• 디지털융복합연구
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• 제17권4호
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• pp.291-298
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• 2019

본 연구는 '청년 창의인력 취 창업지원사업' 분석을 통해 디자이너-메이커스 비즈니스 생태계 조성에 있어 정부 디자인 지원정책의 핵심 내용과 시사점을 고찰하고 있다. 메이커 기술에 기반한 디자인 브랜드 육성과 청년 주도형 지역 일자리 창출을 목적으로 하는 이 사례는 디자이너-메이커스가 보다 자유롭고 창의적인 분위기에서 창작활동이 가능하도록 창의문화 조성자로서 정부의 역할을 제시한다. 나아가 각 정부 부처에서 시행 중인 유사 메이커 지원정책들의 효율적인 통합 및 재편과 이를 실리적으로 추진할 로드맵의 필요성, 질적 내실화 지원의 중요성을 강조한다. 결과적으로, 디자이너-메이커스 비즈니스 활성화를 위한 정부의 디자인 지원정책은 신규 일자리를 창출하는 경제적 수치적 목표를 넘어 성숙한 공유문화를 토대로 한 지식재산의 질적 발전, 개방형 메이커 무브먼트에 기반 한 제조업의 신(新)생산 패러다임 모델 발굴이라는 진화된 지향점으로 발전해야 할 것이다.

• International Journal of Precision Engineering and Manufacturing
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• 제2권2호
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• pp.65-72
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• 2001

The design of multi-stage gear drives is a time-consuming process, since on includes more complicated problems, which are not considered in the design of single-stage gear drives. The designer has th determine the number of reduction stages and the gear ratios of each reduction state. In addition, the design problems include not only the dimensional design but also the configuration design of gear drive elements. There is no definite rule and principle for these types of design problems. Thus the design practices largely depend on the sense and the experiences of the designer , and consequently result in undesirable design solution. We propose a new generalized design algorithm to support the designer at the preliminary design phase of multi-stage gear drives. The proposed design algorithm automates the design process by integrating the dimensional design and the configuration design process. The algorithm consists of four steps. In the first step, a designer determines the number of reduction stage. In the second step. gear ratios se chosen by using the random search method. In the third step, the values of basic design parameter are chosen by using the generate and test method. Then, the values of other dimension, such ad pitch diameter, outer diameter, and face width, are calculated for the configuration design in the final step. The strength and durability of a gear is guaranteed by the bending strength and the pitting resistance rating practices by using the AGMA rating formulas. In the final step, the configuration design is carried out b using the simulated annealing algorithm. The positions of gears and shafts are determined to minimize the geometrical volume(size) of a gearbox, while satisfying spatial constraints between them. These steps are carried out iteratively until a desirable solution is acquired. The propose design algorithm has been applied to the preliminary design of four-stage gear drives in order to validate the availability. The design solution have shown considerably good results in both aspects of the dimensional and the configuration design.

• 복식
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• 제63권8호
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• pp.43-57
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• 2013

The purpose of this research is to systemize the fashion digital storytelling by analyzing the communication method and its elements, and extracting the characteristics and processes of digital storytelling. Based on the previous study on the characteristics and types of storytelling the following things have been researched: 1) the process of digital storytelling in the communication process, 2) the concept and the feature of the academia of digital storytelling 3) storytelling in the document research. On the groundwork of the document research, we were able to sort out the various types, and formed a system of the features in the fashion digital storytelling cases, mainly in the four collections (Milan, Paris, London, New York) from 2000's to recent years of 2010. The types of fashion digital storytelling are episode type, narrative type, and creative type. The characteristics of each of the types are as follows. Firstly, the episode type communicates through the digital media based on the information or fact of the fashion designer brand. Secondly, narrative type communicates with the consumers using previous literature or an existing idea of the original cultural form that is rearranged in digital story expressed by the digital media. Lastly, creative type makes the designer's and consumer's susceptibility and creativity communicate through the newly made story, which expresses the unique originality of the designer. It seems that the cases and studies of using the fashion digital storytelling will increase because of its short history and lack of the case study. Fashion designer brands will show their brand image using the digital storytelling because they are able to better express originality, creativity and imagination of the fashion designer, which were factors that could not be conveyed through fashion alone.

