• The Journal of Art Theory & Practice
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• no.9
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• pp.7-31
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• 2010

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano's human rights and as a tool to recover the Chicano people's cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca's works, and the Balmy Alley Mural Environment project in San Francisco's Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.503-513
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• 2016

Innovator and Early Adopter are main clients of smart phone until now, but the silver generation enjoying price stability and the Internet emerges, so a strategy of the importance, systematic classification, and focus of a neglected class is needed. It is necessary to analyze UI that can departmentalize not a neglected class limited to the silver generation but potential users who can be voluntarily users and can secure them. To secure them, the researcher analyzes how Windows, Icons, Mouse Pull-Down-Menus(WIMP) of UI has been applied in the process that skeuomorphism UI of iPhone, Metro UI of MS, and Material UI of Google change. As a result of an analysis, skeuomorphism is not entirely new and has secured potential users slowly with a method to compensate and improve a part that users disregard. As a concept of touch UI, Metro UI considered potential users from the beginning but did not secure them with new and epoch-making UI. However, Material UI of Google compensates the weaknesses of skeuomorphism UI and Metro UI and emphasizes cost-effectiveness, so has developed into UI that can secure final consumers of potential users. Therefore, to secure potential users, it should make users themselves understand why they should use smart phone, and it should approach with more organized studies on UI through feedback of observation and direct talks.

• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• Science of Emotion and Sensibility
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• v.11 no.1
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• pp.57-68
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• 2008

With the shift of consumer’s spending behaviors further into emotionally-driven purchases, the role of brand is becoming even more important, which in turn, expands design’s role in the brand image strategy. The contact point between the consumers and the brand is the primary channel for building strong brand image through experience. Therefore, it is critical to comprehensively plan and manage the consumer contact point for any brand. Given the changing market conditions, the objective of this study is to define and structure an integrated design development and management system for building successful brand image. In order to do so, the research analyzed the characters of brand image, the conditions for consumer experience and the roles of emotion. The analysis into the correlation between images and emotion process model yields three natures of an image. The image 1) is based on empirical decisions, 2) expresses and conveys emotional aspects and 3) builds mental values through a sense of sympathy. Through case studies of successful designs that meet all three characteristics, the roles of a brand icon in building strong brand image and the needs for integrated design approach for implementation are defined. The methods for integrated design include 1) providing a focal point through brand image positioning, 2) utilizing visual themes based on brand image plot, 3) building a Total Identity Program to holistically manage brand images and 4) developing brand icons for brand image reinforcement.

• Archives of design research
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• v.11 no.1
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• pp.143-152
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• 1998

Recently, rapidly increa~ing internet Websites are providing us with the new kinds of multimedia infonnations without borders acting as the center for exchanging informations. Such new media infonnations through the internet passes infonnations via light on the monitor and provides the various infonnations, with the differentiation from the traditional printing media, it can be searched with electronic commands in limited space. In the process of adapting the new technologies, new media has successfully responded to the fast change and the development of its needs by experiencing the trials and errors, steadily establishing the stable position with its new infonnation transferring and exchanging methods. The representative hompage of websites of information lransfonnations means the first page containing no lower directories and consist of titles, icons, symbols and addresses and can design them in consideration of graphical process, planning, contents and others. Such hompages are very important since the graphical images shows its visual expressions deciding the total meanings of the hompages. In this research, we have analyzed the relationships between its overall colors and text colors from randomly picked hompages of websites in the internets of various areas. Generally, the homepages are designed with graphical expressions in personal way and the feedbacks and responses of such may differs, but this can be used as reference materials for the analysis of new media in objective way. Also, it can be used as the base informations for arrangement and planning of designs with the characteristics of graphics and Graphical User Intertilces in the backhlfound which are implemented over internet.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.141-152
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• 2014

The user interfaces of electronic-book (e-book) readers in the e-book market are highly diverse, and this has led to major usability issues. In this paper, we analyze user preferences in terms of feature-setting options and the use of touchscreen actions in the six most commonly used e-book readers for smartphnoes. We identify alternatives for these features, which can enhance the usability of e-book readers, based on these user preferences. The survey results for the feature-setting options show that it is desirable to support at least eight background colors, as well as the ability to specify the color of the background icons. Adjusting the screen brightness using a setting bar with the support of an auto-brightness option is desirable, as in using +/- buttons to adjust the font size, as well as approximately 10 font faces. We find that it is desirable to support fade, slide, scroll and curl page-turing options, in addition to a simple non-animated page-turning effect, and that page movement should be accomplished using a scroll bar with the support of the page movement features by entering a page number, and by using the table of contents as well as bookmarks. The survey results on the use of touchscreen options indicated that it is useful to be able to configure the screen layout of an e-book reader by dividing it into three areas: left, right, and center. And then, when users briefly touch the left and right areas, it is ideal to move to the previous and subsequent pages, respectively; and when they briefly touch the center region, it is desirable to display a touch feature menu. We believe that the results of this study may provide guidance in the design of user interfaces for e-book readers.

• Spatial Information Research
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• v.23 no.5
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• pp.9-19
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• 2015

The popularity of smart devices and Location Based Services (LBSes) is increasing in part due to users demand for personalized information associated with their location. These services provide intuitive and realistic information by adopting Augmented Reality (AR) technology. This technology utilizes various sensors embedded in the mobile devices. However, these services have inherent problems due to the devices small screen size and the complexity of the real world environment; overlapping content on a small screen and placing icons without considering the user's possible movement. In order to solve these problems, this paper proposes a Mobile Augmented Reality Model with the application of Street Data. The model consists of two layers: "Real Space" and "Information Space". In the model, a user creates a query by scanning the nearby street with a camera in real space and searches accessible content along the street through the use of the information space. Furthermore, the results are placed on both sides of the street to solve the issue of Overlapping. Also, the proposed model is implemented for region "Aenigol", and the efficiency and usefulness of the model are verified.

• Spatial Information Research
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• v.21 no.4
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• pp.63-70
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• 2013

With the increasing use of high-performance mobile devices such as smartphones, users have been able to connect to the Internet anywhere, anytime, so that Location Based Services(LBSes) have been popular among the users in order to obtain personalized information associated with their locations. The services have advanced to provide the information realistically and intuitively by adopting Augmented Reality(AR) technology, where the technology utilizes various sensors embedded in the mobile devices. However, the services have inherent problems due to the small screen size of the mobile devices and the complexity of the real world environment. Overlapping contents on a small screen and user's possible movement should be taken into consideration in displaying the icons on objects that block user's environment such as trees and buildings. The problems mainly happen when the services use only user's location and sensor data to calculate the position of the displayed information. In order to solve the problems, this paper proposes a method that applies street data extracted from a digital map. The method uses the street data as well as the location and direction data to determine contents that are placed on both sides of a virtual street which augments the real street. With scrolling the virtual street, which means a virtual movement, some information far away from the location of the user can be identified without user's actual movement. Also the proposed method is implemented for region "Aenigol", and the efficiency and usefulness of the method is verified.