• 한국의류산업학회지
• /
• 제14권3호
• /
• pp.371-380
• /
• 2012

Based on results using factor analysis, Women's definition of "Ideal beauty" can be materialize into four key factors, "Confident beauty", "Graceful beauty", "Lively beauty", and "Genuine beauty". Factor analysis was conducted to materialize Women's definition of "Ideal beauty"and the above four factors were representative of 56.31% of total variance. "Ideal beauty" defined by age category was also found significant difference, indicating existence of different "Ideal beauty "definition for age groups. Itemized age category's "Ideal beauty" definitions are as follows, 18-22 years, bright and lively, 23-27 years, cute and confident, 28-32 years, sensible and confident 33-37 years, hard-working, 38-42 years, ability and composure, 43-47 years, casual and graceful, 48-52 years, refined and noble, 53 years and above, healthy and proper as "Ideal beauty" definitions. The defined "ideal beauty" was steadily shifted with age group. Women 38 years and younger were defined external attributes to "Ideal beauty", as women 38 years and older were defined inner attributes to "Ideal beauty". Women's definition of "Ideal beauty" can materialize into four key factors, "Confident beauty", "Graceful beauty", "Lively beauty", and "Genuine beauty".

• 한국의류학회지
• /
• 제43권2호
• /
• pp.255-273
• /
• 2019

Perceptions of beauty change and are shared with others in the media of emotional words. In the modern age, a mix of traditional and modern make-up cultures has changed the standards of beauty. Therefore, an analysis using emotional words (an image that consumers have for certain subjects) and an image scale that intuitively shows them can be an important means for understanding changes in the "beauty of the time". This paper considered changes in typical aesthetic characteristics that women pursued through make-up by analyzing emotional words in white make-up powder advertisement texts from the 1920s through the 1930s. Imported modern technologies changed cosmetic manufacturing techniques and advertising methods to create a momentum that changed women's make-up culture from light to heavy make-up or from white to color make-up. Such changes have led to changes in the perception of beauty and were expressed through sensitive vocabularies such as pure, new, fresh, lofty, lively, healthy, and cheery. Such changes reflect social aspects such as women's aspirations for high status, pursuit of security, or women's roles under the wartime regime to show a change from beauty with an attribute of [+cool] to that of [+soft].

• 한국패션뷰티학회지
• /
• 제2권3호
• /
• pp.83-95
• /
• 2004

In order to investigate female workers' recognition of image making, this study conducted a survey of female workers in Daegu and obtained results as follows. First, according to the result of analyzing recognition of image making, many of female workers, 82.3% of whom were between 20s and 40s, replied that they were 'pure and lively'(41.8%) or 'elegant and womanly'(32.3%) but what they sought for in their mind was an elegant and womanly image. However, the image that a majority of female workers wanted to have in the future was 'elegant and womanly' (53.3%) and 'sexy and attractive'(27.4%). This suggests that our society still demand women to be womanly as well as sexy and attractive. Second, with regard to outward image by age, most female workers regardless of age thought that outward image is important for social life. This suggests that younger women recognize more the influence of image and, consequently, the necessity of image making. Thus, the recognition of the importance of outward image appears to result in the proportional enhancement of the consciousness of image management. Third, younger women have a great difference between their current image and the image they seek for and such a difference may be related to mental immaturity between ideal and reality. Fourth, as for the relationship between image making and occupation, those who engaged in service and beauty art highly recognized the importance of image making as they were greatly influenced by their outward image in their social life.

