• 복식
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• 제61권9호
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• pp.74-83
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• 2011

In the sense that it performs a function of communication with public, fashion illustration, which visualizes fashion information in an illustrated way, shares similar characteristics with graffiti, which represents the society of its time while having a value as a modern art itself. Therefore, the study aims to seek possibility of graffiti expression of fashion illustration, and to establish theoretical research systems for reestablishment of practical development methods of the graffiti expressions. The concrete contents of this study include followings: First, it examines the methods and characteristics of the graffiti expressions by analyzing the works of graffiti artists in order to understand the concept of graffiti and to find out the theoretical approach to it. Second, it investigates the characteristics of graffiti, and proposes concepts associated with graffiti after analyzing examples of fashion illustration which graffiti expressions are reflected. Third, it draws meanings that the use of graffiti expressions has in fashion illustration. In conclusion, graffiti expressions in fashion illustration are used in brand logos and text, human body deformation and omissions, autonomous expressions of variety of materials, symbolism, amusement, and autonomy as they are characterized by strong colors to express significance.

• 복식문화연구
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• 제5권3호
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• pp.77-95
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• 1997

The purpose of this is to investigate the relation between Graffiti techniques and the contemporary dress. Graffiti is the internal expression of human potential desires which is composed of informative signs. As Graffiti have become the cross-cultural condition under the Hiphop culture, it makes the meaningless space into the characteristic space, and proposes the identities of graffiti ‘writes’. In the contemporary dress, Graffiti look has become means of communication and playfulness. Through the external forms like icon, index, and symbol, graffiti look expresses individual, social, and political identities, and aesthetic values of satirement and playfulness. It would be define graffiti look as postmodern characteristics, as it wee, which has collapsed between the mainstream, and anti-mainstream, and it contributes to spread streetstyle to catwalk.

• 한국의류학회지
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• 제31권5호
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• pp.777-787
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• 2007

The purpose of this study is to consider various characteristics in the graffiti-look in the modem fashion by interpreting meanings and properties of graffiti, transferred from street art to a new main stream in art. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The first characteristic is satire. The graffiti-look conveys directly or indirectly with phrase or symbol various messages of politics, social ideology, wealth and poverty, environmental pollution, anti-war, etc. Body is even more used for graffitiand designers express freely their identity or ideology through the formative style of graffiti. The second characteristic is pleasure. Fantastic expressions from a fairy-tale or fable in the graffiti-look give humor meaning freedom and sense of liberation in a sense of catharsis to the modem people's emotion. The graffiti-look uses graffiti works to introduce its original message of humanism, happiness, humor, etc. to clothing; as a result, the graffiti-look features pleasure. The third characteristic iscommercial application. Brand logo designed by graffiti style is decorated with clothing, accessory, or ornament. This may not only emphasize brand name through lingual function of graffiti, but also be used for a distinctive marketing strategy against other brands. Logo which is regarded motive or pattern of design leaves a image instead of a meaning and performs a design function stressing formative sense.

• Corrosion Science and Technology
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• 제17권6호
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• pp.257-264
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• 2018

Anti-graffiti coatings have become more important. These layers must guarantee excellent corrosion protection properties, and graffiti must be easily removable, without reducing protection and aesthetic properties. In this study, anti-graffiti and corrosion behavior of two anti-graffiti polyurethane powder coatings were studied. These layers were deposited on aluminum substrate, with two different surface finishes, smooth, and wrinkled. The action of four different removers are investigated. Graffiti were drawn on coatings by means of red acrylic spray paint. Methyl-ethyl-ketone (MEK) and a "commercial" remover were the most effective solvents, in terms of graffiti removal capability, producing limited change in aesthetical surface aspect for smooth finishing. The wrinkled surface was less resistant. Corrosion protection properties, after removal action and contact with the remover, were evaluate by electrochemical impedance spectroscopy. After approximately 5 hours, coatings were no longer protective due to formation of defects. To simulate the weathering effect, UV-B cyclic test (4 hours of UV exposure followed by 4 hours of saturated humidity at $50^{\circ}C$) were performed for 2000 hours. Gloss and color changes were measured, and electrochemical impedance spectroscopy measurements were performed after aging and graffiti removal.

• 복식문화연구
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• 제10권3호
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• pp.213-235
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• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.

• 복식
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• 제65권8호
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• pp.50-63
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• 2015

The purpose of this study is to explore the potential of digital graffiti as a new creative tool in fashion through analysis of its expressive features and methods merged in fashion. The results from the analysis of fashion cases using digital graffiti may be summarized as follows. First, 'Mixing of Materials and Non-materials' matched immaterial lights and images with physical clothing materials and space, effectively expressing imaginary spheres that were not expressible with the existing materials. Second, 'Fantastic Storytelling' expressed theme such as 'Sun', 'UFO', 'Science Fiction Film', 'Fantasy Fairy Tale', and 'Universe' through lasers, lights, augmented reality and LED graffiti. Third, 'Convergence with Human and Digital Media' accentuated the active participation of spectators thereby causing human and digital media to interact with each other. Designer's ideas and unexpected responses of spectators realized various digital graffiti effects, which came across by sheer chance. Fourth, 'Utilizing of Site-Specificity' met with the best results when the digital graffiti was expressed in context of a place or location where fashion performance is taking place. Fifth, ' Playfulness by Consumer Participation' intended to induce voluntary participation from consumers by providing the fashion digital graffiti as play tools, and created new fashion digital graffiti or altered existing stereotypes, thereby invoking new visual and tactile experiences. Likewise, today's digital graffiti are emerging in various fields, and the trend of fashion-digital graffiti integration has already created interesting works.

