• 한국정밀공학회:학술대회논문집
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• 한국정밀공학회 2013년도 춘계학술대회 논문집
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• pp.1229-1230
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• 2013

• 복식
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• 제51권5호
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• pp.147-156
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• 2001

The painting style has much influenced on the creativity of design in the developmental process of modern fashion. This fact tells that pure art and fashion design have the same purpose in the end. In this paper. the color Autonomy of Matisse was analyzed and how its result influences on modern fashion design was investigated. Matisse is, in fact. the leader of Fauvism and the painter who brought the Fauvism painting to its perfection in the purest state. Matisse achieved the revolution of new color with only the color in expressing formative factor. Matisse's color autonomy are fusion technique, flatness, decoration, simplicity, etc. To sum up the influence that this autonomy played on modern fashion design, intensive pure color expression, strongly-supplemented color effect among primary colors, decoration of color, simplicity of color, that is to say. he gave rise to the revolution of color, Many modern designers are applying this method to the theme of fashion and motive, color the technique of expression. Thanks to this. the new formative artistic expression could be adapted in fashion, and it also induced the inspiration of original design, with great contribution to bringing the era of its own distinct individualism in modern times.

• 한국의상디자인학회지
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• 제18권1호
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• pp.61-78
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• 2016

This study through the literature research to understand the most representative art trend - the definition and evolution of the Cubism in the early 20th century, and through the analysis on the representative painter's works, such as works of Pablo Ruiz Picasso and Georges Braque, This article raises the unique characteristics of the Cubist painting, such as geometry modeling, simultaneity, transparency, collage, deconstruction and reconstruction, etc. On the basis of theoretical research in this study, in order to meet the novelty and originality of clothing design requirements in the field, this research uses the modeling characteristics of the Cubist painting, designs and makes five sets of works in costume designing. Research findings are as follows, 1) According to the geometry modeling, split garment surface into triangle or irregular polygon shaped. 2) Show front and side images of the characters in the same garment surface. 3) Overlapping the images of the characters in the same garment surface. 4) Make use of composite materials to express the characters. 5) Disassemble the characters recombine them in an abstract painting way. These works mainly completed by adopting some techniques like Patchwork and Figurative painting. The colors consist of red, yellow and blue caused "Three primary colors series" to achieve the goal of expanding visual effect. Additionally, for the sake of the formal beauty-deformation distortion, symmetric and asymmetric, for instance the structure of the costume adopts formal beauty technique.

• 패션비즈니스
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• 제18권6호
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• pp.100-115
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• 2014

This study examined the history of nail art in 20th century, defined characteristics of many techniques used on nails, and analyzed how those techniques have been utilized in recent nail art works. For the method of the study, books and previous studies on nail art were examined as primary sources, and newspaper articles on nail art were studied as references. Then, the case studies were conducted on photographs of nail art works published in Nail Holic in 2012. As a result of analyzing expression techniques of nail art featured on Nail Holic, there had been a total of 517 works created using a single technique. The reason why hand painting is used very frequently is because artists can draw unique images of their own to create various designs according to their tastes. Rhine stone is also very popular, because stones are easy to apply and various in their shapes and colors. There were a total of 555 works created using two or more techniques. The most important point to examine is that hand painting, rhine stone, and 3D art were most popular among all techniques. These works featured highly various effects and images by combining flat effect of hand painting with three-dimensional effects of rhine stone or 3D art. The tendency can also be found in the fact that there have been many works using techniques of flat effects such as decal or marbling combined with techniques of three-dimensional effects such as rhine stone or 3D art.

• 한국멀티미디어학회논문지
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• 제12권11호
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• pp.1640-1651
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• 2009

본 논문에서는 브러시 스트로크 프로파일을 이용한 새로운 스트로크 기반 표현기법을 소개한다. 우리가 제안하는 알고리즘은 이미지 검색기법에 기반하고 있으며 단순하지만 다양한 페인팅 스타일을 생성할 수 있는 유연성과 확장성이 있는 알고리즘 이다. 이를 위해 우리는 실제 스트로크 데이터를 수집하여 구축한 확장 가능한 데이터베이스를 사용한다. 그리고 인력영상을 데이터베이스에 있는 스트로크의 조합으로 재생산 한다. 이때 적합한 스트로크를 결정하는 검색 프로세스와 검색된 스트로크를 캔버스에 그릴지 말지를 판단하는 판단 프로세스를 알고리즘에 포함시킨다. 또한 우리는 물리적인 시뮬레이션 없이 사용할 수 있는 시각적 효과가 좋은 효율적인 브러시 스트로크 모델 및 표현기술을 제안한다. 제안된 알고리즘은 다양한 사용자 파라미터를 제어함으로써 다양한 회화적 작품의 변이를 만들어 낼 수 있고 스트로크 데이터베이스의 구성을 변경함으로써 다양한 회화적 매체의 스타일을 갖는 결과물을 생산할 수 있는 확장성 있는 프레임워크를 제공한다.

