• 만화애니메이션 연구
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• 통권47호
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• pp.381-412
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• 2017

캐릭터(Character)는 풍부한 스토리텔링과 다양한 디자인 요소를 지니고 있다. 국내캐릭터는 오프라인과 SNS를 통해 다양한 형태로 변화 발전하고 있으며 콘텐츠 산업적인 측면에서 발전하고 있다. 본 연구의 목적은 캐릭터 이용자들이 어떠한 스토리텔링 요인과 색채 요인으로 국내 캐릭터들을 이용하고 만족하는지에 대해서 요인을 발견하고 논의하는데 있다. 스토리텔링 측면에서는 모험, 판타지, 황당하고 익살스러운 스토리를 선호하는 것으로 나타났다. 색채 측면에서는 단순하고 심플한 주요색과 난색으로 구성되어 따뜻하고 귀여운 느낌의 색채 구성을 지닌 캐릭터를 선호하는 것으로 나타났다. 반면에 스토리텔링 측면에서는 단순한 소재의 유아 교육, 패션이나 완구가 주목적으로 되어 있는 단순한 스토리를 지닌 캐릭터는 비 선호하는 것으로 나타났다. 색채 측면에서는 주요색이 없이 4개 이상의 색들로 조합이 되어서 복잡한 느낌을 주는 캐릭터를 비 선호하는 것으로 나타났다. 스토리텔링 측면에서는 모험, 판타지 구조를 지닌 스토리 전개를 통해 OSMU의 콘텐츠로 변화 발전시킬 필요가 있다. 색채 측면에서는 이용자들이 선호하는 단순하고 심플한 난색으로 구성할 필요가 있으며 조립 로봇완구 캐릭터도 단순한 색상 구성을 통해 캐릭터의 이용 만족도를 높일 필요가 있다. 본 연구결과 스토리텔링과 색채 측면에서 이용자들이 만족하는 요인을 도출하였으며 이러한 결과들이 이론적 측면, 스토리텔링 측면, 캐릭터 디자인, 산업적인 측면의 발전에 도움이 될 것이다. 위와 같은 논문의 의의에도 불구하고 구체적인 캐릭터 대상의 스토리텔링의 분석틀과 색채분석틀을 통한 연구, 색채분석에 대한 정확한 데이터분석 제시, 캐릭터 하나에 대한 단순 비교 분석을 연구의 한계점으로 지니고 있다.

• 동양고전연구
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• 제35호
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• pp.471-498
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• 2009

본고는 그림에 제하거나 그림을 대상으로 한 제화시(題畵詩)의 특성에 비추어볼 때 묵죽(墨竹)의 형상성이나 형상 과정이 잘 묘사될 수 있다고 여겨, 송대(宋代) 제화시를 수록한 대표적 제화시집인 "성화집(聲畵集)"에 실린 '대나무' 제화시를 통해 북송대 이후 묵죽화의 발전 양상과 그것의 도상학적 의미를 살펴본다. 묵죽화 발전 양상과 그 유형을 살펴보면, 북송대에는 당시 어부(御府)에 148축의 묵죽화가 있었다고 전해질 정도로 묵죽화가 성행했다. 화면 속에 등장하는 묵죽의 모습, 즉 그림 속의 '도상'은 와룡처럼 누운 횡죽(橫竹)이나 교룡처럼 굽은 우죽(紆竹)이 많이 등장하고, 특히 많은 대나무가 겨울에 서리를 맞고 서 있는 모습으로 나타난다. 송대에 오면 '대나무' 도상에 대한 인식은 유가적 이상형인 군자라는 보편적 인식과 더불어, 대나무를 자기표현의 한 수단으로 여기고 문인 사대부 특유의 문인성을 표현할 수 있는 대상으로 보게 된다. 그 결과, 전업화가들이 단청(丹靑)과 형사(形似)에 몰두해 그린 대나무가 아니라 문인 사대부 즉 자신들이 '묵죽'을 창작하고 감상하는 것을 최고로 여겼다. 묵죽에 대한 송대 문인사대부의 애호와 관심에는, 유가적 이상형인 군자 외에 시련에도 불요불굴하는 의지의 구현자이자, 부귀와 공명이 아니라 사회를 위해 도덕적인 책임과 문화적 과제를 온전히 수행할 수 있는 진정한 '문인성'의 체현자라는 인식이 그 바탕에 깔려 있었다고 할 수 있다.

