• 복식
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• 제60권9호
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• pp.16-25
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• 2010

This study reinterpreted the formative design elements of traditional grate patterns to create new lattice patterns and come up with a design concept for fashion-cultural products that highlight the uniqueness of traditional Korean culture and its characteristic features. Methodologically, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop were used to make grate patterns motifs. and they were applied to scarves and again to blouses using a three-dimensional simulation technique. In this study, three basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating and reducing shapes based on the images of traditional 亞-shaped, arched and floral lattices, and each motif was expanded to have two variations with different colors applied to them. The direction of basic motif design was set to fit for each of fashion-cultural items such as scarves and blouses. Basic colors for motifs were arranged to create a colorful and modern but staid image in pink, blue, purple, green, yellow and brown tones. Based on a developed motif, changes were made in blouse design with lattice patterns through a variety of effects such as repetition, rotation, cross-arrangement, and oblique arrangement, and three-dimensional simulation was used to bring the design to life. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed them through such effects as repetition, rotation, compositional variation and gradation to express a gorgeous and refined image.

• Acta Via Serica
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• 제3권2호
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• pp.107-134
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• 2018

This paper is an art historical attempt to discuss the transfer and transmission of a certain visual idiom along the Silk Roads and to show the multi-dimensionality of the trans-regional, trans-cultural movement. The motifs of grapes and grapevines are discussed here for this purpose, including the grape-and-vine motif mixed with other animated figures and plants. A special emphasis is on China and its reception, but regional varieties within East Asia are also discussed. The motif is one of the most longstanding and versatile visual idioms, widely distributed along the regions of the Silk Roads. This deceptively familiar motif came to China, where grapes and viticulture were introduced far later than the West. The West developed various symbolisms ranging from manic revelry and heavenly unity with mystic beings, to royalty and power in different cultures. In China, this visual idiom was eagerly received in association with something exotic and re-interpreted in the context of Chinese culture. Without active viticulture, the motif transformed itself into beautiful design patterns and space fillers in China and East Asia. The natural appeal of jewel-like grapes acquired new meanings of fertility and happiness in the traditional East Asian cultural context. To see the cultural effect of viticulture on the visualization of this motif, the Islamic reception of the motif is briefly touched upon when countries to the West of China (서역 西域) were fully Islamized and heavily affected by the prohibition of alcoholic drinking.

• 복식문화연구
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• 제20권5호
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• pp.709-724
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• 2012

This study examined the characteristics of costumes worn at Halloween parties, a form of cultural entertainment commonly seen in the U.S. The Halloween party culture involves children and adolescents wearing costumes, decorating their bodies, and mimicking famous characters. Furthermore, the types and motifs of Halloween costumes have become a means of expressing individuality. This study conducted empirical research on how such motifs were reflected in modern Halloween party-wear in order to provide basic data regarding the development and design of Halloween costumes and the formation of the related entertainment culture. This study researched the shape of costumes and the type of traditional motif presented in these costumes, as well as analyzed the symbolic meaning of each motif. The research process was as follows. First, this study investigated the origin and evolution of Halloween by researching precedent studies, books, and internet data. Second, this study extracted the types of traditional Halloween motifs by analyzing the characteristics and symbols of Halloween costumes commonly presented in such materials. After collecting 547 Halloween-related images from U.S. and Korean Internet websites, this study sorted and analyzed images that could represent traditional Halloween motifs. According to the results, representative traditional Halloween motifs included black cats, white rabbits, tridents, scarecrows, skull and bones, ghosts, witches, vampires, bats, werewolves, and jack-o-lanterns(pumpkins, etc.). The sentiments for such traditional Halloween motifs changed according to era and race. The symbolic meaning would continuously change - from positive to negative and vice versa - to reflect various socio-cultural phenomena. The results of this study are expected to be used as basic data for developing Halloween costume designs and the related entertainment culture.

• Acta Via Serica
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• 제8권1호
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• pp.71-86
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• 2023

This article aims to reveal the history of traditional Mongolian carpeting techniques and their development and application based on archeological findings as well as related research from field researchers. Furthermore, the article highlights some of the ancient traditions in modern carpet decorative motifs and pattern designs. The paper focuses on traditional carpeting techniques, decoration motifs, pattern designs, and representations of embroidered felt carpets from Xiongnu Dynasty (209 BCE - 48 CE) elite burials. Main themes for this research are: 1. Traditional materials and techniques for making Xiongnu carpets. 2. Xiongnu embroidered felt carpet pattern designs, decoration motifs, and representations. 3. The development of modern Mongolian carpet decoration motifs and pattern designs. This research considers archeological evidence and socio-cultural factors together to hypothesize that traditional Xiongnu embroidered felt carpet techniques, main featured motifs, and pattern designs are widely used in modern Mongolian carpet design and have a significant influence on its development.