• 복식문화연구
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• 제30권1호
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• pp.33-49
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• 2022

The purpose of this study is to analyze the expressive elements and techniques of graffiti appearing in the Moschino collection by Jeremy Scott. A theoretical examination of graffiti art and Moschino's creative designer Jeremy Scott was conducted using previous studies and publications. Accordingly, keywords about the expressive elements and techniques of graffiti and Moschino were identified, as follows: expressive elements of 'message (slogan)', 'symbolized letters or forms', 'logo and brand symbol', 'graffiti (scribbles)', 'child-like elements', 'daily element's and expressive techniques of 'using primary colors (color contrast)', 'deformation', 'distortion', 'exaggeration', 'illusion (trompe l'oeil)', 'collage (repetition)', 'simplification (flattening)', and 'borrowing heterogeneous objects'. These keywords were then used to analyze Moschino's collection, comprising seven years of Moschino's collection photographs officially recorded in the fashion magazine Vogue, ranging from the 2014 F/W to 2020 F/W collections. A total of 761 photos were initially collected, from which 561 were selected by the researcher. Expressive characteristics of graffiti in Moschino's collection were analyzed, and identified in the following categories: 'child-like playfulness', 'commercial satire', 'using daily elements', and 'borrowing non-representative techniques'. Accordingly, it was confirmed that expressive characteristics of graffiti were found in the Moschino collection by Jeremy Scott. This study anticipates the possibility of various interpretations from which fashion that communicates closely with contemporary art can be understood.

• 대한가정학회지
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• 제44권6호
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• pp.23-34
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• 2006

Graffiti has been recognized as an art form since the influence of free, black culture and Neo-Expressionism in the 1980s, though Graffiti remains the subject of controversy both inside and outside the school Modem Art. Jean Michel Basquiat is the most famous Graffiti artist of the '80. He was regarded as the genius and star of American art, leaving a lot of experimental and creative works during his short, 9-year, creative period. In his works, Basquiat well expressed the isolated and dark shadows in the U.S., the pursuit of self identification, the purpose of expression and the epochally social phenomenon. The purpose of this study is to investigate the application of Jean Michel Basquiat's Graffiti to fashion painting. To achieve this purpose, we present a lot of fashion painting works which apply Jean Michel Basquiat's Graffiti by focusing on autographic experience, racialism, cartoon themes, monely value, and anatomical death in the characteristics of Basquiat's works. Through this process, we can express and apply Basquiat's Graffiti to fashion painting by analogizing the themes and modeling the methods of his works, such as childish and simple features, intentionally wrong spellings and sentences, and symbols of death including skeletons, intestines, bones and teeth. In addition, Basquiat's techniques are examined in this study, including the representational handling of a brush, primitive and strong colors, and maximized shape. This study found that fashion painting can juxtaposes art and fashion by expressing Jean Michel Basquiats' Graffiti.

• 한국의상디자인학회지
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• 제13권1호
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• pp.159-167
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• 2011

The purpose of this study is to understand graffiti images in fashion trends since 2000 and to play a guiding role in the development of fashion designs. The methods of this study are an academic literature review as well as practical study through actual case studies about. The formative characteristics of graffiti in fashion since 2000 are summarized as amusement, abstract and improvisation as follows. First, amusement graffiti is humble, weak and unfinished, but the immature and informal characters give people vitality, composure and enjoyment. It stirs up memories of childhood and induces a close affinity and comfort, and so It expresses relaxing and cozy desire. Second, abstract graffiti represents ambiguity and obscurity beyond form. It is born by reacting to equality, symmetry, mechanism, man-created beauty and the completeness of modernism. The characteristics are disorder, uncertainty, incompletion, uniformity, freedom, nature and so on. Third, improvisation graffiti is deeply related to 'indeterminacy' of post modernism which cannot forecast a perfection. This is more important as a process than an effect. Improvisation pursues humanism which denies perfection and determinacy by reaction of new technology.

• 디지털융복합연구
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• 제14권7호
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• pp.397-402
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• 2016

본 연구는 그라피티(Graffiti)를 동두천 구시가지에 적용하여 도시를 재생시키고, 더 나아가 그것을 도시의 정체성으로 연결시키는 도시 문화콘텐츠 융합 디자인 방안에 대해 논의하였다. 연구를 위해 세 가지 방법을 이용하였다. 먼저 동두천의 정체성 배경과 문화자산을 조사해보고 정체성이 잘 드러나는 장소를 분석하였으며 그리고 관내 대학을 다니는 대학생들을 대상으로 인터뷰를 실시하였다. 조사 결과, 도시 정체성 강화 방안으로서 그라피티 활용에 대한 긍정적 반응을 얻었다. 동두천에 미군이 주둔하면서 만들어진 이국적 이미지는 도시의 정체성을 결정짓는 중요한 요인으로 평가된다. 락 페스티벌은 미군 주둔에 따른 문화적 영향으로 자리를 잡게 된 동두천의 대표적인 문화자산으로서 도시 정체성을 결정짓는 요소 중 하나이다. 이러한 문화자산과 자연스럽게 어울리고 도시 정체성을 더욱 강화할 수 있는 요소로서 그라피티라는 시각문화가 제시되었다. 연구 결과에서는 동두천시의 정체성 변화와 도시재생 효과, 그리고 무공해 문화 창조의 도시 이미지 부각 효과를 기대하면서 그라피티를 활용하는 방안에 대해 제안하였다.