• 복식
• /
• 제44권
• /
• pp.153-167
• /
• 1999

The purpose of this study was to supply the opportunity of being used as a material which can predict future fashion. This study had been divided the symbolic meaning into three parts. The first part was the symbolic expressions in the materials of modern fashion, and the second part was symbolic meaning which was expressed in the accessories, and the last part was the symbolic meaning which was expressed in the physical ornament. The results could be summarized as follows. First, among the forms of heraldry were expressed in modern Fashion, were such as animals like a lion and eagle, which evoked the powerful and lively mood. A vegetable heraldry was expressed on a pattern of textile fabric to pursue the beauty of dress, represented female and classical beauty. A inanimate object heraldry was included all natural material that didn't have all lives the world, represented the mystery and intensity of nature as using the design that sets off the idea through color and figure. Second, in the case of being the forms of heraldry used as a mark or logo in modern fashion, it was visualized the fashion of traditional sense, marine look and military look. This mark or logo had important characteristics of symbolic in that the product had a special meaning and function by trade mark. Third, tattos were used to heighten the people's union in the various subordinate cultures. By ornamenting their bodies, they expressed their special identity and consciousness. Tattos represented a unique menas, which effected a mood of fashion.

• 패션비즈니스
• /
• 제1권4호
• /
• pp.34-48
• /
• 1997

Dresses of the 1950s and 60s when the range and changes of fashion were wide and heavy were closely related with various styles of that time's architecture from the form, use of material, structure to the color. In this, study, characteristics of formalism and brutalism, main architectural streams of that period, such as line, structure, function, material, texture and color are analyzed in detail and these characteristics and those of dress are compared and analyzed to see if there are common aesthetic senses between them. It is particularly noteworthy that at that time formalistic architecture represented joy and abundance through enriched creation of appearance and flowing, symbolic linear beauty while the brutalistic produced young and vivid liveliness through functional, reasonable and moderate beauty, and this young and joyful atmosphere coincided exactly with frank, lively aesthetic senses of the young generation's fashion. Therefore, we can see common significance in the following fact ; architectural modes and fashion art of the 1950s and 60s were the result of more humane and enriched expressions from economical growth, and also product of that time's desire to adapt itself realistically to the rapid, complicated pop culture resulted from mass production.

• 복식
• /
• 제59권4호
• /
• pp.98-110
• /
• 2009

Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.

• 패션비즈니스
• /
• 제23권1호
• /
• pp.103-115
• /
• 2019

In this study, we provided examples of light emitting diodes (LEDS) in everyday sportswear and confirmed their usefulness to provide functionality, aesthetics, and entertainment. One type of sports jacket and one set of sportswear were designed and manufactured using LEDs and made available to the general public for use in daily life to provide functionality, aesthetics, and entertainment. To generate digital images, a textural design of a circuit image was developed and applied, and the LEDs were placed on the developed textile in an attempt to merge the LEDs with the design. The product was equipped with a tilt sensor and produced a randomly lighted jacket with LEDs that adjusted according to movement. The LEDs turned on in the desired location by lifting the arm during night sports activities. The tricolor of NEO PIXEL LEDs lit randomly and its rhythmical design could be maximized when moving or exercising outdoors, and also for entertainment. The role of creating interest for lively and unexpected pleasures and the aesthetic beauty of LED lights were also obtained. There was no inconvenience or restriction of movement by LEDs or internal structures using the hot-melting technique, and the removable attachment of the device made it easier to wash.

• 문화기술의 융합
• /
• 제5권2호
• /
• pp.271-278
• /
• 2019

조선 말기 진도(珍島) 출신의 소치(小癡) 허련(許鍊)(1808~1893)은 시(詩) 서(書) 화(畵) 삼절작가(三絶作家)로서, 호남 화단의 실질적 종조(宗祖)라 불리운 대표적 화가이다. 초의선사(艸衣禪師)로부터 유(儒) 불(佛) 도(道)와 함께 회화의 기초를 배웠고, 초의(艸衣)의 소개로 추사(秋史) 김정희(金正喜)의 문하생이 되었다. 이후 추사(秋史)의 문인지향적(文人指向的) 서화정신과 화이재도적(畵以載道的) 회화심미를 정확히 이해하고 이를 계승하였다. 그의 생애와 예술활동의 특징은 70이 넘은 만년(晩年)까지 지속된 주유(周遊)와 다작(多作) 활동, 그리고 주유(周遊) 기간의 세부사항까지 서술한 "소치실록(小癡實錄)"의 기록이다. 소치(小癡)는 사의적(寫意的) 남종화(南宗畵)를 지향하여 예황풍(倪黃風)의 산수화에서 자유분방한 갈필(渴筆)과 소산간일(蕭散簡逸)한 충담미(沖澹美)를 발현하였다. 또한, '허목란(許牧丹)'이라 불리울 만큼 운필변용(運筆變容)의 생동미(生動美)를 자아내는 모란은 괴석(怪石)을 함께 그려 부귀공명(富貴功名)에 대한 욕망과 문사적(文士的) 취향을 동시에 만족시켰고, 이후 가전(家傳)되어 '운임산방(雲林山房)'의 대표적 화목(畵目)이 되었다. 그의 토착화된 화풍(畵風)과 회화(繪畵) 심미(審美)는 200여년의 5대(代) 직계(直系) 화맥(畵脈)을 형성하여 지금까지 현대 한국화단에 큰 영향을 끼치고 있다.