• 복식문화연구
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• 제13권2호
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• pp.289-299
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• 2005

Through the formative analysis of the traditional jokakbo, we have composed surface composition that was made by a perfect square, triangle, a weather vane type, vertical type, cintamani type, and a mixed rectangular. And we have composed 18 kinds of motif stimulants that was made by vivid tone, pale tone, and so on, and finally analyzed sensibility image, preference rate of them. The cause of composition for the sensibility image of stimulant was composed by the cause of simplicity characteristics, interesting characteristics, rigid-flexibility characteristics, and modern characteristics. And from these things, the cause of simplicity characteristics and the cause of interesting characteristics were revealed as important dimensional factors of sensibility image. The sensibility image of motif was revealed as a simple image of perfect square, a feminine image of cintamani type, a modern image of mixed rectangular. And black-white colored mixed rectangular and chromatic colored cintamani type were also revealed as an interesting image. The preference rate of motif is related with the cause of interesting characteristics and simplicity characteristics, it also has been revealed to prefer the pale tone than others. And it also has been revealed that achromatic colored mixed rectangular, cintamani type of vivid tone, perfect square and rectangular of pale tone were mostly preferred.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2012년도 춘계학술대회
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• pp.138-139
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• 2012

• 한국의류산업학회지
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• 제10권4호
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• pp.479-488
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• 2008

The purpose of this study was to re-interpret the traditional patterns in modern point of view and connect them to the apparel textile design to use them widely in our real life. For this, a documentary research on the traditional patterns and arabesque patterns was made first, and then, through the manual and photoshop workings, two apparel textile designs were suggested. As a result, the followings were acquired: First, the arabesque pattern, which is a traditional pattern of Korea, has a continuous life power and a natural formative characteristics. In its pattern, there is an abundant possibility of change. So, it has a wide usability regardless of time and space. As the symbolic image of the arabesque pattern is connected with the instinctive beauty sense of human beings, it has shown the more adhesive affinity that any other materials. Second, two kinds of textile design were suggested. The motif of work 1, "Fragrance of Woman," was the richness and the harmony, and so a lotus arabesque pattern was selected to present its concept, "Classic Elegance." The expression technique was to use a manual work and cloths to make it a voluminous one. The motif of work 2, "Green Field" was to show the clean beauty with a lotus arabesque pattern. Its concept was the "Natural Elegance," and the expression technique was to repeat the motif by using the Adobe Photoshop to complete the work.

• 복식문화연구
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• 제15권5호
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• pp.749-759
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• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.

• 한국의류학회지
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• 제45권5호
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• pp.825-839
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• 2021

This study aims to develop jacquard fashion masks using traditional patterns and investigates the preference and emotions of consumers for them. Nine patterns were designed with the motifs of plum flower, turtle, and geometric patterns using an Adobe Illustrator program. After that, 20 kinds of jacquard fabrics were developed using those patterns, and prototype masks were made. Furthermore, data were collected using a survey of 231 adult consumers to understand the emotional images evoked by jacquard fashion masks with traditional patterns. The results of the research show that the emotional dimension derived from jacquard fashion masks with traditional patterns consists of seven factors: luxurious image, frugal image, feminine image, oriental image, sporty image, geometrical image, generous image. We found that consumers preferred the M6 with the plum flower pattern as the motif as the most preferred design, while M13 with the geometric pattern as the motif was the lowest preferred.

• 한국가구학회지
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• 제21권2호
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• pp.144-156
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• 2010

Since late 1960s, we have had the discourse about the way of succession of korean traditional architectural heritage. Through 60s and 70s, the formal mimesis and transformation was pretty much dominated in domestic design currents. After 80s, we could see a kind of different ways of design to deal with traditions in architectural practices. These methodology can be summarized as spatiality, abstraction and diversity. These discourses acted as bases for aesthetic and formal stream which might be needed to present the formal possibilities for various commercial needs. Especially, the interior design field utilized those ideas in order to show korean identity for the commercial needs such as korean restaurant, korean bar, or korean costume shop. Interior designers positively adapted the ideas from architectural discourse and created their own vocabulary after 90s. Before 90s, interior designers did very representational mimesis to express korean identity designing commercial facilities. However from mid 90s they could establish new tendencies in expressing korean traditional moods. These tendencies are a focus on spatial relationship, abstraction and materiality, utilization of traditional objects and lighting method.