• 복식
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• 제63권8호
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• pp.106-124
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• 2013

Compared to traditional fashion design, modern fashion design is used as a means that creates original and multiple types of beauty beyond fixed and standardized concept and form. Overlapping technique is the most suitable means to shed classical, authoritative and conservative form and it enables diverse borrowing and quotation for creation. This study aimed to analyze overlapping techniques that are expressed in art, architecture and fashion to find out its characteristics in the field of fashion. The result of this study is as follows. Based on theories of visual perception and advance research, types of overlapping technique were classified as pile, repetition, penetration and transparency. When comparing overlapping techniques in modern fashion with those of painting and architecture, fashion was distinctive in that it had movement and communicativeness through overlapping of fashion and the human body. Therefore, the overlapping technique has wide application and adaptation and can cause specialty, movability, communicativeness and collectivity, which can arouse psychological inspiration.

• 조형예술학연구
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• 제11권
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• pp.79-108
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• 2007

"Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

• 보존과학회지
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• 제32권2호
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• pp.235-247
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• 2016

회화문화재의 손상상태를 진단하기 위하여 현재까지 국내에서는 육안관찰, 적외선 촬영, X선 촬영 등이 활용되고 있으나 표면에서 확인되지 않는 하부층의 손상상태에 대한 3차원적 정보획득에는 한계점이 있었다. 본 연구에서는 최근 우리나라에서 문화재 분야에 막 응용되기 시작한 테라헤르츠 분광분석기술을 회화문화재 상태진단에 적용하는 연구를 수행하였다. 먼저 우리나라 회화문화재의 손상양상을 고려한 의사시편을 제작하고 테라헤르츠 반사펄스 이미징기술을 적용하여 채색층 하부의 바탕층 및 배접층의 손상에 대한 정보 획득을 시도하였다. 그 결과 바탕층과 배접층의 균열, 층위 간 이격, 이격의 범위와 정도에 대한 정보획득이 가능함을 확인할 수 있었다. 또한 의사시편에서 얻어진 결과를 바탕으로 실제 회화문화재인 보물 제1792호 남양주 봉선사 비로자나삼신괘불도에 대하여 테라헤르츠 이미징기술을 적용한 결과, 유물의 3차원적 손상 형태와 손상 정도에 대한 정보를 획득할 수 있었다. 이는 비파괴, 비접촉식의 테라헤르츠 이미징기술이 우리나라 회화문화재의 3차원 손상상태 진단에 활용될 수 있음을 확인시켜 주는 결과이다.

• 보존과학회지
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• 제34권6호
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• pp.557-568
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• 2018

내소사 대웅보전 포벽화에 대한 벽체 구조 및 재질특성 그리고 채색층에 대한 정밀분석을 통해 제작기법을 연구하였다. 벽체 골조는 외가지 구조이며, 벽체층과 마감층 그리고 채색층의 세 층위로 구성되어있다. 벽체를 구성하는 벽체층 및 마감층은 석영과 장석류 등 모래와 황토를 혼합하여 제작하였다. 벽체층은 중립사 이상 크기와 세립사 이하 크기가 약 0.8:9.2 비율이고, 내 외부 마감층은 각각 약 6:4 비율로 벽체층보다 중립사 이상의 모래 비율이 상대적으로 높게 나타났다. 채색층 정밀분석 결과, 뇌록을 사용하여 최대 $456.15{\mu}m$로 비교적 두꺼운 바탕칠층을 마련하였으며 그 위로 녹염동광 및 백토 그리고 산화철 계통의 안료를 사용하여 채색하였다. 연구결과, 토벽체와 채색층 제작기법은 현재까지 연구된 조선시대 사찰벽화 제작양식 범주에 속하는 것으로 확인되었다. 그러나 마감층 모래 함량이 높고 중벽층과 짚여물이 확인되지 않는 점 등은 내소사 대웅보전 포벽화 벽체가 지닌 구조 및 재질특성으로서, 이와 같은 결과는 향후 벽화 보존상태 평가 또는 보존처리 방안 마련에 주요 정보가 될 수 있다.

• 박물관보존과학
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• 제4권
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• pp.1-16
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• 2003

용산 새 박물관에 전시될 중앙아시아 벽화의 보존처리를 위해 이들 벽화의 채색 안료 성분 분석과 벽체에 포함된 지푸라기의 식물종 식별을 위한 조사를 실시하였다. 또한 1916년 우리 박물관에 반입되기 이전에 일본에서 시행된 보존처리 재료 및 방법을 검토하기 위하여 나무 보호틀의 목재수종 및 종이의 재질을 분석하였다. 조사결과 본4075, 4078의 검은색 안료는 carbon(C), 바탕의 흰색은 gypsum[Ca(SO)₄(H₂O)₂], 적색 계통은 lead oxide(Pb₃O₄, PbO)와 hematite(Fe₂O₃), 녹색은 Cu, As, O 화합물 등을 채색 안료로 사용하였다. 또한 벽체를 조성할 때 흙벽이 갈라지는 것을 방지하기 위해 섞어 넣은 지푸라기는 밀짚 또는 귀리짚 종류인 것으로 조사되었다. 또한 현재 벽화를 둘러싸고 있는 나무 보호틀은 버드나무속, 사시나무속, 삼나무, 그리고 소나무 중 적송류로 만들어진 것으로 밝혀졌으며 벽화(본4054, 4097)의 보호틀 내부에서 발견된 종이는 뽕나무 껍질로 만든 것으로 조사되었다.