural families in a formative period of family relations to help those families to settle down early. The program consisted of four steps and 12 sessions. It featured an increase in application flexibility to an actual site by session, and includes a worksheet applicable to an actual site to understand the absence of communication and cultural differences in multi-cultural families during a formative period of family relations. In so doing, it was designed to easily perform nonverbal education. This work is expected to contribute to an improvement in conjugal relations of multi-cultural families in a formative period of family relations and help those families to settle down in a stable way.

• 한국정보통신학회논문지
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• 제22권5호
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• pp.764-771
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• 2018

연구는 인포그래픽 표현의 다양화와 전달 효율성을 시각적 조형성을 중심으로 파악하는 기초연구로, 조형적 특성에 중점을 두었다. 이를 위해 기하학적 유형과 유희적 유형으로 구분하여 각각의 조형적 속성들을 도출하여 유의미한 차이가 있음을 증명하였고 인포그래픽의 유형별 조형성과 내용전달의 상호 관계성을 분석하였다. 그 결과 기하학적 유형은 규칙성, 명확성, 시인성, 내용전달성이, 유희적 유형은 유희성, 시인성, 명확성, 내용전달성의 속성이 도출되었다. 또한 내용전달을 중심으로 나머지 속성의 관계를 분석한 결과, 기하학적 유형에서는 규칙성과 시인성이 내용전달 효과에 유의미한 긍정적인 영향력을 주고 있으며 유희적 유형에서는 유희성과 명확성이 내용전달에 유의미한 영향을 주는 것으로 나타났다. 따라서 인포그래픽의 조형성은 시각화 과정에서의 유의미한 차이에 의해 표현 유형을 구분하며 내용전달의 영향을 주는 세부 요인 또한 조형적 요소에 있음을 실증적으로 확인하였다.

• 한국IT서비스학회지
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• 제11권4호
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• pp.135-151
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• 2012

Traditionally in IS studies, the relationship between construct and its measurement items tends to be assumed to be reflective, meaning that the measurements are a reflection of the construct. In reality, however, the nature of the construct can be often formative, which means that its measurement items describe and define the construct rather than vice versa. The purpose of this study was to investigate theoretical and empirically-analysed differences between formative construct and reflective construct through comprehensive interdisciplinary literature review. And then on the basis of these differences, we intended to derive the rule of specifying whether the construct is formative or reflective and propose the methodology of testing the validity(content validity, construct validity, internal consistency and external construct) of formative construct and its measurements, differentiated from that in the case of reflective construct. Also, we suggested the concrete statistical testing methods such as VTT(Vanishing Tetrad Test), MIMIC(Multiple Indicators and Multiple Causes) test and multi-collinearity test. In order to examine the applicability of this methodology to developing the constructs for performance evaluation of IS(Information Systems), we tried to identify its attribute(formative or reflective) and test the validity for the construct arbitrarily chosen among them which had been derived in our previous IS performance evaluation study by using this methodology. The result of the examination was that the methodology proposed in this study was significantly valid and effective in the area of IS performance evaluation.

• 디지털콘텐츠학회 논문지
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• 제19권7호
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• pp.1389-1395
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• 2018

하이브리드는 교차, 섞임, 침투, 융해, 융 복합 등 결합의 논리를 근간으로 해서 설명되어진다. 이러한 결합은 동질과 동종의 경우보다 이질과 이종의 경우에 더 창의적이고 더 효율적임을 보여주고 있고, 하이브리드 캐릭터는 새로운 창조적 이미지를 생산하기 위한 수단으로써 그 의미를 가진다. 이러한 맥락에서 하이브리드 캐릭터의 조형요건이 소비자 선호도에 어떻게 작용하는지 실질적 분석을 통해 영향관계를 분석하고자 한다. 이를 위해 독립변인은 캐릭터 조형 요건을 친근성, 독창성, 의미성, 다양성으로, 종속변인은 소비자 선호도로 하여 다중회귀분석을 실시하였다. 분석결과, 친근성, 독창성, 다양성은 소비자에게 긍정적 영향을 미치는 것으로 나타났고, 의미성은 소비자 선호도에 유의미한 영향력이 없는 것으로 나타났다.