• 복식
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• 제19권
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• pp.83-103
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• 1992

This thesis researched the ritual dress of Korean new religions such as Suungyo, Mirubulgyo, Taejonggyo and WonBuddhism, According to kind, color, cloth and shape this thesis analyzed the ritual dress of them on the basis of its literatures. I. The results of the ritual dress of them through its literatures are as follows: 1. In case of Suungyo, there are Songwansonbok, Togwandobok, Pulmogwan, Ch'onui, Chap'ae , Yukhwangang, Pobdae, Hakp'yo and Kyonjang in its kind. In its color there are Huk, Cha, Hoe, Chahwang, Hong, Paek, Hwang, ROk, and Nam. Chemical fiber with one layer is used in its cloth. Its shape is made by a comprise between the feature of Korean dress, chuui and that of the existing dress of Confucianim, Buddhism and Taoism. 2. In case of Mirukbulgyo, Inhwag-wan, Chongbok, P'oui, Tae, Moson, Yomju and tanju are systematized in its kind. In its color there are Paek, Huk, ch'ong,Chok, Ok and Rok, Kongdan and chemical fiber with one layer are used in its cloth. Its shape has a symbolic form of Yu'Pul and son based upon Korean dress, Chuui. In its symbol Inhwagwan symbolized Confucianism and Chongbok Taoism and P'oui Buddhism. 3. In case of Taejonggyo, there are Chusabok, Sjhobok, Yewonbok, Chusamo, Yewonmo, Tae and Hwa in its kind. In its color there are Paek(main one), Nam, Huk, Chaju, Chok, Hwang and Hoe. Kongdan with both sides is elaborately used in its cloth. Its shape thken from Korean dress means the succession of the national spirit of the white-clad folk. 4. In case of won Buddhism, there are kybok and Pobrak in its kind. In its color there are Paek, Huk and Hoe---especially, both Hwangt'o and Hwang are used in Pobrak, Anyone can use cloth at his will. In its shape Kyoblk for man is Yangbok and Kyobok for woman is Tongch'ima and Chogori, a style of Korean dress. Pobrak is a form Tanryong worm with Rakja.

• 한국의류학회지
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• 제11권2호
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• pp.37-55
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• 1987

Pasul (Herein after referred to Korean-styled Pasul) to cover up the secrets, which has originated from Bool-an original mode of clothes is to put around a belt with a kind of towel. With the development of culture, it has been handed down the parts of ornamental and symbolic functions, losted its particular and original one. In general, we cannot exactly show when the Pasul has been used as a ritual dress, but, dare to maintain in this thesis, which has been used in Koguryu era. This thesis is summarized as follows: 1. The Bool, which is the first dress of all has its origin in the prehistory, and gradually has developed to a ceremonial dress with the help of man's intelligence. 2. Korean-styled Pasul has continuously been handed down from generation to generation (to adding up, from Koguryu era to Yi dynasty). Today, the color of the Pasul is known as a pink one, but I, herein, would like to refer that king Kojong in Yi dynasty had on a yellow-colored Pasul. 3. With becoming to be a form of ceremonial dress, the Bool has become to be complicated in style. For example, in the Koguryu era, the style is in the form of 'U,' and in Koryu era, it is the echelon formation tinting a pink color and weaving a mountain and flare shaped designs, and its dimension, the upper is one ja (a ja means a unit of length, 0.33 M), the lower, two ja, its length three ja. The Bool of Yi dynasty tints a pink color, and weaves a seaweeds, rices, axes and shaped designs. The Pasul which King Kojong in Yi dynasty put in, was a yellow-colored one weaving dragons and fire shaped design. 4. The Pasul is a ceremonial dress used a ritual or court dress. The purposes of wearing it are to distinguish the upper from the lower classes, to make them abide by regulations, and to respect courtesy. Accordingly, the Pasul. as the dress for special occassions does make us review the old and learn the new. 5. The reason that Pasul has been handed down are: 1) richness and fecundity. 2) symbol mark to represent classicalism. 3) to symbolize the authority by putting on it, for it is necessary to distinguish the upper from the lower classes along with the class consciousness in society. 6. On the basis of the study, the Pasul transition is to be handed down the function of the ornament and symbol. after losted its original functions, with the development of culture.

