• 패션비즈니스
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• 제16권1호
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• pp.1-15
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• 2012

The comic study which has been developed since the Eighteen century, is a subjective sense of the aesthetic concept and the aesthetics of comic is defined as a philosophy. The comic is opposite of the sublime or a superset of humor. This study investigated the aesthetics of comic and a popular graphic-print design on T-shirts. The research are the comic perspective on the aesthetic, expressive characteristics of the print design on T-shirt. And this study investigate literature and internet sites to extract data from the case studies. The aesthetic concept of the comic as an aesthetic category is defined as this study could inquire the comic cases expressed in t-shirts and graphic-prints on the emergence of historical change were discussed. Accordingly the three distinctions characterized as the parody, the optical illusion, the and the internet neologism. In conclusion, the aesthetic value graphic-prints on T-shirts appeared in the comic representation of the graphic-design of playfulness, extraordinariness, anti-nature, reflects popular culture is identified as.

• 한국의류학회지
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• 제28권5호
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• pp.626-636
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• 2004

The purpose of this study was to show a theoretical system of expressional area, the characteristics and the effects which is applied to fashion illustration by metaphor theory. The theoretical system of expressional area was analyzed by category analysis and 150 fashion illustrations from 1900 to 1999 were analyzed by contents analysis. The results of this study were as follows: Metaphor in fashion illustration was categorized to replacement, parody, heterogeneous combination, surrealism, magnification and reduction of size, optical illusion, juxtaposition and distortion of form. In detail, First, replacement was showed omission of form, non-object color, texture. Second, parody was showed using the part in artistic work, differentiation of original work. Third, heterogeneous combination was showed unreal body combining between animal and plant. Fourth, surrealism was showed creation of object which is impossible to present. Fifth, magnification and reduction of size was showed bizarre magnification of part of body, size of clothing. Sixth, optical illusion was showed ambiguity of object because of creation of new form. Seventh, juxtaposition was showed the parallel of contradicting idea and change of meaning between heterogeneous objects. Eighth, the distortion of form was showed grotesque distortion of part of body and disgusting object.

• 복식문화연구
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• 제19권3호
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• pp.488-500
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• 2011

[ $D{\'{e}}formation$ ]is one of the most important cultural factor which puts people at ease and gives a sense of security. This study, in the process, analyzes the works of Moschino. Moschino's designs are rated to have approached the sublime when it comes to transforming the psychological anxiety of everyday living into a laughter. After selecting one hundred-two of Moschino's designs from the Internet Web site(www.cft.or.kr, www.samsungdesign.net), this study examines and analyzes the characteristics and types of deformation found in them. The result as follows. The examination of deformation found in Moschino designs can be classified into a transformation, distortion, exaggeration, and illusion. Transformation, a conscious change of the existing form or function, was shown as the change of an existing position, form, function and designation of a new function. Distortion, an interpretation away from the reality or a "wrong interpretation," was shown by placing opposing factors in left-right position as an extreme asymmetry. Exaggeration, always beyond the realm of reality, was shown thorough an enlargement or a magnification of a specific part and a repetition of a detail factors. Illusion, through a distortion of reality results in something that looks new, was expressed through the effects of wearing a two-pieces, an expression of details, effects of wearing accessories, and an expression of a dynamism. Therefore, Moschino has reflected the desire of homo modern to transform the existing situation through many techniques of deformation.

• 한국의상디자인학회지
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• 제22권4호
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• pp.93-104
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• 2020

This paper focuses on the spatial changes that create a three-dimensional or deep feeling on the surface of a scarf centering on the cube shape. Through this, consumers with various tastes were able to satisfy their image presentation. The cube form has simplicity and order and is likely to be used as a formative object. The cube shapes can be expressed in various forms through visual and perceptual spatial changes by presenting various shape changes based on the viewpoint of the two-dimensional silk surface, that is, by changing the eyes' position and orientation. Various visual theorists' discussions about cube-shaped visual changes were discussed. In addition, the three-dimensional spatial illusion caused by the shape and color of Victor Bazaarelli's cube was examined. The cube shape was printed silk surfaces to give a three-dimensional sense of space on a two-dimensional scarf design using the size change, the difference in the length of the line, and the color change. As such, the cube shape has infinite possibilities as a method that can express three-dimensional depth and space on the flat surface of a scarf. Therefore, it is hoped that this study will be applied to various aspects as the basic data for the scarf design that expresses the spatial changes in the form of cubes.