• 한국조경학회지
• /
• 제30권2호
• /
• pp.63-69
• /
• 2002

The Second Namsan Tunnel required renovation. The landscape design was conducted as part of the comprehensive programs for renovation. The landscape design covered site analysis, design development, a working drawing and a maintenance plan. In May of 2001, the Second Namsan Tunnel was renovated and reopened to traffic. The tunnel was recreated as a new type of tunnel with function and beauty. The entrance and retaining wall of the tunnel has public character. Users are greatly affected by the entrance and retaining walls along roads. The landscape architect had to find new materials and methods to improve the environment and to combine artwork with the entrance and walls of the tunnel. The surface of the tunnel entrance and retaining walls are artistically treated with ceramic tiles and paint. Various regional characteristics and cultural meaning are symbolically expressed. Or the tunnel entrance from the Joong-gu side, entitled "Glory of the Future", the hibiscus symbolizes the bright and glorious future of Korea. On the retaining walls, entitled "Hope", the promising Joong-gu is symbolized through image of Korean magpies, mountains, rocks, roses, winds and nature. As for the tunnel entrance from the Yongsan-gu side, entitled "Vivid Spirit", pine trees symbolize the Koreans′strong will and an enterprising spirit. On the retaining walls, entitled "Lively Motions", Yongsan-gu is symbolized through image of pigeons, mountains, rocks, roses, winds and clear skys. The entrance and retaining wall of the Second Namsan Tunnel, whose surfaces are treated with tiles and paint with artistic value, would create an atmosphere using large-scale wall paintings. In this artwork, users would perceive a unique sense of place through the symbolic images of the vertical planes of the tunnel.

• 한국콘텐츠학회논문지
• /
• 제16권1호
• /
• pp.121-128
• /
• 2016

에릭 로메르는 일찍이 바쟁이 지적했던 카메라만의 특성, 작가의 편견이 미칠 수 없는 그 도구적 객관성과 엄정성을 극대화하여 아직 사람들에게 밝혀지지 않은 있는 그대로의 인간과 사물의 현실을 재현하고자 노력했다. 사물에 아름다움이 있다면 그것은 카메라에 담기기 이전부터 존재했다고 믿었기에 배우들의 실제 의견을 녹음하여 대사에 반영하고 기계적 연출보다는 그들의 자발적 움직임들을 담고자 하였다. 매체를 대하는 그의 이 같은 태도는 자연스럽게 그의 '서사'에도 고스란히 반영되었으며 그 결과 관객들은 이전 영화에서 볼 수 없었던 구체적이고 생생한 캐릭터들과 그들이 헤쳐 가는 일상의 모험들을 만날 수 있었다. 본 논문에서는 로메르의 초기작에 해당되는 도덕이야기 연작 중 <모드 집에서의 하룻밤>을 중심으로 로메르가 제기하는 선택과 우연의 문제, 도덕의 문제에 대해 고찰하고 덧붙여 문학사적 맥락 속에서 캐릭터를 창조하는 '작가'로서의 그의 위치 역시 간략히 논하고자 한다.