• 패션비즈니스
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• 제10권3호
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• pp.87-99
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• 2006

For comprehending the duties of fashion designer, Sharon(1989) has suggested to look at the procedure how the goods are being produced. The purpose of this research is to identify the task of domestic fashion designer by comparing and analyzing one's work range and performing level in the fashion merchandising process according to the brand types which one is involved in. The preliminary research for the questionnaire was conducted with 5 chief designers of woman's apparel manufactures in Seoul. They were asked to judge if designer's tasks fit to their carry-out operations in the pre-fixed questionnaire which had been done based on preliminary researches and literatures related with fashion merchandising process. The contents of research questionnaire are 11 questions to understand the general characteristics of companies and the participated subjects, and 42 questions to understand the designers' operations. For the selection of NB, among 503 domestic female apparel brands that were in 'Korean Textile Fashion yearbook (2002-2003), the companies that were located in Seoul and possible for cooperation by researcher's personal relationship were selected. For DB, cooperation was requested for brands that were located in Seoul among the 137 brands that participates on Domestic Collection. For GB, 50 stores were selected at random or by personal relationship among 32 GB shops such as Freya Town, Doosan Tower, New Zone, and so on. Total 300 questionnaire distributed to the designers, 192 copies were used for final data analysis. For data analysis, descriptive statistics and ANOVA, Sceffe test were used using SPSS V. 11 1. The participated fashion designers operated 41 categories of suggested 42 categories in the fashion merchandising process. 2. The ranges and contents of tasks in the fashion merchandising process that fashion designers mainly carry-out are very different according to the brand types and showed much different level of task carry-out. Only in the categories of 'fashion trend information' and 'design ideation', all three brand type showed the highest level of task performance. And the design related tasks presented common higher level of performance than the other tasks in all brand types. In order to comprehend the operation of fashion designer, various approaching methods are required according to various apparel manufactures' characteristics.

• 대한설비공학회:학술대회논문집
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• 대한설비공학회 2004년도 하계학술발표 논문집
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• pp.240-240
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• 2004

• 한국공간구조학회:학술대회논문집
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• 한국공간구조학회 2006년도 춘계 학술발표회 논문집 제3권1호(통권3호)
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• pp.165-169
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• 2006

This study presents a new stress analysis method to be substituted for the elastic analysis in such a plastic design procedure. This method is accompanied by an efficient mathematical tool which can be easily handled by personal computer. The method also easily accepts arbitrary strategies by the designer for selection member size.

• 한국디지털건축인테리어학회논문집
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• 제2권1호
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• pp.1-8
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• 2002

Purpose of this study is studying direction that change of design by development of new digital technology. And with new technology, find direction of architectural design. Digital technology for architectural design demonstrates hightechnology or is not limit. Must recognize change for our idea and necessity. We can know change in relation of photography and impressionism. Idea and hitting on a thought which is arts by new technology changed. Finally, we must develop techniques of design on the basis of technology and look for possibility of new expression. Digital medium expands communication with designer and customer because there is special quality of nonlinearity, interactivity and audiovisuality unlike old medium. Digital medium can take advantage of techniques of new design. Can construct R&D and database of design and improve quality of design. Designer must master use skill to take advantage of digital technology in design. Because quality of design becomes different according to degree that use. Also, developer of digital technology must supply design tool such as previous design method. Creativity that architectural design that allow fetters in digital technology can understand design in new viewpoint is required. Architectural design may be magnified by architectural design that allow fetters in multimedia. We may see experience between new time and space of architectural design and reappearance space reappeared in cyberspace. Architect is going to run role as developer of culture. Value and technology of digital design may offer more more possibility and an opportunity since Intustrial-Revolution.

• 복식문화연구
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• 제17권4호
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• pp.583-599
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• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.

• 패션비즈니스
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• 제10권6호
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• pp.110-121
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• 2006

The purpose of this study is to analyze the various types and areas of recent collaborations in fashion industry and to find the utility value of collaboration. Seventy seven cases of fashion collaboration marketing strategies were selected from officially announced literature survey and enterprises information around the world. Among the seventy seven cases of fashion collaboration surveyed in this study, collaboration with other fields made up 59.7 percent, collaboration between the same fashion categories made up 40.3 percent. Among the areas of other fields, collaboration with IT(Information Technology) or Motor enterprises were included and made up 36.4 percent. Collaborations with Culture and art world that fashion brands collaborate with world-renowned industrial designer or artist and star entertainers were also included and made up 23.3 percent. Among the areas of the same categories, collaboration of fashion designer and sports or casual brand made up 22.1 percent. Collaborations of home shopping mall and fashion designer made up 18.2 percent. Collaboration cases surveyed in this study were classified according to three types; co-product development, co-branding, and co-marketing. Collaboration for co-product development made up 72.7 percent. Collaboration for co-branding made up 27.3 percent. Collaboration for co-marketing made up 37.7 percent. These collaboration marketing strategies are very efficient to upgrade brand image and cut the marketing cost by creating new target, product, brand, and promotion through successful partnerships. Therefore, much more various types and areas of fashion collaborations should be developed to create something new for future consumers.

• 한국의류산업학회지
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• 제18권5호
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.