• 복식
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• 제61권1호
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• pp.69-83
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• 2011

This study applied cartoon-like simple and implicit symbol of Keith Haring works to tubular jacquard knit, designed woman casual knit wear with fun, explicit and activities using fluorescent yarns with explicit features. This study aimed to propose the directions for new market pioneering that meets the emotional requirements of modern people by raising the level of utilization and expression area of knit fashion, and to present the constructive directions for high value-added knit wear by designing highly effective knit wear. Methods of this study examined the lifetime and artistic background of Keith Haring and collected his works through searching of internet, scholastic publications or thesis. Formative types and colors of works collected were analyzed and classified according to characteristic standards of Haring and characteristic formativeness and color of works were extracted. The result of this study is as shown below: First, the feature of his works can be summarized into motif that has symbolic and implicit cartoon-like lines including narratives as well as enormous number of works. Such feature is very suitable for variation and recombination in realization of design and has unlimited potentials for development. Second, image colors can be extracted such as black and white, original color and fluorescent paints, which reflects the intention of artist who put focus on communication with the public. Such color feature is very suitable for design motif that has explicitness of reflecting the intention of artist through use of special fluorescent yarn. Third, I made it as reversible wear that has effects of increasing or decreasing the explicitness according to color area ratio using the feature of textures allowing use of both sides as well as form stability of tubular jacquard. Fourth, by adjusting the thickness of fabric with controlling of ply in fabric using poly yarn and wool union yarn, I could obtain good results of study in terms of technique that can express various materials with embossed dynamic effects of unevenness on flat surface.

• 한국의상디자인학회지
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• 제17권1호
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• pp.141-154
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• 2015

The purpose of this study is to look for a development plan for strategic brand logo by a means of scrutinizing general characteristics and trend in the visual properties of outdoor logo brands. In this study, data research and analysis were conducted over the 68 outdoor brands in circulation in the domestic market based on the information on the website of each brand in order to examine the visual characteristics of an outdoor brand logo. For this, it was performed to examine the desired brand concept of each brand and to analyze the visual characteristics of typeface, color, and type of logo. The results of this research are the followings: First, it was found that the most popular typeface in outdoor brand logos is a capitalized Gothic type. It seems that the logo type is designed to symbolize power, toughness, and masculinity and to express the concept of sportswear brand. Second, when it comes to color, black color tone appeared most frequently, and also reddish colors among chromatic colors were prevailing over others like green, blue, or yellow. It is believed that reddish colors were used to express passion, power, youthfulness, and energy; black color tone for tough, masculine power. Third, the logo symbol of outdoor brands mostly contains mountain, the heads of powerful animals, spherical shape/abstract image that embodies outdoor sports activities. It was analyzed that these resulting symbols were chosen to convey the images of nature, conquest, challenge, future, and passion that are the brand concept of most outdoor brands. Today, in our country, the logo of an outdoor brand is the important factor that symbolizes the brand concept, function, or characteristics. Therefore, the necessity of constant follow-up researches is required to devise the way of designing the brand logo that can build brand power and enhance brand image.

• 한국의류학회지
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• 제22권2호
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• pp.250-256
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• 1998

The culture of makeup has early developed in China. Especially, beautiful eyebrows were the symbol of a beauty. This study is related to fashionable Cheong-Dae in Han Dynasty. In Han Dynasty, women painted thier eyebrows with blue color in a different color from former periods. This fact has close connection with the bordering countries on Western China. Together with Hu fashion having been in fashion during trading directive with Western China women has seemed to use Cheong-Dae for their makeup in Han Dynasty. In Hand Dynasty, Ferghana women had very often used it for their makeup. And it had produced in Ferghana, Jaguda, Kashkar. In Tang Dynasty, it has been said that Persia was the best. Let's take a look at the producing method. Soak indigo plants in water add lime and stir it up, then bubbles are formed. They are called it as Cheong-Dae. Nearly, they are produced in the course of indigo dying. So we can see inflowing course of Cheong-Dae into China through the history of Indigo dying. We can guess the use of Cheong-Dae in Egypt. Indeed, Nile Blue is used for the Protection their access from insects as well as effect of coolness visually. This guess is very reasonable because the fact is considered that some people dye with indigo color by the way of sedimentation in Peniasula of Sinai. Also, the PH of Cheong-Dae is about 7. So, it does no harm in skin and its color is dark blue. Cheong-Dae has effects of insecticide and removal of fever. Cheong-Dae that had been used in Peninsula of Egypt seems to have been carried into China through Silk Route. And by trial to make Cheong-Dae it is proved that its ingredient is plant.