• 디자인학연구
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• 제13권3호
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• pp.245-252
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• 2000

건축물의 파사드는 상업공간인 경우, 매장의 일부이며 가로공간을 구성하고 있는 중요한 요소로서의 역할을 하고 있다. 따라서 그 기능적인 문제와 표현상의 문제를 다루는데 있어서 매장과 가로공간의 양측면을 고려하지 않으면 안된다. 본 연구는 도시의 가로 공간의 구성요소인 파사드와 색채의 상호연관성의 고찰을 통하여 사인물을 비롯한 매장의 디자인 나아가 건축디자인의 색채계획에 있어 형태적 특성에 따른 접근 방법과 방향성을 제시하고자 한다. 이에 개별 건축물의 특성보다는 2차원적인 건축물의 입면이 연속적으로 구성되어 있는 명동을 조사대상지역으로 선정하고 입면 유형에 따른 종횡방향의 연속성과 입면 구성요소의 색채분석을 실시하여 상호 관련성을 규명하였다. 앞으로 도시환경의 색채계획은 결론에서 제시하고 있는 개개의 강조보다는 건축물의 형태적 특성에서 비롯되는 관련성을 고려한 전체 틀 속에서 검토되어야하며, 이는 곧 쾌적한 도시환경을 창조하는 실마리가 될 수 있는 것이다.

• 한국실내디자인학회논문집
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• 제29호
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• pp.220-227
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• 2001

Display and art have different purposes. But they share a common mean, so-called artistic experience. These two formative business that seeks the profit as a commercial design, it has some relationship with art in the aspect of socialization of pursuit of aesthetics. Although the historical status and directivity of display have not been established systemiically yet, and aesthetic expansion of displace is uncertain it would be effective that the present and future of display art is connected with art history in the view of dynamic state of art history. In this thesis, the issues such as what is the relationship between display and art history or whether display can be mentioned as a formative art were analyzed by matching them with the trends in art history like naturalism, high tech, minimalists and so on. Modern display is a commercial design that can be developed in various ways and that is related to the as development of art history.

• 복식
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• 제54권7호
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• pp.121-134
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• 2004

Wiener Werkstaette(workshop) established in 1903 was an artistic handicraft working group, the central figure of which was an architecture, J. Hoffman. Especially its textile design part established in 1910 produced good results. The textile design part of Wiener Werkstaette took total artwork (Gesamtkunstwerke), which Pursued artistic work in all visual parts of life, as a central concept of their work and tried to insert the artistic creativity into the textile design. Regarding the influence relationship between Wiener Werkstaette textile design and formative art, it was influenced by the geometric tendency of C.R. Mackintosh and the style and motive of Japanese art. From 1910's, bright, vivid and cheerful designs were mass-produced by uniquely using various motives, techniques and colors. The formative significance of Wiener Werkstaette textile design are as follows. Firstly, the pattern includes both rational and sensual elements. Secondly, the aesthetic patterns of Wiener Werkstaette include formative elements anticipating the modernism. The leading artistic sense like this played role of catalyzer through which the golden age of artistic decoration, art deco, came. The significance of the textile was made aware through clothes design . The clothes design made with Wiener Werkstaette textile conveyed message as art to everyone and provided the elite of society supporting them with Proud that they are fashion leader ahead of times and have artistic sense. Wiener Werkstaette textile design like this played big role as an instrument for realizing the total artwork by attaining the new artistic formative fruits.

• 복식
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• 제58권7호
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• 한국가구학회지
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• 제19권5호
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• pp.328-340
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• 2008

This study examined the characteristics of furniture design in the early Modernism that occurred in the early 20th Century through the relationship with modern arts. The furniture design of the early Modernism was established in the early 20th Century based on the simplicity and honesty of the Art and Crafts Movement and Anti-Historicism in Art Nouveau. During this period, the necessity of mass production became critical due to the radical industrialization and new social demands. In such periodic stream, the furniture design of the early modernism pursued simplicity and geometric beauty based on functionalism. The efforts to discover the fundamental structure of furniture were intensified. It was not limited to furniture design but was also exercised in the huge periodic transformation that progressed in every field of art including architecture. The Modernism art has also been connected to Cubism and spread into an abstract direction. While questioning the potential essence and progressing the study on genuine characteristics, the Modernism art tried to return things into their substantial looks and reorganize them conceptually, rather than reproducing external objects. The furniture that was secondary to a part of architecture and interior accessory transcended its decorative purpose. It pursued the structure to follow its fundamental purpose as furniture. Such tendency corresponded to the direction that Post-Modernism followed. Likewise, both art and design had the revivable and abstract characteristics based on the identical objective in ideology. For this reason, the formative and geometric characteristics of the early modernism furniture design have a mutual relationship with modern arts. Particularly, such tendency intensified and progressed through the Bauhaus in Germany. Based on such facts, this study proved that the early Modernism furniture design in the 20th Century tended to appear in common arts including the art and design according to the social demand of the huge periodic stream. Furthermore, the ideology that was adopted in art and design, as well as its formative characteristics, was examined through the mutual relationship of modern arts and design.

• 복식
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• 제63권4호
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.