• 디지털융복합연구
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• 제11권8호
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• pp.331-340
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• 2013

초현실주의 대표적인 작가 르네마그리트가 주장한 데페이즈망 기법은 여러매체에 활용되어지고 응용되어 왔다. TV, CF, 광고등 다양한 매체를 통하여 데페이즈망의 기법들을 적용한 흔히 사용되어지는 소재들을 새로운 낯선 환경에 재배치되었을때 고정관념의 탈피와 시각적 충격을 통해 흥미를 부여하고자 하였다. 서로 다른 용도의 투명스크린과 오브제를 활용하여 프로젝션 맵핑의 매체에 접목하여 작품 '환영'에 데페이즈망 기법을 적용하여 낯선 환경을 통해 시각적 즐거움과, 새로운 미디어로써의 가능성과 투명스크린과 오브제를 활용한 프로젝션 맵핑의 기법을 제시하였다. 데페이즈망의 기법에서 대표적인 공간의 변조, 모순된 이미지의 결합, 물체의 변형과 변화 3가지 분류에 의해 표현방법과 효과를 적용하여 작품사례를 제시하였고, 레이아웃, 타이포그래피, 이미지, 컬러, 시간으로 분류하여 유형별 분석하였다. 작품 '환영'을 통해 프로젝션 맵핑과 데페이즈망 기법을 활용한 새로운 오브제와 매체의 특성을 적용하여 확장하였다.

• 한국의상디자인학회지
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• 제12권2호
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• 디지털융복합연구
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• 제14권12호
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• pp.451-456
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• 2016

스캐니메이션(scanimation)은 기본 원리가 단순하고 간단하여 다양한 분야에서 활용되고 있지만 아직 그레이스케일(gray scale)내에서의 표현이 대부분이며, 색을 이용하여 표현한 사례들은 극히 드물다. 본 연구에서는 선행연구와 활용사례를 바탕으로 시각효과에 따라 스캐니메이션을 연결성이 없는 이미지들의 형태 변화, 연결성이 있는 이미지들의 연속동작, 그리고 지속성을 갖는 착시, 이렇게 세 가지 유형으로 분류하였으며, PCCS(Practical Color Co-ordinate System)시스템을 기준으로 색상차에 의한 배색을 적용시킨 유형별 스캐니메이션을 비교 분석하였다. 이번 연구를 통하여 색을 이용한 스캐니메이션의 다양한 연출과 표현방법을 제시하고자 하였으며, 앞으로 스캐니메이션을 이용한 연구들에 많은 참고가 될 것으로 기대한다.

• 한국실내디자인학회논문집
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• 제39호
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• pp.12-19
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• 2003

M.C Escher was not a mathematician or architect, but a visual graphic woodblock artist. He expresses space in various angles such as illusion and space not represented in reality, repetition, geometric pattern and change in space vision. However, as his works represent the impossible space which is virtually not exist in reality, they were examined numerically by scientists and mathematicians rather than by designers. Because his distinctive approach to view space, his works have been highly evaluated by scholars in various fields. Based on the previous research by mathematicians and scientists, this study will examine the sp- atial logic was represented visually in the works of M.C Escher and find out the possible and adoptable alternatives for new space design and provide the design application direction in the expression of interior space.

• 복식문화연구
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• 제23권4호
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• 디자인학연구
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• 제12권4호
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• pp.53-60
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• 1999

현재 많은 사람들이 3D Software를 사용하고, 배우고 있으나, 이를 도구의 개념으로 사용하기보다는 이미지 창출하는 도구로 사용하고 있는 실정이다. 이러할 경우 3D Software의 변화는 사용자에게 심각한 문제로 대두되어질 것이다. 이는 대부분의 경우에 있어서 3D 전반에 대한 이해 부족 그리고 사용자가 3D Software에 대하여 일종의 환상을 가지고 그것의 기능에만 열중한 결과라고 할 수 있겠다. 이는 대부분의 대학의 교육에서도 상아탑의 본질이 3D Software의 기능만을 가르치는 기능인 양성소의 장으로 변질 되어가고 있는 실정이다. 따라서 본 연구는 이러한 폐단을 막기 위해서 가상세계라고 불리는 3D를 현실세계와의 비교에 의한 개념 즉 어떻게 인간이 세상을 각인하고 있는가를 토대로 일반적인 3D Software의 구성도를 설명 하고자 한다. 이러한 기본적인 설명과 이해가 뒷바침된 후, 3D Software에 대한 기능 설명이 점진적으로 구체화되어진다면, 3D Software에 대한 사용자들의 이해가 더욱 더 빨라질 것이며, 처음 대하는 사용자라고 할지라도 그리 어렵게 접근하지 않을 것이며, 대학의 교육은 더 이상 3D Software만을 가르치는 교육의 장이 아니라 원래의 모습으로 그 기능을 다할 수 있을 것이다.