• 한국인터넷방송통신학회논문지
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• 제9권4호
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• pp.99-107
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• 2009

가시광통신(VLC)은 가까운 장래에 각광받을 무선 통신 기술로서 전자파 간섭 없이 무료로 넓은 대역폭을 사용할 수 있기 때문에 RF에 민감한 운용 환경에 유용성이 매우 기대된다. 무선통신에 제약을 받는 병원 등에서 의료장비들 운용에 유용하게 쓰일 수 있는 음성인식 시스템을 포함한 LED 기반의 VLC 시스템을 제안한다. 특히 주변 빛에 의한 잡음 영향을 극복하기 위해 색채공간을 기반으로 한 새로운 변조기법을 제안하고, 또한 BER을 줄이기 위해 심벌 수에 따른 다양한 색채공간 성좌도의 가능성을 제시한다. 끝으로 VLC에서의 다중 사용자 접속을 위해 Slotted ALOHA 및 TDMA MAC 프로토콜의 정당성을 기술하였다.

• 대한가정학회지
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• 제12권34호
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• pp.663-677
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• 1974

The social and psychological approaches to clothing researches by Fluge,l, Hurlock and Barr in the early 1930's have since been developed greatly. It has now been generally agreed that clothing is the symbol of one's personality and social status, for clothing is regarded as the second skin and a manifestation of one's emotional states as well. Based on this consensus, this study was intended to observe the possible relationship between one's clothing design preference-in line, color and texture- and interest. For this survey, 200 college woman students from four universities were selected at random, and an interest-test standardized by prof. Jung Bum Mo and a questionaire made of 20 items on the clothing prferences were given. The results as commputerized and analyzed are as follows : 1. Line Preference a) Structural line : It is quite obvious that those like straight line are interested in fine arts, and curved line in physics. b) Out-line : Among tubular, bell and bustle of the silhouette, those like the bustle have shown particular interest in music, and the tubular in politics and business. c) Style : There is a salient tendency that those like a dressy style are much interested in music, and casual style in physics and physical exercise. 2. Color Preference a) Favorite color : Those like red, orange and yellow show a high interest in artistic activities and physical exercise, and black, grey and white in politics. b) Variety and combination of color ; These have shown no relationship to the interest. 3. Texture Preference a) The touch : Those like the texture with the feeling the crisp and rough are interested in fine arts, and of soft and smooth in the field of social service. b) Fabric surface : Those like naturalistic pattern, i.e. print of flowers, show much interest in music and literature, and plain fabrics in physical exercise.

• 한국농촌건축학회논문집
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• 제25권3호
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• pp.47-58
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• 2023

This study, as part of a study on the visual impact and evaluation of the symbolic sculptures currently installed in counties in Jeollanam-do on the formation of Landscapes by local governments, investigated and analyzed the installation characteristics of symbolic sculptures by local governments. As a result, many local governments have installed local specialties and landmarks as symbolic sculptures, and the installation location is often installed in open spaces and in the center of roundabouts. It was investigated that the use of color or the color of the material as it is was preferred. It was found that more symbolic sculptures installed on the roadside were installed in the center of the roundabout or along the side of the street than installation at the gateway. It is considered that it is more effective to recognize the symbolism of the area to the tourists through the installation of the symbolic sculpture at the entrance of the area, the center of the roundabout, or the side of the road rather than the gate, because the size of the symbol is bigger in order to recognize the symbolism of the area due to the width of the large road when installing the symbolic sculpture at the gateway, It is considered.