• Fashion & Textile Research Journal
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• v.15 no.4
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• pp.514-522
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• 2013

This study reviews the principles for the techniques of Impressionist paintings as well as analyzed contemporary fashion designs with a focus on a motif-building technique based on the laws of a screen equivalent as a visual formative approach. We provide design principles based on fashion design painting techniques. Previous research on the laws of the screen equivalent of Impressionist paintings were studied and a qualitative analysis was conducted on fashion design cases from 2011, 2012 S/S and F/W collections. The analysis resulted in the following outcomes. First, the development of new motifs were found directly correlated to the creativity of design if it was a motif-building design. Second, in the selected fashion design cases, cutting lines and details were covered by motifs and their shapes collapsed in regards to overall visual uniformity so that specific details were hard to identify. Third, clothing shapes are recognized the changing colors of motifs and not through construction pattern lines; therefore, the expressions of diverse visual forms were available without being disturbed by construction pattern lines. This is deemed equivalent to an Impressionist painting style that depicts shapes with colors instead of lines. Lastly, the cases covered in this study have created new visual aspects that replace the stereoscopic spatial depth of clothes with a 'sensuous surface'. The pleasures derived from the sensuous surface are deemed equivalent to the visual pleasures created by Impressionist paintings.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• Journal of the Korean Society of Costume
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• v.18
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• pp.167-181
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• 1992

This study was conducted to clarify the formativeness of Cezanne's painting and it's influence on the Modern Fashion. Recently, fashion was introduced and applied the originality of paintings into the fabric and fashion designing. To go with the current of the times I already discussed about the Modern Fashion under the influence of the color of Impressionism and N대-Impressionism in the previous paper. In this study, Cezanne's painting and it's influence on the Modern fashion was investigated. As one of the original Impressionist, Paul Cez anne had been so adversely affected by the critical attack on his contributions to the 1874 and 1877 exhibitions that he never again showed with the group. That is, he was the first Impressionist to become dissatisfied with the superficial recording of atmospheric effects. When he turned to nature, it was not simply to depict the objects that occupied a given site but rather to consider relationships among those objects. Cezanne attempted to track down the fundamental laws of geometrical prototypes of sphere, prism and corn. Color too, he found, could be employed according to principle, like the tones of a musical scale. Throughout the Modern Fashion, various forms of Bustle style dress and geometrical style dress were reappered under the influence of the Cez anne's painting technique. And the order and the unity of all nature was illuminated on the fashion's pattern.

• Science of Emotion and Sensibility
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• v.25 no.3
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• pp.107-116
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• 2022

Purpose: Researchers have shown that aesthetic judgments of artworks depend on contexts, such as the authenticity of an artwork (Newman & Bloom, 2011) and an artwork's location of display (Kirk et al., 2009; Silveira et al., 2015). The present study aims to examine whether contextual information related to the creator, such as whether an artwork was created by a human or artificial intelligence (AI), influences viewers' preference judgments of an artwork. Methods: Images of Impressionist landscape paintings were selected as human-made artworks. AI-made artwork stimuli were created using Google's Deep Dream Generator by mimicking the Impressionist style via deep learning algorithms. Participants performed a preference rating task on each of the 108 artwork stimuli accompanied by one of the two creator labels. After this task, an art experience questionnaire (AEQ) was given to participants to examine whether individual differences in art experience influence their preference judgments. Results: Setting AEQ scores as a covariate in a two-way ANCOVA analysis, the stimuli with the human-made context were preferred over the stimuli with the AI-made context. Regarding the types of stimuli, the viewers preferred AI-made stimuli to human-made stimuli. There was no interaction effect between the two factors. Conclusion: These results suggest that preferences for visual artworks are influenced by the contextual information of the creator when the individual differences in art experience are controlled.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.83-90
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• 2010

Emotional interest in the 1970s, Japan started from the technical and engineering beyond the scope, period late structuralist entering the world has been the subject of interest, as well as in academic research is becoming the main theory. In addition, communication between various disciplines such as humanities through the study of consilience and fusion, the human life to continue as a subject, its importance has risen. So this study are to design for the study of emotion through the human heart in space and how the expression of emotions and can be validated in a study. GSD to evaluate the action (verb) and emotional words (adjective) related to two variables to measure the degree of correlation coefficient was an experiment to find out. Picasso painting, it is 'difficult to understand', 'special', 'interesting', 'not interested', 'confused', 'fun', 'anxious', 'dark', 'cool', 'hard' to have relevance, such as the distribution of emotional words, and as a result of the move was a lot of work. This result can be obtained through the arcane resistance of the cubist paintings that make a lot of body movements. In Renoir painting 'stable', 'warm', 'soft', 'easy to understand', 'bright', 'boring', 'curious', such as emotional words ranged to have a relationship with this behavior is less motion in space. This result can be obtained through the understanding of the Impressionist paintings that are less body movements. As a result, space design, emotional design in the evaluation (GSD) for the empirical analysis that evaluated the feasibility and future of the emotional space of the design could be based in the area is considered.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.143-151
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• 2009

Ukiyo-e is the representative genre-painting of Japan, dominant during the 17th century Edo-Period (1503-1867). Ukiyo-e is mainly focused on expressing the lives of geishas, sumo wrestlers, and kabuki characters, who were the center of the Japanese amusement culture, and gained popular acceptance in Europe when it was first introduced in the late 19th century in the form of Japonism, having significant influence and impact on the impressionist artists of the time and on the design of western cloths. In this papers, we will be primarily conducting a historical study on the development of the Ukiyo-e, a representative genre-painting of Japan, and conduct a in-depth analysis of pattern expressed in the Kosode of women, represented through various different works of art. In order to conduct a thorough analysis of pattern expressed in Ukiyo-e, we collected over 255 pieces of materials from existing foreign paintings as well as museums in the National Museum of Tokyo, Edo Museum, and the Harajuku Museum of Ukiyo-e. This papers seeks to analyze and classify patterns expressed in the works of Ukiyo-e and research the characteristics express in the pattern to contribute to the development of fabrics in the modern fashion design industry.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.1
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• pp.113-119
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• 2023

This research analyzed the importance and influence of color expression on psychological and emotional changes of visual perception in the creation of art works. This research takes the element of the sky in the works of Vincent William Van Gogh, a Dutch post-Impressionist representative painter, as the basic research objective to prove the influence of color expression of the same thing on the inner emotional communication of the creator. After synthesizing the contents of previous research and investigation on Van Gogh, this research will summarize the works containing sky elements in Van Gogh's works according to his four creative stages, and select representative works for color analysis and comparison. In this paper, by comparing the colors of the same elements of the sky, we can find Van Gogh's guidance of psychological and emotional changes through the expression of colors in his works, which will play a certain inspiring role in the creation of painting art.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.